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.
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.
Vulnerability and resiliency have been key themes in my 45 year career as a sculptor and a painter. Since the early 2000’s, I have been inspired by others including my friend Alanna Mitchell, author of Seasick: the Crisis of the Global Oceans and my network of Blackfoot women elders to explore human impact on the environment. As such, I’ve delved into the world of plankton, the Ponderosa Pine (a recent collaboration with poet Nancy Holmes) and its struggle to survive amidst the increasing presence of fires in Western Canada. I am intrigued by the intricate tangle of nature. My most recent installation, “SALVAGE: remnants of hope and despair”, featured at the The Art Gallery of Alberta in 2019-2020, reflected my deep need to explore the question of how to survive when everything around us collapses. This large installation, which had its first “performance” 40 years ago, is the connective tissue in much of my work and has literally grown alongside me as I’ve grown and struggled as a woman and an activist over decades. Interestingly, this massive piece just barely preceded the onslaught of Covid and continues to resonate as we attempt to regroup and move forward. I am currently working on its next format as well as continuing my painting explorations.
Chantal Chagnon is a Cree / Métis Singer, Drummer, Artist, Storyteller, Actor, Educator, Workshop Facilitator, Social Justice Advocate and Activist with roots in Muskeg Lake Cree Nation, Saskatchewan. She shares Traditional Indigenous Songs, Stories, Culture, History, Arts, Indigenous Craftsmanship and Teachings. Chantal has presented in Classrooms from Preschool through University and Professional, Community, and Social Justice Events and Gatherings. Chantal aims to entertain, engage, enlighten, educate, and inspire everyone she meets.
Wren is a playwright who started her career in Whitehorse, Yukon, Canada (territory of the Kwanlin Dün First Nation & Ta’an Kwäch’än Council) where she was born and raised. Currently based in Winnipeg, Manitoba, Canada on Treaty 1 territory, she is a graduate from the University of Winnipeg’s Theatre & Film Honours Program specializing in acting, directing and filmmaking. In addition to playwriting she also works as an arts administrator and producer.
Lin Snelling’s performance, writing and teaching is based in the qualities improvisation can offer as it applies to dance, theatre, visual art and somatic practice. She toured the world extensively as a performer with Carbone 14 and worked with many improvisation ensembles. As Professor at the University of Alberta she is presently teaching dance, experiential anatomy and composition and is Coordinator of the MFA in Theatre Practice program. She received a McCalla Professorship in 2019 from the University of Alberta for a new collective creation, A Sounding Line. Her recent dance collaborations are Entrances with David Gagnon Walker and Tori Morrison, eva as part of StageLab, The Liminal with Brian Webb, anything goes: GWG Dance in 17 parts with Gerry Morita, and Versing with musician/composers Michael Reinhart, Jeremi Roy, David Ryshpan and lighting designer Yan Lee Chan. She works with Montreal choreographer Tedi Tafel and was part of Crying in Public, Life World, Calendar and Everyday. Her collaboration Performing Book with visual artist Shelagh Keeley happened at the Edmonton Art Gallery, MoMA, the Power Plant/Toronto, and the VAG/Vancouver. She continues with Rewriting Distance; a workshop and performance with the dance dramaturge Guy Cools. www.rewritingdistance.com
If the Borch Brother’s music style were to be personified, the heart and soul would be East Coast Fiddle music with a spine of old tyme fiddle. The head would be folk and each appendage would be reaching into jazz, swing, ukrainian and celtic.
The Borch Brothers are Rigel (fiddle), Marten (guitar, vocals, harmonica and kick-drum) and Garnet (accordion, piano and vocals). They released their first album since 2006, Gathering Change, in June, 2021 and will be releasing an EP in June 2022. Beyond being musicians, the Borch Brothers are also activists, community builders and performers. Their aspirations aren’t for fame or fortune but instead to play more of their favourite gigs: where they connect with the audience as they bounce, dance and sing along.