Welcome to The Colonial Audit. This blog is a repository of colonial language, art, place, space, and names that remind BIPOC folx that we still live in a colonized space. What we seek to decolonize remains around us, within us, around us. By "we" I am speaking of my family and myself, my three children, and mostly me. I'm a BIPOC poet, playwright, musician and mom who lives and works on Tovaangnaar, the ancestral lands of the Tongva peoples and the Tataatviam and Chumash to the north. I was born and raised near the Tongva place of emergence known as Puvungna, now known as Long Beach. I also live part-time in the ancestral homelands of the Kickapoo, Kiowa, Comanche and Wichita peoples, also known as Indian Territory, Okla (the People) Homa (or humma, meaning red) in my ancestral language, Choctaw. I count amongst my Ancestors matrilineally French Creole: Acadian/Metis, Miqmaq, Cree, Ishak, Tunica/Biloxi/Choctaw, Congolese, Attakapas, Mvskoke Creek, Patuca (Comanche); patrilineally my Ancestors are unknown African tribal lineages, Irish, Scottish, French, Cherokee, Choctaw, Seminole, Mvskoke Creek, and Caddo. I claim ALL of my ancestors, and most importantly, THEY have claimed ME. 

I have been BIPOC (Black Indigenous Person of Color) long before BIPOC became a term. My Ancestors intermarried, intermingled, sometimes forcefully, sometimes by choice, sometimes out of economic necessity, for generations. Tri-racial Indigeneity (African, Indian, White settler colonial, White forcefully dispersed) has been my family story since time immemorial. I am an artist, an academic, an activist, and a human being. All mistakes here are mine.