Listen to Andrea Nann and Guelph Shebang Artists interviewed on April 7 about their collaboration together: http://www.cfru.ca/recordings/185
On Friday, April 11 at 7:30 p.m, at the Sullivan Mahoney Courthouse Theatre in St Catharines, ontario, local Niagara Shebang artists Aaron Berger (singer-songwriter), Brittany Brooks (singer-songwriter, performer, visual artist), Adam Buller /Thunderclap (singer-songwriter, performance artist, multimedia artist), Elizabeth Chitty (inter-disciplinary performance artist), Mark Steiger (musician and composer) and David Vivian (designer, scenographer) join Dreamwalker Dance Company artists Andrea Nann, Brendan Wyatt and video artist Elysha Poirier to present In Between Stories, an intimate multidisciplinary performance cabaret.
Last season, Centre for the Arts, Brock University engaged Dreamwalker Dance Company to commence The Niagara Shebang, a unique three year multi-disciplinary creative residency program introducing six local artists to a holistic ensemble-based collaborative creation practice known as The Shebang Process.
This is a Pay-What-You-Can event with limited seating. Attendees are encouraged to RSVP to Sara Palmieri, Marketing & Sales Manager (firstname.lastname@example.org).
Dreamwalker Dance Company produces The Whole Shebang, bringing together diverse artists, forging unlooked-for connections among the arts and exploring unaccustomed forms of expression. – Andrew Vowles, The Guelph Mercury
Read the full article at:
On April 17 at 7pm, River Run Centre’s Guelph Shebang resident artists Ishra Blanco, Jenn Norton, Meg O’Donnell, Claire Tacon, Amadeo Ventura and Bry Webb invite you to join them Inside the Workshop: The Guelph Shebang.
The Shebang Artists open the doors to their creative process as they continue to investigate Feedback through dialogue, storytelling, music, movement, sound and video installation turning the Cooperators Hall into an open studio for the public to enjoy. The event will also feature short dance performances by Dreamwalker Dance Company’s Andrea Nann and Brendan Wyatt.
Free admission – first come first serve.
We arrive at the Flo Yoga Studio in Guelph and I meet the group. Everyone is armed with cameras, videocameras, instruments, notepads, computers. My role here is Artistic Translator: the task is to record process that leads to inter-arts connection, the challenge is that this process is often transient.
Andrea lays out a 60 foot long mobius strip around the perimeter of the studio. A result of last yearʼs culminating event, it is covered with words of advice from members of the public who contributed advice and feedback via phone lines or social media. Andrea tells the group (Meg O’Donnell, Amadeo Ventura, Claire Tacon, Bry Webb, Ishra Blanco and Jenn Norton) that she has surrounded the studio floor with this material as a reminder of how we are tied together in the work that we do. While renewing and expanding the group’s energy, how far can this energy go?
Members are asked to share an activity that highlights an important aspect of their practice. Bry asks each person to play a string on his guitar to build a chord. We have the power to contribute to the sound which is being made. Amadeo establishes an accelerating percussion circle, playing with how we can transmit language through rhythm. Jenn improvises a film set from the surrounding environment, having us create an alternate world with transformed materials from this one. Andrea proposes a movement sequence that is done as a group, using our peripheral vision to move exactly in sync. The choreography is set but there is no tempo nor leader – how can we send and receive signals purely through observation? Andrea has used this activity with people who can’t communicate verbally as a means to feel a part of something greater than oneself.
Andrea takes us outside to the River Run Centre to explore the possibilities this space presents. While walking over, she tells us of songlines, created by the indigenous people of Australia as a way to navigate hundreds of kilometers via a music map. Singing the song tells one where to go, which turn to take, what signs to look for. They are passed on through generations and shift languages when passing through corresponding regions.
The River Run Lobby has glass windows. Members of our group stand opposite each other. The people facing the lobby trace the outline of the skyscape based on the reflection in the glass. To the viewers facing the landscape, it appears that it is being traced directly. These mirror duets were enhanced by imitating gestures from bemused spectators inside the lobby. Everyone was communicating through movement that was informed by unseen elements – trusting that something new will be revealed to us, waiting in the horizon.
Record and share. Reveal strategies to build forward.
Inviting others to come along. ..how do we stay in this process when we are anxious?
Focus on voices and story-telling
Susannah H and Sara P and Babs W join us
Riding the threshold
by Lucy RupertThe multi-dimensional artist Roy Kiyooka will be integrated into this year’s Whole Shebang by way of projections from his beautiful collection “Stoned Gloves”. The following is written by his good friend Lora Carney.
