Review: Raven Mother (Dancers of Damelahamid / DanceWorks)

Opening DanceWorks’ forty-eighth season is Raven Mother by Dancers of Damelahamid, a work that honors the legacy of Elder Margaret Harris, who co-founded the company in 1967 and was an integral figure in continuing the legacy of Indigenous cultural practices in Canada. Performed by her family, the work is a heartfelt tribute composed of narrative-based vignettes that showcase movement, music, and regalia of the Gitxsan people.

Each vignette stands on its own, distinguished by unique movement motifs, music, projections, and regalia. Central to the performance is the Raven Crest, a symbol of cultural resilience and transformation—qualities that are also reflected in the legacy of Elder Margaret Harris (1931–2020), a respected Cree Elder from Northern Manitoba who spent her life on B.C.’s Northwest Coast. Guided by Gitxsan Matriarch Irene Harris, her mother-in-law, Elder Margaret Harris dedicated herself to revitalizing and teaching Indigenous cultural practices.

Beyond its narrative depth, the production features beautiful visuals. The stage is completely transformed by surrounding projections by Indigenous artist Andy Moro. The immersive projections range from abstract patterns to vivid images that set the scene—at times evoking underwater depths, at others, foreshadowing what is to come. The projection’s imagery is so rich, yet never overshadows the movement of the work.

The regalia, crafted by Rebecca Baker-Grenier, is full of life, stories, and vibrant color. While I don’t have deep knowledge of Indigenous cultural symbolism, it’s clear that each piece is created with immense care and intention. The work also features beautiful original music and live vocals by Raven Grenier, in collaboration with composer Ted Hamilton.

The movement itself shifts between animal motifs, with each vignette embodying a different creature. The snake-inspired section stood out for its fluid, winding patterns and smooth hand motions, while the bird-like segments brought quick, twitching movements and sharp rhythms. My favorite movement scene involved the transformation of a large raven mask, which opened to reveal additional masks shared amongst the performers.

One of the most moving moments of Raven Mother is a projection of Elder Margaret Harris’s face transitioning from her younger self to her older self, overlaid with a recording of her voice reflecting on the importance of preserving and sharing her culture. Another standout moment is the heartfelt closing speech by Nigel Baker-Grenier, expressing gratitude for his grandmother and her lasting gifts. He also takes time to educate the audience on different Indigenous movement styles and their short histories in a kind and gentle way.

Overall, the work is a beautiful ode to the legacy of Elder Margaret Harris. My only wish was for a fuller audience, though I did attend a Friday matinee, which might have been a tricky timing for many.

This opening of DanceWorks’ season also marks a new chapter for the company as it is under the new artistic leadership of Dedra McDermott and David Norsworthy. Their warm and sweet introduction set the tone for the afternoon, honoring the company on stage and the legacy of Mimi Beck. There are very few shoes as big to fill in the dance sector as Beck’s, but I feel confident with it in the hands of David and Dedra.

Finally, a note on the venue: the performance was held at the Fleck Dance Theatre, a space that has been integral to dance in Toronto for decades and is now at risk of closure. The Fleck Dance Theatre has been one of my favourite places to see dance for over fifteen years. If you have a moment, please take time to sign this petition.

Raven Mother, presented by the DanceWorks played at the Fleck Dance Theatre (207 Queens Quay W, Toronto, ON M5J 1A7) on November 29th, 2024 at 12:15pm and 7:30pm. For more information, please see the links below.

DanceWorks.ca
Facebook: DanceWorksToronto
Instagram: DanceWorksToronto

Damelahamid.ca
Facebook: Damelahamid
Instagram: DancersofDamelahamid

All photos provided by DanceWorks. 
Photo 1: Photo by Chris Randle.
Photo 2: Photo by Michael Slobodian.

Written by Deanne Kearney
DeanneKearney.com @deannekearney