Decolonizing space and taking back our agency in Jeanette Kotowich’s Kwê by Shanny Rann
We are bodies seeking sovereignty, imperfectly tethered to homelands near and far… Containers of complex histories, tears, and joy... We journey through liminal territories of vulnerability and strength. We embrace multiplicity and settle into the untamed knowing of our courageous hearts. Harnessing bravery, we weave our presence into vast futures. Jeanette Kotowich’s work reflects Nêhiyaw/Métis cosmology within the context of contemporary dance, performance, and Indigenous futurism. Kwê is the current research project being held by Jeanette in collaboration with Stéphanie Cyr, Olivia Shaffer, Tamar Tabori and contributing artistic designers. Derived from iskwew (femme spirit) and iskotêw (fire), Kwê provides a fluid container to intentionally define and amplify iskwêwak sovereignty and dismantle dominant colonial and patriarchal narratives with vulnerability, courage and heart. Kwê was livestreamed as part of Dance In Vancouver in November 2021 and performed in person at Scotiabank Dance Centre as part of Matriarchs Uprising in February 2022.
SR: Can you tell me about the title of your piece, Kwê? JK: I have articulated Kwê within my work as femme spirit. In the Nêhiyaw/ Cree language, as I understand it, gender characteristics are accessible to/ by everyone. Our teachings say:
“Be Womanly” - live as a caregiver “Be Manly” - live as a provider 4
Dance Central Spring 2022
These teachings are for everyone. It is not only for men to be manly, similarly, women can have fierce courage and warrior-like strength as well. In a way, these are potential values rather than gender qualities. SR: Gender roles are abstract. How do you translate that into choreography? JK: I identify as she and also, they because I am animal and spirit too. I am all my relations, and my ancestors are part of me. I want to make my creative spaces inclusive to different gender expressions. Kwê, for me, has been about
