SKéN:NEN study guide

SKéN:NEN Study Guide

Photo credit: Santee Smith

Introduction

This study guide was written by a team: SKéN:NEN production and cultural content by Santee Smith, and study guide content by Brefny Caribou with support from Young People’s Theatre. As you scroll through the guide, you will find curriculum connections, discussion questions, units of study and more. We hope you will find this guide to be a useful resource. Should you have any questions or feedback, or have inquiries about the use of this guide (which is copyright protected), please feel free to contact, Tasneem Vahanvaty, TO Live Director of Communities and Outreach, at Tasneem.Vahanvaty@tolive.com

Photo by Rita Taylor, Banff Centre, 2024

Statement from the artistic director of KAHA:WI dance theatre

Shé:kon-sewakwékon / Greetings Everyone. Skennen'kó:wa ken… do you carry great peace? This is one way we greet each other in my culture. Instead of saying hello, we ask the question: are you living in peace and balance? Ultimately, it’s an individual choice to accept peace and seek out balance in throughout life. Ahserihwayé:na ne skén:nen…do you accept the peace? Embedded in the immersive world of SKéN:NEN are layers of ancient understandings and stories projected into the imagined future focused on acknowledging the interdependence of the natural world, and humans' responsibility for care taking.

Photo credit: Vladimir Kanic, Young Peoples Theatre, 2023

Synopsis

“There’s no planet B, there’s no planet B, there’s no planet B

There’s no place like home, there’s no place like home, there’s no place like home

There’s no place,

There’s no home, no planet, no home… Home”

-from SKéN:NEN by Santee Smith

Set in the year 2050, SKéN:NEN introduces audiences to a world grappling with the aftermath of an environmental catastrophe. Against the backdrop of rising virus-filled waters and toxic air, a young girl named Niyoh, embarks on a journey from Ohswé:ken (Six Nations of the Grand River territory) to her Kahnyen’kehàka ancestral homelands in upper state New York. Niyoh seeks refuge on the high ground of the Ratirontaks (Adirondack) mountains, at a hidden bunker camp of her community. She encounters other climate survivors—a feral child, Tsítsho which means fox; an engineer, Kage O:naira a.k.a. Snakes in His Hair; and an otherworldly woman, Tsikónhsase referred to as Mother of Nations.

Tsikónhsase braids the three survivors’ journeys: Niyoh and Tsítsho working in unity to listen and rebuild connections to the earth, as well as Kage who struggles with his entangled mind, which is a blockage to his own peace. The cohesion of the fledgling group is interrupted by the lurking Kage who is desperately trying to re-establish the imbalance of old systems. Tracked throughout the performance are the levels of toxicity of the air, land, and waters, and of their bodies. Earthquakes felt throughout remind the group of their unsteady ground and the response from Mother Earth to heal herself.

The ancestral mission to restore love, peace and harmony back to the people is mirrored in SKéN:NEN as the characters rebuild in post-apocalyptic times. They struggle with lost, unsteady ground and emotions. Condoling with the land and re-aligning to the newly shifted Earth, they struggle to find their balance and way forward together. The narrative embodies Rotinonhsión:ni (Haudenosaunee) philosophy and concepts about the establishment of Kayaneren’kó:wa (The Great Law) and Skennen'kó:wa (Great Peace); the role of women represented by Tsikónhsase, the first person to accept skén:nen; the role of Tadodarho changing his entangled mind from destruction to peace; rites of passage; and rebuilding

skennen'kowa ken? /Do you carry great peace?

Curriculum connections

The Arts: Dance, Drama, Visual Arts and Media Arts

First Nations, Métis and Inuit Studies

Science and Technology – Life Systems, Relating Science to Our Changing World

Geography – Interrelationships between People and the Physical Environment

Themes

Living in balance, within self, community, and environment

Respect and care for Mother Earth

Finding individuality within the collective

The importance of rites of passage; the process of becoming a human being

Photo by Rita Taylor, Banff Centre, 2024

About the creator Santee Smith

Tekaronhiáhkhwa (Picking Up The Sky)

Santee is a multidisciplinary artist from the Kahnyen’kehàka Nation, Turtle Clan, Ohswé:ken (Six Nations of the Grand River). Transformation, energetic exchange and fostering mind-heart connections through performance and design is her lifelong work. Santee trained at Canada’s National Ballet School; holds Physical Education and Psychology degrees from McMaster University and a M.A. in Dance from York University. Premiering her first production Kaha:wi – a family creation story in 2004, one year later she founded Kaha:wi Dance Theatre which has grown into an internationally renowned company. Santee’s work speaks about identity, teachings and way of life within Onkwehonwe:neha, creativity and Indigenous artistic process. Smith’s work is sourced from cultural research, horticultural and land-based processes, she spearheads “Inviting the Land to Shape - Series including workshops and labs at Talking Earth Studio & Gardens and around the globe. She is a sought-after teacher and speaker on the performing arts, Indigenous performance, and culture. Smith is the 19th Chancellor of McMaster University.

