Killa Watt’s performances and personas are neither created nor destroyed. Their performances are a constant source of transformation and evolution. They’re a blend of rock, nerd, geek and everything in between. Let Killa Watt resonate in your neuro-circuits.
Project SculptShore is a Art, Action, and Education initiative launching for its first of many campaigns on World Oceans Day June 8th 2022.
For our first installment we have partnered with local artist at the BernArt Maze in creating a life size baby North Atlantic Right Whale sculpture, modeled after the calf of Snow Cone, the North Atlantic Right Whale featured in the documentary, Last of the Right Whales. This interactive sculpture is fillable and will be used to collect washed-up debris during organized shoreline cleanups across the Maritimes. We will be engaging communities in shoreline cleanups by creating a social media sought-after summer selfie with our baby whale. Changing the narrative of conservation engagement from focusing on the problem to showing people that they are, and can continue to be an integral part of the solution, leaving them educated, empowered, excited to participate in other initiatives.
Tina M Pearson is a composer, media artist, performer and facilitator. Her projects invite stretched modes of time, perception and attention, in composition, field recording, performance, and facilitating, and often occur in community-based settings, outdoors, and within/through online platforms. Her work is increasingly focused on linking biospheres, ancestral memory, and technologies, uncovering connections that have been minimized, forgotten, or unimagined. Current projects include “Root Blood Fractal Breath” with Toronto’s ContaQt ensemble; “Displacement and Drift”, a mixed reality machinima and virtual installation; and “Tree Sing”, a long term approach for woman-identified vocalists and dancers to embody languages, sounds and movements directly from trees. Pearson’s work has been commissioned for presentation in concerts, installations, choreography, broadcasts, and video in centres through North America and Europe. She was editor of Canada’s Musicworks magazine, and taught Sound Studies at OCAD University in Toronto. She is director of LASAM Music, a member of the global Avatar Orchestra Metaverse collective, and a certified Deep Listening® practitioner through Pauline Oliveros. Pearson is a first generation Canadian of Nordic / Slavic descent, and lives on the unceded lands of the Lkwungen peoples on Vancouver Island.
Green Kids Inc. is a live-theatre company dedicated to environmental education through performance! Our mission is to educate children, teachers and families on environmental issues and inspire them to be tomorrow’s leaders by taking positive action towards protecting our environment.
Minoya is an artist and educator, with an educational background in linguistics and psychology. She is currently pursuing her Masters in Teaching at the Ontario Institute for Studies in Education. An advocate the healing properties of art-making, Minoya paints en plein air to ground herself during walks along the Credit River. As she began to notice changes in seasonal patterns, her practice which started as a means of meditation has turned into a series of sketches tracking the changing landscape by the Credit River in Ontario. Minoya seeks to understand the extent to which human activity affects these changes and hopes to learn how this impact can be mitigated. Through CAW, Minoya hopes to form connections with other climate action advocates to enrich both her artistic and teaching practice.
Two Birds Theatre is developing Apocalypse Play for performance in an urban park. It’s a serious comedy for terrifying times, an intergenerational auto-fictional collaboration about climate anxiety, grief and the legacy of arts activism and motherhood, created and performed by mother/daughter feminist theatre artists Natasha Greenblatt and Kate Lushington. Originally sparked by Natasha’s desire to interrogate her mother Kate’s satirical anti-nuclear performance pieces from the 1980’s (when she herself was born), this history has become especially potent now that Natasha is having her own child. Is it possible to make art and find connection, courage and community in the face of a precarious global future?
Monique is passionately dedicated to a theatrical practice as an act of resistance. Spun directly from the family-web of New York’s Spiderwoman Theater, her theatrical practice mines stories embedded in the body. Her first play Princess Pocahontas and the Blue Spots was produced in 1990 and is widely taught in curricula internationally. She is the co-editor, with Ric Knowles, of Staging Coyote’s Dream: An Anthology of First Nations Drama in English, vols. I & II and the upcoming vol.III, co-edited with Lindsay Lachance.
Hemispheric Encounters: Developing Transborder Research-Creation Practices brings together scholars, artists, activists, and community organizations from across the Americas to explore hemispheric performance as an artistic practice for addressing social and environmental justice. The Ecologies cluster considers site-based performance strategies that address politics of land (and agencies of its more-than human inhabitants), as well as spatial politics of occupying public spaces. We delve into legacies of transnational resource extraction and land politics.
In our tiny studio on the traditional territory of the Kwanlin Dün First Nation and the Ta’an Kwäch’än Council, Ramshackle Theatre creates cardboard puppet shows out of recycled materials, outdoor theatre events and original plays for Yukon and national audiences.
No.9 is a cultural organization that provides youth with creative educational tools to address Climate Change and to foster dialogue between Indigenous and non-Indigenous people.
The Climate Art Web (CAW-WAC) is a grassroots network that brings together climate artists living in northern Turtle Island (Canada).
