Wednesday, June 01, 2022

REMEMBRANCES - Guest post by Matthew James Weigel

Matthew James Weigel

I am grateful to share this space with you and everyone here at Border Crossings’ ORIGINS Festival, Birmingham 2022 and the Birmingham International Dance Festival. My name is Matthew James Weigel. I am a Dene and Metis poet and artist, born and raised in Edmonton Alberta, Canada, and here is where I live, work, and create. I was welcomed to this project by Michael Walling, and I am especially grateful to him for my inclusion in this project working with both ɅVɅ Dance Company and b.solomon/ /Electric Moose. It is a great pleasure and honour to be invited to contribute my poetry.

I’ve never worked with a dance company before. In fact, I rarely work collaboratively! I create both visual and lyric poetry which can be very solitary. But that being said, it has been an absolute delight to chat with everyone involved and talk about our shared goals and what sort of inspirations lift us up collectively. Some of my poems are written intentionally as spoken word pieces, and I think there is a special connection that spoken word artists share with dancers. There is an embodying process that happens, where the sounds and the stories live inside you and connect you to the world around you. These were some of the things I was thinking about specifically when I wrote this piece for REMEMBRANCES.

When we started, I wrote a piece responding to Michael’s writing, and we talked about it a little bit and chatted with Avatâra and the dancers. I was really fascinated by the process of creating choreography. There was a lot of familiarity to that process, in the sense that I could tell there was an analogous sense of vocabulary, technique, imagery and metaphor. Watching dance activates a different part of you from listening to poetry, but there are concepts of performance that are shared between them. You are hoping to connect with your audience and tell a story that exists in a single shared moment. During our conversation what came out was how important that connection was, not just a connection with the audience, but with the body as well. So, my next crack at the poem was to take what I had started with, which was a heavy meditation on the place that I live and the ground that supports and fuels me, and to activate the embodied experience of being here. I can genuinely say that the collaborative process allowed me to write a better piece of poetry than I had ever expected.

I think that’s the beauty of collaboration, not just between artists of the same medium, but when artists collaborate across mediums. We stretch across forms to find connections in new ways of thinking and moving in the world. And if anything, that is what art is for, it’s for helping us move through the world.

I think about this a lot in my art and my writing. My work is heavily invested in my relationship with the land, and how that relationship extends through to the non-human relations around me. Because my writing is so heavily based in research, it’s important for me to centre my work in those connections and relationships. I think it would be impossible to share archival and historical materials in an effective way without sharing my relationality to them, otherwise I feel like there would be an insurmountable distance within the work. To best tell the stories of the land around you, you have to do your best to understand the stories that brought you there. I am incredibly privileged to live where I live. The street I am on has its origins in a trail down to the river that my ancestors would have walked down. That river provides my drinking water. The clay from the river valley was formed into bricks that compose many of the buildings around me. And so, in that one set of relationships, me, the water, the buildings around me, there is a complex story of the history of me, of my family, and of the colonial history of Edmonton.

I take a great deal of inspiration from what is around me. From the spruce trees, the magpies, the willows. And so, the poem that I wrote for REMEMBRANCES follows the same path my work always follows: down the old path to the river, through the trees and surrounded by the beautiful conversations of magpies.

Matthew James Weigel's Whitemud Walking is published by Coach House Books. 

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