Photo: Valérian Mazataud The Duty
If the Windigo of the title, we should recall, is in the amerindian mythology as a creature of evil man-eater who can take possession of the souls and desires of the living to gain power, he is confused, for Lara Kramer, capitalism, colonialist now out of control, and predator as much for humans as it is for the ecology.
I do not believe in reconciliation, advance the artist oji-cree Lara Kramer. I do not believe in this word. There is too much to do, so that we can speak of reconciliation ” between Natives and non-natives of Canada. “But I believe that we are at a point where our voice [aboriginal people] have a little more space, where people listen to us more, where you have a chance to tell our stories, share them. It is a positive thing. It is necessary to appreciate and harness this power. But no, this is not enough. This is not enough, but it is important. “His story to her, up to now, it is the one which tells of the violence done to the body as to the territory, and the impacts of this violence.
Lara Kramer goes back to these days Windigo at Usine C, this creation launched at the last Festival TransAmériques. If the Windigo of the title, we should recall, is in the amerindian mythology as a creature of evil man-eater who can take possession of the souls and desires of the living to gain power, he is confused, for Lara Kramer, capitalism, colonialist now out of control, and predator as much for humans as it is for the ecology.
“At the beginning of the process of this creation, I observed the receipt of the violence, the damage it does to the territory, in the north of Canada. This is related to the experience that I had when I visited the north of the country ; the fact that I’ve seen and understood, really, the impacts of the genocide of aboriginal holistic — body and territory — is happening. I knew that the topic should be enough to feed my work. “
The observation of this violence and its effects on the body were the themes of his Native Girl Syndrome, this duo for women, and a thousand objects in the stage in 2013. Lara Kramer is dealt with the addiction, the alienation, the loss of its landmarks such as self-same. “Windigo is, undeniably, a species of counterpoint a male that does not focuses more on just the body, but also looks at how capitalism and the giants eat humans, of men, at any price, without worrying about responsibilities to the territories, nor to the communities who live there. “
FTA: “Windigo”, in the bowels of the beast colonial
A first piece for distribution to all-male — except themselves, who grinds the live sound and observes, presence, and silent witness. “The part taken by the sound in the process surprised me, the amount of textures and layers that are added, which bring a character that is intimate. I didn’t know that the sound would be so heavy in the part of materials design. “
The idea is physically carried by Jassem Hindi, and Peter James, two performers in white, ” because they are the ones who produce this violence. They cultivate these acts of violence, but not in two dimensions. The way I work is binding on the body, objects and the environment — we work a lot, a lot with objects, accessories in Windigo. There are a lot of things, such as these two mattress in the center, as the two men dissect from the beginning of the piece. For me, this gesture has something of a symbolic one : I see a carcass ; I see a body ; I see the country inside, intimate, [the interior of the land] in the process of being destroyed, this violence has grown, if you understand “…
The writing and the moment
Windigo takes much more of the performance and the choreographic score or gestural language ; its two actors also come to this field and cherish in their individual works the report at the moment, the spontaneity in representation, to freedom. How Ms. Kramer, she sailed between control and game left to its performers, between writing and improvisation ? “It is a question of balance. This whole universe has emerged out of my story of me, of my narrative in any way. The creation is built from their listening to them, listening to my stories, from our dialogue ; I brought them into the reserve of my mother ; we spent time together so that we can influence, intimately, that they can understand the kind of deep work that I want to do, if I may say so. While it eventually became a springboard for their actions, and their gestures theatrical. “
“It was I who chose the pictures that would be of the show,” she continues. It is fairly written, in fact ; the interpreters are aware of the trajectory, the curve that the piece should follow. But I ask them, and it is a fine balance, never to do the same thing, not to reproduce. So, if they have to cut the mattress, it is necessary to re-invent the gesture, the manner, every time. “
Since its beginnings as an artist, the arts councils all have accentuated one way or another their support for indigenous creators. Is this political choice seemed to be important ? Just ? “We are at a point where it is possible for indigenous voices to stand up. And it is crucial, essential to hear, ” said Lara Kramer. Even if it is not and this can lead to a reconciliation, she concluded.
Choreography performative Lara Kramer, with Peter James, Jassem Hindi and Lara Kramer. At Usine C, on 5 and 7 February.