Ep. 55 - Finding and Meeting the Other (What is Already Here?)

PuSh Play

Gabrielle Martin chats with Majula Drammeh and Joseph K Kasua. They are presenting a special studio showing and discussion of What is already here? at the 2025 PuSh International Performing Arts Festival. Check out the show on February 7 at the VIVO Media Arts Centre.

Show Notes

Gabrielle, Majulah and Joseph discuss:

• For your show, What is Already Here, which stemmed from a 2022 installation, what was the evolution of the project and what were the themes explored? How did it start?

• How did the pandemic influence the creation process?

• How have themes of extraction, colonialism and digital technology weave into the work?

• Why did you choose to call this a “futuristic afro-play” and what do you mean to achieve with this form?

• What is your collaboration like, given your different points of departure? What drew you to work together, and how do your practices complement one another?

About Majula Drammeh

I am a performer, dancer, dramaturg and performance maker based in Stockholm and Malmö, Sweden. My main focus is on interactive, participatory immersive work within the fields of dance and performance as well as somatic practices. I am looking to explore how these can act as a bridge for people to participate and discover themselves in an open, permissive and inclusive way. In the interpersonal.

I am interested in giving space for both audience/ participants and performers to deal with their own bodily identity and the political baggage it carries. And I strive to present interactive performing arts where the body of the minority is the norm, and hopefully contribute to the decline of history-less of which the non-white body is consigned too.

As a performer and dancer my focus is on using somatic practices and experiences to create a focus that is vulnerable, present and invites the participant to be present with themselves too. I use my choreographic and improvisational experiences to find methods of meeting the room, space and objects to create a relational bridge to them. These are also methods I communicate in my teaching.

I work as a dramaturg for mainly dance artists and I am intrigued with processes and the path they lead the work on. How, with close attention, the process reveals the very core of an artist’s work and clarifies what decisions need to be made when we listen closely.

I grew up in Hjulsta/Tensta suburb of Stockholm, Sweden.

I studied at the Dance and Circus School in Stockholm in 2006 and received my bachelor’s degree in dance from Laban Center London (2009) and in 2021.I received a master’s degree in performing arts from Stockholm University of the Arts.

I have been teaching at Stockholm University of Arts and The Royal Danish Art Academy amongst others.

About Joseph K. Kasua

Born in Lubumbashi in 1995, Joseph K. Kasau Wa Mambwe is a visual artist, filmmaker and author based in Lubumbashi. He holds a degree in Information and Communication Sciences from the University of Lubumbashi, specialising in Performing Arts (Audiovisual, Cinema and Theatre).His passion for art started very early in Lubumbashi's cinemas, and was nourished by multiple visual influences that later formalised in his artistic practice, which is situated at the intersection of cinema, video art, photography, creative writing and addresses in his work the complexity of memory and identity in a postcolonial urban context. He is a fellow of the Trame 2022 residency at the Cité Internationale des Arts in Paris, of the Delfina Foundation residency programme in England on food politics, of the Tri-continental Quilombo project (DRC - SWITZERLAND - BRAZIL) from 2021 to 2023. Kasau Wa Mambwe also works as a Fixer, Assistant Director, Editorial Assistant and as a Communication Officer for African and Western structures and collectives, among others Les Films de la Passerelle (Belgium), the Lubumbashi Biennale (2019), Museum of Tervuren (Belgium), PODIUM Esslingen (Germany) and GROUP50:50 (DRC - SWITZERLAND - Germany).

Land Acknowledgement

This conversation was recorded on the unceded, stolen and ancestral territories of the Coast Salish Peoples: the xʷməθkʷəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and Səl̓ílwətaɬ (Tsleil-Waututh), colonially known as Vancouver.

Majula joined the conversation from Stockholm, Sweden, and Joseph joined from Lubumbashi in the DR Congo.

It is our duty to establish right relations with the people on whose territories we live and work, and with the land itself.