Photo credit: Make Emarthle

About KAHA:WI dance theatre

Kaha:wi Dance Theatre is a Rotinonhsión:ni organization and one of Canada’s foremost performing arts companies, acclaimed nationally and around the globe. Founded by Artistic Director Santee Smith, Kaha:wi (ga-HA-wee) means “to carry” in Kanyen’kéha (Mohawk language). Exploring the intersection of Indigenous and new performance through resurgent process and practice, KDT’s works are interdisciplinary, intergenerational, and intercultural. Drawing inspiration from research and collaboration, our performances question, restory and transform while adhering to Indigenous process, connection to land, story, and spirit of place. KDT is Indigenous presence, voice, and narrative. The company’s home community is Ohswé:ken/Six Nations of the Grand River and home city is Tkarón:to’/Toronto, ON.

www.kahawidance.org

Photo credit: Kaha:wi Dance Theatre, Homelands; photo by David Hou

Interview with the creator Santee Smith

What was the inspiration for SkéN:NEN?

The main inspiration was to reflect on my ancestral teachings and imagine how they were activated in the past, present and an imagined future.

The inspiration was to imagine a not-so-distant future world where environmental issues go unheeded. What will be the consequences for the world if climate change marches on? Future, present, and past times.

SKéN:NEN, we envision a world where the fusion of artistic expression, environmental consciousness, and indigenous wisdom has sparked a transformative shift in collective awareness.

Artistically, there’s an interest in creating an immersive world for artists and audiences to enter and experience. It is a creative challenge for me to weave embodied storytelling layered with cinematic imagery and sonic vibrations of the musical score for the purposes of open hearts and minds to feeling and reflecting on the theme. The theme is extremely important, as concern for the environment and growing impacts of climate change develop.

Most important is to highlight Kahnyen’kehàka ancestral knowledge on the reciprocal and interdependent relationship humans have with nature and nonhuman life. Our way of life supported sustainability, kinship which means treating everything like family.

How does the language of movement support the communication of the epic themes and subject matter in the piece?

Gestures, movement motifs and energy of the characters, and the spatial arrangement of the movement pathways on stage and in the media projection are designed specifically to express a thought, emotion, relationship and the events within the story. The dance artists and I work to bring their characters to life tracking their individual journeys from the start to the end of the performance. Much of the movement is created through guided improvisation, asking how can we tell the story through the body? As the director and choreographer, I share the story vision and shape the scenes and specific dance steps. The specific dance steps are the Rotinonhsión:ni social dances: Friendship and Stomp dance.

How does the use of multimedia technology further support the storytelling?

As a multidisciplinary artist, my creative process is visual arts and design based. Through visualizations, active daydreaming, I imagine the story coming to live. I come from a long line of visual artists and storytellers, and combining multimedia technology is an extension and expansion into new media work; a new way to build a narrative.

Through weaving the videography and animation design, my team is creating our own multimedia storytelling style. The goal for the media is to layer story, to provide context for the environment, backstories, character information, and symbolic imagery that will serve to tell the story fully.

In SKéN:NEN, I am excited to share the iconic symbols of my culture. For example, the wampum belts are like novels, a way of sharing Rotinonhsión:ni encoded knowledge, ways of being, and interconnected relationships through the design.

What does living in harmony with the earth mean to you?

For me, to live in harmony is to continually seek out, cultivate and sustain skén:nen - balance. This is an active process that starts within oneself. One way to activate harmony is to be grateful and acknowledge everything in the natural world upon which we rely to maintain our life on Mother Earth: people, water, food, elements, all of nature. Being in gratitude or thankfulness is an important part of Rotinonhsión:ni practices such as saying the Thanksgiving Address each day and celebrating nature’s cycles.

Sometimes in my life when I’m thinking low vibrational thoughts, feeling down or disappointed, remembering what I am grateful for shifts my thoughts and I feel better. Connecting with the earth and land helps to feel grounded and balanced. Knowing that I am a part of an immense living creative universe provides me with purpose and connection, I have a role and responsibility in my time on Mother Earth.

