A hero’s epic journey in the magical, multidisciplinary Kiviuq Returns: An Inuit Epic

Qaggiq Collective ensemble—Animal Den scene. Costume design by Looee Arreak. Projection design by Jamie Griffiths. Lighting design by Rebecca Picherack. Photo by Jamie Griffiths.

 

Tarragon Theatre presents The Qaggiq Collective’s magical, multidisciplinary hero’s journey Kiviuq Returns: An Inuit Epic. Written by the Iqaluit, Nunavut-based collective, and inspired by the legends of the Inuit hero Kiviuq, the multimedia performance is based on stories remembered and shared by Inuit elder storytellers Miriam Aglukkaq (from Kugaarjuk), Susan Avingaq (from Igloolik), Madeline Ivalu (from Igloolik) and Qaunaq Mikigak (from Kinngait)—passed on in the oral tradition. Directed by Laakkuluk Williamson Bathory, Kiviuq Returns is performed entirely in Inuktitut, with no surtitles,* incorporating music, dance, movement, mask and projections—immersing the audience in Inuit culture, community and storytelling.

Starring Natar Ungalaq, Charlotte Qamaniq, Vinnie Karetak (last night, understudy Jerry Laisa stepped in for Karetak), Christine Tootoo, Keenan Carpenter and Avery Keenainak, Kiviuq Returns presents five of the hundreds of stories about the Inuit hero. Three actors share the role of Kiviuq (Ungalaq, Tootoo and Laisa), with role exchanges marked by the passing of Kiviuq’s qajaq (kayak) paddle and headband—representing the sharing of power and knowledge among Inuit communities. The four elders who shared these stories are present via video projection, to round out each of the five tales.

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Qaggiq Collective ensemble—Orphan bullying scene. Costume design by Looee Arreak. Projection design by Jamie Griffiths. Lighting design by Rebecca Picherack. Photo by Jamie Griffiths.

Comedy turns to tragedy in the story of the Orphan (Keenainak), turned into a seal for her protection from repeated abuse from bullies by her angakkuq (shaman) grandmother (Qamaniq), who is heartbroken over having to do this. Only Kiviuq (Ungalaq) is spared from retribution while he’s out hunting in his qajaq with the bullies, as he had tried to intervene and stop the bullying. Lost and adrift, his hero’s journey begins.

From the push/pull dynamic of Kiviuq’s (Tootoo) desire to wed a Fox Woman (Keenainak) who just longs to be free (song written by Avery Keenainak and Abraham Etak), to his hilariously bawdy encounter with a den of lusty animals (Carpenter, Laisa, Qamaniq and Ungalaq), to a brush with death when he’s (Laisa) captured by the fearful Bee Woman (Qamaniq), Kiviuq is present and connected to his environment, and the animals and spirit guides that come to assist him. Nicely bookending the five stories, Ungalaq returns to play Kiviuq once more at the end of his journey, where he must stay behind as his Goose Wife (Keenainak) and goslings (Carpenter, Laisa, Qamaniq and Tootoo) fly south and he transforms out of human form to become part of the landscape.

Woven into the Kiviuq stories are a Woman’s Dance; bringing to mind the serious mental health issues faced by our Indigenous population, the woman struggles with a deep internal conflict, eventually overcoming it. And the beautiful Sea Woman Poem (written in English by Taqralik Partridge and translated into Inuktitut by Looee Arreak), featuring Tootoo leading the ensemble. Expressing deep love and respect for the water, the poem despairs at the careless and dangerous environmental damage done by modern-day industry; the movements accompanying the words rippling through each performer. And there’s a song (sound design by Chris Coleman), repeated during each Kiviuq exchange; hypnotic and relaxing, like a lullaby wrapping you in the comfort and safety of home—it stays with you long after you’ve left the theatre.

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Fox elder story. Projection design by Jamie Griffiths. Photo by Jamie Griffiths.

The storytelling is playful, poignant and engaging—having you laughing one minute and breaking your heart the next. The adventure, the shifting landscapes (projection design by Jamie Griffiths), and cast of human, animal and spirit characters keep you on your toes as you let the Inuktitut language wash over you. It’s that ‘kid at story time’ kind of feeling. And the easy-going atmosphere of the relaxed performance format makes for an intimate, enjoyable experience at the theatre. A story for all ages, it’s a welcoming, open door feeling, acknowledging the young and the elders as crucial members of the community.

Kiviuq Returns: An Inuit Epic is in its final week in the Tarragon Theatre Mainspace, closing on January 27; get advance tickets online or contact the box office at 416-531-1827. Last night’s house was packed, so advance booking or extra early arrival at the theatre are strongly recommended.

*The production provides a play guide, available for viewing and download online, and in the printed programs. It is recommended that you review the guide before and after the show, as well as reference it during (lights are brought up during scene changes) to aid in a deeper understanding of the performance.

 

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Creatures of myth & memory in the playful, pointed, evocative Cryptids: Prose-Poetry from Creatures of Memory

Cover art from Cryptids: Prose-Poetry from Creatures of Memory by Dee Sparling     

dee original smallDee Sparling is a local Toronto poet/spoken word artist and singer. We’ve been friends for about 16 years, and folks who frequented Lizzie Violet’s Cabaret Noir, either at Q Space or The Central, will recognize Sparling, who performed poetry and a cappella songs during the open mic spots. She’s previously self-published two poetry collections, Sol Believers: Prose-Poetry from the Orion Spur and Freedom Codes: Prose-Poetry from Empires Within, and has recently published Cryptids: Prose-Poetry from Creatures of Memory.

In the Author’s Note, Sparling describes Cryptids as playing “upon the concept of nostalgia and the role it takes in shaping personal and societal narratives,” as well as featuring “various types of mythical beasts and conjurings.” Cryptids as pieces of memory, and also as mythical creatures and monsters.

Cryptids is a magical, evocative collection of 16 poems, woven with rich, textured language that includes ancient biblical (“Ecce Venus” and “Gethsemane”) and mythological (the nod to the Kraken in “Fimbulwinter”), as well as political and natural, references. Reading these poems, one gets the feeling of being gathered around a campfire, hearing tales both fictional and non-fictional—especially “Credit Valley Cryptids (A Final Goodbye),” which conjures up reminiscences of a different time and place with its compass-eye view of ghosts, shades of history and natural landmarks.

Some of the pieces are playful in their observations, taking the point of view of the creatures themselves (“The Underground” and “Memory and the Moray Eel”) or ponder the situation of a creature (“Sparrow without a Care”). And “Painted Desert” portrays the otherworldly, deadly beauty of a landscape with a cheeky, Wild West flavour—the High Noon of the cacti—while drawing a metaphor for the will to thrive and live, coupled with warnings of more parched earth on the horizon.

The cautionary tone continues into space with “Centaurus Loves Cassiopeia,” highlighting humanity’s sense of entitlement with the line “Earth, thy vanity begins… with the licking of your lips;” into the digital realm in “Troll Bytes” and the perception of power in a world of ongoing obsolescence.

Creatures of politics aren’t spared in the pointed and sharply funny “A Day in the Counter-Revolution,” a satirical evolution of man as political animal. Or was it all a dream? And ruminations on the younger generation and nature take on an introspective, speculative tone in “Millennial Breeze” and “Nature Remembers You.”

Words that paint pictures, reminding us of how tricky memory and perception can be—and how these combine to create our own mythology.

Creatures of myth and memory in the playful, pointed, evocative Cryptids: Prose-Poetry from Creatures of Memory.

Keep an eye out for Dee Sparling at Toronto poetry/spoken word events.