the work of emerging black writers, and BQTIPOC and feminist works. From 2008-2018 they also created and ran The Watah Theatre, the only black-focused performance art school in Canada. The Watah Theatre offered tuition-free professional development programs. Between The Watah Theatre and Yemoya Artist Residency, they mentored some of Canada's up and coming young black creatives and international artists of colour including Amanda Parris, Kim Katrin Milan, Titilope Sonuga, and photographer, Che Kothari. Young's style of theatre practice developed draws from their upbringing in the performative and political environment of emerging Dub poetry in Jamaica of 1980s. They use Jamaican language and idiom as nation language, as opposed to colloquialism. They work extensively with monodrama and biomythography, or “biomyth monodrama.” They appeared on the 2021 FreeUp! The Emancipation Day Special. The Anitafrika Method Young's work recognizes the connections between identity and community as both inextricable and sacred. The Anitafrika Method initiates self-recovery through a creative process of performance that grounds broader notions of identity, community, social constructs, and metaphysical concepts, and focuses them into an embodied performance experience. The Anitafrika Method stems from the Dub theory of their mother, Anita Stewart. They have applied the method in a variety of disciplines and with practitioners in health care, social justice, art, and leadership development. From January to June 2015, Young applied the method in a special collaboration with the Women's College Hospital in Toronto, Ontario, Canada: The Black Womxn's Health Research Project. In 2018 Young began work in postgraduate studies in the Praxes, Politics and Pedagogies of Black Performance at Goldsmiths, University of London. Selected works Plays Theatre (actor) Television (actor) Compilations Books Essays Poetry Notes References Further reading Allen, L 2016, ‘The Sixth Sense in Performance: d’bi.young anitafrika’, in J Householder & T Mars (Eds), More Caught in The Act: An Anthology of Performance Art by Canadian Women, YYZ Books, Toronto, pp. 107–113. Austin, D 2018, Dread Poetry and Freedom: Linton Kwesi Johnson and the Unfinished Revolution, Pluto Books, Montreal. Flynn, K & Marrast, E 2008, ‘Dubbin Revolushun: Interview with d’bi.young’, obsidian lll, vol. 5, no. 2, pp. 35–58. Luhning, H 2010, ‘Accountability, Integrity, and 'Benu': an Interview with d'bi.young’, Alt Theatre Magazine, vol. 8, no.1, pp. 10–17. Gumbs, A P 2016, ‘Angel’s Basic School: d’bi.young anitafrika and Black Queer Divinity’, Jacket2, 6 October Ford Smith, H 2018, ‘Performing Queer Marronage: The Work of d’bi.young anitafrika’, in P Dickinson, C