Works

This piece, affectionately subtitled "Ballroom" is a love letter to both the Ballroom scene and Western classical harmony. It is an introspective look at my intersectional identity and my place within both the queer and classical communities. Like this quartet, I too feel I am too classical to be queer and waaay too queer to be classical.

I'm still figuring out why I revere classical music's so-called "masters" when they never would have recognized my humanity. And yet I continue to work in their idiom .You'd be hard pressed to find someone who hasn't heard of Madonna's "Vouge" or used phrases like "clocked, tea, or gagged." Black trans women have made innumerable contributions to popular culture, and yet we are continually demonized.

I feel that this internal conflict is on full display throughout this piece; The two core elements, string quartet and voguing track, represent the two extremes of my identity. Through their interaction, I hope that the audience is also able to live in my odd yet undeniably earnest world where these elements coalesce.

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Narcissus, a strikingly beautiful youth, captures the hearts of all who see them, yet scorns love, showing only arrogance and
indifference. The nymph Echo, cursed to repeat only the words of others, falls hopelessly for Narcissus, but is cruelly rejected.
Heartbroken, Echo fades away until only her voice remains. The gods, angered by Narcissus’ vanity, curse them to fall in love with
their own reflection. Upon seeing their image in a still pool, they become entranced, unable to look away. Consumed by longing,
Narcissus wastes away and perishes, leaving only a delicate flower—the narcissus—blooming in their place.

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Inspired by the ancient Yoruban God Shango, this work unties the rhythms and cultures where Shango makes an appearance. Originating from South-West Nigeria, the music of the Yoruban people is pervasive in this dance work. This piece acts as the ideological meeting point of all the Yoruban diasporic music researched for this ballet and western traditions of form and harmony. 

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The ballet opens upon a village bustling with energy; today is a special day meant to bring fertility to the village by celebrating Shango. Shango, the god of sex, partying war and thunder Shango is already there and playing tricks on the village people, unbeknownst to them. In the most sincere moment when the village priestess is conducting a ceremony, Shango disrupts it (in disguise) and, after thoroughly messing with her and making advances toward her, he reveals himself to be Shango in a flurry of lightning and fire. The village people are in awe and continue celebrating even harder - this time with Shango making successful advances towards the village women and men. 

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Shango, ever the womanizer has 3 wives. Oya, goddess of storms, Oba, goddess of fertility and named after river Oba, and Oshun, goddess of beauty all compete for his attention while sabotaging the others.

This piece is written for Peter London and his Global Dance Company, with its premiere at the Adrienne Arsht Center in December of 2024.

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A reimagining of ancient songs written by early Italian composers.

This concerto, as much as a vehicle for double bass virtuosity, is an exploration of the individuality of the
players within an orchestra. Through body percussion, vocalization, and some level of theatrics, the
audience is reminded of the unique perspectives of each musician present. To create a more communal
space within the concert hall, I reference key characteristics present in gospel and house music; namely,
the deliberate repetition of key melodic materials and the space within the form for audience “call and
response”.

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While these influences are ever-present, the score also asks the player to switch seamlessly between
familiar styles that do not traditionally occur alongside one another. I encourage the performers to, instead
of intellectualizing the music, trust their gut and - above all else - have fun.

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