Daemond Arrindell

Daemond Arrindell is a writer, performer, and teaching artist. Faculty member of Freehold Theatre - leading poetry & theater residencies at Monroe Correctional Complex for men for over ten years; Adjunct faculty at Seattle University; Writer-In-Residence through Seattle Arts & Lectures’ Writers in the Schools Program and Skagit River Poetry Foundation. His work has appeared in City Arts, Crosscut Magazine and Specter Magazine. Daemond is a Jack Straw Writer, a VONA/Voices Writer’s Workshop fellow and co-adapted the acclaimed contemporary and satirical novel “Welcome To Braggsville,” by T. Geronimo Johnson into a stage production for Book-It Repertory Theater.

Poetic Voice and Artistic Philosophy

Daemond Arrindell’s work is characterized by a fearless exploration of identity, memory, and social justice. His poems often weave together personal narrative with broader cultural critique, creating a tapestry that is at once intimate and universal. Drawing on his experiences as a Black man in America, his writing interrogates systems of power while celebrating resilience and community. Arrindell’s performances are known for their emotional intensity and rhythmic precision, transforming the page into a living, breathing exchange between poet and audience.

At the core of his artistic philosophy is the belief that poetry is a tool for liberation. He often speaks of the page as a site of witness, where silenced voices can reclaim their stories. This conviction drives his teaching practice, where he encourages students to write from their own truths, however messy or complicated. Arrindell’s workshops are less about crafting perfect lines and more about discovering the courage to speak. He frequently reminds participants that the first draft is for the self, the revision for the world—a mantra that has guided countless emerging writers through the vulnerability of creation.

His influences range from the Black Arts Movement poets like Amiri Baraka and Sonia Sanchez to contemporary spoken word artists such as Patricia Smith and Regie Gibson. Arrindell also cites the storytelling traditions of his Caribbean heritage as foundational, noting how the oral cadences of his ancestors live in his verse. This blend of literary and performative traditions gives his work a dynamic range, equally at home in a university seminar or a prison chapel.

“Poetry is not a luxury. It is the way we make sense of the senseless, the way we hold each other accountable to our humanity.”

Teaching and Community Engagement

Arrindell’s teaching practice is as varied as it is committed. For over a decade, he has led poetry and theater residencies at the Monroe Correctional Complex, a men’s prison in Washington State. In that setting, he has witnessed the transformative power of creative expression, helping incarcerated men find language for their experiences and pathways toward healing. The work is not without its challenges, but Arrindell describes it as some of the most meaningful of his career. He often shares that the men he works with are not just students but teachers, offering profound insights into resilience and redemption.

Beyond the prison walls, Arrindell serves as a Writer-In-Residence through Seattle Arts & Lectures’ Writers in the Schools program, where he brings poetry into public school classrooms across the region. He also works with the Skagit River Poetry Foundation, connecting rural and underserved communities with literary arts. His residencies are designed to be responsive to the specific needs of each group, whether that means focusing on spoken word performance, page poetry, or hybrid forms. Arrindell is known for his ability to meet students where they are, using humor, music, and pop culture references to make poetry accessible and urgent.

As adjunct faculty at Seattle University, he teaches courses that bridge creative writing and social justice, guiding students to examine how their own stories intersect with larger societal narratives. His classroom is a space of rigorous inquiry and radical empathy, where students are challenged to write beyond their comfort zones. Arrindell also mentors emerging teaching artists, sharing his methodologies for working in non-traditional settings. He believes that teaching is itself a creative act, one that requires constant improvisation and deep listening.

