FND 2018 Mainstage


Raíces y Alas Flamenco

Friday, September 28, 8pm, LSPU Hall

Raíces y Alas is known for their provocative approach to the age-old art of flamenco. Originating in the South of Spain incorporating dance, music, singing and percussion, flamenco is admired throughout the world for its emotional power and its dynamic, complex rhythms. Flamenco never fails to stir the soul and Raíces y Alas is no exception. Prepare to experience the power of flamenco presented by one of Canada’s most innovative dance companies!


Shay Kuebler Radical System Art

Monday, October 1, 8pm, LSPU Hall

Telemetry: an  automated communications  process by which measurements  and other data are collected at  remote or inaccessible points and  transmitted to receiving equipment  for monitoring. Telemetry  encompasses wireless data transfer  mechanisms including radio, ultrasonic,  or infrared systems as well as data transferred  over other media such as a telephone or computer  networks.

When  I first  heard of the  science of Telemetry  and telemetering, it instantly connected  me to the idea of how the human body is  a telemeter. It is a device – a tool – that  translates, relays and communicates intangible and  unseen processes. Dance is really such a clear example  of telemetering where the body translates an audible form  into a visual form. For this reason, the performance places  such an importance on the interaction between live sound and  lighting and the physical performances. During the research of the  project, I continued to search for ideas around how the human body relates  to radio sciences and the idea of a monitoring station. The body can be seen  as a vessel of memories, history and experiences that are continually relayed, transformed  and transmitted to affect our current way of being. The intangible have a very profound physical  and material presence.



Catherine Wright

Tuesday, October 2, 8pm, LSPU Hall

This work is an exploration of devils’ purses, or mermaids’ purses, which are the egg cases of the skate fish, sometimes found washed up on NL beaches. They are small in size but for Catherine Wright, they evoke a richness of imagery, feeling and metaphor.

Devils purses have been in Catherine’s consciousness since the early 70s when her father Don Wright made a series of larger-than-life sculptures inspired by these intriguing, mysterious objects. She remembers them taking form on Clears Cove Beach, close to her house on the Southern Shore, where they seemed to creep up from the watery depths, forevermore to stir her imagination.


Sinha Danse

Tuesday, October 2, 8pm, LSPU Hall

For the company’s 25th anniversary, Roger Sinha revisited his 1992 success Burning Skin, created in reaction to the choreographer’s personal experiences of racism. Inspired initially by the autobiographical text The Rainbow Sign, by British/Pakistani author Hanif Kureishi, Burning Skin is a reflexion of Roger’s turbulent childhood and youth in the UK and Canada, shadowed by violence, racial confrontations and suppression of his Indian heritage.

The original solo was transformed in an intergenerational duo with Mark Medrano as the dancer and Roger Sinha, on  texts and voice. Both are of mixed origins, Mark was born in Canada and of Indian and Philipino parents and Roger was born in the UK of Indian and Armenian parents. A multiplicity of movement forms, such as Bharata Natyam, martial arts, ballet, modern dance, combined with theatre techniques have inspired the choreographer and were integrated in his improvisation based vocabulary.

As relevant today as it was back then, given the growing tide of nationalism and anti-immigration worldwide, the piece has won unanimous praise of critics and spectators alike.


a Brian Solomon Electric Moose production

Wednesday, October 3, 8pm, LSPU Hall

In 1974, a budding artist created her first CBC documentary after finding inspiration in the synthesis of the Cree worldviews by Ron Evans. Inspired by the same original recording of the Cree storyteller, Solomon’s the NDN way re-imagines, remixes and interprets these philosophies about medicine teachings, pipe ceremonies, sweat lodges and death in a highly theatrical, visual art-warp.

Interpreted by Brian Solomon and Mariana Medellin-Meinke


Lois Brown

Thursday, October 4, 8pm, LSPU Hall

I AM A GENIUS does anyone here know me? uses a microphone, a 30-foot piece of paper, foil saved from Christmas poinsettias, and an outdated dictionary I inherited from my Dad after he died of dementia to improvise a sonic choreography of things.

I met Montréal-based composer James O’Callaghan at Sound Symposium 2016. Walking into the Ship, I saw him performing his work “Reasons” for amplified books and electronics. I was transfixed by the coincidental intersection of our interests. As I listened, the distinction between thing and player collapsed, exposing a tenderness in the sonic relationality.

Ours is a personal performance exploring patience, boredom, democratization and power - memory and dementia through a choreography of improvised play that urges us to increase our capacity for relationality with things.

My Dad wore an orange button that said I am a genius - Everything is genius.


Sarah Joy Stoker

Friday, October 5, 8pm, LSPU Hall

Our heart breaks focuses on themes of ecology and extinction, industrialization, capitalism and the disconnect between humans and their natural environments, as well as the value placed on human rights versus non-human rights; the non-humans and/or the “innocents”. The beginning seeds of this work were orangutans and their palm oil fueled burning forests, and boxes, cardboard boxes on our heads, boxes with bodies. Extracting and moving materials all over the globe, without end. We are blind. We must always have more things. And tree stumps, the remnants of trees, they were trees once. Human boxheads in an environment of decimated trees, forests, entire ecosystems, we destroy them, and we are their ghosts, because they are us and we are them.


Zab Maboungou

Cie. Danse Nyata Nyata

Saturday, October 6, 8pm, LSPU Hall

“To be a body is a real performance in itself” -Zab Maboungou

Mozongi (Return) is a piece about time, and more precisely, about the physics of time. The step is weight and weight is time. Not repetition, but persistence. The structure of Mozongi thus unfolds through the contrasts of movement and of immobility, of the one and of the many, in order to give shape to a primordial conflict – that of time which consumes space.