What do you hope young audiences carry with them from the performance?

In a time when environmental issues and climate change are increasingly urgent, I hope by witnessing the performance of SKéN:NEN, young audiences receive Rotinonhsión:ni ecological knowledge, foster empathy, and inspire actions to be custodians and advocates for Mother Earth.

The fusion of art and ancestral wisdom can be a powerful catalyst for positive change, encouraging audiences to consider their relationship with the environment and embrace a sustainable and harmonious way of life. Since what we do to the earth, we do to ourselves, through the performance, I hope to impart

the importance of our present decisions and actions on the environment. Setting SKéN:NEN in 2050, questions the past and present societal decisions made for us to get to climate change.

I hope young audiences carry with them the importance of making a personal connection to earth and reflect on the Rotinonhsión:ni teachings layered in SKéN:NEN: freedom with responsibility, individuality within a collective, honouring our kinship relationships, and to become curious about the ways Indigenous peoples have been taking care of the environment. I hope SKéN:NEN encourages young audiences to be active and advocate for the natural world since it is their future.

SKÉN:NEN

Photo credit: Vladimir Kanic, Young Peoples Theatre, 2023

Ancestral teachings

The following ancestral teachings are connected to this performance:

The Great Law

Kayanere'kó:wa/the Great Law (key figures represented Peacemaker/ Tsikónhsase/ Hayonwhatha/Atotarho) reflects the peacemaking process, governance, values and fundamental ways of being.

Tree

of Peace

The Tree of Peace and the White Roots of Peace, wampum belts and their encoded relationships, traditional pottery designs and nature’s patterning. As the Survivor’s rebalance and unify, glimmers of the Tree of Peace appear along with foundational cultural symbols: celestial domes and geometric patterning that bind the groups together to affirm Onkwehonwehnéha/ way of life of the original people, and Rotinoshonni ónhwe (natural people who belong to families organized pursuant to ancient systems of Great Peace).

Visually, the Tree of Peace is represented in two ways in this performance: a White Pine Tree 3D projection and The Everlasting Tree wampum belt design.

Wampum Belt - Encoded Relationship Agreements

Throughout SKéN:NEN there are contemporary digital wampum belts in the media projections which bring meaning to the story and also share the importance of the belts:

Ka’shastensera Kontiha:wa’ne Iotiianeh:shon (Clan Matron’s) called the Women’s Nomination Belt

Sewatokwà:tshera also called the Dish with One Spoon

Skaronhesekó:wa Tsiokterakentkó:wa, the Everlasting Tree Belt also called the Ever Growing Tree Belt, also called the Dust Fan belt

Tehontatenentsonterontahkhwa, “the thing by which they link arms,” the Covenant Chain wampum belt, as known as Friendship Belt

Other Encoded Knowledge with the SKéN:NEN design:

Linking of hands – a show of the strength of unity and connection

Celestial domes – visual representation of the energies of the natural world: earth, sky and life

Geometric patterning – designs that represent the land, topography, and nature’s patterning.

The symbolic imagery illustrates the mind-set and ways of being what is called Onkwehonwehnéha.

Rematriation

Acknowledgement and re-establishment of feminine power and movement towards balance and equality. SKéN:NEN is created from a Rotinonhsión:ni woman’s perspective, centred on the main young woman character Niyoh.

Re-establishing

Pre-colonial practices such as rites of passage, and condolence ceremonies How do we condole/grieve with the land?

Environmental Knowledge

Abiding to the laws of the Natural World

Acknowledgement of interconnection web of life and to the natural universe, from cosmos to cellular (nature’s patterns - wave, spirals which leads into the Indigenous dramaturgy)

Consequences of global warming, greed, and patriarchy

SkéN:NEN character list

Niyoh (knee-yoh)

The role of the Niyoh is performed by Katie Couchie. The name Niyoh is short for Ken’niyohontésha and it means Strawberry. The young Kahnyen’kehàka girl begins her flight from Ohswéken as a lone survivor of her family. Coming from a long line of environmental activists and land defenders, we witness Niyoh’s journey from fleeing child to a leader, a future matriarch.

Kage O:naira (oh-nair-la)

The role of the Kage is performed by Montana Summers. O:naira means Snake and reflects the young Onondaga man’s, “Snakes in his Hair'' character parallels the role of Tadodarho (also known as Adodarho) in the original Rotinonhsión:ni Great Law teachings. His attempt to break the cohesion of the fledgling group and re-establish the imbalance of old systems reflects remnant colonial thinking: greed and patriarchal domination. His journey is from New York City to Upstate NY and close to the bunker camp in the Adirondack Mountains.