• Residencies at Monroe Correctional Complex since 2012
• Writers in the Schools program with Seattle Arts & Lectures
• Skagit River Poetry Foundation residencies in rural communities
• Adjunct faculty at Seattle University, teaching poetry and social justice
• Mentor for teaching artists through Freehold Theatre’s education programs

Collaborations and Performance Work

Collaboration is central to Arrindell’s practice. He has worked extensively with fellow artists across disciplines, from musicians and dancers to visual artists and theater directors. One notable collaboration was with Penguin Productions, where he served as a dramaturg and performer in devised theater pieces exploring themes of race and memory. His ability to translate poetic language into theatrical space has made him a sought-after collaborator in Seattle’s vibrant performance scene.

Arrindell is also a founding member of the performance collective Black Stax, a group that blends poetry, hip-hop, and visual art to create immersive experiences. The collective has performed at festivals, galleries, and community centers, always with an eye toward accessibility and dialogue. Through Black Stax, Arrindell has explored the intersections of art and activism, using performance as a platform for community organizing and consciousness-raising.

His solo performances are equally compelling. Arrindell often incorporates music, movement, and multimedia into his readings, creating a full sensory experience that defies the traditional poetry reading format. He has performed at venues ranging from intimate coffeehouses to large auditoriums, always adapting his delivery to the space and audience. His work has been featured in festivals such as Bumbershoot and the Seattle Poetry Festival, where he has shared stages with national and international poets.

Adaptation and Literary Translation

One of Arrindell’s most ambitious projects was co-adapting T. Geronimo Johnson’s satirical novel Welcome to Braggsville for the stage at Book-It Repertory Theater. The adaptation process required translating Johnson’s dense, multi-layered prose into dramatic action and dialogue, a challenge Arrindell met with both fidelity and innovation. The production was praised for its sharp wit and unflinching examination of race and privilege in America. Arrindell’s background in both poetry and theater proved essential, as he brought a lyrical sensibility to the script while maintaining the novel’s satirical edge.

The adaptation also highlighted Arrindell’s skill in collaborative writing. Working alongside a team of directors, actors, and designers, he helped shape a production that honored the source material while speaking to contemporary audiences. The process deepened his appreciation for the craft of adaptation, which he describes as a form of translation—not just of language, but of emotional truth. He has since expressed interest in adapting other works, particularly those that challenge conventional narrative structures.

Arrindell’s own writing has been adapted by others as well. His poems have been set to music by composers, choreographed by dancers, and incorporated into visual art installations. He welcomes these interpretations, seeing them as extensions of the collaborative spirit that animates his work. For Arrindell, a poem is never finished; it continues to evolve through the responses it provokes in others.

Recognition and Ongoing Projects

Arrindell’s contributions to the literary arts have been recognized through numerous fellowships and residencies. He is a Jack Straw Writer, a program that supports Pacific Northwest writers in developing their craft through recording and mentorship. He is also a VONA/Voices Writer’s Workshop fellow, having studied with some of the most important writers of color in the country. These experiences have not only honed his skills but also connected him to a national network of artists committed to social change through literature.

His work has appeared in City Arts, Crosscut Magazine, and Specter Magazine, among others. His essays and poems often explore the intersections of race, masculinity, and place, drawing on his experiences growing up in Seattle and his family’s Caribbean roots. Arrindell is currently working on a full-length poetry collection that weaves together these themes, as well as a memoir that examines his journey as a teaching artist in the prison system.

In addition to his writing, Arrindell continues to teach and perform regularly. He is a frequent guest lecturer at universities and conferences, speaking on topics such as arts in corrections, spoken word pedagogy, and the role of the artist in social movements. He remains deeply involved with Freehold Theatre, where he helps shape the organization’s community engagement initiatives. His ongoing work with Megan McDermott and other Seattle artists ensures that the region’s literary scene remains vibrant and inclusive.

Looking ahead, Arrindell is excited about new collaborations with Boka Kouyate & The Djeliyah Band, exploring the intersections of poetry and West African music. He is also developing a multimedia performance piece that combines his poetry with archival audio and video, tracing the history of Black resistance in the Pacific Northwest. These projects reflect his ongoing commitment to pushing the boundaries of what poetry can be and do.