“From the late fifties to the late sixties, Roy Kiyooka worked as an abstract painter and taught art in Vancouver and in Montreal, where he exhibited with the best known of the city’s hard edge nonobjective painters. Painting had been vastly important to Kiyooka’s adult life. While Pearl Harbor had ended a relatively normal boy’s life in Calgary and the possibility of completing high school, he had gone on after the war to Calgary’s Institute of Technology and Art, which gave him art training and a bigger hold on Western high culture that was unavailable to him otherwise. He developed rapidly into a leading Canadian painter. But, he also wrote poetry and made photographs, and contributed greatly to the famous mixing of media in the Vancouver arts scene of the early sixties. He would say not long afterwards, in a job-seeking letter to York University, that “someone i cant remember said York had gone INTERMEDIA – is that true? Well, i paint, write poetry, play the Jew’s harp, put on light-shows & other kinds of happenings. I’ve taken 1000’s of phonographs, know a great deal abt movies, dancing, rock and roll, hallucinogenic drugs, pot, hash, and the existential despair of academic conferences – all of which happen to occur in my daily life and hopefully serve the myriad aspects of my A r t.” The Western mainstream painter was replaced by an adamant non-specialist who refused the tyranny of any one medium. That is the artist who made Stoned Gloves.
In 1970 the Canadian government commissioned Roy Kiyooka to make a five-metre-high abstract sculpture for the government pavilion at Expo ’70 in Osaka. He stayed in Kyoto that summer and fall, going over to the Expo site during the day to carry out his commission. He was photographing all the while, taking pictures of workers’ gloves on the site, and the photo/text work Stoned Gloves, both a book and a National Gallery travelling exhibition of large-scale photographs, followed quickly from those Osaka workdays.”Curvus by Roy KiyookaThe Whole ShebangOct 26 at 7pmOct 27 at 4:30pmBaillie TheatreYoung Centre for the Performing arts.part of the Global Cabaret Festival
by Lucy Rupert
photo of Pamela Grundy and Randy Glynn in Higher, photo by Arnold Matthews
Danny Grossman’s Higher, made at York University in 1975, is a pillar in this year’s Shebang, a masterpiece by a master Canadian choreographer…or at least a choreographer we claim as our own — Canadian! — because of his many years working and creating in Canada during the formative years of Canadian modern dance and beyond.
Some of you might need an introduction, some a refresher, some a little dose of biography to revitalize your sense of the wonderful imagination, influence and output of this great artist.
From The Canadian Encyclopedia
by Amy Bowring
Daniel Williams Grossman
Daniel Williams Grossman, dancer, choreographer (b at San Francisco, Calif 13 Sept 1942). The son of a Polish-Hungarian Jewish father and an Irish Catholic mother, Grossman grew up in a highly politicized household. He walked his first picket line when he was 10 and participated in student demonstrations at the University of California, Berkeley. Affected by his upbringing, Grossman’s choreography deals with themes such as racism, sexuality, war and human conflict, poverty, respect for nature and personal spiritual growth. However, his work is not restricted to serious social commentary; his athletic choreography is frequently humorous and satirical.
Grossman began folk dancing in grade school and, by 1960, was studying and performing modern dance with Gloria Unti. In 1963, at a summer course at Connecticut College, he met Paul Taylor, who invited him to join his company in New York City. Grossman danced with Taylor (1963-73), touring throughout the world.
In 1973, Grossman was invited to work as a guest artist with the TORONTO DANCE THEATRE and has remained in Canada ever since. In 1974 he joined the faculty at York University while continuing to work with TDT. A single work, Higher, made at York University in 1975, led to the formation of the Danny Grossman Dance Company (DGDC) that same year. Higher is a work of playful sexual tension in which a man and a woman dance on and around 2 chairs and a ladder to the music of Ray Charles.
The mid-1970s were prolific years for Grossman, and many of his early works have been retained in the company repertoire. In 1976 he created 4 new pieces: Couples Suite, National Spirit, Fratelli and Triptych.National Spirit, about American patriotism, was his first political satire. In 1977 he produced 3 works: in Curious Schools of Theatrical Dancing, his first solo, a paranoiac is involved in a physically dangerous dance to the death;Ecce Homo is based on religious paintings and drawings of ecstasy and sin; and Bella, a collaboration with JudyJARVIS, was inspired by the music of Puccini and Chagall’s paintings of lovers. Other notable pieces include the apocalyptic Endangered Species; the tongue-in-cheek Nobody’s Business; the very dark Ces Plaisirs, after Collette’s book The Pure and the Impure; and La Valse, a sarcastic look at poverty and wealth.
Concerned with preserving dancing as an artform, Grossman and his company have remounted works by Canadians Patricia BEATTY, Anna Blewchamp, Paula ROSS, Judy Jarvis and Peter RANDAZZO. Also concerned with educational outreach, the DGDT draws on the varied backgrounds of its dancers to offer workshops and lecture/demonstrations, working frequently with public schools and post-secondary dance programs. A cultural activist, Grossman serves on the Board of the Toronto Arts Council and participates in Toronto’s Artsvote campaign to educate local voters and politicians about cultural issues. He is an Adjunct Professor in the Department of Dance at York University.
Grossman has received the Jean A. Chalmers Award for Choreography (1978), a Dora Mavor Moore Award for Best New Choreography (1988), the William Kilbourn Lifetime Achievement Award from the Toronto Arts Awards (1998) and the Dance Ontario Award (1998).
