With the world increasingly full of misinformation, as meaningless images of brutality bombard our retinas across all platforms, the courage to be kind is increasingly essential. Choreographed by George Stamos in collaboration with Karla Etienne and Radwan Ghazi Moumneh, ONE KIND FAVOR is an exploration of how kindness can be embodied, sometimes with grace, sometimes failing despite good intentions. ONE KIND FAVOR is an acknowledgment of those who have had the courage to be kind and impacted our lives with their generosity. Supported by The Canada Council for the Arts.
What does it mean to be human, in an era when our destructive influence over the planet is rapidly redefining the laws of nature? This magnetic solo performance by Justin Shoulder introduces the figure of Carrion: a post-human spectre that has the ability to shapeshift into multiple forms and speak multiple languages. In the throes of forced evolutionary acceleration, wandering an archaeological site, they transform: a ghost of the west, a virus, a trickster, a prehistoric bird. Combining presentational club spectacle with dramaturgy from Victoria Hunt on raw bodily exploration, Carrion draws on queer and bicultural ancestral mythologies.
Bringing together two old friends, STRIKE/THRU is an interdisciplinary encounter between indigenous visual artist Nadia Myre and settler theatre artist Johanna Nutter. In videoconference, six members of the audience are invited to reconstruct a recorded conversation between culturally-mixed people while the two artists use each other to explore the identity constructs raised by the verbatim. A live impetus for conciliation and reconciliation, this work speaks to the current climate around Indigenous/Settler relations.
This project received financial support from the MAI Alliance Program (2016-2017) and this event is an excerpt of the performance that was supposed to be presented at MAI in May 2020, which was postponed due to the COVID-19 pandemic.
Eclectik 2018 brings to a head MAI’s four year focus on the older artist and which draws inspiration from Older & Reckless, an acclaimed dance series of mature dance produced by Toronto’s MOonhORsE Dance Theatre. Âgés et déjantés featuring artists 55 years old and older of cultural and racial diversity, advocates for an increased awareness of the challenges faced by older artists. It addresses the language currently used to discuss old age and generational relevancy and/or redundancy as it relates to art, to life.
At the very centre of this initiative is, to borrow a term, lastingness, a means of resistance, of maintaining or regaining visibility. Of celebration.
Created by interdisciplinary company Hong Kong Exile, Room 2048 slayers digital light, fog, and bombastic pop music to examine the socio-political realities of the Cantonesediaspora. The project sources themes of loss, nostalgia, and desire that reoccur within the seminal works of acclaimed Hong Kong filmmaker Wong Kar Wai.
Hong Kong Exile is regarded for their loud and striking digital aesthetic, tongue-in-cheek humour, and engagement with cultural politics. The title refers to 2048, the year after Hong Kong passes from its post-British-rule “transition period” to full Mainland Chinese authority. Room 2048 is a spiritual sequel to the company’s 2014 production NINEEIGH
Radio III, by Zoë Poluch, Hanako Hoshimi-Caines and Elisa Harkins combines sculpture, music and dance. It is an indigenous futuristic concert, a dance performance, a perverse triangle of shifting power that seeks to be unfaithful to Minimalism’s recognizable aesthetic and its claim to so-called ‘neutrality’.
Elisa Harkins is a Native American (Cherokee/Muscogee) composer and artist interested in unearthing and retelling Indigenous histories.
Hanako Hoshimi-Caines is a dancer and choreographer based in Montréal. She is engaged with dance, performance-making and philosophy as a way to see, feel and love better.
Zoë Poluch, originally from Canada, is based now in Stockholm moving through different institutions and independent groupings dedicated to dancing and thinking choreography together.
Seeds cast afar from our roots is a collective doing; a manner of support and collaboration between three dance artists of Asian diasporas, each with a very different relationship to their history and culture. Angie Cheng, Winnie Ho, and Chi Long throw themselves into a process of open exploration, extrapolation, and creation that is fed by a confluence of personalities and by each of their rich individual experiences as dancers, creators, and performers.
Winnie Ho has presented her performances internationally; Chi Long has worked in particular with Marie Chouinard, George Stamos, and Virginie Brunelle; and Angie Cheng with Mélanie Demers, Lara Kramer, and the Cool Cunts collective.
jumatatu m. poe’s terrestrial reminds us that Black humans have a long, continuing terrestrial history that far precedes and will outlive the specific oppressions of the past five centuries of white supremacy. Inspired by the hot brown granules in desert dirt and beach sand, this is an examination of humans as earth. Performed with Samantha Speis and vocalist Rodrigo Jerônimo, it is an in-progress, three-hour performance installation that invites the audience to come and go throughout.
poe is a choreographer, performer, and educator based between Philadelphia and New York City who questions how to be a creature that delights whilst resisting.
Jaamil Olawale Kosoko sets the fugitive experience afforded Black people on fire with majesty, opulence, and agency. Engaging the spiritual, emotional, and theoretical he remixes American history with afro-futurist/afro-pessimist ideologies. In Séancers, Kosoko activates lyrical poetry and movement forms, working with sound artist Jeremy Toussaint-Baptiste, and a guest Séancer. They examine the chameleon-like strategies for subverting the ways in which racialized bodies are structurally organized.
Kosoko is a Nigeria-American poet, curator, and performance artist originally from Detroit, MI. He is a 2017-19 Princeton Arts Fellow and a 2018 NEFA NDP Award recipient.