Rosy Simas

Rosy Simas is a Haudenosaunee (Seneca, Heron Clan) choreographer who unifies physical movement with time-based media, sound and objects for both stage and installation. Simas critically centers Native cultural and political persistence to engage the personal and social, including identity, matriarchy, sovereignty, equality and the effects of war. To complement these themes, she makes dances that decolonize bodies and develop movement vocabularies with the ability to oscillate between indigenous and eurocentric movement. By challenging contemporary dance conventions, she is advocating for the inclusion of an Native worldview.

Simas has been honored by the Native community with a Native Arts and Cultures Foundation Fellowship (2013), a First Peoples Fund Fellowship (2016), and residencies at the Banff Centre Indigenous Arts Program, All My Relations Arts, Full Circle's Talking Stick Festival, and Institute of American Indian Arts' Museum of Contemporary Native Arts.

Simas is a Guggenheim (2015) and McKnight (2016) Choreography Fellow. Her work is supported nationally by the Knight Foundation’s Knight Arts Challenge (2017); New England Foundation for the Arts National Dance Project (2013, 2015, 2017), MAP Fund (2017, 2018), The Joyce Awards (2017), and National Performance Network Creation Fund (2015, 2018).

Her solo, We Wait In The Darkness, has been presented at venues such as: ODC (San Francisco); Dance Place (Washington D.C.); Maui Arts & Cultures Center; MAI (Montréal, arts interculturels); The Autry (Los Angleles); The Dance Center at Columbia College Chicago; SUNY Fredonia; Gimaajii-Mino-Bimaadizimin (Duluth); the Living Ritual Festival (Toronto); DANSEM (Marseille, France); and American Realness (NYC).

Her work Skin(s) has toured to the Kelly Strayhorn Theater, Intermedia Arts, La Peña Cultural Center and EastSide Arts Alliance, the Chicago Cultural Center, Northwestern University in Evanston, and Gimaajii-Mino-Bimaadizimin in Duluth.

McKnight Artist Fellow | February 25 - March 5, 2018 // April 14 - 20, 2018

Weave

Known for her work that unifies physical movement with time-based media, sound, and objects, Rosy Simas’ (Seneca, Heron Clan) choreography unites cultural ideas and images with scientific theories to build narratives that are both literal and metaphoric. Simas came to MANCC to develop Weave, a work that honors the interwoven and interdependent nature of our world. In this work, individual histories are woven into a performance that envelops the audience in an immersive experience of story, dance, moving image, and sound.

For many Native people, weaving is a way of life, an individual and communal act in which cultural stories and tribal knowledge are conveyed. Stories within cultural materials seem invisible, intangible, until they are made and shared. Weave will craft stories though Simas’ embodied lens as a Native feminist movement and image-maker. The work will be created in a site-specific way for each community to which it tours. For Simas, site-specific means more than location. It is the community that occupies the space, the territory, and the Native history of the place.

“When Native artists create work for Native audiences—a natural process prior to colonization—we disrupt expectations about who is deemed worthy and appropriate to receive the gift of art. When broader audiences are welcomed into that space of creation, alongside Native people for whom the work was created, there is a deepened intimacy, a conversation shared, the universe revealed through the specific.” – Simas

Simas asks critical questions regarding her relationship to the Native communities she is engaging, her relationship to non-Native audiences, and what it is to create dance for western constructs from a Native worldview.

“What can Native cultures teach non-Native audiences about art in less transactional, and more relational ways? How can I interrupt normative notions that performance by Native artists and artists of color must merely educate people? How can we break barriers between people of different experiences to diminish the cultural voyeurism that can happen when less diverse audiences engage the work of Native choreographers and choreographers of color?”– Simas

Simas’ work employs a Native circular model of creation (birth-life-death-birth). She works with other artists cyclically (research-rehearsal-performance-research), engaging Native and non-Native community participation in multiple cities. Simas continually loops in new information, allowing her to disrupt conventional performance expectations by making work that is always evolving, with local audience interactions continually reshaping the work.

Simas came to MANCC for two one-week residencies in the Spring of 2018 to develop Weave. In her first residency, Simas’ entire collaborative team came together in the studio for focused time to develop cohesion within the group.  She also met jointly with Dr. John Lowe, Director, and Dr. Melessa Kelley, Post-Doctoral Scholar, at FSU’s Center for Indigenous Nursing Research for Health Equity. This meeting supported Simas’ personal mandate to center Native and indigenous voices in her work. To do this, Simas engages with Native people in every community where her work is created and presented. The first residency also included an informal work-in-progress showing attended by students and faculty of the FSU School of Dance, and members of the local indigenous community.

As a part of MANCC’s Embedded Writers Initiative, Simas and her collaborators were joined by Heid E. Erdrich and Ahimsa Timoteo Bodhrán in the first residency. This initiative, funded by The Andrew W. Mellon Foundation, is designed to support the re-imagining of dance writing conventions in order to better respond to and engage with a wider range of ever-evolving contemporary forms.

For her second residency, Simas returned alone to develop movement vocabulary for the work. She continued to develop relationships with local indigenous people, this time meeting with Susan Anderson (Creek) and Roy Stanley (Cherokee), who are known locally as indigenous rights activists.

Both residencies were supported, in part, by a partnership with McKnight Choreography Fellowships, funded by The McKnight Foundation and administered by The Cowles Center For Dance & The Performing Arts.

  • Zoë Klein and Sam Mitchell in residence for Rosy Simas' <i>Weave</i>
  • Klein and Valerie Oliveiro
  • Mitchell and Klein
  • Mitchell and Klein
  • Klein and Mitchell
  • Pramila Vasudevan, Oliveiro and Mitchell
  • Oliveiro and Mitchell
  • Sam Mitchell
  • Performers share work with FSU and Tallahassee communities
  • Performers share work with FSU and Tallahassee communities
  • Performers share work with FSU and Tallahassee communities
  • Valerie Oliveiro
  • Mitchell and Klein
  • George Stamos, Klein and Mitchell
  • Post-performance discussion
  • George Stamos, Ahimsa Timoteo Bodhrán, François Richomme, and Rosy Simas
  • Composer François Richomme
  • Rosy Simas</i>
  • Rosy Simas
  • Performers in development of <i>Weave</i>
  • Writer Heid E. Erdrich
  • <i>Weave</i> collaborators in discussion
  • Pramila Vasudevan, François Richomme and Simas
  • Stamos, Klein and Oliveiro
  • Collaborators in discussion
  • Rosy Simas
  • Rosy Simas

Collaborators in Residence: Ahimsa Timoteo Bodhrán [Writer], François Richomme [Composer], George Stamos [Performer], Heid E. Erdrich [Writer], Pramila Vasudevan [Dramaturg], Sam Mitchell [Performer], Valerie Oliveiro [Performer], Zoë Klein [Performer]

World Premiere

Donna Uchizono

March Under an
Empty reign

Oct 10-13
The Joyce (NYC)

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