NOTE: Snakes are represented throughout the performance and in the character of Kage O:Naira a.k.a. “Snakes in his hair” (O:naira meaning snake). The “snakes in his hair” is meant to represent a mind entangled with significant thoughts.

Tsítsho: (jezt-sho)

The role of Tsítsho is performed by Sophie Dow. Tsítsho means fox in Kanyen’kéha. Her flight to high ground crashes into Niyoh’s and they become fast friends. Wounded and unable to speak, Tsítsho has survived by becoming more feral, animal-like. As a little child of 5 years old, we witness Tsítsho regain her human qualities and she helps in establishing peace within the group.

Tsikónhsase (Jeet-gonh-sa-say)

The role of Tsikónhsase is performed by Santee Smith. The name is Tsikónhsase and is reflective of the Great Law teaching as the “Mother of Nations”, she is recognized as the first person to accept the Great Law from the Peacemaker and establish unity within the people who became the Rotinonhsión:ni Confederacy. Her presence guides the Niyoh, Kage and Tsítsho to skén:nen.

Scene list and additional context

Act 1: On the Edge of Collapse – The Journey: The Escape, Condoling the Land, Washed Up, Feral Flight, Finding Balance, Testing the Air, Earthquake – Buckle and Fold

Act 2: At Camp: Doctoring Dance, Snakes in his Hair, Acknowledgement of the Land, Back to the Earth, Sniffing out Kage, Earthquake – Shake and Slide

Act 3: New Vision: Gathering at the Lodge, Lodge – Rites of Passage, Sharing the Lodge Vision, SKéN:NEN – Rebuilding, Toxic Re-Vision, Earthquake – Collapse

Act 4: Restoration of Balance – Moving into Skén:nen: Removing the Snakes, Entanglement, Seeding the Future, Straightening the Tree of Peace.

Each act is punctuated by an earthquake as a reminder of the imbalance of the Mother Earth in recovery and the unsteadiness of the world of the survivors.

Ohen:ton Karihwatehkwen, the Thanksgiving Address

Act 2 - Scene: Acknowledgement of the Land the character Tsikónhsase speaks selections from the Ohen:ton Karihwatehkwen, the Thanksgiving Address. The elements being acknowledged in her surroundings at the time: Mother Earth, Trees, Circulating Winds, Thunder/Lightning, all of Creation.

Tayethinonhwerá:ton ne /

Yethi’nihsténha tsyonhwentsyà:te / E’tho nenyontónhake ne onkwa’nikòn:ra /

Tayethinonhwerá:ton ne

Karonta’okón:’a E’tho nenyontónhake ne onkwa’nikòn:ra

Tayethinonhwerá:ton ne

Tsyowerawénrye E’tho nenyontónhake ne onkwa’nikòn:ra

Tayethinonhwerá:ton ne

Ratiwé:ras E’tho nenyontónhake ne onkwa’nikòn:ra

Tatshitewanonhwerá:ton ne Ka’satstenhsera’ kó:wa Sa’oyé:ren E’tho nenyontónhake ne onkwa’nikòn:ra

Ohen:ton Karihwatehkwen, the Thanksgiving Address is spoken acknowledging, a greeting and giving gratitude to every aspect of life and reaffirming our interdependence. Often this is referred to as the web of life of which human beings are a small part. It is not a prayer and is not related to a religion, rather a way of thinking about the world.

Link to Tehahenteh Miller speaking about Ka’satstenhsera’ kó:wa Sa’oyé:ren https://www.youtube.com/watch?v=_iPY7upbKYk

Scene The Escape: Spoken text in music: written by Santee Smith

In 2050 humans are on the edge of collapse. Mother Earth moved, stretched her limbs, shook off the disease and decay. She doesn’t depend on humans…we depend on her. take only what you need, leave something to share, and keep the earth clean…ancestor’s words unheeded…greed and corruption take only what you need, leave something to share, and keep the dish clean there’s no planet B, there’s no planet B, there’s no planet B there’s no place like home, there’s no place like home, there’s no place like home, there’s no planet B, there’s no place like home, there’s no planet B there’s no place like home, there’s no place no place there’s no planet home, no home home, planet there’s no planet, no place, no place home, home, home, there’s no home

Set, costumes, and technology

The colour palette of SKéN:NEN’s design reflects the environment the characters move through. Colours of burnt red, orange rust, and yellow reflect the pollution and toxic air of the post-apocalyptic landscape and greens and browns are introduced as they move to higher ground on their journey to their ancestral territory. The metallic/blacks are representative of a snake which plays a significant role in the story as well as the ancestral Great Law teachings. Costumes for this piece are repurposed, upcycled, and thrifted articles of clothing meant to reflect the “found” nature of surviving in a post-apocalyptic environment.

