Currents
Field-shaping ideas at the intersection of narrative equity, cultural infrastructure, and storytelling futures.
Narrative Equity & Storytelling Futures
“Narrative sovereignty is not just who gets to tell the story — it’s who gets to distribute it.”
Narrative equity is inseparable from survival. For communities whose histories have been erased, distorted, or commodified, storytelling becomes infrastructure — a way of preserving memory and transmitting culture across generations. Black life, cultural memory, and oral history are not simply subjects of art; they are acts of continuity, resistance, and reimagination.
Too often, we talk about “representation” as if inclusion alone is enough. But equity in storytelling is not just a matter of being on screen — it is about the conditions under which stories are made, the systems that circulate them, and the ownership of the means of distribution. To claim narrative sovereignty is to insist that communities have the agency to author, archive, and share their own truths.
I believe that storytelling futures must be built with the same intentionality as any public institution. Just as we fund schools, roads, and libraries, we must invest in equitable distribution networks and cultural infrastructure that allow diverse stories not only to exist, but to endure.
Infrastructure & Global Networks
Stories cannot survive on inspiration alone; they require systems. Infrastructure is the connective tissue that allows work to endure beyond a single project, festival, or season. Transnational partnerships, equitable distribution models, and artist-centered institutions are not luxuries — they are what ensure continuity.
To speak of infrastructure is to speak of circulation: how stories travel, who they reach, and under what conditions they are sustained. It means designing pipelines for co-production, education, exhibition, and archiving that resist extraction and foster interdependence. It means aligning creative practice with policies and platforms that can carry stories forward.
The measure of this work is not just visibility, but durability — whether stories remain rooted in the communities that birthed them, whether ecosystems become more resilient, and whether networks expand access without erasing authorship.
Futures & Technology
“Ancestral knowledge is the first technology — a compass calibrated in memory, ritual, and survival.”
We cannot imagine futures without asking who codes them, who trains the models, and who benefits from the data. My interest in emerging technologies and public-interest media is ensuring that new technologies do not reproduce old hierarchies — that accessibility, informed consent, and narrative sovereignty are design requirements, not afterthoughts.
Futures work is governance work: standards and accountability for datasets; community oversight; funding mechanisms that privilege public interest over pure scale; and tools that are legible to the people they purport to serve.
The future of storytelling must be built as carefully as the past has been archived — with attention to memory, dignity, and the right to define one’s image and story across media.
Fragments Toward 2030
Archival grief is also a strategy.
To sustain stories is to sustain people.
The future of memory is a political question.
Infrastructure is a language of care.
Distribution is authorship.
Build for continuity, not virality.