Crushing Colonialism Celebrate The Second Anniversary of The Magazine at Baltimore Center Stage

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A black-covered table filled with magazines, postcards, and booklets. In the center is Crushing Colonialism: The Magazine featuring an Indigenous elder on the cover. Surrounding it are several issues of Cultural Survival Quarterly, including “Rematriation,” “In the Crossfire,” and “Brazil Is Indigenous Land.” Three “Calls for Justice” booklets sit in front. A sign behind the table displays a donation QR code.

Crushing Colonialism proudly celebrated the second anniversary of its flagship publication, The Magazine, on December 4 at Baltimore Center Stage, bringing together Indigenous artists, students, community members, and allies from across the region. The event—hosted through the theater’s Shared Space Initiative, which uplifts accessible and inclusive gatherings for underrepresented communities—was a testament to the power of Indigenous storytelling and collective joy.

The evening featured electrifying performances by 9a (@9amatowin), Angela Miracle Gladue / Miss Chief Rocka (@misschiefrocka), and Denmi Whiteman (@denmiwhiteman). Attendees also enjoyed screenings of three short films created by Indigiqueer youth filmmakers Tatiana Villegas (@tatiana_village), Yinet Morelo (@yinetdaniela18), and Mohammed Zahif (@legendary__zahif), produced during Crushing Colonialism’s 2024 Indigiqueer film training led by acclaimed filmmaker Theo Jean Cuthand.

We were honored to welcome students from MICA Graphic Design’s Decolonizing Design course (@mica_gd), accompanied by their professor Jennifer White-Johnson (@jtknoxroxs), adding to the night’s energy of learning, community exchange, and creative solidarity.

The evening further included a land acknowledgment by Mercia Cummings and community vendors such as Native Flare, owned by Christine Fender. Complimentary copies of The Magazine and one of our sponsors Cultural Survival’s Magazine, along with traditional and allergy-conscious foods, were shared with attendees in a fully accessible space designed to welcome Deaf, disabled, chronically ill, and multiply marginalized Indigenous community members and general public.

The celebration underscored Crushing Colonialism’s continued commitment to uplifting Indigenous narratives, fostering cross-community connections, and creating spaces rooted in justice, care, and cultural expression.

A black-covered table filled with magazines, postcards, and booklets. In the center is Crushing Colonialism: The Magazine featuring an Indigenous elder on the cover. Surrounding it are several issues of Cultural Survival Quarterly, including “Rematriation,” “In the Crossfire,” and “Brazil Is Indigenous Land.” Three “Calls for Justice” booklets sit in front. A sign behind the table displays a donation QR code.

Magazine and Resource Table Display
A person wearing glasses, a mask, and a black beret sits behind a table displaying The Magazine, La Revista, stickers, buttons, shirts, and informational flyers. A large framed poster of The Magazine stands on an easel to the left. A sign on the wall reads “Nancy K. Roche Chapel.”

Check-In and Merch Table
Audience members sit in a darkened chapel watching a large projected film. The screen shows an Indigenous person in a red shawl standing near a stone monument surrounded by greenery. The room has wood-paneled walls and high ceilings.

Film Screening in the Chapel
9a holds a microphone in a brightly lit lobby. She wears a red crop top, a layered pink skirt, and sandals. She gestures with one hand as they speak. Behind her are stairs with illuminated steps and a white brick wall.

9a Performing
A glass display case contains Indigenous artwork. At the top hangs a large headdress made of fur, feathers, and antlers with a painted white mask. Below are a painted drum and an embroidered handbag in clear cases. The lower shelf displays Baltimore Center Stage merchandise including mugs, shirts, and a tote bag.

Indigenous Art Display Case
Denmi Whiteman stands on a red carpet wearing a traditional golden jingle dress decorated with silver cones and floral beadwork. They hold a black scarf with red flowers and wear long braids, a beaded headband, and colorful moccasins. The background shows tall windows and exposed white brick.

Denmi Whiteman – Jingle Dress Dancer (Full Outfit)
Jen sits on a small yellow mobility scooter while holding a microphone and reading from papers. They wear a gold floral top, a black mask, and heels. Behind them are softly lit stairs and a white brick wall.

Jen Deerinwater Using Mobility Scooter
Miss Chief Rocka smiles while performing, wearing a pink, gold-patterned dress with geometric beadwork. She manipulates multiple pink hoops, which appear in motion around her. Stairs and lobby architecture can be seen behind her.

Miss Chief Rocka Hoop Dancer – Performance Close-Up
Rocka raises a cluster of interconnected pink hoops above her head, smiling broadly. She wears pink regalia with geometric beadwork. The image captures the motion and shape of the hoops.

Miss Chief Rocka Lifting Hoops Overhead
9a sings into a microphone while standing on a red carpeted area in front of illuminated steps. She wears a red crop top with a dog illustration, a light pink layered skirt with long fabric strips, and white sneakers decorated with red designs. Her long red hair falls forward as they lean into the mic with expressive energy.

9a Performs
Three people pose in front of a black step-and-repeat backdrop with repeating red-and-white “Baltimore Center Stage” logos. One of them, Jen Deerinwater, sits on a yellow mobility scooter holding a brown paper bag, while the two others stand behind them. All three smile warmly at the camera.

Group Photo at Baltimore Center Stage Backdrop
A group of nine people wearing masks pose together in the lobby beneath a large curved digital projection advertising The Magazine anniversary event. The projection includes performer names, QR code, and event details. The group crouches and stands closely, smiling and making peace signs.

Group of Students and Guests Under Event Projection
A hand holds up the December 2025 issue of The Magazine featuring an illustrated portrait of an Indigenous elder with closed eyes, wearing beaded jewelry and a woven garment. Event promotional graphics are visible in the background on a curved wall projection.

Close-Up of The Magazine Issue Held Up
A large projection screen shows a close-up of an Indigenous Wayuu youth applying red paint to their cheek, with subtitles reading, “I am an Indigenous Wayuu person and I am bisexual.” Silhouetted audience members watch from darkened seating.

Film Screening Close-Up of Indigenous Youth Applying Face Paint
Guests gather in a spacious lobby with round black cocktail tables. A large yellow projection on the wall displays the Crushing Colonialism logo and event details. Some attendees eat, chat, or stand in groups

Event Lobby With Guests Socializing Under “Crushing Colonialism” Projection
A close-up view of the Crushing Colonialism logo projected across a curved wall. People stand and socialize beneath it, some holding plates and cups. Lighting fixtures and ceiling rigging are visible above.

Lobby Projection of “Crushing Colonialism” With Guests in Foreground

Crushing Colonialism is deeply grateful to our sponsors, whose generous support made this event possible.

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