anti-racism/anti-oppression program facilitator. Drawing upon her deep experience as a performance maker, she staged educational, participatory civics workshops to aide businesses, schools and community organizations struggling against systemic racism to address "diversity issues". Rice returned to the nation's capital and operated the All Nation's Studio, a performance space devoted to cross-cultural artwork from the basement of her home in Northeast DC. In that space she nurtured the Saturday Girls, Medusa Speaks: An Artists' Collective, Sol y Soul and many, many more arts organizations dedicated to progressive social change from the ground up. She became a lecturer on Theatre for Social Change at Catholic University and was appointed an Artistic Associate at Center Stage in Baltimore, MD, in 1998. With poet/playwright Kumani (Denise) Gantt (former Director of Education.) She met and worked with Malika Saada-Saar (who is now the Executive Director of The Rebecca Project for Human Rights) at Saada-Saar's Crossing the River program, a ritual-based arts and healing process for women in recovery from drug and alcohol addiction, and later, reestablished ties with Arena Stage as a performer, director and teaching artist. At Arena, she served as understudy for Trinidad Sisters, The Visit;and appeared as Kassandra in Agamemnon and His Daughters, directed by Molly Smith. In 1999, Rice became an Artistic Associate at Arena Stage/Living Stage, where, with support from the Theatre Communications Group/Pew Charitable Trust Fellowship. As Artistic Associate, she collaborated with Oran Sandel, then Artistic Director of Living Stage, to re-energize the ensemble's practice of arts-based community engagement and to direct, Oceans, an original movement/theatre piece about the turn of the millennium in the age of Bush conservativism. As Artistic Associate for Arena, she also devised and directed The Southwest Project, an artistic collaboration to foster civic engagement amongst residents of the Southwest quadrant of the city. In the 1950s, city planners in DC had advocated for the mass removal of the low-income Black residents of the Southwest quadrant. They circulated rumors that flies from the outhouses of SW had penetrated the dining halls of the Capital and were spreading disease along the hallowed, white halls, of the nation. Their efforts led to the mass removal of thousands of SW residents, followed by a structured burn that leveled hundreds of local businesses and homes to the ground. In the wake of the destruction, a handful of low-income housing projects surrounded by high-rise condos and Arena Stage (founded by