*Postponed* - Wreckonciliatory Acts:

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Note: Due to unforeseen circumstances, Wreckoncilliatory Acts has been postponed and will be taking place as part of the CATR’s online events this fall. Specific information will be made available through the CATR/ACRT mailing list.

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Wreckonciliatory Acts is an Indigenous Dramaturgy Lab that works to facilitate the development of Indigenous dramaturgical frameworks, which are firmly rooted in land-based embodied processes, Nation-specific cultural aesthetics and story narratives, ancestral knowledge systems, Indigenous languages, and what Nehiyaw scholar Karyn Recollet terms “kinstellatory relations.”

For CATR 2021, Gatherings: Archival and Oral Histories of Performance proposes to host a 90-minute Online Salon during which the collaborators of Wreckonciliatory Acts will convene to reflect upon some of the key work accomplished thus far and to consider future inroads into work yet to be accomplished within/despite the context of summer 2021 and the conditions with which we all will have to contend.

This event, which begins as a “round table discussion” will open into a “long table” for the final 30 minutes. Here, witnesses will be invited to sit and actively participate. At this time, their responses and queries will be welcomed, and we anticipate that generative conversation will ensue. Protocols adapted from Lois Weaver’s Long Table Model will frame our engagement during this final portion of the event, and graphic recording will take place throughout.

Please register with Jill Carter at jill.carter@utoronto.ca to receive your Zoom link and welcome package.

Registration Deadline: Saturday 03 July 2021.

This event will be offered synchronously, and no recording thereof will be disseminated.

Bios

Jill Carter (Anishinaabe-Ashkenazi) is a theatre practitioner and researcher, currently cross appointed to the Centre for Drama, Theatre and Performance Studies; the Transitional Year Programme; and Indigenous Studies at the University of Toronto.

Dr. Spy Dénommé-Welch (Algonquin-Anishnaabe) is a multidisciplinary composer, librettist/playwright, producer, and educator. Select credits as writer and composer include: RADAR (2019); Contraries: A chamber requiem (2018); Sojourn (2017); Giiwedin (2010). He is Artistic Director of Unsettled Scores, and is an Associate Professor at Western University.

Monique Mojica (Guna and Rappahannock nations) Actor/ playwright Monique Mojica is passionately dedicated to a theatrical practice as an act of healing, of reclaiming historical/ cultural memory and of resistance. Spun directly from the family-web of New York’s Spiderwoman Theater, her theatrical practice embraces not only her artistic lineage through mining stories embeded in the body, but also the connection to stories coming through land and place. 

Lindsay Lachance (Algonquin Anishinabe) has worked as a dramaturg for over a decade and has a PhD from the department of theatre and film at the University of British Columbia. Lindsay’s dramaturgical practice is influenced by her relationship with birch bark biting and the Gatineau River. She is also the director of the Animikiig Creators Unit at Native Earth Performing Arts, which focuses on the development of new Indigenous works.

Works Cited:

Carter, Jill, Karyn Recollet and Dylan Robinson. “Interventions into the Maw of Old World Hunger.” Canadian Performance Histories and Historiographies. Ed. Heather Davis-Fisch. Toronto: Playwrights Canada Press, 2017. 205-31.

For more information about the Gatherings: Archival and Oral Histories of Performance research-team and our projects, please

see our website at https://gatheringspartnership.com