We all had that childhood friend who returned from summer holidays half a foot taller, hints of their adult face emerging in their familiar teenaged face and speaking in a more oaken timber.
As Native Earth Performing Arts (NEPA) enters its second year at home in our Regent Park Aki Studio Theatre, we look back in wonder, paying honour to the lessons accompanied by growing pains and buoyed by rallying family.
Many First Nations have coming-of-age ceremonies. This season is ours.
Our 26th festival of new works returns, animating Aki Studio Theatre with an illustrious home team. Weesageechak Begins to Dance will feature Toronto-based veteran, mid-career and emerging creators, with roots extending across Turtle Island. We are honoured that Aluna Theatre will partner with Native Earth Performing Arts to produce the second Rutas Panamericanas | Panamerican Routes Festival, February 24 - March 9 of 2014. We will work with Aluna to light up the whole of Daniels Spectrum with this vibrant festival, offering Aki Studio as its beating-heart. Aluna and NEPA proudly acknowledge the power of the arts to extol and unify our communities, who, for several hundreds of years, have walked similar rocky and spectacular paths. This multi-arts festival boasts a collaboration between Anishnaabe Émilie Monnet of Montreal and Waira Nina from the Colombian Amazon, a multi-disciplinary exploration of the disappearance of the El Cartucho neighbourhood of Bogotá by Mapa Teatro, and an abundance of flourishing works-in-progress, bold conversatorios, earth-shaking performance art and decidedly unconventional conferences.Native Earth's featured production is the much-acclaimed Quilchena, directed by Artistic Director Tara Beagan. Created by Beagan and the original creative team, Quilchena is a fiercely haunting work.
Production Designer Andy Moro returns with a fearsome videoscapealong with the sound and lighting he
conceived of in the SummerWorks production where "he seared our eyes and ears." (NOW Magazine, Top Ten Theatre Artists of the year, Vol.26, No.50.)
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