Organisé par : le gouvernement du Nunatsiavut
Le mercredi 29 juin 2022, de 10 h à 11 h HNR
Teresa Vander Meer-Chassé
Eager, passionate, and enthusiastic Inuk artist with years of creative experience. A retired dental therapist—now spending most days creating beadwork and promoting self-made business, Stitched By April. Strong expertise in creating the perfect stitch through valuing the immense detail and time it takes to develop each piece of art. Constantly exploring new variations of designs – making each piece unique and noteworthy.
From the artist:
“My passion as an Indigenous artist comes from the satisfaction of seeing the finished product. When I look at my completed work, a feeling of pride rushes through me. It makes it worth the time and care that I put into it.”
Kai Latvalehto, (born 1967) PhD in cultural identity (2018). Currently working as a project manager for the the EU-funded Northern AiR residency network initiative (2021-2023), which comprises the residencies of Northern Ostrobothnia in Finland.
Kai Latvalehto has worked extensively within culture and education. The initiator and main character in the internationally renowned documentary film Finnish Blood, Swedish Heart (2013). The Sweden-Finn of the year 2013. Musician with the Finnish band Aknestik (1987-2003). Founder of the Sweden-Finnish Cultural Embassy residence in Oulu, Finland. Initiated the future residency activities of 2nd Generation Cultural Embassy, which aims to collect artists with a second-generation immigration background under the same roof. The initiative is a part of the program for Oulu2026 as Oulu becomes the cultural capital of Europe in 2026.
Kristin Bjørn is a dramaturge, writer and director, based in Tromsø, Northern Norway. Bjørn often works outside of the traditional stage and seeks cooperation partners from other disciplines than the performative arts.
Currently, Bjørn is CEO for The foundation of Ferske Scener, a project based foundation that seek to develop new text and performances. The foundation´s work is always rooted in the diversed and multiethnical reality of the northern region. As a dramaturge, Bjørn has especially focused on recruting new writers and voices to the performing art scene.
In 2016 Bjørn debuted as an author with the short stories collection Sant Nok (“True enough”), published by the renowned Norwegian publisher Gyldendal. She has received numerous awards and grants for her artistic work.
Susanne Andreasen if the Artistic Director at Nunatta Insiginnaartitsisarfia (The National Theatre of Greenland), who took over the job from the first AD, Svenn B. Syrin in 2016 when he retired.
Nunatta Insiginnaartitsisarfia was established in 2011 and is an independent public institution and aims to produce a repertoire of high artistic quality performances rooted in the Greenlandic culture and traditions. The Theatre produces 3-5 performances every year and presents a diversity of artistic expressions for all age groups.
The National Theatre has 6 employees, which includes two in administration, three in production and one Program Director for Acting at the theatre school. In connection with setting up of performances, tours and workshops, temporary staff is hired on a contract basis (actors, directors, technicians, musicians, etc.).
Teresa Vander Meer-Chassé
Teresa Vander Meer-Chassé is a proud Niisüü member of White River First Nation from Beaver Creek, Yukon and Alaska. She is a mixed heritage visual artist, emerging curator, and consultant. Teresa currently resides in Lekwungen and WSÁNEĆ Territories but returns home often. She’s experienced first hand the disparity between southern and northern artists’ access to funding and resources in so-called Canada. And it is important to her, that she continues to advocate for northern Indigenous artists as well as rural communities, by vocalizing the need for governmental accountability and institutional representation and accommodation. Most recently, Teresa has been actively working with her community to develop a report identifying the lack of resources and capacity, limited access to appropriate funding, and the need to expand community infrastructure to accommodate artists residing in one of the smallest rural communities in the Yukon.