Spotlight on Jonathan Shatzky and Daniella Forget — Interstitials performers at the Whole Shebang 2013: STONED
As part of the interstitials conceived by Helen Yung for the Whole Shebang 2013: STONED, we are joined by actors Jonathan Shatzky and Daniella Forget. Rather than give away the secret and delightful details of their involvement, instead we present some brief introductions to their work. The Whole Shebang is thrilled to have them.
Jonathan Shatzky is an actor, musician and recovering Montrealer. His theatre credits include the role of Danny in Problem Solver’s production of Danny and the Deep Blue Sea, Homeroom by Two by Four Productions, as well as U.N.T.I.T.L.E.D (which he co-wrote) that won a Frankie award for originality at the Montreal Fringe Festival. Jonathan also studied improv at Theatre Ste. Catherine in Montreal and was a weekly player in the Sunday Night Improv show for 3 years. Jonathan’s Film & Television highlights include a recurring role as a CIA analyst on the show XIII, Flashpoint, and most recently as Melissa Leo’s co-worker in the film Francine.
Originally from Montreal, Daniella Forget moved to Toronto to study English and Theatre at Glendon College and has worked across the country in various stage, voice-over, film and TV productions. Some of her favourite stage roles include Roberta in Danny and the Deep Blue Sea (Problem Solver Productions), Sara in Yes or No (MT Space Theatre), Cosette in Les Misérables (Théatre CCSE), Laura in Stone and Ashes (Theatre Skam) and Curley’s Wife in Of Mice and Men (Langham Court Theatre). Daniella’s Film & TV highlights include Paranormal Wilness, Coldblood, In the can & Crypt of The Damned. She can also be heard as the voice of Pensée in the animated series Miss Spider (Fr) airing on Télé-Québec.
The Whole Shebang 2013: STONED
Oct 26 at 7pm and Oct 27 at 4:30pm
Young Centre for the Performing Arts
The Four Horsemen Project (2007)
Volcano in association with Crooked Figure Dances and Global Mechanic
performers: Jennifer Dahl and Andrea Nann
photo: John Lauener
Another thrilling inclusion in the Whole Shebang 2013: STONED is a fragment of the award-winning The Four Horsemen Project, first created and produced by Volcano Theatre in association with Crooked Figure Dances and Global Mechanic in 2007. To paraphrase Volcano’s website, It is a multidisciplinary extravaganza full of sonic hi-jinx and swirling animation. We are lucky to have a remount/reimagining of one section, Pome, choreographed by Kate Alton developed to suit the Shebang’s theme this year.
Kate explain’s “I am revisiting the great bp nichol’s “Pome”, which was one of the pieces Ross and I used in our larger work The Four Horsemen Project. Originally it was made for our contemporary group of four sound poet dancers, (Andrea Nann, Jennifer Dahl, Graham McKelvie and Naoko Murakoshi). Andrea asked me to remake it into a duet for herself and Brendan Wyatt. So far it has been a lot of fun.”
So how has she shifted her approach to this work 6 years after its premiere and considering the theme of the Whole Shebang this year?
“I don’t think much has changed in my approach,” Kate says, “But I did find it easier this time around. bp’s pome is so wonderful all on its own, I had a hard time in the past finding the right tone. This time I am just trying to let Brendan and Andrea express the pleasure that “pome” brings out in me when I hear it.”
Kate’s work — to my eye, and also briefly experienced through my body in a workshop with Volcano Theatre in 2008 — is highly detailed and precise but manages a swinging sense of play and chance within its elaborate architecture. In my experience, she is thoughtful and thorough when she creates, trying multiple avenues towards an end or idea, imaginatively dissecting each possibility. Her work is clever without seeming to be pleased with its cleverness, which is endearing and searing at once.
And the question I’ve been asking everyone: the evocative word attached to this year’s Shebang, what does it mean to you?
“To me, stoned means Amsterdam on Queens Day in my twenties, wandering the city with friends, Sarah and Lucas, high on hash brownies. Quite a day. I think that is the only time in my life that I have had a feeling that I would identify as being stoned. I have felt high on lots of other things though, including but not limited to love, lust, life, flowers, dance, and babies.”
So I have to ask, “Do you have any stoned-Mommy anecdotes?” Because I remember — when my kid was a very small baby mostly, but it reemerges from time to time still — the distinct feeling of disconnection from my body, a dissipation of my cells and disintegration of my thoughts in a most hilarious and slightly eerie way.
Kate replies, “My latest Mama-high was two days ago when I said I love you Ellie, and and she responded, for the first time “I love you I love you I love you I love you.”
If you want a peek at Volcano’s The Four Horsemen Project follow this link:
If you don’t know Sam Cash, well…..you should!
Sam Cash and his band the Romantic Dogs will be performing in the Whole Shebang 2013: STONED, part of the Global Cabaret Festival at the Young Centre this year. To tempt you here are some links to reviews and a link to a recent performance in Ottawa. You won’t want to miss their performance with the Whole Shebang.