“I am an African Caribbean woman, I grew up in a family primarily of African Caribbean women who arrived to Canada from Trinidad & Tobago via Brooklyn as a sisterhood of teachers, nurses, care workers and my mother, a social worker. I recognize that my life represents the ability to continue in spite of all odds, my body is marked as a site of resilience and I honor that by creating.”

Anique Jordan is a rule bending, innovation driven transdisciplinary artist, educator, activist and social-entrepreneur. With over a decade of experience working at the crossroads of art and community building and a background in cultural production, community economic development and leadership, Anique has been recognized internationally for her unique skill set and passion towards urgent, systemic transformation.

Anique’s work employs photography, performance, poetry and installation to draw attention to the body as a sight of political resistance and futuristic imagining. She actively seeks new ways of knowledge production that warp and disrupt colonial histories. Her current work looks at themes of arrivals and survival of black women and the use of cultural production in these gravely intimate, yet global journeys. Her art creation processes are guided by the questions: What stories do we tell that go unchallenged? And in how many ways can we know a thing?

While completing her undergraduate degree in International Development, she was invited to represent Canada at the 1st World Afro-Descendant Youth Summit in Costa Rica. She is now completing her masters of poetry, performance and community economic development at York University and is an artist-in-residence at The Watah School, a trans disciplinary artist institute. In 2014, Anique held a fellowship in the first cohort of Studio Y at Mars Discovery District, was 1 of fifteen, 2014 Ashoka-AMEX Emerging Innovators and was invited to participate in The Drawing Room, an international poets residency held in Jamaica. As a masters candidate Anique spends time researching how arts-based methodologies can expose approaches of community and self-survival to create community-led and self-sustaining models of local development. In recognition of her work she was awarded a partnership project grant from Schools Without Borders to explore her ideas of art production and alternative economies in the Caribbean. She has worked with and has been lovingly mentored by globally celebrated dub-poet, d’bi.young anitafrika, Jamaican theatre worker and scholar, Honor Ford-Smith, poets Christine Craig and Millicent Graham and photographers Isa Ransome and Ella Cooper.

While studying the SORPLUSI art creation methodology, Anique’s photography has been exhibited at the Watah Mawak Gallery and her poetry published in OCHUN (2014), an anthology produced by the Sorplusi Institute Press, additionally she has performed at The Mikey Smith Raw Works Festival and The Audre Lorde Works-in-Progress Theatre Festival.

Anique’s community economic development practice has taken her to indigenous women’s artisan collectives in the Amazon to wind farms and renewable energy projects in South Africa. She is a product of a village and honours her mother and aunts whose passionate convictions and sacrifices lead a little girl to see so far and believe that another world is possible.