As we moved into week two of our Mskomini Giizis Residency with Native Earth Performing Arts we were very excited to begin working with our director, Moynan King, and our designers Jay Havens (sets), Samay Arcentales Cajas (projections) and Kinoo Arcentales (costumes), as well as our stage manager, Heather Kilner!
As a team we’re having a great time teasing out the dramatic and comedic elements of this opera, as well as envisioning how it could be presented in a full production. We are thankful for everyone’s contributions as they fearlessly explore the work and experiment with us.
Week three will start to incorporate the instruments, as well as the design elements which, until now, have been in the planning and conceptualizing stages!
We have just finished our first week of the Mskomini Giizis Residency at Native Earth Performing Arts, and are so thankful to be able to work with such amazing musicians (and dogs)! Next week we will start working with director Moynan King, as well as our design team and stage manager on integrating the non-musical aspects of this opera.
“The 2009 Native opera Giiwedin. Written in the Anishinaabemowin, French, and English languages by Spy Dénommé-Welch (Algonquin) and Catherine Magowan, Native music sensibilities were applied to both voice and stringed instruments.”
“Giiwedin (The North Wind), blends Baroque and traditional Indigenous music and aesthetics. It was written and cocomposed by librettist Spy DénomméWelch, an Aboriginal education consultant at Laurier, and Catherine Magowan. Written in Anishnaabemowin, French and English, and set in Northeastern Ontario, Giiwedin tells the story of NoodinKwe, a 150yearold Aboriginal woman, and her struggle to protect her ancestral land.
“‘This production offers a unique opportunity to our students to engage with First Nations history and culture, most of them for the very first time,’ said Professor Kimberly Barber, administrative coordinator of Opera at Laurier. ‘It also allows us to tell an important and mostly untold story about first contact and its impacts and implications in a way that is both accessible and theatrically intense, while allowing students to collaborate with the Aboriginal community.'”