1. Leadership Foundation Workshops (2016 – 2024)

 

• Brief Description: High-level narrative architecture and leadership development workshops leveraging the oral storytelling tradition. The curriculum challenges institutional leaders to explore their heritage and cultural authenticity as an operational mechanism to refine their leadership styles, build psychological resilience, and design strategic solutions.

• Supported / Commissioned By: Leadership Foundation for Higher Education (specifically curated for BAME leaders in academic sectors).

• Where Seen: Implemented across a recurring series of 9 successive cohort programs inside UK academic institutions and universities, alongside structured alumni network follow-up gatherings.

 

• Why it's relevant to my practice: This work directly proves my ability to help large organisations develop and embed a permanent storytelling culture. Over nine successive cohorts, I have coached senior institutional leaders to utilise structural narratives as an operational tool, enabling them to navigate complex data, dismantle systemic glass ceilings, and build practical leadership frameworks.

 

2. "Talking in Class" Intervention Project (2013 – 2014) | Artsdepot

• Brief Description: An educational and clinical intervention initiative utilising spoken word, drama, and narrative arcs to elevate the listening comprehension and spoken language capacity of school children navigating English as an additional language (EAL).

• Supported / Commissioned By: Produced by Artsdepot; developed through an interdisciplinary partnership with school administrators, classroom teachers, speech therapists, teaching assistants, and learning participation managers.

• Where Seen: Embedded within primary school classrooms via a 10-week structural curriculum, transitioning from artist-led delivery to a permanent, teacher-led classroom framework.

 

• Why it's relevant to my practice: This highlights my capability to facilitate sustainable storytelling transfers to non-creative professionals. Rather than merely performing, I collaborated across disciplines with headteachers and speech therapists to build a 10-week narrative blueprint, explicitly training and empowering the classroom teachers to take over the delivery of the storytelling practice independently.

 

3. The Griot Way Storytelling Training (2011 – 2017)

• Brief Description: A comprehensive vocational training program and performance lab tracking the structure, staging, symbolism, and presentational mechanics of African storytelling. The curriculum focused on building teamwork, live improvisation, clear vocal speech, and audience-interaction techniques.

• Supported / Commissioned By: Developed following three years of collaborative research with local authorities, education establishments, literary managers, and creative teams. Co-sponsored by Canada Water Culture Space, Deptford Mission, and The Albany.

• Where Seen: Shared across UK arts spaces, training over 300 practitioners (aged 14–45) and culminating in a public graduation "storytelling feast" showcase.

 

• Why it's relevant to my practice: This demonstrates my capacity to design and execute structural narrative methodologies and organisational capacity-building tracks at a massive scale. I formulated, managed, and delivered a repeatable vocational training curriculum that equipped over 300 practitioners with foundational narrative mechanics, communication tools, and interaction techniques.

 

4. Royal & Derngate Strategic Arts Initiatives (2009 – 2010)

• Brief Description: Leadership of two major cross-disciplinary commissions. The first was a 3-month primary school project mapping drama onto curriculum goals for literacy and speech (utilising pupil-designed sets as narrative backdrops). The second was a devised theatre program helping EAL students translate traditional stories from their mother countries into English stage narratives.

• Supported / Commissioned By: Royal & Derngate Theatre (collaborating with school boards, primary teachers, Moulton College course tutors, counsellors, and a drama student peer motivator).

• Where Seen: Implemented across primary schools throughout Northampton, culminating in high-profile, live graduation performances hosted inside the main Derngate theatre auditorium.

 

• Why it's relevant to my practice: This showcases my sharp ability to align storytelling structures with complex institutional and strategic aims. I have successfully mapped drama and narrative framework building onto primary curriculum metrics for speech and literacy, and guided EAL college students to translate dense cultural contexts into clear, engaging stage narratives.

 

5. HMP Wormwood Scrubs Pilot Project (2013)

• Brief Description: A high-impact, transformative narrative intervention pilot using storytelling frameworks to explore personal accountability and the consequences of choices. The project established a rare, harmonious co-working space where participants co-created group stories and personal narrative affirmations.

• Supported / Commissioned By: Wormwood Scrubs Adult Male Prison (co-facilitated alongside Maureen Hibbert).

• Where Seen: Delivered inside the high-stakes environment of HMP Wormwood Scrubs, working directly with prison guards and inmates (including individuals subjected to a 23-hour daily lockdown).

