Dancers of Damelahamid
Mînowin illuminates the process of finding direction; it is an exploration of organic moments when we connect with one another that breathe new life into our artistic practices, and a critical experiment with performance space.
Through integrating narrative, movement, song, performance, and new multimedia design, Mînowin connects landscapes and Coastal form line with contemporary perspectives of customary Indigenous dance forms. The Dancers of Damelahamid aim to achieve this by drawing from our origin stories and exploring ways to translate this through a contemporary lens.
Aiming to be transformative, Mînowin revolutionizes how we have learned to work within and claim space through balancing the performance space by adding contemporary reflections of Indigenous identity, immersing audience in a narrative that illustrates moments of connection, understanding, and renewal.
La Otra Orilla
Myriam Allard and Hedi Graja bring together two diametrically opposed worlds: that of a language, flamenco, and that of the imagination, embodied by the ice floe. Creating a powerful sensorial universe, playing with the wealth of contrasts and dissonance born out of these two extremes, they place the concepts of exile and the other at the heart of this face-to-face performance.
In this new offering, the iconoclastic duo assembles a visual environment, sound references and elegant, passionate colours, continuing a journey they began ten years ago. A flamenco story on an ice floe—the senses collide in an original and poetic piece.
10 Gates Dancing
In TRUST, Robinson joins with long-time collaborator, composer/performer Charles Quevillon, to co-create an exploration of that which binds us. The work grows from an assured reliance on the belief that performers and audience have arrived here together.
The work of 10 GATES DANCING aims to provide entry points to live performance by creating intimate environments that expose the universal through the familiar, and thereby establish an openness with the audience. Through highly collaborative partnerships with artists from a variety of fields, the company produces critically acclaimed solos, duets and group works, and has created a multitude of commissions for some of the most renowned dance artists and companies in Canada. 10 Gates’ Artistic Director, choreographer Tedd Robinson, holds a unique role in the field of dance through his mentorship activities with artists in Canada and abroad.
Sarah Joy Stoker
This new solo, Fort/tress continues to explore what are the common themes in Stoker's work, those of the ecological crisis, extinction, displacement, conservation, and stewardship, industry, consumption, consumerism and the fundamental disconnect humans and development have had from the physical natural world. We are rocked with grief, we mourn, we are paralyzed and desperate, we feel panic and we try to hold on to hope. A departure for Stoker within this work in particular is the clear and specific look to the female, the mother, the matriarch. We cannot separate the conversations around climate change, ecosystems, refugees, food security or poverty from the female. She is on the front lines, she is the creator and nurturer, the protector and not often enough, should be a facilitator, a leader. This work puts sexuality of the female on display, treading an obscure and tenuous line between submission and repression, misogyny, aggression, power, pain and pleasure.
Mammoth is a performance for the stage —an exploration of the ancient, contemporary, and future of sex and technology. Written and performed by the artist, the piece features three characters whose stories echo each other. Interacting with video projections, and transforming between character through real-time audio processing, the anchor of the story is a female embodied voice who refuses to die through physical and material time. From the last woolly mammoth who lives on a weather scabbed island in Siberia, to a socially isolated woman who lives with a murderous dog, to a sex doll robot in the future who debates the ethics of consent, three characters respond to each other and embark on a voyage to the heart of the inexplicable. The performance investigates women’s conflicted relationship with technology —the struggles between what women want, technology’s control over existence, and the depths of loneliness.
Banner Image: Dancers of Damelamahid, photo: Chris Randle