Ian Kamau

Loss

musique

Photo: Milca Kuflu
  • Jour de fête: 15$

Novembre

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Coécrit par l'auteur, designer et artiste musical torontois Ian Kamau, son père l'écrivain Roger McTair et le compositeur Njo Kong Kie, LOSS confronte leur historique familial de maladie mentale et dévoile le récit troublant de la grand-mère paternelle de Kamau.

 

Présenté en partenariat avec

Ian Kamau est un artiste, écrivain et designer de Toronto. Il a publié indépendamment six albums, dont un album autoproduit One Day Soon qui a reçu un bel accueil critique et a tourné dans sept pays. Ian a publié ses textes dans plusieurs recueils, dont The Unpublished City, sous la direction de Dionne Brand, finaliste des Toronto Book Awards. Il est actuellement étudiant à la maîtrise au programme de prospective et d'innovation stratégique de l'Université OCAD et détient une maîtrise en études de l'environnement et un baccalauréat en beaux-arts de l'Université York.

Passionné de pique-nique et de ping-pong, Njo Kong Kie aime composer pour la danse, l'opéra et le théâtre. Parmi ses compositions, citons le Pique-nique au cimetière et l'œuvre de théâtre musical Mr. Shi and His Lover (texte: Wong Teng Chi), la première production chinoise au Théâtre anglais du Centre national des Arts. Directeur musical de longue date de La La La Human Steps, Kong Kie a également composé pour des chorégraphes tels que Anne Plamondon, Aszure Barton et Shawn Hounsel.

En développement: L'Année du violoncelle, une pièce de théâtre avec musique pour violoncelle solo dans les années 1920 à Hong Kong (avec Marjorie Chan); The Futures Market, un opéra explorant les implications complexes de la transplantation d’organes (avec Douglas Rodger) et I swallowed a moon made of iron, sur les poèmes obsédants de Xu Lizhi (Canadian Stage, 2019).

Roger McTair est un écrivain canadien d'origine trinidadienne, un documentariste pionnier et un poète dont les histoires et les poèmes ont été publiés dans les Caraïbes, au Canada et aux États-Unis.

Ancien élève du programme de cinéma et de photographie de l’Université Ryerson, il a enseigné l’écriture médiatique au Seneca College de l’Université York à Toronto et a un intérêt critique pour la littérature, le théâtre et la philosophie.

Écrit par
  • Ian Kamau, Roger McTair
Musique par
  • Njo Kong Kie
Cinématographie
  • Tiffany Hsiung

"In 2013 I returned to Toronto after touring through Africa with my last record. A few weeks later Ravi Jain called me and asked if I had ever thought of performance beyond what I normally did. I told him I hadn't thought clearly about how to evolve my art and performance which was mostly music and poetry at the time but that I was bored with what I was doing. He was at The Theatre Centre, a small theatre on Queen street, Downtown Toronto that did live arts and experimental/innovative performance work. He asked if I would pitch something; a few months later I was invited into the residency program at The Theatre Centre.

Before I went to South Africa I had lived through a winter of depression. I didn't feel appreciated or safe in Toronto. I felt rejected. I was confused, hurt, and wanting to do and be something different.

I dropped almost everything. I got off all boards I was sitting on, declined work in community where I was so present, distanced myself from many people, and decided to focus more on my family and my self.

My father's health became more of an issue around this time. I wanted to make sure he was okay as best as I could and keep in better contact with my mother who was living in Philadelphia at the time.

Pitching to The Theatre Centre was easy because I only had a few things on my mind; family, mental health, and actualization.

My paternal grandmother died mysteriously twenty-five years before I was born, this loss weighed heavily on my family. I had gone to Trinidad, where both sides of my family are from, many times but never really asked any questions. Just as I had lay in bed for months during my winter of depression, I learned that she lay in bed for months suffering with something before her untimely death; she had just had a baby, my youngest aunt Annemarie, my father, the oldest of four, was ten years old.

Due to my experience working in community development and my experience with family and close friends I decided to ask two questions:

1) Why do some of us live with depression and mental illness?

2) Can art change anything? and..

3) How did my grandmother die? These questions have occupied the last four years of my life.

LOSS is an attempt at finding some resolution for an event that shifted the direction of my family forever. It is an attempt to confront issues that are often hidden and stigmatized. It's still in development, but I'll be performing only two nights of the latest incarnation in Montreal, Quebec on Nov 1 & 2, 2018. Two small audiences will have the opportunity to be a part of this journey with me. Special shout to Aislinn Rose Kong Kie and Tiffany Hsiung for their work and collaboration. If you are in Montreal (or know anyone in Montreal) that you think might be interested in attending please direct them to the La Chapelle Scènes Contemporaines site (in the comments below) to purchase tickets.

I'd love to see you there."

- Ian Kamau