Show Transcript

00:02

Hello and welcome to Push Play, a Push Festival podcast featuring conversations with artists who are pushing boundaries and playing with form. I'm Gabrielle Martin, Push's Director of Programming, and today's episode highlights interpersonal processes and works that give birth to themselves. I'm speaking with Majula Drammeh and Joseph K. Casao-Wamambue, Push artists in residence who will be developing their work, what is already here, in residency during the festival and sharing the studio showing and conversation on February 7th, 2025. In a world fixated on unyielding technological progress, this interactive theater installation in development urges audiences to reconnect with the tangible through a resounding affirmation of collective belonging. Set in a subterranean laboratory built from discarded electronic waste, the work in development draws on ancestral wisdom and Afro-futurist divisions, inviting participants to challenge their digital dependencies and rediscover what it means to be human in a time of digital alienation. Born and based in Lubumbashi, Democratic Republic of Congo, Joseph K. Casao-Wamambue holds a degree in information and communication sciences from the University of Lubumbashi with a specialization in performing arts. From theater and cinema to photography, installation and creative writing, Joseph's work addresses the complexity of memory and identity in a post-colonial urban context. Rooted in dance and choreography, Majula Drammeh's artistic practice explores how the performing arts can provide spaces for interpersonal relationships, addressing vulnerability and challenging societal norms. Her work often exists in non-traditional theater spaces and asks the participants to fully emerge themselves in topics such as time consumerism in a capitalist age. Here's my conversation with Joseph and Majula. It's really nice to be in conversation with you today. I'm really looking forward to chatting with you more about this project, about your practice. Thank you for joining me. I know it's evening where you are, it's morning where I am. I'm going to start by just acknowledging where I am joining this conversation from. So I am on the stolen ancestral and traditional territories of the Coast Salish peoples, the Musqueam, Squamish and Tsleil-Waututh. And as a settler here, it's important. I'm responsible to continue my thinking and education on what the history of colonization looks like here and its implications and ongoing effects today. And I think something that's really interesting is thinking and learning I've done around the different types of colonialism and their impacts today and how that affects what colonization looks like today or neocolonialism based on where we are.

03:01

With my own background, my father coming from Zimbabwe, colonization now looks much different than it has here in Canada. And so, you know, I think that's important in framing the difference specifically between settler colonialism, where large numbers of settlers claim land, become a majority, and often employ a logic of elimination, engineering the disappearance of the original inhabitants versus an extractive colonialism where colonizers, you know, destroy or push away indigenous inhabitants to access resources, but more typically depend on mediation and the labor of the indigenous peoples. And and then other forms like planter or trade colonialism, and this is there's one kind of very simple and nice reference, a typology of colonialism by Nancy Shoemaker. That's a great reference. And so that's kind of some of my thinking today that I wanted to share. And Joseph and Majula, could you please share where you are joining the conversation from?

04:11

So I'm joining the conversation from Lumbashi. Lumbashi is, I can say, the second biggest city in the Republic Democratic of Congo. It's a city full of mining and exploitation, so it's really related to the colonialism history that you were talking about. And I was born here, and I've always acknowledged that Lumbashi, as a qualification, they say that it's a copper city. And for all my life, I haven't really been in touch with the copper, so that's symbolized the fact that our land don't really belong to us. So there are so many people, so many countries that are under us, and taking all the decisions that belong to us. So yeah, I'm joining from this territory.

05:24

and I am joining from Stockholm, Sweden, and actually I have no roots to this country because my mother is from Finland and my father is from Gambia and they ended up here because of work in the 70s. So in Sweden we call people that have a parent of colour and a parent from another country people of in betweenesship. So we're in between wherever we are basically. So yeah and I think this has coloured my experience as a human throughout my entire life and I mean Sweden is a very rich and very social democratic country or it has been until quite recently it's more right-wing now and I mean it's not dealt so much with its past in terms of I mean it actually still has in one sense a colony in the far north with the Sami people who are the Swedish indigenous people and it's still a very very hot topic here and it's just recently passed maybe I would say eight to ten years that Sweden has actually also acknowledged the fact that they were dealing with slave trade and owned a colony in St. Bartelemy. So yeah I'm in all of that mess with my in betweeness ship.

07:16

Thank you for sharing that. I want to dive right into talking about what is already here. So this is a project born from thinking on the pandemic's impact on the way we socialize and the wider dematerialization of social and human relations. So it stemmed from a 2022 interactive installation of Joseph's Terre toi rue men or human territories. And what is already here, your collaborative project is a futuristic Afro play in which you explore a number of conspiracy theories about surveillance and talk about Africa as the place from which all the resources and green energies destined to save the world from its climate crisis are drawn. Can you talk about the evolution of the project both in its form and in the research trajectories or themes explored?

08:05

I think, of course, the project started out as a personal reflection, as you said, but now Modula is here. And for me, I think it's changed everything. I mean, procedures, approach, and even form. And so my background is from theater, but I've made a kind of big detour in video, in film, and visual art. And Modula came from a dance background, mainly. So our meeting made us rethink the form we wanted to give to our project, in a way, I can say. So it was this kind of regeneration that led us to think of a border piece, in a way, in which dance for words, words for sounds, for play, for let's say for life. And then Modula and I, I don't know, should I talk about how we met? That's what you told me. How we started the project.

09:22

But I would also love to hear more about, can you talk about the evolution of the project, both in its form and in the research trajectories or the themes explored, the more you started to now, going back to the beginning.

