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choreomarathon@acrossoceans.org 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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© 2008 by Maxine Heppner

ACKNOWLEDGEMENT OF TRADITIONAL LANDS

Maxine Heppner and Across Oceans is based in Toronto Canada, sacred land that has been home to human cultural activity for over 15,000 years. We honour and acknowledge the original caretakers of this land: the Mississaugas of New Credit, the Haudenosaunee Confederacy, the Anishinaabe and the Huron/Wendat, and all peoples and living beings who are named and unnamed in history.

web design: christos alex. giotis

2018: Creators' Journeys

January 8, 2019

Overview of 2018's work sees...

 

... discovering internal impulses to express loss and recovery,

... releasing privacy to gain public context,

... recognizing the power in detail

 

Challenges:

Working within "containers of expression" (in the work itself and in the creation process)

Performer-Audience Connectivities.

 

From perspectives of Modern, Post-modern, Bharatnatyam, Indigenous west-coast, mind-body-of-hearing-deaf dance artistry and experience.

 

Key Words: Stillness, Passion, Duration, Impulse,

 

... inspirations and creative processes: Nina MIlanovski, Victoria Gubiani and Paige Sayles were interpreting the moments between coupling and uncoupling. Amelia Jakasa removed her hearing aids to disconnect with the hearing world, to discover what dances she might do within her natural deaf sound environment. Monica Shah’s exploration was of Stillness as an expressive force for movement in Bharatnatyam, questioning when stillness is gained is dance lost? Ashley Burmaster, Dominique Tersigni, Josephine Jakubowski, Lindsay Harpham, Sarah Mclennon and Mikaela Orford, inspired by the “hedonic treadmill” concept, created dance encounters to escalate from and return to levels of stasis. Olivia C. Davies’ examined movement deeply sourced in bones, muscles and intuition to express a narrative – return of Self within Ancestral Lands.

 

 

 

 

 

 

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