Abstract:Matriarchs UprisingFestivalwas founded and is curated by mixed Anishinaabe, French-Canadian, and Welsh dance artist Olivia C. Davies. Birthed to gather and to present the works of Indigenous women artists who create within the realm of contemporary dance, the inaugural festival took place in 2019 on the ancestral and unceded Indigenous territories of the məθkʷəỷəm, sḵwx̱wú7mesh, and seỉíỉwitulh First Nations (Vancouver), at the Scotiabank Dance Centre. Within this review, I weave the thinking, praxis, and voices of Olivia C. Davies and the many artists who have been housed within Matriarchs Uprising. I speak of the festival being a container of attuned connection to empowered living.
{"title":"Reaching Toward: Seeding Connection within the Matriarchs Uprising Festival","authors":"Daisy Thompson","doi":"10.3138/ctr.192.015","DOIUrl":"https://doi.org/10.3138/ctr.192.015","url":null,"abstract":"Abstract:Matriarchs UprisingFestivalwas founded and is curated by mixed Anishinaabe, French-Canadian, and Welsh dance artist Olivia C. Davies. Birthed to gather and to present the works of Indigenous women artists who create within the realm of contemporary dance, the inaugural festival took place in 2019 on the ancestral and unceded Indigenous territories of the məθkʷəỷəm, sḵwx̱wú7mesh, and seỉíỉwitulh First Nations (Vancouver), at the Scotiabank Dance Centre. Within this review, I weave the thinking, praxis, and voices of Olivia C. Davies and the many artists who have been housed within Matriarchs Uprising. I speak of the festival being a container of attuned connection to empowered living.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"70 - 73"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43037977","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Telling It Back Different but the Same","authors":"Jennifer R Cole","doi":"10.3138/ctr.192.014","DOIUrl":"https://doi.org/10.3138/ctr.192.014","url":null,"abstract":"","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"68 - 69"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49661922","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article focuses on the cultivation of anti-oppressive ethically engaged artistic practices within the realm of online storytelling, with particular attention to alternate reality games (ARGs). ARGs are immersive games that often involve the integration of elements of the real world within their storytelling but rarely advertise or acknowledge themselves to be games. In this article, I explore the possibilities engendered by this kind of digital performance and the ways in which this medium for theatricality may be more accessible for mad and disabled artists. ARGs and their peer mediums (like fictional vlogs and web series) have become increasingly more significant in terms of what they offer, especially during the pandemic. Given how these mediums have adapted to and continue to survive hosted among multiple sites and apps, including YouTube, Facebook, TikTok, and Twitter, there is much to be learned from the kind of accessibility these methods of digital storytelling employ. To not acknowledge their place within theatrical spaces would undermine the full artistic and activist potential of this kind of art, and it is this article's intention to give credit to this emerging art form. In this article, I also draw on my own experience conducting ARGs. In particular, I examine how my first ARG helped me develop mobilization strategies for disability justice and how in doing this kind of work, my own understanding of lived experiences of madness and disability expanded as I learned from other alternate reality game makers and developers.
{"title":"Alternate Reality Gaming: Mad and Crip Potentialities in Digital Storytelling","authors":"S. Sabada","doi":"10.3138/ctr.192.011","DOIUrl":"https://doi.org/10.3138/ctr.192.011","url":null,"abstract":"Abstract:This article focuses on the cultivation of anti-oppressive ethically engaged artistic practices within the realm of online storytelling, with particular attention to alternate reality games (ARGs). ARGs are immersive games that often involve the integration of elements of the real world within their storytelling but rarely advertise or acknowledge themselves to be games. In this article, I explore the possibilities engendered by this kind of digital performance and the ways in which this medium for theatricality may be more accessible for mad and disabled artists. ARGs and their peer mediums (like fictional vlogs and web series) have become increasingly more significant in terms of what they offer, especially during the pandemic. Given how these mediums have adapted to and continue to survive hosted among multiple sites and apps, including YouTube, Facebook, TikTok, and Twitter, there is much to be learned from the kind of accessibility these methods of digital storytelling employ. To not acknowledge their place within theatrical spaces would undermine the full artistic and activist potential of this kind of art, and it is this article's intention to give credit to this emerging art form. In this article, I also draw on my own experience conducting ARGs. In particular, I examine how my first ARG helped me develop mobilization strategies for disability justice and how in doing this kind of work, my own understanding of lived experiences of madness and disability expanded as I learned from other alternate reality game makers and developers.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"46 - 49"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41379481","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In November 2020, the LGBTQ Families Speak Out research team at the Ontario Institute of Studies in Education (OISE), University of Toronto, recorded our community-engaged verbatim play Out at School, about the experiences of LGBTQ2S+ families in Ontario public schools, as a digital audio play. The transition from stage to aural streaming raised new ethical tensions in a project that was already deeply engaged in relational, community-oriented work. The removal of visible bodies (queer bodies, trans bodies, racialized bodies, Indigenous bodies, disabled bodies) from the play, which, onstage, presented and celebrated the multiplicity of intersectional queer identities, altered the structure of the piece and the ethical relationships we had built with audience members. The practices we adopted to address the ethical tensions in our staged play had to be re-examined for aural streaming. Problems of vulnerability and trust emerged in different forms. This article examines and explores the questions that were raised by aural streaming and the team's responses to these questions.