 

• Why it's relevant to my practice: This proves my capacity to bring an open, deeply collaborative approach to high-stakes, multi-disciplinary environments. Grounded in my philosophy of Ubuntu, I designed a safe narrative framework where prison guards and inmates worked together harmoniously, utilising storytelling mechanics to unpack personal accountability and the consequences of complex societal

​

6. Crossfields Estate Tales (2020) | Mayor’s Office Culture Seed Fund

• Brief Description: A digital storytelling initiative that uncovered and celebrated the everyday magic, community spirit, urban legends, and hidden histories of inner-city urban living environments undergoing transformation. This marked the first project delivered entirely via Zoom during the pandemic.

• Supported / Commissioned By: Mayor’s Office Culture Seed Fund.

• Where Seen: Delivered digitally via Zoom to community members and participants. 

 

• Why it's relevant to my practice: This highlights my agility in finding the universal human heartbeat within abstract, changing socio-political landscapes. I synthesised historical archives and urban transformation data into six contemporary narrative tracks, demonstrating that I can mine technical environments for stories while seamlessly adapting my delivery to online digital platforms like Zoom.

 

7. National Youth Theatre Summer Programme (2014)

• Brief Description: Creative direction and masterclasses focusing on performance-ready storytelling and rapid co-creation. Young people analysed historical photo galleries regarding World War I, using structural narrative mechanics, body language, eye contact, and call-and-response dynamics to translate dense history into devised stage stories.

• Supported / Commissioned By: Commissioned by Artistic Director Anna Niland for the National Youth Theatre summer session in London.

• Where Seen: Staged at The Trinity Laban conservatoire of music and dance theatre, directly involving over 300 young creative participants.

 

• Why it's relevant to my practice: This highlights my experience working with dense, multi-layered, and sensitive historical subject matter. I delivered intensive masterclasses to 300 young creatives, guiding them to interpret static, highly complex photo galleries of World War I to analyse the data and co-create highly engaging, audience-interactive narrative structures.

 

8. The Big T Dance Narrative Project (2008 – 2009) | Central and Cecil Housing Association

• Brief Description: A creative reminiscence and documentation initiative focused on deep-listening interviews with elders living with dementia. By using the foundational narrative prompt, “Do you remember your first dance?”, I unearthed hidden social histories, including women's shifting societal roles during WWII and historical dance subcultures, and structurally wove and wrote their testimonies into a unified story that became and interactive storytelling performance that celebrated their lived experiences.

• Supported / Commissioned By: Central and Cecil Housing Association (integrated into their strategic arts and education programming).

• Where Seen: Performed live for the contributing elders and the wider community during Central and Cecil’s "Big T Dance" milestone event.

​

• Why it's relevant to my practice: This project highlights my exceptional interviewing, narrative development, and synthesis skills. I excel at active listening, unearthing fragmented personal histories, and translating complex social data regarding World War II and evolving societal roles into a single, cohesive public narrative structure that brings an organisation's mission to life.

 

9. Unicorn Theatre Response Workshops (2009 – 2011)

• Brief Description: Design and delivery of auxiliary theatrical pieces reflecting the complex themes of main-stage scripts. Sessions utilised "playing-in-role" techniques as pre-show preparation or post-show deep dives to ground complex historical contexts and systemic themes omitted from standard school curricula.

• Supported / Commissioned By: Unicorn Theatre (serving young people aged 11–15).

• Where Seen: Facilitated live within the workshop spaces, learning labs and main stage of the Unicorn Theatre, London.

 

• Why it's relevant to my practice: This demonstrates my facility for taking complex, niche themes omitted from standard educational frameworks and making them fully accessible. I designed targeted pre- and post-show narrative toolkits that translated dense script structures, intense social concepts, and challenging historical contexts into engaging formats for generalist, younger audiences.

 

10. Sesa Wo Suban African Storytelling Festival (2011 – 2013 / 2015)

• Brief Description: End-to-end artistic direction and organisational design for a live festival engineered to connect urban communities with nature through oral folklore and bushcraft. Responsibilities included budget generation, auditing performers, volunteer recruitment, staff training, and orchestrating comprehensive project management and committee alignment plans.

• Supported / Commissioned By: Sesa Wo Suban Management Committee (including collaborations with Michelle Hoyte and Vanessa Matthews), working in partnership with local landowners, community sponsors, and business stakeholders. Keynote backing provisionally promised by celebrated author Ben Okri.

• Where Seen: Held as an outdoor immersive festival, with collaborative project plans and governance training models deployed across the internal management committee.

 

• Why it's relevant: Demonstrates high-level project management, strategic communications, and institutional infrastructure building. I managed diverse stakeholders; including landowners, corporate business partners, local authorities, and volunteers and designed governance frameworks and project plans to transition the festival's delivery over to a permanent management committee.

​