Vines 2021: We Will Move

Tickets

Cost: Free
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Vines is an arts organization and festival that is responsive to and nurturing of artists that are working toward land, water, and relational justice. We support underrepresented voices in developing their work. We bring imagination into everyday spaces by presenting work for free on “earthstages” – populated and natural public spaces in Vancouver and throughout the province.

Come dance with us, moving on the land and embracing all the ways bodies exist. All bodies, all types, moving in unison, weaving a story and voice unlike any other. A resounding commitment to the power of movement, heart and soul, We Will Move will have you wanting to dance with us. Who knows where it’ll take you!

IVEN SIMONETTI – TherARTy
We will give thanks, and reconnect to nature, and listen to the surrounding and let the music take place.

CAROLINE HÉBERT
Caroline was born Sumain & grew up in Montréal, QC, with her biological family. Caroline went all her life in Deaf School @ Institution des Sourd-Muets.
Caroline is bilingual in ASL (American Sign Language), & LSQ (Langues des Signes Québécoise). In addition, Caroline has a base knowledge of Indigenous Sign Language.
In 2005, Caroline moved to Vancouver, BC & took a 10 years hiatus. Caroline decides to return to the Theatre after meeting the Honourable Stephen Lytton – a formidable Indigenous Leader. Mr. Lytton invited Caroline to use a team approach & this resulted in Caroline joining Theatre Terrific’s production of Breath Ahh.. 2017, & continued to work… many different places, our performance Unsettled, History of Sign Language, and Voice etc.

JENNIFER AOKI & HARMANIE ROSE –The Flood that Let to Know Water
The Flood that Led to No Water is a deeply personal contemporary dance duet that explores themes of trauma, vulnerability, and memory. Two dancers from unique marginalized backgrounds draw inspiration from their formative experiences and find solidarity through sharing and moving together.

HILA GRAF, MADELEINE HUMENY, MIDA MALEK & AMY AMANTEA – Ocean of Tears
Ocean of Tears is a theatre performance exploring the act of crying with storytelling, music and humour. Why do we often feel shameful about crying? What role does crying take in our lives, and what are meaningful stories and moments that are ignited by it?

EMERGING CREATIVES MENTORED BY FAUNE YBARRA
Artists: Aneesha Babu, Cynthia Su, Jordyn Wood, Marcelo Ponce

ANA BON-BON – Ana Bon-Bon Beachside
I will be playing original songs on my accordion and incorporating new in-progress homemade rhythm instrument accessories.

EMERGING CREATIVES MENTORED BY ERICA HIROKO ISOMURA
Artists: Alex “Fairything” Masse, kellen r jackson and Madisen Hilligoss

SARAH U – Stratum
“Stratum” is a dance installation piece, in which 3 dancers will be interacting and moving under/over/around a textile installation. The work has both a strong performance and visual art component. It is inspired by moulting, a process in which animals and insects (mostly invertebrates) cast off part of their bodies such as skin, hair, and exoskeleton to enter a new stage of their lives.

NICK BENZ & MARION LANDERS – Vag(gue)-rant
Nick Benz and Marion Landers navigate Afro-Indigenous mixed heritage and gender fluidity through dance forms that meet at the crossroads of African, Indigenous and European history.
Brazilian Samba and other Afro-centric dance traditions, Coast Salish dance and theatrical exchange are all employed by these two actor/dancers towards the goal of land connection and reconciliation.

SAPPHIRE HAZE – Asphyxiation
This piece embodies human relationships with nature and our growing dependence on technology. Through the juxtaposition of tense and serene sounds – synthesized and natural – we want to encompass the preciousness of water and the power of resistance against what corrupts it.
What do we have to unlearn to reverse corruption?

ROBYN CEE KAY JACOB – A Versus Complex
A Versus Complex is a personal response to the activities taking place on one of the frontlines of the climate emergency: the conflict between the logging industry and land defenders trying to stop the clear cutting of old growth forests. In the face of polarization and lack of context and nuance in mainstream media’s portrayal of the conflict, especially regarding Indigenous rights and colonial history, the piece explores what gets left out of the public knowledge stream, and how this changes the conversation. The use of disklavier piano also touches on the history of the once expansive piano manufacturing industry in Canada, which was enabled by the ready access to timber. As so many of these pianos are ending up in the local landfills, they seem to symbolize what is happening to our old growth forests. Mixing the seen with the unseen in terms of the piece’s sonic origins is at play, as the combination of sounds made from the piano and the collage of the instrument’s pre-recorded resonance mix. The voice holds my own feelings of grief, powerlessness, and responsibility to act.



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