SOMEWHERE BETWEEN MAYBE SOMEWHERE BETWEEN MAYBE SOMEWHERE BETWEEN MAYBE

SOMEWHERE BETWEEN MAYBE SOMEWHERE BETWEEN MAYBE SOMEWHERE BETWEEN MAYBE

SOMEWHERE BETWEEN MAYBE

Ballroom music, but no ballroom. Twin blue turntables play one last record, crackling and humming with the fading memory of tunes. The theatre has been emptied of intent, or given over to its own. Two lone figures slip out from behind the curtained void. They dance masked, their faces as brief as emblems, their bodies a broken sign for what holds our own together. We should not be fooled by their awkwardness, their stuttering steps, their disarticulation, twitching and near-misses. For they have learned to use their bodies as if they were new to them, to catch that crack and spark of consciousness, fleeting as a firefly, between motion and what wills it. Broken virtuosos, they have grown used to ducking into the in-between, in the very nick of time. We stand in the interval. Take stock of a distance. Somewhere between maybe.



FRONTERA

'Frontera' (border, frontier): a real or imaginary dividing line; the extreme limit of
understanding in a particular area.

In an era of aggressive nationalism and corporate mass surveillance, the human body has never been rendered so visible, subject to increasingly invasive forms of industrial-scale oversight and processing.

Borders are boundaries, but they're also processes, liminal spaces where despair, desire and neoliberal economic imperatives meet the obscure(d) operations of power. Surveillance technologies represent an advancing frontier of knowledge and control, monitoring movement, defining identities and gathering data. Increasingly, the border moves with the body, and seeks to organise and orchestrate its passage through the world.

With a light-based scenography by United Visual Artists (UVA) which articulates the dialogue between choreography, architecture and live music by Fly Pan Am and field
recordings by Godspeed’s Dave Bryant, FRONTERA's 9 dancers navigate spaces of inclusion and exclusion; their bodies mapped in high resolution, their destinies unresolved.

As the public and private realms are consumed by monitoring technologies and tests of legitimacy, what space remains for the unruly, ungovernable body?



FRONTERA

'Frontera' (border, frontier): a real or imaginary dividing line; the extreme limit of
understanding in a particular area.

In an era of aggressive nationalism and corporate mass surveillance, the human body has never been rendered so visible, subject to increasingly invasive forms of industrial-scale oversight and processing.

Borders are boundaries, but they're also processes, liminal spaces where despair, desire and neoliberal economic imperatives meet the obscure(d) operations of power. Surveillance technologies represent an advancing frontier of knowledge and control, monitoring movement, defining identities and gathering data. Increasingly, the border moves with the body, and seeks to organise and orchestrate its passage through the world.

With a light-based scenography by United Visual Artists (UVA) which articulates the
dialogue between choreography, architecture and live music by Fly Pan Am and field
recordings by Godspeed’s Dave Bryant, FRONTERA's 9 dancers navigate spaces of inclusion and exclusion; their bodies mapped in high resolution, their destinies unresolved.

As the public and private realms are consumed by monitoring technologies and tests of legitimacy, what space remains for the unruly, ungovernable body?



FRONTERA

'Frontera' (border, frontier): a real or imaginary dividing line; the extreme limit of
understanding in a particular area.

In an era of aggressive nationalism and corporate mass surveillance, the human body has never been rendered so visible, subject to increasingly invasive forms of industrial-scale oversight and processing.

Borders are boundaries, but they're also processes, liminal spaces where despair, desire and neoliberal economic imperatives meet the obscure(d) operations of power. Surveillance technologies represent an advancing frontier of knowledge and control, monitoring movement, defining identities and gathering data. Increasingly, the border moves with the body, and seeks to organise and orchestrate its passage through the world.

With a light-based scenography by United Visual Artists (UVA) which articulates the
dialogue between choreography, architecture and live music by Fly Pan Am and field
recordings by Godspeed’s Dave Bryant, FRONTERA's 9 dancers navigate spaces of inclusion and exclusion; their bodies mapped in high resolution, their destinies unresolved.

As the public and private realms are consumed by monitoring technologies and tests of legitimacy, what space remains for the unruly, ungovernable body?



FRONTERA

'Frontera' (border, frontier): a real or imaginary dividing line; the extreme limit of
understanding in a particular area.

