Ame Henderson was raised on unceded Nuu–chah–nulth territory on the west coast of Vancouver Island. Ame is a settler artist who activates dance and choreography to propose experiential modes of being together and to agitate conventions of relationality. Ame founded Public Recordings with media artist Daniel Arcé in 2003 as a vehicle for their co-created works, beginning with Manual for Incidence (2005). She was Public Recordings’ Artistic Director until the company’s transition to its present collective structure and she became an Associate Artist. Ame’s practice spans publication, performance and exhibition, and includes ongoing collaborations, such as her duet series created with Matija Ferlin, The Most Together We’ve Ever Been (2009) and Out of Season (2015) and the hybrid writing and performance project performance encyclopaedia (2013) with Evan Webber.
In 2014 as artist in residence at The Art Gallery of Ontario, Ame staged rehearsal/performance, a series of public performances and other interventions that investigated that institution’s archival record. Her independent work includes a long association as a guest choreographer with Toronto Dance Theatre, process facilitation with choreographers Katie Ward and Andrew Tay and choreographic research residencies led collaboratively with Christopher House. Ame is an Associate Dance Artist of Canada’s National Arts Centre.
Liz Peterson lives between Tkaronto / Toronto and Melipilla, Chile. Born in Manchester, UK she grew up predominantly in St. John’s, Newfoundland, Concepción, Chile, and Burgess Hill, UK. She is of English, Burmese and Indian descent. Liz’s interdisciplinary performance work explores narrative and cultural belonging through embodied improvisatory practices.
Liz established Events in Real Time with Sean O’Neill, with their performance work, Express Yourself (2010) and she continues to produce cross-disciplinary work under that moniker in Canada and elsewhere. Liz first worked with Public Recordings on what we are saying (2013) on the invitation to devise a score for the guest performers, and subsequently helped to conceive the group work CAPITALIST DUETS (2015). Liz became an Associate Artist with Public Recordings in 2017. She is currently developing Borders (sin título), a new co-creation with Barcelona-based choreographer Marina Colomina, that examines intersections of identity and contemporary structures of power through the device of a classical Greek chorus from Aristophanes’ comedy, The Clouds. Liz is a graduate of the University of Toronto’s University College Drama Program, and occasionally appears as an actor in theatre.
Evan Webber is from Ottawa. His work often examines connections between stories and institutions, political formations and cultural expression. Considering the performativity of writing and reading brought Evan into collaboration with Public Recordings on Open Field Study (all together now) (2007) and then by developing the co-creation performance encyclopaedia (2013) with Ame Henderson. He has worked with the company since then and became an Associate Artist in 2015.
Evan’s independent projects about Sophocles’ political theatre–Little Iliad (2010) and Ajax (2012), co-created with Frank Cox O’Connell, and Antigone Dead People (2014), a collaboration with Jacob Zimmer and Osaka-based experimental theatre company Dracom–have been presented in Canada and internationally. Evan works as a dramaturg and facilitator and from 2015-2017 he organized and curated the HATCH performance residency series at Toronto’s Harbourfront Centre. Evan’s writing about art and other experience has been published online and in print with C Magazine, Geist, The Coming Envelope, Canadian Theatre Review, and elsewhere. He is a graduate of the National Theatre School of Canada.
Christopher Willes, based in Tkaronto / Toronto, explores the material traces, genealogies, and experiential possibilities of music, sound and listening. His projects often rework the conventions of concert making through disciplines and subjects outside of music, including performance, exhibition, publication, and experimental forms of pedagogy. Christopher’s interest in the entanglements of performance, archival record, and collective memory brought him into collaboration with Public Recordings on rehearsal/performance (2014).
For the past decade Christopher has worked independently in dance as a sound-maker and dramaturg, including numerous works with Dancemakers between 2011-2015. He is the co-creator of the publication start very quiet and get very loud (2016) with sound ecologist Hildegard Westerkamp and artist Christine Sun Kim, and an iterative sound walk, Listening Choir (2015) with artist and musician Adam Kinner. As artist-in-residence at the Toronto Public Library in 2017 Christopher developed an experimental music project with local teenagers in Scarborough. He is currently developing a site-specific performance with Public Recordings, staging the 1970 orchestral work by Pauline Oliveros entitled To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation. Christopher recieved an MFA from Bard College, USA, and was a 2016 MacDowell Colony Fellow.
Tomoyuki Arai, Anne Bourne, Daniel Bennett, Allison Cameron, David-Alexandre Chabot, Paul Chambers, Victoria Cheong, Shannon Cochrane, Sascha Cole, Marina Colomina, Frank Cox-O’Connell, Ishan Davé, Marinda de Beer, William Ellis, Katie Ewald, Matija Ferlin, Mauricio Ferlin, Ellen Furey, Thom Gill, Claire Harvie, Sherri Hay, Oliver Husain, IONE, Brendan Jensen, Jacqueline Lachance, Courtney Ch’ng Lancaster, Germaine Liu, Megumi Kokuba, Kate Nankervis, Supriya Nayak, Daaimah Mubachshir. Ken Mackenzie, Jeremy McCormick, Kim Purtell, Rose Plotek, Bee Pallomino, Sarah Rogers, Brian Solomon, Matt Smith, Heather Saumer, Anni Spadafora, Rose Tuong, Lauren Page Russell, Mila Volpe, Jacob Wren and others.
A Different Booklist, Art Metropole, Artscape Gibraltar Point, Aluna Theatre, Dancemakers, Events in Real Time, EW&FCO, Feminist Art Museum, Festival TransAmériques, La Poderosa, OCADU Cross-Disciplinary Art Practices and the Faculty of Art, St. Matthew’s United Church, STO Union, Tarragon Theatre, the Gardiner Museum, The Music Gallery, The Pauline Oliveros Trust, The Centre for Drama, Theatre & Performance Studies, University of Toronto Visual Studies and the Faculty of Music, Videofag, L’Estruch Fábrica de Creació de les Arts en Viu.
sandra Henderson and Jeremy McCormick