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Omari Soulfinger, MSW (he/they, b. 1986,), is an artist and facilitator committed to creative advocacy and healing justice. For years, they have served systemically denied communities in various leadership capacities, focusing on fostering (re)connection, self-determination, and equity. Omari’s work is grounded in a diverse range of disciplines, including restorative justice circle keeping, social group work theory, the internal family systems model, "Theatre of the Oppressed", comedy, ritual arts, and ancestor reverence. These practices form the foundation of their advocacy and creative endeavors. Omari is the child of visual artist and author Patrick Dougher.  They proudly live in Flatbush, Brooklyn, with their partner and their child, whom they lovingly call their "sun."

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"My art-making is rooted in participatory practices designed to empower communities to explore social, political, and personal issues through performance and dialogue. Drawing on the principles of Theatre of the Oppressed (TO), I treat theatre as a tool for liberation and social change, intentionally blurring the lines between performer and audience. This approach encourages active participation rather than passive observation.
 

In this practice, scenes or interactive exercises serve as metaphors for social problems, inviting audience members to interrupt the performance, step into roles, and experiment with different actions to address the issues at hand. I intentionally ensure these interventions end in failure—not to discourage, but to challenge the notion of easy, "magic wand" solutions. I believe it is vital to experience the risk of failure and still feel called to act. This allows participants to rehearse for real-life social interventions, fostering resilience and a sense of agency.
 

I delight in deconstructing the “fourth wall,” the “curtain rise,” and even traditional notions of theatre spaces or seating. My goal is to make it clear that social issues and “real” life cannot be observed from a distance—you never know when, where, how, or in what form your opportunity to take action will arise. By disrupting expectations and starting with a sense of slight confusion, I aim to create a space where true learning begins.
 

I am fascinated by performances that occur outside traditional theatre spaces: customer service interactions, sports events, flight attendants miming safety protocols, luchadors dramatizing pain, and our collective performances of race and gender. Observation and mimicry are crucial tools in my practice, helping to shake loose assumptions and spark creativity. I’m particularly drawn to creating characters inspired by “The Cops In Our Head”—the limiting beliefs and internalized thoughts that police our authentic ways of being. Using my background in social work, I help participants and audiences safely dis-identify with these internal forces, confronting and transforming them through theatrical play.
 

     I proudly identify as a "Fool," using humor—often physically expressed—to challenge power, our resistance to change, and the illusion of control. I believe comedy arises when strained social expectations transform unexpectedly, while "cringe" emerges when we reject the truth and vulnerability of a moment. My work experiments with both, integrating elements of gamification and risk to reimagine what’s possible. My practice is deeply rooted in the techniques and examples of Yusef Iman, Augusto Boal, Bárbara Santos, Wavy Gravy, Bouffon, and the traditions of Indigenous clowns.

         I believe that the work of building relationships and emotional safety in interactive or immersive performances begins long before the audience is present—it’s the same work required in rehearsals and pre-production. Community-building must be prioritized. Generative conflict—engaging with it thoughtfully—creates intimacy and provocative art. Since organic opportunities for such conflict are rare, I emphasize co-creating rituals, shared language, and frameworks to navigate it effectively.

Finally, I believe in considering the identities and proximity of everyone involved in a project—whether creatives, administrators, or operators. Those most impacted by the power inequities being explored, or those with lived experience of the content, should have deference in shaping the work. Together, we can rehearse for the future we wish to create."

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