Decolonizing My Big Mouth

I am not close to decolonizing this big mouth of mine, y’all — for realz!

I don’t use the term woke about myself, nor others, frequently. There’s something self-congratulatory in it. Who told me I was woke enough to know who the flip was freaking woke? Do you get a certificate for it? Woke or not, my shit can drift far from on point. I flock things daily and maladies escape me, reminding me how hard it is to weed the mind’s internalized supremacies (not just White).

Reflecting on a class discussion, I mentioned perhaps breaking off to powwow in our groups about a number of items. As I went on, the room quieted. A student (I believe the only White-passing cis-male in the cohort) gently spoke up, informing me the group didn’t use that term as a casual reference to so sacred a Native American cultural tradition. It took a moment to register what was being said. I was blank and asked what term he meant.

“Powwow,” he repeated, almost in apology he bore the explanation.

I was mortified.

I’ve been called-in around that word many times. I study Ojibwe culture and the language. I fully understand the significance of powwow (niimi'idiwag in Aniishinaabe). It didn’t stop that word escaping my lips and falling flatly on wide-eyed MFAs, that included at least one Native American person. I was dumbfounded, but accepted what had transpired, aware I had to make immediate amends. I spew-sprayed words that felt like excuses, finally simplifying, “I’m sorry.”

I could have let it go, but it felt so wrong suddenly to even be before these brilliant eager young people who’d leant me space to instruct them. Just like that I was the student, I’d gotten a wrong answer, and my perfectionist reared and mocked me. My near seven-foot frame shrank to nothing.

My flavor mental illness registers small things (it was an innocent error) life-threatening disasters. I can actually handle disaster. (See recent posts on my mountain car accident). Still, I gotta wonder why that word won’t get out of my vocabulary. I see how it triggers. I resist. I resent I have to consider it. I resent ever being imprinted with it.

We collectively navigated that awkward moment (for me, Earthshaking), and ultimately, the group accomplished amazing work (We devised a 20-scene Cinderella in about twenty minutes with no one directing). They gave beautiful feedback. I felt I had been of service. Perhaps writing about it, will help me move beyond it. Maybe this is my version of White Girl Tears (which is also offensive). I’m gonna put my ego on ice and try this again next time.

— Notorious Pink

Pink Flowers

Pink Flowers is a Black trans artist, peacemaker, educator, and pleasure activist whose work lives at the intersection of embodiment, governance, and cultural transformation. Trained in Theater of the Oppressed, Art of Hosting, and Navajo-informed Peacemaking practices, Pink designs spaces where conflict can be addressed, power can be examined, and joy can be reclaimed.

Her artistic and pedagogical practice draws from African trickster cosmology, Brazilian Joker traditions, shamanic ritual, and cooperative economics. She is the founder of the award-winning Falconworks Theater Company (2005–2021), which used popular theater to build civic capacity and participatory leadership in historically marginalized communities.

Pink served for over five years as a trained Peacemaker in the Red Hook Community Justice Center in Brooklyn, facilitating restorative processes within the New York City court system. From 2015–2018, she worked in cooperative business development with the Center for Family Life, supporting worker-owned enterprises in immigrant communities.

She currently serves as Director of Education and Training for the Inter-Cooperative Council in Ann Arbor, where she leads leadership development and conflict engagement initiatives. Her work has been presented nationally and internationally, including at the Stretch Festival in Berlin and the Pedagogy and Theatre of the Oppressed Conference.

Across ritual, performance, mediation, and institutional design, Pink’s work asks a central question:

What becomes possible when we refuse shame and choose conscious power instead?

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