#aeriosa

[aeriosadance]

“If you hit a wall, climb over it, crawl under it, or dance on top of it.” Unknown #verticaldance #aerialdance #aerialists #aeriosa #aeriosadance #newdance #aerialarts #aerialartists #aerials #dancingintheair #internationaldancers #innovativedancers #verticaldancers #verticaldancenetwork #dancetheater #skydancers #artofmovement #dance #danceartists #contemporarydance #vancouverdancers #vancouveraerialists #vancouververticaldancers #dancersthatfly #verticaldancevancouver #airtime #dancingonwalls #buildingdancers (at The Dance Centre) https://www.instagram.com/p/CWDDBmaFaCe/?utm_medium=tumblr

[angitri]

El encuentro amoroso

Ahir a les 18.00 vam salpar de Kom Ombo cap a Aswan, 351 000 ànimes, on ens hem llevat avui. Dotze de maig. Hem de veure Abu Simbel. Són quarts de quatre del matí i sortim en bus per la carretera del desert de doble sentit i fem cua per superar els controls policials. Aquí els policies de seguretat mostren les pistoles que porten enfornades a la butxaca. Però em cal retrocedir en el temps. Resum de la tarda i nit d’ahir.

A les 16.30h a Kom Ombo (hi ha a qui el nom li fa una gràcia especial 😉, vol dir ‘monticle d’or’), visitem el temple dedicat a Horus, déu falcó, i a Sobek, deu cocodril, conjuntament i respectant les simetries. És un temple petit, situat a prop del Nil, a 100 metres està atracat el nostre vaixell. La gràcia del temple és sobretot un calendari que no ho és: en realitat és un gravat sobre un pany de paret amb dates que es corresponen amb les celebracions i adoracions que cal mantenir a llarg de l’any. El guia aprofita per fer-nos una classe de ciències exactes jeroglífiques: pals verticals, unitats; una forma de pa ovalada amb línia horitzontal, el número nou; una ferradura invertida, el número deu. Aleshores ens explica…

la llegenda d’El encuentro bondadoso’. ‘ Resulta queeeee’, com diria la Uribe, la parella formada per la gran deessa Hathor i el gloriós déu Horus vivia separada. Ella al baix Nil, ell a l’alt Nil. Cada any, es trobaven el dia 14 del darrer mes de l’any i passaven 14 dies junts. Per trobar-se, Hathor es desplaçava riu amunt i Horus riu avall. Es trobaven just a mig camí cada any per donar màgia a l’encontre (i això evoca el lloc de trobada dels nens de la pel·lícula Kiseki que també desitgen fets màgics al punt on es creuen dos trens bala). El cas és que Horus i Hathor es vestien per a l’ocasió i, passats els 14 dies, se separaven de nou fins l’any següent. Això es reproduïa en temps faraònics amb les seves imatges en forma d’estàtues. Us ha agradat la historia d’El encuentro bondadoso’?

Ara aeriosament, per als egipcis, l’any tenia 360 dies. Cada mes, 30 dies i les setmanes, 10 dies. El dia 10 es descansava, el dia 9, es cobrava. Per aixo el dia novè es representa amb una mà oberta amb el palmell amunt i el polze plegat sobre ell com esperant el sou degut.

Acabades aquestes explicacions precioses, donem la visita per enllestida. Jo havia llegit que el temple estava dedicat a Haroeris però l’Essam, el guia nubi, em diu que és el nom grec d’Horus. Llavors fem una ullada al museu dels cocodrils momificats que consta d’una única sala. Un museu senzill que sorprèn pels seus habitants.

Acabada l’ullada, anem de compres. Com a tots els monuments que hem vist, un eixam de venedors ens envolta oferint xilabes, escarbats sagrats, braçalets, samarretes, cridant ‘no agobio’, ‘madam!, ‘one euro’, ‘one dollar’, ‘español?’, ‘bueno, bonito, barato’, ‘yo, Raúl, luego vienes, sí?’ ‘más barato que Carrefour’ 🤣. Sempre homes i sempre un somriure fàcil, de vegades nens. Es veuen dones amb burka també però no majoritàriament. Seguim regatejant, hi ha qui fa tractes senzills i ràpids i qui transpira enmig de les negociacions com una tonta 😅😅😅.

Tornem al vaixell. I…ens preparem per la vetllada oriental. Ens vestim amb xilabes i amb mocadors, tots sense excepció de la ‘Família de los ocho’, com ens han batejat. Sopar egipci: cuscús, falafel, baba ganush, baklaves. Fotografies de tothom disfressat. Riem molt i fem vetllada a coberta mentre arribem a Aswan.