Multimedia projection

SKéN:NEN stands at the forefront of technical innovation in theatre. The use of multimedia projection is a distinctive feature, blending realistic cinematic footage with cutting-edge 3D animations. This multimedia layer adds depth and richness to the storytelling. The projection is another layer to the storytelling and creating context for the characters, for example, backstory of how they meet, parts of their journey to the camps and lair.

Creating an immersive experience that resonates with the audience on a profound level. For reference this use of Halogauze can be seen in live concert design used by the likes of Beyonce.

SKéN:NEN's projections show the following contemporary design depictions of wampum belt:

Ka’shastensera Kontiha:wa’ne Iotiianeh:shon, also called the Women's Nomination Belt

Sewatokwà:tshera also called the Dish with One Spoon

Skaronhesekó:wa Tsiokterakentkó:wa, the Everlasting Tree Belt also called the Ever Growing Tree Belt, also called the Dust Fan belt

Tehontatenentsonterontahkhwa, “the thing by which they link arms,” covenant chain wampum belt, as known as Friendship Belt

Curriculum connections

The Arts: Dance

-construct personal interpretations of the messages in their own and others’ dance pieces, including messages about issues relevant to their community and/or the world and communicate their responses in a variety of ways -demonstrate an understanding of how different types of dance reflect aspects of the culture that produced them

The Arts: Drama

-engage actively in drama exploration and role play, with a focus on examining multiple perspectives related to current issues, themes, and relationships from a wide variety of sources and diverse communities

The Arts: Visual Arts and Media Arts

-interpret a variety of art works and identify the feelings, issues, themes, and social concerns they convey -identify and describe some of the ways in which visual art forms and styles reflect the beliefs and traditions of a variety of cultures and civilizations -identify and describe ways in which media artworks can influence community or societal values

First Nations, Métis and Inuit Studies - Expressions of First Nations, Métis and Inuit Cultures

-demonstrate an understanding of the spiritual interconnectedness of people, the land, and the natural world in First Nation, Métis and Inuit world views, analyzing how spiritual and personal connections to the land are expressed through various art forms and arts disciplines

-demonstrate an understanding of the role of spiritual, individual, gender, and collective identities in First Nations, Métis, and Inuit world views, analyzing how identity is expressed through various art forms and arts disciplines

First Nations, Métis and Inuit Studies - Contemporary Indigenous Issues and Perspectives in a Global Context

-demonstrate an understanding of the significance of the land to Indigenous peoples around the world, analyzing the consequences of displacement from traditional territories and the benefits of Indigenous perspectives on resource management

Science and Technology – Life Systems: Interactions in the Environment

-assess the impact of human activities and technologies on the environment, and analyze ways to mitigate negative impacts and contribute to environmental sustainability

-analyse how diverse First Nations, Métis, and Inuit practices and perspectives contribute to environmental sustainability

Science - Relating Science to Our Changing World

-assess impacts of climate change on the sustainability of local and global ecosystems, describe local or global initiatives for combating climate change, and identify solutions to address some of the impacts

-investigate and explain how sustainable practices used by various communities, including First Nation, Métis, and Inuit communities, reflect an understanding of the importance of the dynamic equilibrium of ecosystems

Geography – Interrelationships between People and the Physical Environment

-assess the ways in which different peoples living in similar physical environments have responded to challenges and opportunities presented by these environments and assess the sustainability of these responses.

