PuSh Play

By: PuSh Festival
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  • Summary

  • PuSh Play is a PuSh Festival podcast. Each episode features conversations with artists who are pushing boundaries and playing with form.
    2023
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Art Entertainment & Performing Arts
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Episodes
  • Ep. 39 - Transpofagic Manifesto (Renata Carvalho)

    Ep. 39 - Transpofagic Manifesto (Renata Carvalho)
    Nov 22 2024
    Gabrielle Martin chats with Gabi Gonçalves, producer from Corpo Rastreado of Renata Carvalho’s piece, Transpofagic Manifesto, at the 2025 PuSh Festival, January 23 - February 9. Transpofagic Manifesto will be presented with Latincouver at the Waterfront Theatre on February 7 and 8. A special film marathon of Renata Carvalho’s work will also be shown at SFU during the Festival on February 9. To listen to an interview with Renata in Portuguese, please check out the Latinos en Canada podcast. Show Notes Gabrielle and Gabi discuss: What does it mean for your work to give voice? How did Corpo Rastreado come to be, and what does it do? What is the difference between an artist and a producer? What does it mean to be a producer in terms of enabling art and artists? What is the difficulty of using the word “project”? What is the “tree philosophy” of art? What makes a Corpo Rastreado artist? What does it mean to be a “political act of great courage?” How did you start working with Renata Carvalho? What has led to Renata’s international success? How do we approach trans rights across countries with such different laws, such as Brazil and Canada? How do we take care of the audience? How do we learn to work on the micro-political level? About Gabi Gonçalves Paulistana, articulator of the whole zorra for 14 years and our doctor in Communication and Semiotics (Communication and Cultural Production in Brazil - a study on the operators of helplessness and firefly artists - 2016), Gabi Gonçalves is one of the main responsible for this melting pot that is Corpo Rastreado. Working with production, in her opinion, is studying, researching and mainly a political act and a lot of courage, with a pinch of madness! For this premise, she brings in her experience the production in the biggest national and international festivals, knowledge in all the notices and forms of sponsorship (direct or not) as well as full experience in all areas of culture. Land Acknowledgement This conversation was recorded on the unceded, stolen and ancestral territories of the Coast Salish Peoples: the xʷməθkʷəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and Səl̓ílwətaɬ (Tsleil-Waututh), colonially known as Vancouver. Gabi Gonçalves joined the conversation from São Paulo, Brazil, home to the Guarani, Guarani Mbya, Guarani Nhandeva, and Tupi-Guarani Indigenous peoples. It is our duty to establish right relations with the people on whose territories we live and work, and with the land itself. Show Transcript Hello and welcome to Push Play, a Push Festival podcast featuring conversations with artists who are pushing boundaries and playing with form. I'm Gabriel Martin, Push's Director of Programming, and today's episode highlights building relational foundations and plants as inspiration for micropolitical actions. I'm speaking with Gabby Gonzalez, the producer and longtime friend of Renata Carvalho, who is the artist behind Trans -Pothagic Manifesto. This work is being presented at the Push Festival, February 7th to 8th, 2025. And on February 9th, we will also be presenting a marathon of Brazilian films starring Renata, including her own film, Body, It's Autobiography. Trans -Pothagic Manifesto is a courageous and thought -provoking work that challenges perceptions of gender non -conforming and trans -feminine people. Through a radical expression of empowerment, Renata Carvalho subverts the obsessive scrutiny of trans bodies, distilling this gaze and transforming it into art, literature, and education. Gabby Gonzalez holds a PhD in Communication and Semiotics and is one of the main people responsible for the melting pot that is Corpo Hestriado. Working with production in her opinion is studying, researching, and above all, a political act of great courage with a dash of madness. Here's my conversation with Gabby. So just before we get into speaking about your work with Corpo Hestriado and with Renata Carvalho, I just want to start by acknowledging the Indigenous lands that I'm on, that I'm on, stolen ancestral and traditional territories of the Coast Salish peoples, the Musqueam, Squamish, and Tsleil -Waututh, and as a settler here, I continue to educate myself and engage in thinking on what that means that looks like different things every day. today, today that looks like reflecting on indigenous futurisms, largely thanks to a podcast episode by Riley Esno called Land Back to the Future on CBC Gem. And in it, she quotes Nehiya scholar Erika Violet Lee, talking about reconciling the apocalypse. And I found it really evocative with regard to the role of artists and the role of imagining futures as part of a decolonizing practice. So she quotes this scholar in saying that the job of writers and artists is to be the mirror for the people That we build what could have been what should have been that we find the knowledge to recreate all that our world would have been if it wasn't for the...
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    45 mins
  • Ep. 38 - SWIM (Pandemic Theatre and Theatre Conspiracy)