[robinthomas]

View this post on Instagram

A post shared by Robin Thomas Grossman (@robinthomasactor)

During a Sunday walk on the streets of Vancouver, I looked up to find what at first seemed like window washers, but to my amazement where artists on ropes dressed in red defying gravity! Fantastic!!! @aeriosadance #aeriosa #aeriosadance @vancouver #vancouverbc (at Vancouver, British Columbia) https://www.instagram.com/p/ByhPlI7Bh8o/?igshid=1s4jg9lj6x1by

[jminter]

Vancouver International Vertical Dance Summit swings into action June 9th

Vancouver International Vertical Dance Summit swings into action June 9th

Vancouver International Vertical Dance Summit (VIVDS) takes dance to new heights and dimensions from June 9 – 15th. 

Vertical dance is an emerging form of dance that uses rock climbing equipment to suspend dancers off the ground on a range of vertical surfaces. The ability to incorporate vertical as well as horizontal paths, allows for innovations in choreography and enables exploration of…

[mikedangeli]

Today is Ancestralizing the Present at the Dance Center! @githayetsk will be bringing to life many new Thunderbirds! Artwork by @mikedangeli Come and join us for a day of free performances, talks, and events that explore the ways in which First Nations protocol informs collaborative works created in partnership by Indigenous and non-Indigenous dance artists. Date: Saturday June 10, 2017 Times: 1pm - 7pm (see full schedule on the FB link below) Location: The Dance Centre (677 Davie Street, Vancouver BC) FREE ADMISSION Featuring: Spakwus Slulem (Eagle Song Dancers) Aeriosa Git Hayetsk (People of the Copper Shield) Guest Panelists Margo Kane and Rebecca Duncan Curator: Mique'l Dangeli See the link to the event page below: https://www.facebook.com/events/2291071084452163/?ti=icl Hope to see you there! Nt'oyaxsism Photo by Chris Randle #firstnations #firstnationsdance #aboriginal #indigenous #dance #dancers #spakwusslulem #miqueldangeli #aeriosa #githayetsk #thedancecentre #scotiabankdancecentre #ancestralizingthepresent #atp #uncededcoastsalishterritories #vancouverbc #drdangeli #uasprofdangeli (at The Dance Centre)

[dancehouse-van]

The Friday Round Up

We are so excited to be just 2 weeks out to the DanceHouse presentation of Compagnie Hervé KOUBI in What the day owes to the night  (Ce que le jour doit a la nuit) April 7 and 8 . In the work, twelve Algerian and Burkina Faso dancers bring a freewheeling energy to a piece that combines elements of capoeira, martial arts, urban and contemporary dance. The dancers, who mostly come from street and hip-hop dance backgrounds, erupt across the stage with mesmerizing power, broad, physical gestures, and gravity-defying leaps and spins; they seem to be improvising even as they move in complex counterpoint. One of Europe’s most distinctive choreographers, Koubi discovered the dancers in auditions in Algeria in 2009 and was inspired to create What the day owes to the night by the eponymous novel (translated from Ce que le jour doit a la nuit) by Yasmina Khadra (pen name for an Algerian army officer). For a taste of what the piece is all about, check out the video here. Tickets are sure to sell out for this show, so get yours now! At the Vancouver Playhouse, 8pm. 

Compagnie Hervé KOUBI Photo Stéphan Audran

On the last weekend of the Vancouver International Dance Festival Friday and Saturday March 24 and 25 Kitt Johnson presents Post No Bills, an exploration of the transformative power of crisis. An ‘arte povera’ performance edging its way into the space where composure is irrevocably lost and the new and unknown barely glimpsed: When the stomachache following the collective Western consumerconstipation has receded. When times have become tough. When ships have been wrecked and the ravaging of the systemic crisis has become chronic. When we can no longer afford to mistake expansion for development. When the choice is either death or change. And when you know the latter won’t happen until you break open the shell, puncture the membrane and scrap the fiction of reality. Right there, we meet the broken and disillusioned human with empty hands. Sent back to square one and free to re-invent the beginning. Post No Bills enters into the series of X-act-produced solos, which focus on various aspects of the human existence. It explores crisis as a creative transformer. And sets off from the Existential Psychology stance that crisis must lead to criticism and not merely be suffered passively. At the Roundhouse Performance Centre, 8pm.