Canadian and World Studies - Geography

-assess environmental, economic, social, and/or political consequences for Canada of changes in some of the Earth’s physical processes

-explain how human activities can alter physical processes and contribute to occurrences of natural events and phenomena

Photo credit: Vladimir Kanic, Young Peoples Theatre, 2023

Glossary/pronunciation guide

Skén:nen (Skah-nah) - peace, balance

O:naira (oh-nair-la) - snake

Tsítsho (jezt-sho) - fox

Ken’niyohontésha (gen-knee-yoh-dehs-ha) - strawberry

Kahnyen’kehàka (gah-NYEN-geh-HA-gah) - Mohawk Nation called the people of the flint/spark

Kanyen’kéha (gah-NYEN-geh-hah) - the Mohawk language

Ohswéken [oH-sweh-gen) - the undercurrent in a river / Six Nations Grand River territory

Tkarón:to’ (da-gar-lohn-doh) - logs in the water / Toronto

Rotinonhsión:ni (rloh-DEE-noh-Shoh-nee) - they who make the house / Six Nations Confederacy / Six Nations League of Nations

Haudenosaunee (hoh-DEE-noh-SHoh-nee) -People of the Longhouse

Kayaneren’kó:wa (guy-yon-rlay Go-wah) - the Great Law

Skennen'kó:wa ken [skah-nah Go-wah gen] - Do you carry great peace?

Kó:wa (Go-wah) - great, immeasurable, endless

Onkwehonwehnéha (ohn-gway-hoe-way nE-ha) - the way of life of the original peoples

Onkwehón:we (Ohn-gway-hoe-way) - People of the way of forever also referred to as original or ‘real people’, referring to the peoples Indigenous to Turtle Island. This word in Kanyen’kéha is often used as an alternative to “Indigenous”.

Rotinoshonni ónhwe (rloh-DEE-noh-Shoh-ne Oh-way) - natural people who belong to families organized pursuant to ancient systems of Great Peace

Ahserihwayé:na ne skén:nen - Would you accept the peace?

Ka’satstenhsera Ka’satstenhsera’ kó:wa Sa’oyé:ren - Movement of the immense creation - nature

Nia:wen (nyah-weh)- thank you

Imagery - the use of words or pictures to describe ideas or situations

Metaphor - an expression that describes a person or object by referring to something that is considered to have similar characteristics to that person or object

Symbol - something used for or regarded as representing something else

Movement vocabulary - a repertoire of steps, movements and sequences that are used in creating a dance piece. They can be particular to a specific dance form (e.g., traditional dance) or more personal e.g., creative dance.

Narrative - a spoken or written account of connected events; a story

Perspective - a character’s particular attitude towards something

Point of View - focus on a particular character or voice telling the story

Tableau - a frozen image to represent a scene, theme, abstract idea, or important moment in a narrative

Embodied Storytelling - using movement, gesture, and space to express thought, emotion, and event in a story

Gesture - a movement of a part of the body to express an idea or meaning

Rite of Passage - a ceremony or event marking an important stage in someone’s life

Tableau - a frozen image to represent a scene, theme, abstract idea, or important moment in a narrative

Embodied Storytelling - using movement, gesture, and space to express thought, emotion, and event in a story

Gesture - a movement of a part of the body to express an idea or meaning

Rite of Passage - a ceremony or event marking an important stage in someone’s life

Photo credit: Vladimir Kanic, Young Peoples Theatre, 2023

Nothing about us without us

An important principle when engaging with Indigenous work is to understand that even though the performance may be inclusive or involve teaching of a dance, song, practice, it is imperative that that knowledge not be further disseminated by non-Indigenous practitioners. Due to the extractive and destructive legacy of colonialism, which sought to “preserve” Indigenous cultures by stealing significant items while simultaneously outlawing ceremony, languages, and forcing assimilation on our populations, we as contemporary Indigenous peoples continue to grapple with this history as many of our communities reclaim our languages, sacred items, and ways of life. This is not to discourage participation, which can be cathartic, instructive, and fun for audiences and is often an important part of the given performance; it is an invitation to break from colonial practices, and an opportunity to deepen one’s understanding of Indigenous practices and protocols. The saying “nothing about us without us” reflects the assertion that our resources are precious, our knowledge sacred, and our time valuable. Please refer to the study guide as a tool for further engagement with the work.

Photo credit: Vladimir Kanic, Young Peoples Theatre, 2023

Units of study

The units of study within this guide prompt students to think about the themes in SKéN:NEN through engaging with drama, dance and other creative outlets. Before you bring your students to this performance, we encourage you to talk to them about the experience of seeing live performance, especially for those who will be experiencing it for the first time.

Pre-show unit of study

Pre-show questions

Here are some pre-show discussion questions to share with your students:

What do you know about the Indigenous people who lived on this land; their heritage, languages, cultural practices and spiritual beliefs?

What do you know about the Rotinonhsión:ni (Haudenosaunee, Onkwehon:we) people?

What is your relationship to the natural world, and non-human living beings?

What do you know about climate change?

What is the meaning of “community” to you?

What is the meaning of “balance” to you?