In an era of aggressive nationalism and corporate mass surveillance, the human body has never been rendered so visible, subject to increasingly invasive forms of industrial-scale oversight and processing.

Borders are boundaries, but they're also processes, liminal spaces where despair, desire and neoliberal economic imperatives meet the obscure(d) operations of power. Surveillance technologies represent an advancing frontier of knowledge and control, monitoring movement, defining identities and gathering data. Increasingly, the border moves with the body, and seeks to organise and orchestrate its passage through the world.

With a light-based scenography by United Visual Artists (UVA) which articulates the
dialogue between choreography, architecture and live music by Fly Pan Am and field
recordings by Godspeed’s Dave Bryant, FRONTERA's 9 dancers navigate spaces of inclusion and exclusion; their bodies mapped in high resolution, their destinies unresolved.

As the public and private realms are consumed by monitoring technologies and tests of legitimacy, what space remains for the unruly, ungovernable body?

Press:

The work – in its strangeness, its timeless universe, neither real nor entirely fictional – escapes all labels we might try and stick to it.
— JEU 2015 Frédérique Doyon

Pushing the boundaries of performance, visual arts, theatre of objects, burlesque and dance, Somewhere Between Maybe innovates, stirs the pot and brings joy.
— Le Devoir 12 February 2015 Nayla Naoufal

Dana Gingras uses a particular feminine imagery to (playfully) denounce a way of understanding identity and its modes of representation – not only of women, but also, in turn, of dancers, artists and citizens in society.
— JEU 2015 Frédérique Doyon

 



Press:

The work – in its strangeness, its timeless universe, neither real nor entirely fictional – escapes all labels we might try and stick to it.
— JEU 2015 Frédérique Doyon

Pushing the boundaries of performance, visual arts, theatre of objects, burlesque and dance, Somewhere Between Maybe innovates, stirs the pot and brings joy.
— Le Devoir 12 February 2015 Nayla Naoufal

Dana Gingras uses a particular feminine imagery to (playfully) denounce a way of understanding identity and its modes of representation – not only of women, but also, in turn, of dancers, artists and citizens in society.
— JEU 2015 Frédérique Doyon

Press:

The work – in its strangeness, its timeless universe, neither real nor entirely fictional – escapes all labels we might try and stick to it.
— JEU 2015 Frédérique Doyon

Pushing the boundaries of performance, visual arts, theatre of objects, burlesque and dance, Somewhere Between Maybe innovates, stirs the pot and brings joy.
— Le Devoir 12 February 2015 Nayla Naoufal

Dana Gingras uses a particular feminine imagery to (playfully) denounce a way of understanding identity and its modes of representation – not only of women, but also, in turn, of dancers, artists and citizens in society.
— JEU 2015 Frédérique Doyon

Choreography and Direction:
Dana Gingras

Created with and performed by:
Sonya Stefan | Jamie Wright

Music:
The Caretaker | Roger Tellier Craig

Lights:
Mikko Hynninen

Dramaturge:
Daniel Canty

Rehearsal Director and Outside Eye:
Karine Denault

Scenography:
Simon Guilbault

Photography:
Austin Young

Promo Video:
Oswaldo Toledano | Mark Loeser | Guillaume Vallée

Dramaturgy:
Ruth Little

Rehearsal director:
Sarah Williams

Producer & Agent:
Sarah Rogers

Creation residencies:
Centre de Création O Vertigo, Place des Arts

Developed with support from the NAC’s National Creation Fund.
Développé avec le soutien du Fonds national de création du Centre national des Arts.

Somewhere Between Maybe

Photographer: Sonya Stefan

somewherebetweenmaybe1
somewherebetweenmaybe2

ANIMALS OF DISTINCTION ARTS SOCIETY

Montreal, Quebec
email: dana@animalsofdistinction.org

Films Distribution & Sales Agent:

Microclimat Films inc. / Catherine Chagnon
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C: 514-998-4157
email: catherine@microclimatfilms.com

National and International Touring Inquiries:

Sarah Rogers
6228 Av Henri Julien
Montreal QC H2S 2T8
Canada
Tel: 514 898 7215
sarahrogersaod@gmail.com

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Acknowledgements

The generosity of our patrons, donors and funding agencies, has been, and continues to be essential to our ongoing operations, and to the creation and presentation of our work:

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