A dialogue with Dåkot-ta Alcantara-Camacho, Jack Gray and Hannah Krafcik; Edited by Hannah Krafcik
Published on Stance on Dance, October 19, 2017, excerpted here
“Dance serves as a tool to strengthen a doing of indigeneity – a way of knowing and interacting that both locates knowledge and generates and reinforces methods for knowing and connecting – and thus also serves as a multidirectional force for the world.”
“Manaakitanga in Motion: Indigenous Choreographies of Possibility” by Jacqueline Shea Murphy and Jack Gray, Biography, Volume 36, Number 1, Winter 2013
This past summer, I took an intensive workshop with I Moving Lab, a global arts collective facilitated by Jack Gray – an indigenous Māori contemporary dance artist from Aotearoa (New Zealand) – and Dåkot-ta Alcantara-Camacho – an indigenous Matao contemporary sonic and performance artist from Guåhan (Guam). The two were in Duwamish territory (Seattle) leading the intensive in preparation for their community-engaged project, I LAND. This opened up an opportunity for fellow mover, René Soulier Smith, and I to collaborate with the artists on I LAND (in) Multnomah (Portland, where both René and I are based), which took place August 17-19 of this year.
Working with Jack and Dåkot-ta was unlike anything I had ever experienced. The conversations, inquiry and cultural sharing felt infinite. Both artists brought what seemed to be an unfathomable energy for holding space, speaking and singing, all offered with generosity and piercing timeliness. There was something to the continuity of this work that struck me, and also felt like a clue to my internal questions around practice. The below conversation, which touches on this and much more, took place on my living room floor the last night of their visit.