Photo: Santee Smith with graphics by Inti Amaterasu / Artist: Katie Couchie
Welcome to Final Tuning 2024. We acknowledge our home on the side of Sacred Buffalo Guardian Mountain with deep respect and gratitude. In the spirit of respect and truth, we honour and acknowledge the Banff area, known as "Minhrpa" (translated in Stoney Nakoda as "the waterfalls") and the Treaty 7 territory and oral practices of the Îyârhe Nakoda (Stoney Nakoda) – comprised of the Bearspaw, Chiniki, and Goodstoney First Nations – as well as the Tsuut'ina First Nation and the Blackfoot Confederacy comprised of the Siksika, Piikani, Kainai. We acknowledge that this territory is home to the Shuswap Nations, Ktunaxa Nations, and Métis Nation of Alberta, Region 3. We acknowledge all Nations who live, work, and play here, help us steward this land, and honour and celebrate this place. We are thrilled to launch our new dance program, Final Tuning.
Final Tuning is an excellent opportunity for independent choreographers and companies ready to test their final work in a theatre space with the support of creative faculty (dramaturge, lighting designer and composer and others) and the hands-on support of the professional technical team of the Jenny Belzberg Theatre. The participants benefit from the time and final creative process to polish and present the work as a preview to a public audience at the Banff Centre. We are very excited to support a crucial step in the final creation process of completed work before its world premiere.
Our mission is to create a fertile learning environment to support diverse artists in their creative process and to encourage all participants to share ideas, collaborate and co-create. I am pleased to welcome back Ana Sanchez-Colberg and Edgardo Moreno as faculty.
We are grateful to the leadership of Chris Lorway, Mark Wold, Amiel Gladstone and all the tremendous support from the staff of the Banff Centre; we thank all the people who nurture our bodies and souls to make this possible.
-Alejandro Ronceria
Kaha:wi Dance Theatre's SKéN:NEN is an immersive performance experience, with a powerful multi-layered, cultural knowledge-embedded narrative that transcends time and place.
The Kanyen'kéha (Mohawk) word skén:nen (Sgah:nah) translates to mean peace and balance. On the edge of collapse, in an uncertain and imbalanced reality, the production SKéN:NEN conveys a narrative set in an imagined post-environmental catastrophe world. The focus is on Indigenous futurism in performance, exploring themes of resilience within self, community, and the natural world.
Through mesmerizing choreography, storytelling, and innovative projection design audiences witness the journey of a young Kahnyen’kehàka girl, “Niyoh” and other climate survivors. It’s a journey about the need to remember and revitalize humanity’s interconnectedness with an environment in recovery. For Niyoh this is remembering her rites of passage, listening and sustaining the Earth and being guided by ancestors.
The performance is approximately 60 minutes with no intermission.
Please turn off all cellphones, photo/video cameras. Recording by any means is strictly prohibited.
This performance will include a Q&A with collaborators. Please remain in your seats for the discussion.
Founded in 2005 by Artistic Director Santee Smith, Kaha:wi (Ga-HA-Wee) means “to carry” in the Kanyenʼkéha (Mohawk) language and is a traditional name for Smith’s family. Operating as an artist-run sole proprietorship since 2001, KDT officially incorporated into a not-for-profit organization in June 2005 and received charitable status in 2006. The company’s home community is Six Nations of the Grand River and home city is Toronto, ON.
KDT supports research, creation, production and dissemination of the work of founding Artistic Director Santee Smith along with artistic collaborators. Smith’s programming fosters opportunities for creativity; investment in artistic process and dialogue; exploration of Indigenous methodologies; collaboration and inter-cultural exchange with artists and community. KDT actively promotes Indigenous voices and philosophical framework through resurgent process and practice.
KDT carves space for Indigenous audiences to witness themselves, their stories, body and voice, a very rare occurrence in the performing arts. For non-Indigenous audiences, KDT’s performances offer counter-narratives and insight into culture not represented in the mainstream narratives.KDT’s programming cultivates and engages with artists and community through artist talks, community workshops, and dance training such as our annual Creation Lab.
Set in the year 2050, SKéN:NEN introduces audiences to a world grappling with the aftermath of an environmental catastrophe. Against the backdrop of rising virus-filled waters and toxic air, a young girl Niyoh, embarks on a journey from Ohswé:ken/Six Nations of the Grand River to her Kahnyen’kehàka homelands in the Adirondack mountains. Seeking refuge on high ground and in a hidden away community bunker camp, she encounters other climate survivors—a feral child/Tsítsho, quantum engineer/Kage O:naira and otherworldly woman/Tsikónhsase. The developing cohesion of the fledgling community is interrupted by the lurking survivor Kage who is desperately trying to re-establish systems connection.
The ancestral mission to restore love, peace and harmony back to the people is mirrored in SKéN:NEN as the characters rebuild in post-apocalyptic times. They struggle with lost, unsteady ground and emotions. Condoling with the land and re-aligning to the newly shifted Earth, they struggle to find their balance and way forward together. The narrative embodies Onkwehon:we philosophy and concepts about the establishment of Kayaneren’kó:wa (The Great Law) and Skennen'kó:wa (Great Peace); the role of women represented by Tsikónhsase, the first person to accept skén:nen; the role of Tadodarho changing his entangled mind from destruction to peace; rites of passage; and rebuilding kinship. Epic Onkwehon:we imagery represents: The Tree of Peace and the White Roots of Peace, wampum, traditional pottery designs and nature’s patterning. As the Survivor’s rebalance and unify, glimmers of the Tree of Peace appear along with foundational cultural symbols: wampum belts, celestial domes and geo patterning that bind the groups together to affirm Onkwehonwehnéha/ way of life of the original people.