Abstract

Analyzing the phenomenological performance modes balanced in Marie Clements’s production of The Road Forward during the 2013 Vancouver PuSh festival, I also examine the previous iteration of the project at the Aboriginal Pavilion during the 2010 Winter Olympics. I assert that this production is a continuation of the use of performance as intervention during mega-event in Vancouver by Indigenous performers and activists, linking it to the Native Brotherhood and Sisterhood of British Columbia’s Indian Village and Show during the 1946 celebration of Vancouver’s Diamond Jubilee.

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Additional Information

ISSN
1920-941X
Print ISSN
0315-0836
Pages
pp. 44-50
Launched on MUSE
2015-11-27
Open Access
No
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