{"title":"From Stage to Aural Streaming: Adaptation through a Slow Ethic of Care","authors":"Pam Baer, J. Salisbury","doi":"10.3138/ctr.192.008","DOIUrl":"https://doi.org/10.3138/ctr.192.008","url":null,"abstract":"Abstract:In November 2020, the LGBTQ Families Speak Out research team at the Ontario Institute of Studies in Education (OISE), University of Toronto, recorded our community-engaged verbatim play Out at School, about the experiences of LGBTQ2S+ families in Ontario public schools, as a digital audio play. The transition from stage to aural streaming raised new ethical tensions in a project that was already deeply engaged in relational, community-oriented work. The removal of visible bodies (queer bodies, trans bodies, racialized bodies, Indigenous bodies, disabled bodies) from the play, which, onstage, presented and celebrated the multiplicity of intersectional queer identities, altered the structure of the piece and the ethical relationships we had built with audience members. The practices we adopted to address the ethical tensions in our staged play had to be re-examined for aural streaming. Problems of vulnerability and trust emerged in different forms. This article examines and explores the questions that were raised by aural streaming and the team's responses to these questions.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"32 - 36"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49152148","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Three co-convenors of the Indigenous Creative Spaces Project, supported by ArtsBuild Ontario, reflect on their process, reflecting the depth of the stories and knowledges shared by Indigenous creative organizations. In this edited conversation, Terri-Lynn Brennan, JP Longboat, and Amy Poole reflect on what they have learned about responsively working within Indigenous-led, settler-supported structures; narrative sovereignty; and creative spaces and cultural renewal.
{"title":"Lessons from the Road: Indigenous Creative Spaces Project","authors":"Terri-Lynn Brennan, JP Longboat, Amy Poole","doi":"10.3138/ctr.192.017","DOIUrl":"https://doi.org/10.3138/ctr.192.017","url":null,"abstract":"Abstract:Three co-convenors of the Indigenous Creative Spaces Project, supported by ArtsBuild Ontario, reflect on their process, reflecting the depth of the stories and knowledges shared by Indigenous creative organizations. In this edited conversation, Terri-Lynn Brennan, JP Longboat, and Amy Poole reflect on what they have learned about responsively working within Indigenous-led, settler-supported structures; narrative sovereignty; and creative spaces and cultural renewal.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"78 - 81"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69967594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article reflects on a pilot project that incorporates interactive theatre into the Black Equity in Alberta Rainforest (BEAR) initiative. The BEAR is an interdisciplinary action research project spearheaded by Ribbon Rouge Foundation in partnership with several researchers and graduate fellows to develop critical knowledge about the effects of anti-Black racism on health equity. A key methodology within the BEAR is the use of arts to engage community and foster social dialogue around African, Caribbean, and Black Albertans' lived experiences. The BEAR uses ArtSpaces to engage in events designed for community conversations with those who are often more marginalized in Alberta. To start this long-term program, we created a pilot theatre project, aimed at building a team of animators to foster community dialogue via interactive theatre. We focus on ethics in practice to consider what questions we should be asking ourselves at the start of, during, and after this collaborative project as we try to bridge the gap between intellectual understanding and practice. In doing so, we locate ourselves as artists who question our processes as we go. We argue that we learn about ethical relationships by doing our work.
