Dustin Stamp and Chrissy Nepoose
Powwow is a celebration of life. It is a social gathering that involves many different categories of dance. The dances you will see are the men’s and women’s fancy dances.
Performance by Dustin Stamp and Chrissy Nepoose
Music: Fancy Shawl, Pt.1 by North Bear.
Ss Slide by Southern Style. Dance Hard (Crow Hop) by Young Spirit. Whoosh (Live) by Northern Cree.
I Want to be Alone but We’re in This Together (excerpt)
Choreography, Performance, Text, Costume: Karen Fennell
Dramaturgical support: Thea Patterson
Creative consultation: Anne Thériault
Rehearsal assistance / Outside eyes: Angie Cheng, Danielle Davidson, Sophia Wright
This work has been developed with the financial support of the Canada Council for the Arts, and residencies at Atlantic Center for the Arts (Florida), Dansverkstæðið (Iceland), CCOV (Montreal), and Studio 303 (Montreal).
The State of Things
Choreographer/co-creator: Sasha Kleinplatz
Performers/co-creators: Ainsley Hillyard, Alison Kause, Alida Kendell, Kate Stashko, Rebecca Sadowski
Dramaturge/Outside Eye: Thea Patterson
Lighting Designer: Beth Dart
Stage Manager: Andrea Handal Rivera
The State of Things is a highly improvised, nonlinear choreography that works with both codified and uncodified movement practices. The title is a reference to the circumstances we have been living through in Canada since March 2020, and how these circumstances have impacted the way we work with, care for, and relate to one another. My focus in developing this piece was encountering the Good Women as artists and people-honouring their interests, humour and rigour. The piece is what I would call co-created, with me providing a frame or container (also called a score) for the performers and them moving outwards from that loose structure to create a whole world.
P.s. If you are wondering about the floaties: 1) I have just been wanting to work with them for a long time, and 2) for me they represent the idea that objects have lives, intimacies and histories that we can’t understand but might be able to imagine, kind of like people.
“I am hyper aware of relationships in this new work guided by Sasha Kleinplatz. The improvisational element along with the shared dance vocabulary and experiences lead to unisons of the mind or body – moments when you know what the other person is thinking or about to do because of a familiar history. These intersections and separations move me through the work – I am excited to see who I will connect with next and how. Like a conversational encounter with a friend, the element of the unknown keeps the work and most importantly the relationships spontaneous and genuine. There is no representation or dancing ‘about’ an idea in this work – there is the practice and the people who are doing it in the moment. I love this team and this work.”
– Alison Kause (Towne)
“We are finding pleasure and joy in moving together again. We are honouring the things that have come before in our dance lives, that have brought us to where we are now. Everything we have done lives in our bodies and hearts, even if we think we’ve forgotten it.”
– Kate Stashko
“In the process of dancing in Sasha’s piece, I’ve learned a lot about the duality of recapturing engrained dance technique and exploring new, surprising movement thought-processes. For me, the honesty of where I am with my relationship with dance, my body, and the unification of this group of women has been the most important focus point.”
– Rebecca Sadowski
“I am so many different things in this work. It’s playful, serious, nostalgic and demanding. In any given moment I am a performer, a person, a dancer, a mover, a storyteller, a mermaid, a force of nature, and always myself.”
– Ainsley Hillyard
“We are reframing what it means to perform and rethinking what we value about dance. We are sharing memories from our dance histories and letting them accumulate and overlap and compose themselves. We are considering how our individual desires can exist within the desires of the group. We are dancing together for the pure pleasure of dancing together.”
– Alida Kendell
“Thank you to the performers for their kindness and patience and commitment. Special thank you for the invaluable work and thought and guidance of Thea Patterson, this piece would not be what it is without you. Special credit to Jeanine Durning whose intensive research practice “ing’ing” serves as a base and jumping off point for this work.”
– Sasha Kleinplatz
Good Women Dance Collective would like to thank:
Alexis Hillyard and Alison Brooks-Starks, Theatre Network, Lindsay Ealse, Andrea Gammon, Aimee Rushton
St Albert Children’s Theatre generously lends us their inclusion kits each year for Convergence. If you would like more information about their festival and programming please visit www.childfest.com