    Ep. 38 - SWIM (Pandemic Theatre and Theatre Conspiracy)
    Nov 19 2024
    Gabrielle Martin chats with Tom Arthur Davis and Jiv Parasram, co-creators of SWIM by Pandemic Theatre and Theatre Conspiracy. SWIM will be presented at the upcoming PuSh Festival, January 23 - February 9 in Vancouver. SWIM runs from January 30 to February 2 at VanCity Culture Lab and is presented with Touchstone Theatre and The Cultch. Show Notes Gabrielle, Tom and Jiv discuss: What was the beginning of your relationship with PuSh? What was the process of developing and realizing “Daughter” at PuSh in 2018? What role does Bouffon clown play in your work? Why is post-show after-care so important with some of your work? Where are you at in the process of developing SWIM? How are you using sound to emphasize the themes of your work? How has your practice evolved, or stayed true, over time? What is the importance of local and hyper-local work? What is your experience of the cultural context of PuSh? About Tom Arthur Davis Tom is a theatre artist, producer, and project manager. Originally from the unceded territory of the Algonquin nation (Ottawa) with colonial lineage from the ancestral homelands of the Beothuk and the Mi’kmaq peoples (Newfoundland), he has recently relocated to Lekwungen territory (Victoria), after spending most of his career in Mississauga-Anishinaabe-Haudenosaunee territory (Toronto). In 2009, he co-founded Pandemic Theatre (then less distastefully named), for which he has acted as the Artistic Director since its inception. From 2018-2022, Tom worked with Why Not Theatre, acting as a Managing Producer where he led artist support programs such as RISER, Space Project, and ThisGen Fellowship. From 2014-2019, Tom worked with the Toronto Fringe in multiple capacities, including as the inaugural director and program designer of TENT, an educational program that teaches entrepreneurial skills to emerging theatre artists. From 2022-2023 Tom worked with PuSh International Performing Arts Festival as the Interim Director of Programming. Currently, he is working with the BC Association of Aboriginal Friendship Centres, helping to organize their annual Indigenous youth conference, Gathering Our Voices. About Jiv Parasram Jivesh is an award-winning multi-disciplinary artist, and facilitator of Indo-Caribbean descent. His work has toured Nationally and Internationally. Jiv is the founding Artistic Producer of Pandemic Theatre, and became the Artistic Director of Rumble Theatre following three years as the Associate Artistic Producer at Theatre Passe Muraille. He was a member of the Cultural Leader Lab with the Banff Centre and Toronto Arts Council. His public service work has included collaborations with the Ad Hoc Assembly, The Canadian Commission for UNESCO, and as an advisor to the National Arts Centre. His current cultural practice centres decolonization through aesthetics. Land Acknowledgement This conversation was recorded on the unceded, stolen and ancestral territories of the Coast Salish Peoples: the xʷməθkʷəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and Səl̓ílwətaɬ (Tsleil-Waututh), colonially known as Vancouver. It is our duty to establish right relations with the people on whose territories we live and work, and with the land itself. Show Transcript 00:02 Hello and welcome to Push Play, a Push Festival podcast featuring conversations with artists who are pushing boundaries and playing with form. I'm Gabriel Martin, Push's Director of Programming, and I'm speaking with Tom Arthur Davis and Jiv Parisram, the artists of pandemic theatre who, along with theatre conspiracy, have created Swim. 00:20 But today's episode goes further back, reflecting on their 2018 Push show Daughter and the trajectory of their practice to Swim. Swim will be presented at the Push Festival January 30th to February 2nd, 2025. 00:34 Swim is an immersive, sensorial experience that imagines challenges endured by refugees who brave the treacherous crossing between Turkey and asylum on the Greek island of Samos. Harnessing cutting -edge technologies to stimulate audio and tactile sensations, Swim invites the audience to meditate upon the emotional toll of displacement and sacrifices made in pursuit of new beginnings. 00:56 Jiv Parisram is a multidisciplinary artist of Indo -Caribbean descent based on the unceded Coast Salish territories. He grew up in Mi 'kma 'ki and spent the first decade or so of his artistic career in Taq Aronto, where he co -founded Pandemic Theatre with Tom Arthur Davis. 01:13 Tom is an arts and culture worker who is based on unceded Lekwungen and Songhee territories. He was also Push's 2023 Interim Director of Programming. Here's my conversation, recorded on location near the studio where they recorded the sound for Swim with Tom and Jiv. 01:32 Just to start out, to give some context, we're here on the stolen ancestral and traditional territories of the Coast Salish peoples, the Musqueam, Squamish, and Tsleil -Waututh. We are also next to ...
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    33 mins
  • Ep. 37 - A New Aesthetic of Participation (2024)

