FIRST NATIONS DIALOGUES
First Nations Dialogues New York was a sector led, gathering of artists, presenters, curators and producers held across various locations in New York from the 5th - 12th January 2018. The gathering built on decades of sector gatherings and organising by our Elders and practitioners who have contributed a lifetime of work to enable these important gatherings to take place.
First Nations Dialogues explored opportunities for a new four-year strategy of engagement, collaboration, exchange and expression.
Artists interested register here »
Presenters interested register here »
This information is collected by BlakDance (Australia) on behalf of the Global First Nations Performance Network, led by consortium; Blackfulla Performing Arts Alliance (Aus), ILBIJERRI (Aus), YIRRAMBOI (Aus), Emily Johnson/Catalyst (US), Vallejo Gantner (US), Indigenous Performing Arts Alliance (Canada). Your responses will help us to understand how the GFNPN network can best meet your needs. This is an open invitation to register your interest, funding is self reliant.
Australian residents please see Australia Council for the Arts funding rounds here » Expressions of Interest close: Tuesday 21 August 2018 AEST
Balancing Arts: Art, Community and Leadership
Taking Indigenous dance and theatre to the world’s stage.
Indigenous Performing Arts
An overnight success that’s taken 50 years.
Yupi’k woman Emily Johnson from Catalyst Dance, and New York based Australian presenter Vallejo Gantner, have led a gathering of First Nations Americans, Australians and Canadians in dialogues to establish an international platform for First Nations performing arts with presenters in New York in January.
They held a series of conversations and provocations; First Nations Dialogues, attended by local New York based Native American practitioners and Elders including founding member and Director, Muriel Miguel from Spiderwoman Theatre (www.spiderwomantheater.org) and Diane Fraher from American Indian Artists Inc. AMERINDA, who presented No Reservation: New York contemporary Native American Art Movement, with over 60 presenters, producers and key sector drivers. The attendees of the dialogues agreed ‘decolonial cultural transformation was at a critical moment’ Ali Rosa-Salas, Director of Performance Programs of Abrons Arts Center, New York.
New York in January is a priority market identified by the Australia Council for the Arts, every year more than 45, 000 performing arts leaders, artists and enthusiasts from across the globe converge, with eleven festivals, industry convening’s and international market places, it’s one of the largest and most influential gatherings of its kind. One of the major industry events is ISPA, the International Society for the Performing Arts, the preeminent global network of leaders in the performing arts, representing 185 cities across the world. For the first time ever, January’s ISPA hosted a global Indigenous reception.
Performance Space (PS122) joined the cohort of presenters and venues also interrogating the absence of First Nations performance in New York with a presentation from artist and curator, Paola Balla, titled The Future Isn’t Colonised.
Launching the First Nations Dialogues
Bringing the disciplines together
50 years ago Uncle Bob Maza travelled to Harlem to meet the national Black Theatre and the Native American Spiderwomen sisters Muriel and Gloria Miguel. Today, that relationship building practice continues. Having maintained a dialogue with Native American performing artists over the years and touring Jack Charles vs The Crown to New York – presented at the prestigious PS122 in 2017, ILBIJERRI know too well the challenges on the ground for connecting with local Indigenous communities.
Rachael Maza, Artistic Director of ILBIJERRI Theatre Company noted that ‘in New York, conversations around colonisation have been historically, underexplored. But with a recent shift in cultural thinking, artists agree the time is now, conversations about colonisation are coalescing and moving into action.’
Cultivating international touring, exchange and collaboration for the Australian Indigenous dance sector has been an explicit priority articulated by the Australian Indigenous dance sector since the Creating Pathways forum in 2005, led by Marilyn Miller (the founder of BlakDance) and was reiterated at Dana Waranara in 2015 and at the 2017 National Indigenous Dance Forum (NIDF) at YIRRAMBOI First Nations Arts Festival (www.blakdance.org.au/s/2017-NIDF-REPORT.pdf). BlakDance is mandated to enhance these opportunities and provide pathways, particularly for the burgeoning rise of the next generation of independent choreographers such as; Mariaa Randall, Ghenoa Gela, Thomas E.S. Kelly, Carly Sheppard, Joshua Pether, Amrita Hepi, Eric Avery, Taree Sainsbury, Ngioka Bunda Heath, Henrietta Baird, Joel Bray, Katina Olsen, Sinsa Mansell and many more.
Merindah Donnelly, Executive Producer of BlakDance says;
“The Next Gen of Indigenous choreographers coming out of the Australian Indigenous dance sector are dynamic and hungry, their work is extraordinary. They should be prolific in the national touring circuit here in Australia, and given the opportunity, they could crack the New York scene. This strategy is about enabling a future where our artists are being presented at the pinnacle of contemporary arts. We are laying the tracks for this to happen in 2-5 years’ time.”
The First Nations Dialogues seeks to empower the Indigenous Performing Arts sector through the building of relationships with North American First Nations arts communities and the broader market. The companies hope this is the start of what will develop into a long term, four year strategy for the Australian Indigenous performing arts sector, that involves not just industry-focused exchange, but brings cultural and social exchange between First Nations artists across continents.
This strategy comes at a time when New York institutions are engaging in conversations about appropriation and authorship, not only from African American perspectives but from Native American views as well (http://americanrealness.com/portfolio-type/on-learning-from-native-american-realness).
Attendees of the First Nations dialogues, New york 2018
Lee-Ann Tjunypa Buckskin – Australia Council for the Arts
Paola Balla – Artist, Curator, Writer and Lecturer
Merindah Donnelly – BlakDance
Jermaine Beezley – ILBIJERRI Theatre Company
Angela Flynn – Kukuni Arts
Ben Graetz – Independent Producer
Sarah Jane Norman – Independent Artist
Vallejo Gantner – Independent Presenter
Collette Brennan – Abbotsford Convent
Judy Harquail – Ontario Presents
Emily Johnson – Catalyst
Rulan Tangen – Dancing Earth
Quita Sullivan – New England Foundation of the Arts (NEFA)
Andre Bouchard – Walrus Arts Management and Consulting, LLC
Muriel Miguel – Spiderwoman Theater
Deborah Ratelle – Spiderwoman Theater
Lulani Arquette – Native Arts and Cultures Foundation
Martha Redbone – Independent producer
Sandra Laronde – Red Sky Performance
JJ Lind – Independent producer
Ryan Cunningham – Independent producer
Diane – American Indian Artists Inc. (AMERINDA)
Cynthia Lickers-Sage – Kaha:wi Dance
APAM | Brisbane Powerhouse
Performance Space 122
Henry Street Settlement
Abrons Arts Center
Tommy Kriegsmann - ArKtype
Western Arts Alliance
National Endowment for the Arts (NEA)
Canada Council for the Arts
International Society for the Performing Arts (ISPA)
Hopkins centre for arts
Portland Institute for Contemporary Art (PICA)
Los Angeles Performance Practice
Walrus Arts Management and Consulting, LLC
La Mama NY
Embassy of Australia, Washington DC
Vera List Center for Art and Politics
Rattlestick Playwrights Theatre
Ping Chong + Company
Michèle Steinwald – Independent
Karen Fischer – Pasifika Artists