Eating bones and Licking bread was first showcased at Dancemakers during the Flowchart series in November 2018 curated by Amelia Ehhrhardt. It since has since been presented and further developed at the Festival International d’Art Performance 2nd Edition November 5th-12th 2019 at the Musée d’Archéologie Précolombienne et de Préhistoire de la Martinique and Lycée Centre Sud de Ducos High School | FIAP, Martinique co-curated by Annabel Guérédrat and Henri Tauliaut.
Lara Kramer would like to thank the supply of manooin (wild rice) from James Whetung, Daemin Whetung and Michelle Frafer of Curve Lake First Nation and for sharing their practice of traditional harvesting.
Wild rice has always been acknowledged as a sacred gift to the Anishnaabe. In the migration story the Anishnaabe traveled from the east to find manoomin growing on the water. It took 500 years for that migration to happen. This is how they knew where their homeland was.
“The movements (we are watching) seem migratory- a migration of sorts/ a series of migrations (as though a 500 year journey and another 500 year journey, and another 500 year journey is being chronicled) a journey in one sense rooted in a particular historyand set of histories, but are we also witnessing a set of journeys that also speak to a universal (never letting go of the real concrete particular histories that have informed the work). Can we also say that in this work, there is a larger history- auniversal history of infamy-the larger universal history of our species’ tension/ tensions; tensions that we see evidently presentin this performance? Going from between the one part of what we are watching that feels like a past era of humility, wisdom…and are we not also watching another era which is unfolding with a breach/ a schism that occurs (in a people’s history/ in a person’s history). ” ~James Oscar, Love in the Time of Cholera is not Love: Searching, Searching, Searching Among the Bones and the Bread
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Eating bones and Licking bread
Eating bones and Licking bread works with the body, texture and sound. It plays with sustained images that change in meaning. Questions around the colonial system of preserving hunger and consuming land and body anchors the artist inside of the work. Inside the ongoing recovery.
Moving between what is precious and what is disposable, the artist Lara Kramer proposes the solo performance as a state of being close to her public and to deepen her listening to the collective sensations and reactions. It gives attention to the imbalances that occur. A minimal soundtrack of field recordings and textures stirs and provokes the physically marked landscape, like an apocalyptic ballad. We fall to the ambiguity in the dreaming, in the live performance.