Pre-show activities

Objective: To have students engage in thinking about the relationship and interaction between humans and the natural environment as well as the Seven Generations teaching.

Symbols of the natural world

Materials: paper, drawing utensils.

Instructions:

Distribute materials and ask students to individually draw a symbol, which for them symbolizes humans' relationship to the natural world.

Give the students time to complete their drawings and have them share and describe what they drew with their peers.

Reflection Questions:

-What immediately comes to mind for you when thinking of “humans and nature”?

-In observing what others in the class drew, were there similarities? If yes, what were they and why do you think they occurred?

Exploring the seven generations teaching through storytelling

Materials: space to gather, resources to research Seven Generations Teaching; books, computers, etc.

Instructions:

Offer the prompt to students: “Describe your favourite place in nature? And why?” Then give students a moment to reflect.

Ask students to gather in a circle and have student volunteers share their answers. Encourage students to describe the landscape (are there tall trees? A big lake, lots of flowers, etc.)

After everyone has shared, discuss as a group what some of these places have in common and some of the activities students engage with in theses spaces (swimming, hiking, etc.)

Extension: In small groups have students research the Seven Generations Teaching. Ask them to discuss and make a list of the important points of the teaching and key words involved (sustain, duty, impact, etc.).

As a class discuss the following reflection questions:

-When in nature, what actions do we take when we visit to make sure we leave them clean for the next visitor?

-What else do we know about how to take care of our environment?

-How do you, or can you, live with the Seven Generations teaching in mind?

Pre-show unit of study Pre-show questions

In SKéN:NEN how did you understand what was happening when there was very little speaking involved?

What do you think is embodied storytelling?

What do you know about Kaha:wi Dance Theatre?

What Rotinonhsión:ni imagery was in the production?

Why is it important that we learn about First Nations cultures, history, and stories?

How was this story related to the impact of climate change?

What does it mean to be a custodian of the land?

What actions can you, your class/school, your family, your neighborhood take to be custodians of the land?

Post-show activities

Objective: To have the students reflect and engage creatively with the themes of SKéN:NEN including friendship, rites of passage, as well as respect and care for Mother Earth.

Post-show activities

Objective: To have the students reflect and engage creatively with the themes of SKéN:NEN including friendship, rites of passage, as well as respect and care for Mother Earth.

Movement about friendship

Materials: Space to move.

Instructions:

Ask students to stand in a circle together with room to move. Begin with the question “What does the gesture and movement of ‘linking arms’ in the SKéN:NEN’s friendship dance choreography and on the Friendship wampum belts show us? Have students describe it.

After they’ve discussed and described what they saw, ask a volunteer student for an action that embodies what they described. Have the whole class repeat this action together. Have another student add another gesture or movement. Repeat the first movement and add the new movement afterwards. Repeat this exercise until everyone has three or four repeatable actions in a row.

Split the class into small groups of three or four students. Ask groups to create a movement phrase as they just did as a class about the idea of friendship. Each student in the group is responsible for one gesture of the collective phrase. Give students 10 minutes to create the movement phrase and rehearse it, letting them know they will be asked to share it with the class. Encourage students to experiment with tempo; fast, slow, timing; one person starts the phrase, and they move through it like a wave, size; small movements, big movements.

Have students present the movement phrases to the rest of the class. Encourage students to make observations of what they saw in each presentation.

Collective poem

Materials: Large pieces of paper, makers, space to write and display the writing.

Instructions:

As a class, ask student to define “rite of passage”. (see glossary)

Using a large piece of paper, have the class offer words that come to mind when they think of ‘rites of passage’ and write them down. This can relate to what they saw in the show or from their own lives. Write all the words down on the paper. Once the class feels they have enough words, split the class into smaller groups of three or four and give each group their own sheet of paper and markers. Divide the words up amongst the groups (ideally one word per student in the group). Each group must write a sentence for each word assigned to them. Encourage students to reflect on what the words means to them, discuss it in their group, using writing prompts like “I think…”, “We feel…”. Gather as a class again and have all groups write their sentences on one new sheet of paper.

Create new groups and repeat the exercise with the theme of “respect and care for Mother Earth”.

As a class, place both sheets side-by-side for everyone to see and compare the list of sentences (one based on rites of passage, and one based on respect/care for Mother Earth). Ask students: Are there any common themes? Are there any repeated words? Are there any sentences from one sheet that feel similar to ones from the other?