Also Friday and Saturday March 24 and 25 as part of VIDF light breaking broken is choreographed and danced by Karen Jamieson and Margaret Grenier. Peeling back the layers of the unknown, and forging a path to understanding, light breaking broken is the personal journey of two artists reconnecting with language, culture, and identity. With different cultural perspectives and individual histories, Jamieson and Grenier use their distinct dance styles to push each other’s boundaries and find an opening to the light. Through collaborations with Margaret Harris (Elder Advisor), Josh Hite (Video Artist), John Korsrud (Composer), DD Kugler (Dramaturg), Betsy Lomax (Elder Language Carrier), James Proudfoot (Lighting Designer) exploration is extended into intersecting narratives in time and space: broken historical narratives and contemporary connections of hope. At the Woodwards Production Studio, 5pm. Tix 

Aeriosa  Photo Tim Matheson

Thursday March 30, The Dance Centre presents Aeriosa as part of the Discover Dance! series. Aeriosa’s spectacular aerial dance shows bring together the athleticism of rock climbing and the grace and artistry of dance. Using rope rigging systems, the company creates three-dimensional performances that re-interpret gravity, unlock new movement possibilities, and delight and inspire audiences. Choreographer Julia Taffe presents a program of theatre-based work and provides revealing insights into a unique dance genre. At the Scotiabank Dance Centre, noon. Tix

Tuesday March 28 join battery opera performance's Talking, Thinking, Dancing Body (TTDB), a facilitated conversation about aesthetics, context and artistic process. Initiated in 2012 by Lee Su-Feh, it encourages speaking about dance from an awareness of our bodies and the world it lives in. It unabashedly interrogates dance through a lens concerned with decolonizing, anti-racism and feminism. In 2016/2017, TTDB comes as a series of salons led by Justine A. Chambers and Sadira Rodrigues. Their conversations will form the basis of a discussion open to all present. At the Scotiabank Dance Centre, 5pm. FREE

[normstelfox]

Aeriosa. Bodies in Motion series. Image #1 #normstelfoxphotography #aeriosadance #dance #creativedance #motion https://www.instagram.com/p/CJoJMHsMkjc/?igshid=10fddu0qf37oz

[gunboatbaylodge]

Innovative West Coast dancers, choreographers at this year’s Dance in Vancouver

Aeriosa. Tim Matheson photo.

The Dance Centre presents the 11th biennial Dance In Vancouver. A showcase of BC’s contemporary dance scene, it takes place Nov. 22-25 at Scotiabank Dance Centre (677 Davie St.).

Organized every two years, the event provides a unique opportunity to experience some of the West Coast’s most innovative and creative contemporary dancers and choreographers.  The 2017 edition features such acclaimed companies as Aeriosa, Co.ERASGA, Inverso, Wen Wei Dance, dumb instrument Dance, Radical System Art, and more.

To get the inside scoop, we talked to Julianne Chapple. A dancer, choreographer, and former artist-in-residence at the Dance Centre, Chapple performs her piece Self Portrait as part of an afternoon program Nov. 25.

Julianne Chapple, Maxine Chadburn, and Francesa Frewer in Self Portrait. Andi McLeish photo.

Thinking about memory: Julianne Chapple’s Self Portrait

Q: The piece you’re performing, Self Portrait, is described as “a complex and subtle study of identity and female self-image, drawing on depictions of women in art and the relationship with the spectator.” Can you tell us more?

A: This piece was originally inspired by research I was doing around memory, and how it functions. I was interested to learn that, when you remember something, it’s not like that scene has been encoded into a file in your mind. It’s more like each object and person and location has its own kind of file. When you remember a particular scene, your mind is pulling from all of those files to create a collage of the scene in question. So it’s an imperfect process. The more you remember something, the more it’s like a game of telephone with yourself. Details are being changed. And the state you were in at the time is also encoded in your memory. So when you remember it, that’s part of the picture as well.

When you remember a particular scene, your mind is pulling from all of those files to create a collage of the scene in question.

Going deeper into that, I started thinking about a person’s sense of self, and how much of that is based on your memories of your past thoughts and actions. If all of that is so imperfect, then what does that say about your own identity?

Q: How do you translate those ideas into a piece on the stage for three dancers?

A: Each of is is acting as an iteration of the same character. Self Portrait started with one of my own memories and that was translated into a movement phrase that we worked with with the three of us, with small changes happening each time. In the piece, you’ll see the first time this phrase happens, it’s one dancer whose body is in contact with the back wall.