{"title":"Reflecting from the Middle: Ethics within an Interactive Theatre Project Working for Social Equity","authors":"Lebogang Disele, J. Selman","doi":"10.3138/ctr.192.002","DOIUrl":"https://doi.org/10.3138/ctr.192.002","url":null,"abstract":"Abstract:This article reflects on a pilot project that incorporates interactive theatre into the Black Equity in Alberta Rainforest (BEAR) initiative. The BEAR is an interdisciplinary action research project spearheaded by Ribbon Rouge Foundation in partnership with several researchers and graduate fellows to develop critical knowledge about the effects of anti-Black racism on health equity. A key methodology within the BEAR is the use of arts to engage community and foster social dialogue around African, Caribbean, and Black Albertans' lived experiences. The BEAR uses ArtSpaces to engage in events designed for community conversations with those who are often more marginalized in Alberta. To start this long-term program, we created a pilot theatre project, aimed at building a team of animators to foster community dialogue via interactive theatre. We focus on ethics in practice to consider what questions we should be asking ourselves at the start of, during, and after this collaborative project as we try to bridge the gap between intellectual understanding and practice. In doing so, we locate ourselves as artists who question our processes as we go. We argue that we learn about ethical relationships by doing our work.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"7 - 9"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49062603","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This writing is an offering to consider the way we witness theatrical events and the role of the witness in a theatrical and performative endeavour. Through a dialogue with the performative intervention Streaming Life: Storying the 94 by the Deep Time working group and a conversation with Dr. Jill Carter, this article strives to interrogate the responsibilities of witnessing truth-based art activations in the context of (re)conciliation.
{"title":"A Proposed Guide to Witnessing: Dialoguing with Streaming Life: Storying the 94 as a Site for Call-and-Response","authors":"Philip Geller","doi":"10.3138/ctr.192.016","DOIUrl":"https://doi.org/10.3138/ctr.192.016","url":null,"abstract":"Abstract:This writing is an offering to consider the way we witness theatrical events and the role of the witness in a theatrical and performative endeavour. Through a dialogue with the performative intervention Streaming Life: Storying the 94 by the Deep Time working group and a conversation with Dr. Jill Carter, this article strives to interrogate the responsibilities of witnessing truth-based art activations in the context of (re)conciliation.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"74 - 77"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47368822","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Site-specific performance, with its grounding in the local, has the potential to engage communities and make theatre accessible by bringing performance directly to the doorsteps of new audiences. However, when performing outside of a traditional theatre venue—and particularly in a public space—a responsible site-based art must ask: How can we (as artists) ensure that our work isn't disruptive to our neighbours, and, perhaps more important, how might the work also be of benefit to the local community? By returning to four previous site-specific performance works, the author—a practitioner of the form—unpacks how their answer to this question has evolved over time.
{"title":"Performing in Public: Ethics of a Site-Specific Theatre Practice","authors":"R. Motum","doi":"10.3138/ctr.192.009","DOIUrl":"https://doi.org/10.3138/ctr.192.009","url":null,"abstract":"Abstract:Site-specific performance, with its grounding in the local, has the potential to engage communities and make theatre accessible by bringing performance directly to the doorsteps of new audiences. However, when performing outside of a traditional theatre venue—and particularly in a public space—a responsible site-based art must ask: How can we (as artists) ensure that our work isn't disruptive to our neighbours, and, perhaps more important, how might the work also be of benefit to the local community? By returning to four previous site-specific performance works, the author—a practitioner of the form—unpacks how their answer to this question has evolved over time.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"37 - 40"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42785262","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article analyzes the representation of E. Pauline Johnson Tekahionwake's history at work in the 2021 production of Paddle Song, by Dinah Christie and Tom Hill, presented by the Firehall Arts Centre (Vancouver, British Columbia). The review addresses the contributions this performance biography makes to debates regarding Johnson's historiography by highlighting the work and perspectives of the Six Nations actor/singer Cheri Maracle, who plays Pauline Johnson in the solo-show musical production.
摘要：本文分析了E.Pauline Johnson Tekahionwake在2021年由Dinah Christie和Tom Hill创作的《桨之歌》中的历史表现，该作品由Firehall艺术中心（不列颠哥伦比亚省温哥华市）展出。该评论通过强调六国演员/歌手Cheri Maracle的工作和观点，阐述了这本表演传记对约翰逊史学辩论的贡献，Cheri Maracle在个人秀音乐制作中扮演Pauline Johnson。
{"title":"Matriarchal Word Warriors in a Paddle Song for E. Pauline Johnson Tekahionwake","authors":"Sasha Kovacs, Cheri Maracle","doi":"10.3138/ctr.192.018","DOIUrl":"https://doi.org/10.3138/ctr.192.018","url":null,"abstract":"Abstract:This article analyzes the representation of E. Pauline Johnson Tekahionwake's history at work in the 2021 production of Paddle Song, by Dinah Christie and Tom Hill, presented by the Firehall Arts Centre (Vancouver, British Columbia). The review addresses the contributions this performance biography makes to debates regarding Johnson's historiography by highlighting the work and perspectives of the Six Nations actor/singer Cheri Maracle, who plays Pauline Johnson in the solo-show musical production.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":"192 1","pages":"82 - 85"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47344818","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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