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hallucinations my new psych told me there's nothing we can do about

  • Writer: yannick-robin eike mirko
    yannick-robin eike mirko
  • Sep 7, 2022
  • 2 min read

Updated: Nov 29, 2022


I just don't know how to not feel like I'm

ceramic fragments of a coffee mug with dried up grounds stuck, constantly ripping

into tinier pieces. As oppose d to a

human, who feels.

A subway car can fill up with one

hundr ed of the same exact person. ..I

can touch them, hear them, feel their

breath running down my neck.

I go to sleep. The same person

appears. I wake






up. The movies that

feature that person overlay above the

people that fill the train car when it's

not them, all day.

Always cracked, never shut. Unlike the

doors of the cars that trap me down

there with them for over twenty

minutes at a time as the rest of the

people on board simply grunt at the

only inconvenience to them being

getting somewhere else a littler later.

I would grunt too, but | stopped



understanding whether or not there

were ever lips on my mouth when the

train stopp ed for more than five

seconds. That's how fast it happens.


Sometimes it's the way someone's

hand moves to grab their coffee from

the ir. bag. Sometimes it's a silhouette

that deceives me back and forth more

than once in a minute.


I'm constantly trying to decipher if my

thoughts are memories or

hallucinations.

Am I just remembering the way his

hand used to approach my face in the

way that the fingers clasp the coffee. . ..

Is he really ordering a latte, still, after

all these years?


More than five seconds in a crowd of

people and at least two to five of them

become one of.….it somehow becomes

indistinguishable, yet exactly like the

moment you were hurt the most by that

person, combined with all of the other

times it happen ed too. In five seco n d s..

And somehow, your left leg has to turn

back on so you can get off at your stop.

Though you never really leave the

train..

“Enter with or buy Metrocard at 168th st.”

Comments


yannick-robin eike mirko [who communicates in Spanish, English, + ASL] is a Manhattan-based Biawaisa/Yamoká-hu/Maorocoti multidisciplinary artist, choreographer, writer, doula and disability justice activist with a rare disease. His work sits at the intersection of movement, access, queer and indigenous survival, death care, and institutional accountability, using the body as archive, protest, and living evidence.

Her relationship with dance and movement has never been linear or purely technical. From Off-Broadway to online, their work has been shaped by access, interruption, advocacy, and forced stillness. Movement and progress, for yannick-robin, is not simply choreography or activism; it is testimony, how a marginalized body speaks when institutions fail to listen. 
 

In 2021, yannick-robin participated in Drawing Breath, a visual and embodied project by Risa Puno that centered marginalized voices during COVID, with yannick-robin representing disabled people. The work focused on breath, endurance, and visibility at a time when disabled lives were being openly treated as expendable. This project cemented their understanding of movement as political: presence itself became resistance.
 

In 2022, disability justice became inseparable from his professional life. He was the first physically disabled actor/musician [acoustic and electric guitar, accordion, glockenspiel, xylophone, tambourine] to play a physically disabled role written through an ableist lens and publicly fought the theatre and writers for accountability. This work was documented in his blog and a documentary, a social media movement, and ultimately led to his inclusion in the University of Minnesota’s Tretter Transgender Oral History Project, archiving his contributions to disability, gender, and labor justice in theatre (the most recent edition/collection of years awaiting entering the public access archive due to funding and completion of editing. Help fund the preservation of non-cis history here).
 

That same year, he worked on Mr. Holland’s Opus at Ogunquit Playhouse as an actor/musician [bugle, trumpet, drum kit], a fully captioned production where his lived experience as a non-cis deaf and physically disabled artist directly informed their performance rhythm, physical storytelling, and musicality. Also in 2022, she performed in the inaugural Breaking the Binary Theatre Festival on Theatre Row under the direction of L Morgan Lee, delivering work as an actor involving monologuing about wheelchair use, access failure, and systemic injustice, using their body not as metaphor, but as evidence. 
 

In 2024 after a year and some change prioritizing deathcare work, they returned to theatre at New York Stage and Film (NYSAF), contributing to the work of disabled choreographer Jerron Herman as an actor/dancer. They also released their multi-genre EP passing that year, which catalogs their multi-instrumental writing and use of music for processing as they fall deeper into grief, hearing loss and deafness, and a world of being misunderstood for not being cis.

In 2025, yannick-robin worked on the developmental process for Jay Alan Zimmerman’s upcoming show Songs for Hands on a Thursday, following Jerron Herman’s recommendation. The project included a residency at New York Theatre Barn’s Choreography Lab and a music workshop premiere, where yannick-robin served as both choreographer and dancer. The piece centered a Deaf father’s death and a CODA grappling with silence; yannick-robin’s role was to integrate sign language into choreography and bridge gaps between sound, access, and movement for d/Deaf performers.
 

Alongside his performance work, yannick-robin has been active in nonprofit and advocacy spaces since 2020. She worked for Imara Jones of TransLash Media, one of TIME Magazine’s 100 Most Influential People of 2023, where they were nominated for a Webby Award as an associate and digital producer for The TransLash Podcast, contributed to The Anti-Trans Hate Machine series, and wrote obituaries for TGNC siblings lost to violence. He has written for TalkDeath on racial disparities and discrimination in death care and other deathcare and injustice related topics and now offers obituary writing, death doulaship, and bereavement counseling for TGNC decedents and their families, people with rare diseases, and disabled communities.


for commissions, death care, speaking engagements and more, press the contact button.
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yannick-robin eike mirko is represented by Arise Artists Agency

© 2026 yannick-robin eike mirko

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