Then a small change, like no longer using the wall but using the floor of the wall, creates this huge difference in the movement phrase overall. So I was playing with this idea of the memory degrading over time, and one small mistake changing the way you think about a certain person or event.

Q: Was there anything going on in your personal life that inspired you to start thinking about memory?

A: I was making this piece in residence at EDAM at the Western Front. That studio has been a really important location in the history of the Vancouver dance scene. I felt honoured to make work in this place where so many amazing people have made work in the past 30 years. I was thinking about that, and the memories that the room would have, and how I was feeling connected to the Vancouver dance community in this great way.

Mahaila Patterson-O’Brien’s 8bitself is part of a Nov. 25 matinee program with Dance in Vancouver. Chris Randle photo.

The things we do for art (and especially contemporary dance)

Q: You’ve created dance for traditional theatre environments as well as art galleries, outdoor sites, and unconventional locations. What is the oddest location?

A: I made a piece in a storefront window at an art gallery. The dancers had to be on this tiny ledge for hours. And they were very kind to indulge me.

Q: We ask a lot of our contemporary dancers, don’t we?

A: Oh yes!

Q: Speaking of which, it seems as though theatre and contemporary dance are increasingly incorporating other media, like film and music. Do you feel that’s necessary to attract a new audience?

A: I’m a big fan of interdisciplinary work. I do some of that myself. Dance can be a great collaborative form, and a lot of people are going in that direction, working with lighting designers and video artists and composers, all coming together to create something.

I also worry that is becoming the expectation for all dance work, and you’ll end up with shows where the majority of the budget has gone to all this external stuff, and the movement itself gets lost in that. So I’m also interested in being able to pare back and give attention to the body itself, and make the choreography the main focus. But it’s great that there’s a variety of things.

Diversity, dance and Vancouver

Q: How important is Dance in Vancouver to contemporary dance in the city?

A: It’s powerful to bring together such a diverse array of companies. When you see them all back-to-back you can see that there’s so much going on. I think sometimes there’s an idea that one style of dance in Vancouver represents this one thing. Having that scope of different practices is really important.

Dance in Vancouver 2017 trailer

Q: What are you looking forward to (friendships and other allegiances aside) at this year’s Dance in Vancouver?

A: Well, there’s a lot of work that I know is great because I’ve already seen it. This is mostly remounts and excerpts that’s already been performed. But I missed Lesley Telford‘s piece (Spooky Action at a Distance (Phase One)) when it happened, so I’m excited to see that.

Lesley Telford. Cara Tench photo.

Hito Steyerl’s video art and Anne Imhof’s ‘bleak S&M-flavored German pavilion’ (artnet.com)

Q: What forms of art do you enjoy when you’re not dancing or thinking about dance?

A: I’m a big fan of contemporary art in different forms. I draw the majority of my inspiration from outside of the dance world.

I’m a big of Hito Steyerl right now. She’s this amazing filmmaker. And I went to the Venice Biennele recently. The German pavilion was the best thing I’ve seen in a while. Anne Imhof performance work (Faust), which is basically a dance work, but because it’s an arts festival, it wasn’t credited that way. But she hired all these dancers and she was able to work with the architecture and add all these structures inside the pavilion. Really amazing.

Julianne Chapple’s Self Portrait is part of a mixed program scheduled for Nov. 25 at 1 p.m. Other pieces in the program include Mahaila Patterson-O’Brien’s 8bitself, Marissa Wong’s Surrendurance and Shay Kuebler’s Feasting on Famine (excerpt).

Surrendurance (f. Marissa Wong, Stephanie Cyr, Sarah Formosa) is also part of the program. Luc Roderique photo.

For tickets and info visit thedancecentre.ca.

Inside Vancouver Blog

[creativemorningsvancouver]

Our Q&A with March speaker Julia Taffe who will be talking on the topic of Creativity and Taboo

Choreographer Julia Taffe combines art, environment and adventure, making dances for buildings, mountains, neighbourhoods, theatres and trees, finding new movement perspectives in the realm of suspension.

Julia is the artistic director of Aeriosa, a Vancouver-based vertical dance company. She has choreographed over 25 works on location including: Stawamus Chief Mountain in Squamish BC, Taipei City Hall, Cirque du Soleil Headquarters, Vancouver Library Square, Banff Centre, Scotiabank Dance Centre and Toronto’s 58-storey L Tower.

