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Available Services

Death Care, Bereavement Support & Taíno Ritual Design

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Death care, at its best, is an act of love.
I provide inclusive, compassionate services for individuals, families, and communities navigating grief, dying, and remembrance — with a focus on those too often forgotten by the traditional death care system: Two-Spirit and TGNC people, victims of queer or racialized violence, those living with rare diseases or disabilities, and the economically underserved.

With years of experience in funeral homes, volunteer bereavement work and doulaship, I understand how grief moves — quietly, fiercely, differently for everyone. My goal is to create a space where all lives and losses are met with dignity, accuracy, and care. When appropriate, I also incorporate deathcare relating to Taino culture, for fellow Natives in grief.

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Services Offered

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End-of-Life & Bereavement Support

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  • Hospice counseling and emotional support for patients and families

  • Bereavement counseling and grief processing for individuals or small groups

  • Legacy planning and life review for those preparing for death

  • Guidance in navigating loss related to identity, trauma, or medical discrimination

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Death Care & Memorial Services

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  • Licensed cremator offering technical and spiritual guidance through cremation processes

  • Obituary writing and storytelling that honors each life fully and truthfully

  • Vigil and memorial planning, including culturally-rooted and identity-affirming ceremonies

  • Advocacy to ensure correct naming, pronouns, and representation after death

  • Support for home funerals, green burials, and family-led rites

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Doula & Transitional Care Services


As a death doula, I assist with the emotional, logistical, and spiritual needs that arise before and after death, including:

  • Creating advance care plans and ethical wills

  • Coordinating between families, hospice, and funeral professionals

  • Comfort presence and non-medical bedside support

  • Holding vigil at time of death

  • Helping families and caregivers process guilt, anger, and release

  • Offering creative rituals and personalized practices for healing and remembrance

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Culturally Rooted Practice: Taíno Traditions

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Hailing from Ponce, Puerto Rico, I carry my Afro-Taíno heritage into every aspect of my death care work. Taíno cosmology teaches that death is not an erasure but a return to the great spiral of existence — a reunion with ancestors, land, and memory.

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I incorporate these Indigenous understandings into modern death care by:

  • Invoking Taíno symbols and language in personalized rituals and vigils

  • Using elements like water, smoke, song, and earth in cleansing or farewell rites

  • Honoring the spirit’s journey through offerings, ancestral invocation, and community remembrance

  • Guiding families in reconnecting with their own cultural grief traditions

  • Affirming that every act of mourning can also be an act of reclamation and belonging

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Through this lens, I blend professional mortuary experience with the sacred — creating death care that is both technically grounded and spiritually resonant, deeply tied to the land and legacy of Borikén.

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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.

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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.

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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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