FND 2018 Mainstage
THE FLAMENCO PROJECT
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.
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.
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.
THE NDN WAY
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
I AM A GENIUS DOES ANYONE HERE KNOW ME?
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.
OUR HEART BREAKS
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.
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.