Prior to founding Aeriosa, Julia performed across Canada with Ruth Cansfield, and around the world with Bandaloop. Julia attained ACMG Rock Guide certification in 1997. She has worked as a co-producer, choreographer, cast member, stunt performer, mountain safety rigger and creative movement consultant on various film and television productions in Canada and abroad.

How do you define creativity and apply it in your career? I define creativity as problem-solving using whatever resources I have at hand. In my work that usually means dreaming, playing, instigating, organizing, sitting with the unknown and uncontrollable, inspiring other people, taking thoughtful risks and keeping one eye on the clock.

Where do you find your best creative inspiration? In nature. And in that magical state between being asleep and being awake.

What’s the one creative advice or tip you wish you’d known as a young person? Experience and wisdom are not always the same thing. One does not necessarily imply the other. Nurture your integrity and be prepared to lead.

Who would you like to hear speak at CreativeMornings? I would really like to hear from some of the other species we share Earth with — got any ancient trees on the list? Any cetaceans? Any fungi networks? My human-centric short list includes authors Ursula K Le Guin and Neal Stephenson.

Two extra questions:

What fact about you would surprise people? I retired from my career as a contemporary dancer in 1996 - I was burnt out and committed to a starting new career as a mountain guide. Then in 1998 I took a spectacular tumble off a rock ledge on the Squamish Chief. I should have died, but somehow I didn’t. My faith in probability was shaken and my faith in magic carpets was reignited. A few weeks after what I like to think of as my "re-birthday", I found my way back to dancing wholeheartedly again - but this time - immersed in vertical dance, a practice that continues to provide me with intriguing opportunities for staging performances and shifting perspectives with dance.

What’s the craziest thing you’ve ever done? My very first backcountry adventure was a one month trip, prospecting for gold in the Yukon. My companions were Annie the mule, La Fille the dog and Sylvain the orphan-hermit. We didn’t take a stove, proper boots, or sleeping pads. One night Annie was scared away from our camp by predators, while we slept. We couldn’t carry all our supplies without her, so Sylvain suggested we built a raft and float off the far edge of our one and only map towards the Arctic Ocean. I had to put my foot down and insist we loop back south towards the road instead. We cached most of our supplies in the bush and spent a hungry week walking through grizzly territory. When we finally made it to our jeep, we drove up and down the Dempster Highway, shaking a can of oats. It didn’t take long to find Annie, and all of us were thrilled to have survived.

[claudes]

119 Aeriosa Refuge #365project #internationaldanceday #aeriosa #bungee #atotd "The amazing help of two friends with my application forms" (at SFU Woodward's)

[aeriosadance]

Repost credit: @port_and_land Online Event Wed, 3 November 2021 11:00am – 12:30pm PST 'Being Called to the Land' with Julia Taffe https://www.eventbrite.com/e/portrait-and-landscape-12-with-julia-taffe-and-diana-lopez-tickets-196132857657. Vertical dance site work offers me a pathway to thrive as an artist by deepening my connection to the lands and people. I will introduce myself and my artistic practice in relation to the unceded Indigenous lands where it has been created and performed, and I will reflect on the precepts that have emerged to guide my creative practice of vertical dance. Next, Diana Lopez Soto will introduce how she is weaving sustainable and regenerative practices into her life and practice. Expanding into the topic of rootedness in dialogue with Diana, we will reflect on what it means to return to the land. What responsibilities do we accept, in the context of decolonizing our artistic practices here in Canada and as visitors in other people’s territories around the world? @wandamoretti2020 @gravitylevity @vertical_kate @dlsdanza @aeriosadance @waicymruwales @bangor_university #danceonwalls #lookup #verticaldance #aerialdance #aerialists #aeriosa #aeriosadance #newdance #aerialarts #aerialartists #aerials #dancingintheair #internationaldancers #innovativedancers #verticaldancers #verticaldancenetwork #dancetheater #skydancers #artofmovement #dance #danceartists #contemporarydance #vancouverdancers #vancouveraerialists #vancouververticaldancers #dancersthatfly #verticaldancevancouver #dancingonwalls #buildingdancers (at Eventbrite) https://www.instagram.com/p/CVgWf7cBEQ6/?utm_medium=tumblr

[alpineartist]

It was a pretty big job to get everyone in place but totally worth it to see #Aeriosa dance half-way up the #squamishchief #grandwall

[jminter]