Ask each student to choose their favourite sentence from each sheet. Ask students to go around the room and say them out loud in whatever order they choose while you write them down to create a collectively created class poem. Read it aloud together or ask for a volunteer to read it out loud.

Extension: As a class discuss the structure of your collective poem. Is there repetition? Are there any patterns? Do certain thoughts go well together? Decide as a group if there are any changes you want to make to the order of the sentences however nothing should be deleted. Write out this new order to them poem. Assign lines for each student to say/perform. Explore adding gestures or movements to the spoken lines.

Reflection Questions:

What were the challenges of writing as a group? How did you collaborate or work together?

Were there sentences that reminded you of something you saw in the show? What are the ways in which the characters in the show respected and cared for Mother Earth?

Resources

Seventh generation principle

The seventh generation principle within the Rotinonhsión:ni (Haudenosaunee) way of life places great importance on the impact our present day decision-making has on future generations, all the way to seven generations forward. This is teaching and the practice of forward thinking and creating sustainability in all relationships from community to the environment.

https://www.Ictinc.Ca/blog/seventh-generation-principle

Who are the Haudenosaunee?

https://www.Pbs.Org/video/haudenosaunees-legendary-founding-ziahzz/

A treaty guide for torontonians from Jumblies Theatre

Https://talkingtreaties.Ca/treaties-for-torontonians

About the language

Https://www.Youtube.Com/watch?V=_ipy7upbkyk

Production credits:

Theatrical premiere presenter TO Live

Producer

Kaha:wi Dance Theatre

Director/Concept Designer/Choreographer/Dance Artist

Santee Smith

Dance Artists

Katie Couchie, Montana Summers, Sophie Dow

Costume/Scenic Designer

Santee Smith

Lighting Designer

Michel Charbonneau

Composer/Arrangement

Jesse Zubot, “Steady” originally commissioned for Joe Ink’s DANCE:CRAFT

Additional Composition

Hunter Sky, “The Escape”; Adrian Dion Harjo, “Tree Pulse”, “Tsikónhsase’s Song”

Singer/Songwriters

Jennifer Kreisberg, “Three Sisters”; Semiah Smith, “Tsikónhsase’s Song”

Singers

Pura Fe, “Lodge”, “Back to Earth”

Voice Over/Additional Vocals

Santee Smith, “Lodge”

SKÉN:NEN

Projection Design – Designer/Director

Santee Smith

Projection Design – Cinematographer, Editor

Shane Powless

Projection Design – Animation

Emma Lopez, Pedro Narvaez (Ava Animation & Visual Arts)

Pottery

Steve T. Smith

Additional Costumes

Adriana Fulop, Sharon Vyse, Bruno Henry

Dramaturge

Monique Mojica

Production Stage Manager

Senjuti Sarker

Technical Director/Lightning Sticks

James Kendal

Video Performers

Semiah Smith, Monique Mojica, Santee Smith, Shaina Momeni, Marie-Elena Leblanc

Bellissimo, Naomi Tyson, Larissa Christoff, Sanora Souphommanychanh, Ayla Vandenberg, Zada Britton

Site Builders

Santee Smith, Katie Couchie, Montana Summers, Sophie Dow, Shane Powless Development Advisors

Louise Wakerakats:se Herne, Thohahoken Michael Doxtater, Darren Bonaparte, Kahente Horn-Miller, Leigh and Steve T. Smith

Kanyen'kéha Translator/Advisor

Tehahenteh Miller

Final Tuning Tuning Creative support from faculty

Artistic Director of Dance - Alejandro Ronceria (Director), Ana Sánchez-Colberg (Dramaturgy), Edgardo Moreno (Music)

Creation/Production Partners:

Developed with support from the National Arts Centre’s National Creation Fund

Banff Centre for Arts & Creativity – Independent Residency, 2020, Final Tuning Residency 2024

Young People’s Theatre – Leaps & Bounds / Technical Residency 2022/2023

Site-specific Premiere: FirstON Performing Arts Centre, St. Catherines, Celebration of Nations

Banff Playwright’s Colony; Banff Centre Arts & Creativity - Indigenous Arts Residency 2020

Company Sponsors: Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council

Kaha:wi Dance Theatre is grateful for the generous support of our creation and production partners and to our company funders. Nia:wen to the following:

Creation/ Production Partners

Presenter and Technical Residency: The Creation of SKéN:NEN is generously supported by:

SKéN:NEN creation is supported by the Banff Centre for the Arts & Creativity Final Tuning Residency 2024

SKéN:NEN creation is generously supported by company funders: