For The Worldbuilders

Read full newsletter: Why You Don’t Have What You Want — The Missing Link In The Be, Do, Have FrameworkRegister for free Discovery Workshop: Seed A Sales System Rooted In The Truth Of Your Desired IncomeYour cosmic desire steadies the ground as it shifts beneath your feet inside the work of transforming the stories you identify with — providing a much needed update to the “Be ➡️ Do ➡️ Have” framework into “Desire ➡️ Be ➡️ Do ➡️ Have”. As with everything we must ground inside desire first, so let’s start there.What’s your cosmic desire?How will it help hold the identity shifting work you’re being called into in this season of your business and worldbuilding practice?How do we practice remembering knowing what we want isn’t nearly as powerful as knowing why we want it?Reflecting on these questions is the Worldbuilder’s Way. These are the exact questions we answer inside the new Seeda School discovery workshop, “Seed A Sales System Rooted In The Truth Of Your Desired Income”. Register today to join us.

This podcast episode is about integration. How do we go forward with all the colonial code, bumping up against the remembrance of our ancestral code? How do we integrate the concrete and the care? The cop in our head and the kid in our heart? How do we invite our fear and our spirit to the table? How might we act as the compassionate mediator? How might that compassionate mediation facilitate a practice of making art? My intention behind recording this episode is to wade inside of some of these questions with you.ResourcesLearn more and enroll into The Laboratory of Erotic Engineering: https://www.seedaschool.com/labLearn more and book a free Desire Discovery Call for 1:1 Erotic Engineering: https://www.seedaschool.com/engineerSubscribe to the Seeda School Substack: ⁠https://seedaschool.substack.com/⁠Follow Ayana on Instagram: ⁠⁠@ayzaco⁠⁠Follow Ayana on Threads: ⁠⁠@ayzaco⁠⁠Follow Seeda School on Instagram: ⁠⁠@seedaschool⁠CitationsMexican artist Pedro Reyes believes in art’s functionality...“Truth, Lee and Elaw practiced what Phyllis Mack calls “spiritual theatre.” — Jayna Brown writing about Sojourner Truth in “Along the Psychic Highway: Black Women Mystics and Utopias of the Ecstatic”, Black Utopias: Speculative Life and the Music of Other Worlds, pg. 28 (2021)The Flesh of the Matter: A Critical Forum on Hortense Spillers (2024) edited by Margo Natalie Crawford and C. Riley Snorton“Moving On Down the Line: Variations on the African-American Sermon” by Hortense J. SpillersBeloved (1987) by Toni MorrisonVictor Strecher talks about his SPACE framework inside the “Love 2.0: How to Fix Your Marriage, Part 2” Hidden Brain episode published October 6, 2025Cover Art: Simone Leigh (b. 1967, Chicago), Georgia Mae (2017), Medium: Salt-glazed stoneware, porcelain, and resin, Dimensions: 34 1/4 × 14 3/4 × 15 inches (87 × 37.5 × 38.1 cm) Source: Guggenheim Museum

My intention inside this episode is to invite us to re-calibrate inside our desire. As we search for safety, predictability and control, we can find ourselves impulsively grabbing for the tools of white supremacy culture in an attempt to catch our breath and find our footing once more. We extend deep compassion to ourselves for this reflex, with fascism, state sanctioned violence and the question of survival riding the air, it is no surprise that we may breathe in fear with our latest inhale. Inside this episode we exhale, remembering the tools of white supremacy culture are incompatible with the worlds we are building. The classrooms we’re spinning up in mid air, the apothecaries getting their start in our gardens growing into neighborhood pharmacies, the basements we’re turning into movie theaters streaming love, love, love. And before we know it, we’re impulsively picking up tools of a different kind. Tools for tending to a culture of care, where black life is sacred and shared vulnerability is more appealing than isolating in fear.ResourcesRegister for free to the brand new workshop, “Erotically Engineer Your Paid Creative Offering”: https://www.seedaschool.com/offerSubscribe to the Seeda School Substack: ⁠https://seedaschool.substack.com/⁠Follow Ayana on Instagram: ⁠⁠@ayzaco⁠⁠Follow Ayana on Threads: ⁠⁠@ayzaco⁠⁠Follow Seeda School on Instagram: ⁠⁠@seedaschool⁠Citations“White Supremacy Culture” by Tema OkunThe Nap Ministry Post on Threads“The dream is the truth. Then they act and do things accordingly.” — Zora Neale Hurston, Their Eyes Were Watching GodCover Art: Love Jones Film Still (1997)

My intention inside this episode is invite you to consider how you might create an additional stream of income using the erotic skills already alive in your creative practice. This episode is for you if you are currently relying on income from one of three sources: 1) Artist Grants, 2) A College or University or 3) Full-time or part-time work with an organization (be it an institution, non-profit, or otherwise). Maybe you’re relying on income from a mix of all 3 but want to introduce a stream of income that you control. A stream of income in alignment with your Zone of Desire and the creative work you must do anyway. Whether you are an artist, academic or facilitator, you have developed a tolerance for creative improvisation, creative resourcefulness and even creative risk. What might it look and feel like to apply those creative skills to developing a paid offer as an additional income stream whose faucet you can turn on and off at any time? My intention inside today’s episode is to explore that question with you.ResourcesRegister for free to the brand new workshop, “Erotically Engineer Your Paid Creative Offering”: https://www.seedaschool.com/offerSubscribe to the Seeda School Substack: ⁠https://seedaschool.substack.com/⁠Follow Ayana on Instagram: ⁠⁠@ayzaco⁠⁠Follow Ayana on Threads: ⁠⁠@ayzaco⁠⁠Follow Seeda School on Instagram: ⁠⁠@seedaschool⁠CitationsCover Art: Basket-maker Martha Cayetano. Source: “Exquisite Gullah-Geechee Baskets Are Now on Etsy” published on Hyperallergic

My intention inside this episode is to remind you of that big, juicy, audacious creative vision that is all your own. That desire commensurate with the expanse of your power. That idea, project or offer that only feels intimidating because it is a threat to colonial order and the colonized part of us might be sacred of it. As it should be, but let’s rest in the fact that this is natural and impermanent. Just like fear is an indication of desire, so is the avoidance of our own audacity. Avoidance is different than procrastination. We procrastinate on certain tasks, because the stakes are usually low. We avoid our audacity, because the stakes are higher than they’ve ever been. Sometimes we avoid answering the call of our audacious desire because we know it will demand the sort of transformation that changes everything and perhaps that is entirely the point.ResourcesLearn More and Enroll Into the Laboratory of Erotic Engineering to Join Us Inside the Upcoming Workshop, "Create It, Not In The Future, But Now": https://www.seedaschool.com/labSubscribe to the Seeda School Substack: ⁠https://seedaschool.substack.com/⁠Follow Ayana on Instagram: ⁠⁠@ayzaco⁠⁠Follow Ayana on Threads: ⁠⁠@ayzaco⁠⁠Follow Seeda School on Instagram: ⁠⁠@seedaschool⁠Citations“In the context of such enormous structural violence, how was it possible to imagine that a beautiful life is possible? Even more unthinkable was the idea that one might create it, not in the future, but now.” — Saidiya Hartman (Source: Regard for One Another: A Conversation Between Rizvana Bradley and Saidiya Hartman published via the Los Angeles Review of Books on October 8, 2019)Cover Art: Stills from Oscar Micheaux, Swing! (1938) (Library of Congress) (Source: “A Book of Necessary, Speculative Narratives for the Anonymous Black Women of History” by Sarah Rose Sharp, published via Hyperallergic on April 15th, 2019)