Following the murder of George Floyd and the release of “We See You White American Theater,” many arts organizations rushed to enact vague DEI (diversity, equity, inclusion) practices and a churn of artistic leaders that prioritized performative representation. This churn of artistic leaders is compounded by the prevailing normalcy of blaming organizational failures on leaders of color in the United States. Conversely, in 2020, Penumbra Theater restructured its organization to foreground racial healing practice both in and outside the theatrical space. In collaboration with psychotherapist Resmaa Menakem, they have instituted somatic abolition– an approach that bridges mindfulness with theoretical understandings– to encourage active consideration of racial trauma. In this thesis, I ask how somatic abolition and mindfulness, when consciously integrated into an arts leader’s pedagogy, can serve as a restorative practice for arts leaders of color. Drawing on Penumbra’s leadership model and Resmaa Menakem’s research, I consciously integrated somatic abolition into my pedagogy as the Managing Director of Barnstorm Theater Company at the University of California, Santa Cruz, and the director of a workshop production of Gloria by Branden Jacobs-Jenkins. I centered arts, equity, and wellness by incorporating journaling, meditative practice, and body-based exercises. Drawing on leadership and performance studies, I sought to reify the relationship between embodiment and decolonial practice to argue for an arts leadership approach that centralizes somatic abolition and develops a potential strategy for protecting the bodies of Black artistic leaders.