we wait in the darkness

2014-2018

video without audio description

We Wait In The Darkness (2014) is a art/dance work to heal the DNA scars of Simas’ grandmother, her mother, and our ancestors.

Within in an environment of images and sounds from Seneca lands, this new dance work engages past and future, DNA memory, and invisible presences, to create a personal artwork about loss, family, perseverance, and home.

About this Work

Credits

Choreography/performance:

Rosy Simas

Set design:

Rosy Simas with contributions from Steven Carlino and François Richomme

Original music composition:

François Richomme

Letter reader:

Laura Waterman Wittstock (Rosy’s mother)

Letters:

Clarinda Waterman (Rosy’s grandmother)

Original Lighting Design:

Karin Olson

Film:

Rosy Simas with contributions from Douglas Beasley

we wait in the darkness

Images

On a stage, seven pale beings hover, each under concentrated spotlights in a sea of darkness: A tall, white pleated paper sculpture close to the edge of the stage (down stage right) is evocative of the DNA helix, and spans the height of the theater. Next to the helix (mid-stage) is a broad rectangular panel textured with horizontal ripples like a water current. Center stage is a mid-length white dress with short sleeves, floating from the dark. Next to the dress in diagonal succession are four towering rectangular panels who approach the stage's edge (towards downstage left). They echo each other in dimension and in their bold zig-zagging line motifs on rippled textured surfaces. Below, the dimly lit audience fills front row seating.

On a starkly lit stage, Rosy Simas deconstructs a large white length of paper with black line drawings reminiscent of maps, or zoning plans . Rosy presses an open palm against a thigh to hold the drawing which spills onto the black floor, and pulls a piece of the paper apart with the other hand. The floor is littered with other fragments of the drawing. Similar floor-length large drawings tower high surrounding Rosy, who wears a fitted black sleeveless outfit. A large pleated paper sculpture evocative of the DNA helix hovers in the foreground. .

With back to the camera, Rosy Simas kneels sitting on her heels in a massive space, wearing only tan underwear. Her dark, glossy hair parted in the center falls forward, revealing a smooth, bare back, with a dark, round compact tattoo on her shoulder blade. She hunches slightly, pitching to one side, with one arm reaching forward and the other arm skywards with a long crooked finger. In the background is a white garment spread out on the wooden floor.

With back to the camera, Rosy Simas lays extended on her side, wearing only tan underwear. Her legs extend and float horizontally with flexed, soiled feet. Her torso rests on a bent arm. Rosy's head inclines towards the earth, her dark hair spilling onto the wooden floor.

Rosy Simas perches in cool light, slightly pitched forward, on one foot flat and the ball of the other, She looks down at one extended arm which she caresses carefully with her other hand. Her extended palm curls at the fingers. She wears a white knee-length pleated circle skirt and tucked matching blouse with short full sleeves. Her hair is dark with blunt bangs. The sharp outline of her dark shadow looms behind her on the wall

Photos by JB Gelle, Rosy Simas, and Ian Douglas

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Funding Statement

We Wait In The Darkness is made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and additional funding from The Andrew W. Mellon Foundation. AND is underwritten by the American Composers Forum‘s Live Music for Dance Minnesota program in partnership with NewMusicUSA, with funds provided by the McKnight Foundation and the Andrew W. Mellon Foundation.

We Wait In The Darkness is supported in part by First Peoples Fund and the Ford Foundation through grant from the FPF Our Nations Spaces Program.

Rosy Simas is a fiscal year 2014 recipient of an Artist Initiative grant from the Minnesota State Arts Board and a grant from the Metropolitan Regional Arts Council. This activity is made possible by the voters of Minnesota through a grant from the Minnesota State Arts Board, thanks to a legislative appropriation from the arts and cultural heritage fund; and by a grant from the National Endowment for the Arts.

We Wait In The Darkness is supported by residencies at MAI (Montréal, arts interculturels) in Montréal, QC, University of California Riverside/Culver Center in Riverside, CA, All My Relations Gallery in Minneapolis, and The Red Eye Theater in Minneapolis, MN.

2013 projects of Rosy Simas Dance are supported by a Native Arts and Cultures Foundation dance fellowship.

This project has been supported by over 110 supporters via Hatchfund crowdfunding and GiveMN.org (a long list is coming soon).

In addition, individuals who contributed to this project through their scholarly advice, by providing housing, or participating in other ways are: Jim Simas, Laura Waterman Wittstock, Jack Erickson, John Waterman, Jr., Andrea Cooke, Berta Jones, and Becky Waterman.

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we wait in the darkness

About this Work

Credits

we wait in the darkness

Funding Statement