sirenscrossing is an international, collaborative umbrella for a transdisciplinary site-specific practice. We think of humans as only one node of liveliness in the interweave of the living Earth. Through creating audience experiences in everyday spaces, we deepen into the lived reality of humans (even those in cities) and their sympoietic mesh with nonhumans, landscapes, and Earth systems. sirenscrossing seeks to enliven individual human’s awareness of their spiritual, biological, ecological, social, and technological entanglement in multispecies and hybrid bio/geo/techno processes. All of this has become increasingly urgent, on a planet in crisis. We hope to contribute to a tidal surge of momentum for change. Commissioned artist for Coventry UK City of Culture (2021-2022).
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.
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.