Good Women Dance Collective | Dancing on the Edge

Description
This piece explores ASMR and the effects of tonal vibration in the body. Starting from a place of auditory stimulation, mind-tingling sounds fill the space with unidentifiable sources. The performance space is filled with an immersive set design emphasising layers of perplexity in the soundscapes presented. The performers use voice and body as the environment shifts to structured and nuanced choral music.

Notes about deaf interpretation:
Deaf Interpreters are similar to ASL interpreters in that they create a translation between two languages. However, they are instrumental in their ability to provide culturally immersed, relevant, and instinctual interpretation to create an authentic ASL performance. Deaf Interpreters often work in tandem with ASL interpreters, receiving a simple ASL translation from the interpreter and actively reworking it into a comprehensible and fluent ASL performance for the audience.

They are the visible component of a show while the ASL interpreter is typically in the front row or otherwise situated near the stage and visible to the DI. Alternatively, the Deaf Interpreter can work with the hearing performers to develop an integrated performance where they are in constant sync with cues to support each other, precluding the need for ASL interpreters during performance.

For equity-seeking art groups, including a Deaf Interpreter is an effective way to create safer spaces for Deaf artists and open up more opportunities that centre Deaf experience and talent.

Notes about the music:
The Good Women Dance Collective recognized after creating ASMR to segments of music by Caroline Shaw and Roomful of Teeth from their album, Partita for 8 Voices, that there have been allegations of cultural appropriation of their music inspired by Inuit throat singing and other Indigenous musicians. We are very sorry that this piece is potentially triggering to witnesses of our work. We obviously need to do better in the way of researching music we are using for our work. When we discovered this information, we made a monetary donation equal to what we paid in fees to Room Full of Teeth to Inuit Tapiriit Kanatami and will strive to do better moving forward. The following link is Roomful of Teeth and Caroline Shaw’s statement about the matter: https://www.scribd.com/document/431605620/Public-Statement#

Choreographer | Creator Name: Rebecca Sadowski with mentorship by Alison Kause

Composer: Caroline Shaw with Roomful of Teeth, segments from “Partita for Eight Voices”

Music Editing: Rebecca Sadowski

Performers Name(s): Deviani Andrea, Alida Kendell, Krista Lin.

Lighting Designer/Tour Manager: Ainsley Hillyard

Integrated Deaf Performer: Connor Yuzwenko-Martin

ASL Interpreters: Gail Benin and Robyn Lavender

Deviani Andrea
Deviani Andrea is a dance artist based in Amiskwaciwâskahikan / Edmonton. Originally from Mexico City, she holds a BA in Literature by the University of Mexico and studied at the Mexico City’s Dance School and Ema Pulido’s Dance Studio. Since landed in Canada, Deviani has worked as Movement Instructor for the Citadel Theatre, and as a guest teacher with Azimuth Theatre. She has performed with SkirtsAfire, Mile Zero Dance, Fringe Festival, Found Festival and Orchesis Dance Society and has choreographed for the Alberta Musical Theatre Company

Alida Kendell
Alida Kendell is a dance artist, teacher and choreographer in Amiskwacîwâskahikan. She has been a collective artist with GWDC since 2009 and during this time has been shaped, challenged and encouraged by its programming, its artists and the communities GWDC engages with. She has been most influenced by the creative processes of Mélanie Demers, Peggy Baker and Sasha Klienplatz. She is curious about the process of enabling physical change through introspection and play, and currently practices durational improvisations that take her further away from and closer to herself.

Krista Lin
Krista Lin is a contemporary dance artist based in amiskwacîwâskahikan (colonially Edmonton). A graduate of The School of Toronto Dance Theatre, Krista has studied with renowned instructors in Israel, Taiwan, Montreal, Vancouver, Toronto, Ottawa, and Edmonton. Krista has performed across the country in works by Heidi Strauss, Justine Chambers, Gerry Morita, and Susie Burpee, among others. Krista teaches dance in public and private institutions, and has taught outreach workshops in Ontario, Alberta, and Taiwan. With a diploma in Arts and Cultural Management (MacEwan University), Krista is a part-time arts manager and arts advocate. She is a mom to Andy, Lily, and dog-child Louie

Connor Yuzwenko-Martin
Connor Yuzwenko-Martin is a Deaf Queer public relations specialist, actor, producer, and playwright. He has nurtured a lifelong passion for theatre and accessibility, beginning in grade school with simple skits and continuing into his young adulthood with his first professional engagement as a rookie improvisor at Rapidfire Theatre. Currently he is writing and producing his first original script, After Faust, in partnership with RISER Edmonton and premiering in February 2023. He is also slowly and gently launching The Invisible Practice, a hybrid Deaf arts collective and public relations agency

Rebecca Sadowski
Rebecca Sadowski is an Edmonton- based Métis performer and choreographer. She is an artistic member of the Good Women Dance Collective and curates dance programming for the Nextfest Festival. Rebecca holds a BFA in dance from Ryerson University and teaches dance with dancED Movement Projects. Rebecca has previously worked as an understudy with Good Women Dance Collective and Northern Light Theatre’s 2019 co-production of The CARDIAC SHADOW by Clay McLeod Chapman. She also took part in the production of THE BEGINNING OF HAPPINESS, a collaboration with vocal quartet, Femme. Rebecca has performed in BEARS by Matthew MacKenzie with Punctuate Theatre and the Citadel Theatre, and performed in AYITA by Teneil Whiskeyjack at Skirtsafire Festival this past season. Rebecca has produced several dances including THE SASH MAKER, which was developed into a dance film in 2020 with cinematographer Tamarra Lessard, as well as BREAKING BAPTIST produced by Catalyst Theatre. Rebecca continues to deepen her connection to her Métis roots by learning jigging and the traditional skill of finger-weaving sashes. She is so grateful for the Good Women and their ongoing support and encouragement in her performance and choreographic pursuits.

Alison Kause
Alison Kause is a founding member of the Good Women Dance Collective. She is a graduate of the Grant MacEwan Dance Program and the School of Contemporary Dance at SFU, as well as the Education program at the University of Alberta.

Alison has trained and performed across Canada and been inspired by work with local and international colleagues. She has worked with Justine Chambers, Melanie Kloetzel, Peggy Baker, Shasha Ivanochko, Melanie Demers, Mile Zero Dance, Heidi Bunting, Brian Webb, Jen Mesch Dance Conspiracy, AM Choreography, Krista Posyniak, Richard Lee, Isabelle Rousseau, Katherine Semchuk, Jessica McMann, Marynia Fecekz and GWD Collective artists. Alison has performed in Montreal, Toronto, Ottawa, Calgary, Vancouver and Edmonton.

Website: goodwomen.ca

Facebook: @goodwomendancecollective

Instagram: @goodwomendance