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LATEST BLOG POSTS

Protection and love for all those starting school today, this month, this year//Recovery Series, ep. 4

Prayer for those who are called black : 6/1/2020

Recovery Series, ep. 3.1 : why they banned//why we dance

Recovery Series, ep. 3 : we free lab – Arizona

Recovery Series, ep. 2: Burnin’ and a lootin’

Recovery Series, ep. 1: suns set


Recovery series. series of recoveries. movement, sound, body, space, eye, words. ritual. digital. analog. 


we free is a multi-media project that looks at the millennial and post-millennial approach to liberation through its music, social dance and social media. we free is centered in the livelihood and reparation of the African continent and diaspora. It is a social experiment, a conversation, a non-performance, a call to action, a revival, a bashment party, an ode to, and in moments a critique of, the millennial generation and what we are doing, right now, to be free.

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Marguerite Hemmings is a Jamaican born, Jersey-raised performance artist and educator currently based in Philadelphia, USA. She specializes in experimental, emergent, migratory, improvisational and social dance/movement styles and technologies, rooted in the story of the African Diaspora.

Hemmings’ work centers itself in liberation. She has been subverting, working, and creating with youth as a teaching artist for a very long time. She has received grants from the Jerome Foundation, Brooklyn Arts Council, Harlem Stage, University Settlement, and Dancing While Black to further her work. She is most recently a recipient of the 2017-18 Urban Bush Women Choreographic Center Fellowship, and through that, also the Projecting All Voices Fellowship at ASU. She is a 2017 recipient of the Bessie Award for Outstanding Performer in Eva Yaa Asantewaa’s Skeleton Architecture. She currently works inside of a self/spirit directed thing called we free. we free looks at the millennial and post-millennial approach to liberation through its music, social dance and social media. we free is centered in the livelihood and reparation of the African continent and diaspora. It is a social experiment, a conversation, a non-performance, a call to action, a revival, a bashment party, an ode to, and in moments a critique of, the present and emerging generations and what we are doing, right now, to be free.

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