|
|||||||||
 |
 |
 |
 |
|
 |
 |
|||
 |
 |
 |
 |
 |
 |
 |
|||
New signature dance work to be presented: Luu hlotitxw: Spirit Transforming “There is a process in which one moves within to come out again as another, it is a process of re-birth. It is only when in these in-between places that we have the ability to redefine ourselves and move forward...this describes the process of Luu hlotitxw” Luu hlotitxw the Gitxsan expression which is roughly translated as Spirit Transforming describes the ‘in-between places’, and forms the premise and cultural foundation of the artistic processes of this dance piece. Aboriginal dance practices will not transform set boundaries unless Aboriginal peoples are in the places of transformation to redefine ourselves. The dance work Spirit Transforming is an exploration, and celebration of the magnificence of the essence of who Aboriginal peoples are and what that transcends. Deeply rooted in the timeless dance traditions of the Gitxsan, this work shares a very personal journey of re-birth, and brings forth the rich expression of coastal dance, transformed. Spirit Transforming asks the question, “What is contemporary Aboriginal identity in traditional dance forms?” |
For the Retrospective Project, Joe Ink looks to the past and proposes to remount shorter works from the company’s repertoire, spanning 15 years. Harold, Billy, Stan and Jack was inspired by the Jean Genet play, Splendids, and a vintage photograph of Artistic Director Joe Laughlin’s father and 3 uncles. This piece explores ideas about masculinity and belonging – yet it is performed by four women. |
Northern Journey is a fusion of two pieces in Raven Spirit's repertoire. Frost Exploding Trees Moon and Songs of Shär Cho. Frost Exploding Trees Moon is a solo piece following the journey of a woman traveling her trap line. She finds a place to set up camp, builds her temporary home, and settles into the centre of her world of breath and perception. The piece is a movement score derived from the body positions and attitudes of Indigenous hunting cultures of the northern forests. The movement is close to the ground and does not impose upon the environment but rather seeks to disappear into the forests so to blend into the natural environment. Songs of Shär Cho is a multi-media contemporary dance performance inspired by the land and the culture of the Tr'ondëk Hwëch'in people of the Yukon. The piece explores the Porcupine caribou herd and their long journey back to the calving grounds as well as exploring the landscape that inspires and infuses the Trondek Hwech'in culture. Co-creators, Michelle Olson and Kimberly Tuson, communicate their passion for the North and the stories that emanate from its land through this choreography. |
|||||||
 |
 |
 |
|||||||
 |
 |
 |
|||||||
The rapidly evolving relationship between people, technology and online culture inspires taking your experience for mine, an adventurous work created by Sara Coffin, one of BC's most exciting emerging choreographic voices. Governed by digital devices, flat screens, and conditioned responses, this ensemble work rich with haunting imagery, is a kinetic re-negotiation of skill resulting in the disembodiment of self. Through the use of webcams, projections, and live video feed, Coffin amplifies a new language of disjointedness and lost connections in this investigation on how digital traces affect the body. |
KAROSHI is the Japanese term for, 'death from overwork'. The piece uses 5 male dancers and a taiko drummer to create a dynamic, physical and visceral look at a society where outward appearance and societal agreement is the primary focus. The piece also speaks to how values when pushed to an extreme can be damaging and can cause one to lose focus on self. The physical vocabulary in the work stems from martial arts, hip hop and contemporary dance. This language and physical dynamism is surrounded with live taiko drumming and rich visual landscape to create a powerful and affecting experience. |
Engaging with the push and pull of the group dynamic, while recognizing its interdependence, New Animal attempts to speak of otherness. Both playful and intimate, this work walks a tightrope between fleeting moments of control and radical shifts in dynamics. |
|||||||
 |
 |
 |
|||||||
 |
 |
 |
|||||||
Tripping. Closely. Perception. is a full-evening production by The Contingency Plan. We propose two options for touring, a double-bill featuring Adhere with either 1) Las Tres Marias, or 2) subject, scale & perspective. |
_post/james is a double bill featuring work from the plastic orchid factory’s repertoire. Through the use of "objects" directly connected to the history and lineage of classical ballet, '_post' explores the complex relationship that each dancer has to classical notions of beauty. It questions how the artistic, emotional and intellectual development of the ballet dancer has been colonized by the pedagogy of classical ballet? How do we individually and collectively, as performers and observers, come to terms with the disconnect between our contemporary lives and the expectations that the history of the form demands? |
Portraits and Scenes of Female Creatures is a new full length work inspired by mythological tales of the sea and the female form. Choreographed by the company’s Artistic Director Amber Funk Barton, this performance weaves together her interpretation of how a quartet of victims are consumed by a nautical world and come face to face with a haunting reality that they cannot change. It is a one act, full length work running 58 minutes with no intermission. |
|||||||
 |
 |
 |
|||||||
 |
 |
||||||||
Ten Nights of Dream is a full-length performance combining solo choreographies, original music composition, and projected images, all inspired by Japanese novelist Natsume Sôseki’s uncanny and ghostly series of tales, Ten Nights of Dream (written in 1908). The performance takes images from the stories, and plays with time and space to evoke the dreamlike quality of Natsume’s writing. The choreographies are based on the forms and principles of nihon buyoh (Japanese classical dance), incorporating the traditional elements of story and character/gender, but playing with the movement structures to bring them closer to dance-theatre. The original soundscape combines the shakuhachi, Buddhist chant, electronic instruments, toy piano and other melodic, rhythmic and ambient sounds to enhance the otherworldliness of the show. Soundscape creator and master musician Alcvin Ryûzen Ramos plays live in conjunction with recorded tracks. Ten Nights of Dream incorporates still and moving images to deepen the atmosphere of the “dreams.” A team of four designers created the projections for the show, working with renowned Canadian scenographer Robert Gardiner. Ten Nights of Dream is an exploration into the possibilities of using projected imagery as scenography and lighting for performance. |
Upaya, is a non-narrative, interdisciplinary, kinesthetic installation work. The audience is encouraged to allow what they see and hear to touch their imaginations rather than looking for a “story”. The piece is an evocation of the meaning of the Sanskrit word “upaya” - “expedient means”, with references to many aspects of time, humanity, nature and their fragile interconnectivities. Parents should assure very young children that even if some parts of the piece seem scary, they are in no danger. Upaya uses strongly imagistic visual and Vocal Body aspects. Central is a white kinetic sculpture (affectionately dubbed “The Dome”). Performers wear evocative white gowns, and sometimes masks and rich jewel- coloured capes or flowing white cloth. Their movement and live vocals are augmented and highlighted by a recorded sound score and projections of images from the Hubble telescope, paintings by Angela Brown and other natural images. The sculpture is animated by the performers moving inside, around and on top of it and by the projections of images and light onto it and from inside it.. The movement style is natural rather than “high style” modern dance or ballet. |
Bringing more BC dance www.madeinbc.org email us at: |
|||||||
 |
|||||||||