Scotiabank Dance Centre Celebrates its 20th Anniversary

Celebrate the 20th Anniversary of the #ScotiabankDanceCentre at the @DanceCentre annual open house #sbdc20 #thedancecentre

Celebrate the 20th Anniversary of the Scotiabank Dance Centre, at its annual Open House on October 2nd. One of Canada’s flagship dance facilities, The Dance Centre is presenting a special edition of its popular Open House, featuring a performance on the outside wall of the building by Vancouver’s spectacular aerial dance company Aeriosa, and a creative activation of the Granville Street-front by…

[mikedangeli]

Today is Ancestralizing the Present at the Dance Center! @githayetsk will be bringing to life many new Thunderbirds! Artwork by @mikedangeli Come and join us for a day of free performances, talks, and events that explore the ways in which First Nations protocol informs collaborative works created in partnership by Indigenous and non-Indigenous dance artists. Date: Saturday June 10, 2017 Times: 1pm - 7pm (see full schedule on the FB link below) Location: The Dance Centre (677 Davie Street, Vancouver BC) FREE ADMISSION Featuring: Spakwus Slulem (Eagle Song Dancers) Aeriosa Git Hayetsk (People of the Copper Shield) Guest Panelists Margo Kane and Rebecca Duncan Curator: Mique'l Dangeli See the link to the event page below: https://www.facebook.com/events/2291071084452163/?ti=icl Hope to see you there! Nt'oyaxsism Photo by Chris Randle #firstnations #firstnationsdance #aboriginal #indigenous #dance #dancers #spakwusslulem #miqueldangeli #aeriosa #githayetsk #thedancecentre #scotiabankdancecentre #ancestralizingthepresent #atp #uncededcoastsalishterritories #vancouverbc #drdangeli #uasprofdangeli (at The Dance Centre)

[cygneeclectique]

Hanging Around

Aeriosa Dance Society

Brian Finke for The New York Times

[gunboatbaylodge]

First Nations dance companies perform at free event this Saturday

Vertical dance company Aeriosa will perform this Saturday June 10 at Dance Centre. They’ll present an adapted version of their 2015 collaboration Trees Are Portals.

This Saturday, Ancestralizing the Present will “explore how First Nations protocol informs collaborations between Indigenous and non-Indigenous dance artists,” according to the press release. For people interested or curious about First Nations dance, it’s a chance to catch some of the West Coast’s finest practitioners.

Curated by Dance Centre Artist-in-Residence Dr Mique’l Dangeli (Tsimshian Nation), the event features Squamish dancer group Spakwus Slulem (Eagle Song Dancers) and vertical dance company Aeriosa, and Northwest Coast First Nations mask dancers Git Hayetsk.

Margo Kane, Artistic Managing Director of Full Circle: First Nations Performance, will be part of a panel discussion on collaborations between Indigenous people of different First Nations. The final event of the day is the presentation of a new collaborative work by three of the groups performing at the event – Aeriosa, Spakwus Slulem, and Git Hayetsk. Ancestralizing the Present takes place at Dance Centre (677 Davie St.) from 1 – 7 p.m. June 10.

Born and raised on the Annette Island Indian Reserve, Sm Łoodm ’Nüüsm (Dr. Mique’l Dangeli) is a dancer, choreographer, curator, activist, and Assistant Professor of Alaska Native Studies at the University of Alaska Southeast. For the past 14 years, she and her husband, Nisga’a artist Mike Dangeli, have shared the leadership of Git Hayetsk.

Ancestralizing the Present schedule of events:

1-1.30 p.m. Performances: Spakwus Slulem (Eagle Song Dancers) and Aeriosa – Trees Are Portals 1.30-1.45 p.m. Workshop: Learn a social dance (Gathering of the Eagles) 2-2.30 p.m. Talkback and Q&A: Mique’l Dangeli, Spakwus Slulem, Aeriosa 2.30-3 p.m. Talk: An introduction to Mique’l Dangeli’s research on First Nations protocol, collaborative practices, and ancestralizing the present 3-3.30  p.m. Performance: Thunderbird Song & Dance by Git Hayetsk 3.45-4.15 p.m. Talkback Panel: Collaborations between Indigenous people of different First Nations, with Mique’l Dangeli, Margo Kane, Rebecca Campbell 4.15-4.45 p.m. Thunderbird Collaboration Workshop Demonstration 5:00-5:30 Final Performance: New collaborative work by Aeriosa, Spakwus Slulem, and Git Hayetsk 5:45-7 p.m. Closing remarks and reception

Inside Vancouver Blog