    Ep. 37 - A New Aesthetic of Participation (2024)
    Nov 12 2024
    Gabrielle Martin chats with Patrick Blenkarn and Milton Lim, co-directors of asses.masses. Show Notes Gabrielle, Patrick and Milton discuss: How did your relationship with PuSh start? What are the importance of youth programs across various festivals? What is asses.masses and what was the process of creating it and bringing it to PuSh? What is the place for participatory work? What are the other patterns and ways of showing work? Who is the live body on stage and how does it interface with the digital world? What is a performing arts festival now, especially after Covid? What is the future of asses.masses? About Patrick Blenkarn Patrick Blenkarn is an artist working at the intersection of performance, game design, and visual art. His research-based practice revolves around the themes of language, labour, and economy, with projects ranging in form from video games and card games to stage plays and books. His work and collaborations have been featured in performance festivals, galleries, museums, and film festivals, including Festival TransAmériques (Montréal), PuSh International Performing Arts Festival (Vancouver), Hebbel am Ufer (Berlin), Festival Internacional de Buenos Aires, the Humboldt Forum (Berlin), Festival of Live Digital Art (Kingston), STAGES Festival (Halifax), Banff Centre for the Arts, Risk/Reward (Portland), SummerWorks (Toronto), rEvolver (Vancouver), RISER Projects (Toronto), and the Festival of Recorded Movement (Vancouver). In 2020, he was nominated for Best Projection Design at Toronto’s Dora Awards. In 2022, his work with Milton Lim, asses.masses, received a National Creation Fund investment from the National Arts Centre of Canada. Patrick has frequently been an artist in residence at galleries and theatres around the world, including USC Games (Los Angeles), The Arctic Circle (Svalbard), the Spitsbergen Artist Center (Svalbard), GlogauAIR (Berlin), Fonderie Darling (Montreal), Malaspina Printmakers (Vancouver), Skaftfell Center for Visual Art (Iceland), VIVO Media Arts (Vancouver), and The Theatre Centre (Toronto). Patrick is also the co-founder of and a key archivist for videocan, Canada’s video archive of performance documentation. He has a degree in philosophy, theatre, and film from the University of King's College and an MFA from Simon Fraser University. His writings on the politics of theatre have been published in Performance Matters, Theatre Research in Canada, GUTS, SpiderWebShow, and Canadian Theatre Review. He is based out of Vancouver and Los Angeles. About Milton Lim Milton Lim (he/him) is a digital media artist, game designer, and performance creator based in Vancouver, Canada: the traditional, unceded, and occupied territories of the Coast Salish peoples of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaɬ (Tsleil-Waututh) Nations. His research-based practice entwines publicly available data, interactive digital media, and gameful performance to create speculative visions and candid articulations of social capital. This line of inquiry aims to reconsider our repertoires of knowledge aggregation and political intervention in the contemporary context of big data and algorithmic culture. Often cheeky and audience/participant driven, his work challenges standard performance traditions including duration, linearity, and repeatability. Milton holds a BFA (Hons.) in theatre performance and psychology from Simon Fraser University. He has created works for and performed in various international festivals and venues including PuSh International Performing Arts Festival (Vancouver), CanAsian Dance Festival (Toronto), Festival TransAmériques (Montréal), Carrefour international de théâtre festival (Quebec City), IMPACT Festival (Kitchener), Seattle International Dance Festival, Risk/Reward Festival (Portland), Festival Internacional de Teatro Universitario / FITU at Teatro UNAM (Mexico City), Festival Internacional de Buenos Aires, Mayfest (Bristol), artsdepot (London), Battersea Arts Centre (London), New Theatre Royal (Portsmouth), Strike a Light Festival (Gloucester), Teatre Lliure (Barcelona), Inteatro (Ancona), Hong Kong Arts Festival, soft/WALL/studs (Singapore), and Darwin Festival. Performance credits include The Arts Club’s The Great Leap, Gateway Theatre’s King of the Yees at Canada's National Arts Centre, and Theatre Conspiracy’s award-winning immersive show: Foreign Radical at CanadaHub (Edinburgh Fringe). Milton's media artworks have been presented at the Vancouver Art Gallery, San Francisco State University, F-O-R-M, VIVO Media Arts Centre, and The New Gallery. In 2016, he was awarded the Ray Michal Prize for Outstanding Body of Work at the Jessie Richardson Theatre Awards. He is a co-artistic director of Hong Kong Exile, an artistic associate with Theatre Conspiracy, a co-founder and key archivist with the videocan national video archive of performing arts documentation, a recent ...
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    28 mins

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