09:38

In 2022, I started a reflection on the project and at that moment, I was calling it a reboot, reboot because I wanted to reboot myself, considering myself as a machine because I studied communication and mass media sciences. After the school, I was working with so much artists, festival, art space as a community manager sometimes, but communication officer, mostly, and I remember that time I had often five Instagram, five Twitter, five Facebook accounts, and at a certain moment, I wanted to, let's say, to reconnect a bit because I realized that I was more connected to people who were far from me and I was really far from people who were close to me. So I started thinking about this situation in a way, and then I had to develop the project into a residency in Switzerland, where I prefer to call the project Terre d'Oruma in French, human territory, because I realized that since the pandemic, we have been calling to, let's say, to end with physical meeting with social interaction, but then I started to think, we were already in that situation before with our phone, with too much screen around us, so we were in touch with people, but not really, and then the lockdown made us think really about this situation, because then we had a kind of official restriction so that, okay, don't meet people, don't talk to people, don't be in touch with people, so I mean, this in a way amplified the reflection that I had, and I remember that I wanted to call the project Terre d'Oruma because I was in need of meeting people in different territories, in different places, so all the residency that I wanted to be going out, meeting people, discussing with them, and kind of creating a map of a certain humanity that I was in lack of, and while in this residency, I met Madula in a very interesting festival in Riga, and Madula was talking about those things, the same as me, so we're like, okay, and then we start discussing, we start growing the conversation, and then I remember that the discussion that I had with Madula helped me a lot to construct, to build the performance that I was working on in Switzerland, so once I did that, I was like, okay, the next step of the project was supposed to be some things taking plus more physical, and I know that I've been far away with those visual art projects mostly, exhibition, installation, and I would love to experience something more physical because, yeah, in a way the project needs something like this, and I couldn't see someone else with whom I could develop it if it was not Madula, so I asked her if she could join the project, the adventure, and yeah, she was okay, so here we are.

13:25

During the pandemic, first I was like, yeah, now we have the possibility to be in solitary. But we weren't quite the opposite. We were on the phones. Everything possible was made through the lens, like all meetings and all decisions. Everything just went more and more into the digital. And I was worried about how do we, how can we won't be able to reverse this? And I don't mean it's a bad thing. I mean, we wouldn't have been able to do what we're doing here now if it wasn't because of Zoom, basically. But I mean, I have always worked in the interpersonal. So that became really hard for me to do any kind of work in that sense. And I was also worried about social media addiction and all these addictions that come along with using these devices and started to read more on that. And also with inspiration from like meditation practice and practice from moving with other bodies as a dancer. I felt that now is my time to be off the phone. I mean, after the pandemic, I decided to get a dumb phone so I don't even own a smartphone anymore because I wanted to be with humans and meet them. And on that trajectory, I met Joseph who was in the same thought as me, as myself. So yeah, and came from a totally other background than I did. And also didn't think in the frame of like, because for me, it's very challenging to see things in the boxes of this is theater, this is dance, this is performance, this is visual art. Because I don't believe that we actually express ourselves in those framed ways. I mean, we're complex. So our art will be complex. And so when he said that he's open for like doing something that has anything necessary for it to be art that we want to put in it, I'm like, yeah, that's exactly what I want to do. So yeah, that's the art.

16:00

And I'm hearing these, and also like reading from what you've written about the project, this thinking around social networks, the effect of both the pandemic and our, you know, digital technology on social networks and how these are redefining the social and even ethical codes of how humans interact and make the world this is something you've written about. And, and this, what is already here also is looking at surveillance and green energies and its relation to extraction of resources from Africa. How, how has it, how have those themes? How did those connect with the project for you from what you've been talking about in terms of like how we socialize in the digital technology implications?

16:50

And I can say a few words and then perhaps Joseph wants to say something too. But for me, it wasn't so much about like, oh, should we work with these materials? I mean, coming partly from Africa, you see how resources are taken from countries and made into devices and, you know, we see it with our own eyes. So we have I think we just have that I felt when we discussed that we like have this common pre-knowledge of like, we know it's not just the phone you get in the store. We know that the track of where it comes from and where the like contents of the phone with the actual physical parts come from and where they end up, you know, as well. And so for me, it felt not so strange to have that connected to this. So it becomes like a zooming out. Like if we look at if we go from the from the social media and zoom out and look at the broader picture, that's kind of where we are, you know. So then we could bring those things into the to the work. So that's how how I do it.

18:08

As you mentioned, she's also from, she has African origin. So, I mean, in a way what is already here is some things that we really want to embody in a way, our history. And I'm someone who came from Congo. We know all the politics and all the, where the resource came from. But in a way we were thinking about to bring this narrative on a political level in a way. So that to just make people think about, I think that what is already here is some things also very related to Majula and I as humans first. And so as human, as we belong to some history, we belong to some narratives. And we wanted to bring those narratives on stage with us. So it's not just Joseph coming to play some things that have been experienced. I also want to come with all my context, with all the politics around me. And that's in a way pushes to talk about where the others resource come from. They come from Africa, from Latin America, from also so, but the context we know the most is maybe where we come from. I mean, Congo for me. And for example, the lithium staff, the electronics car, all the world that you know in Congo, in a way it supports those production. The green vehicle, the people who paid the tributes, they are from Africa and mainly from Congo. In a way it's good to bring those narratives on the stage and to tell to the world that, okay, this is what is happening. So me coming here as a patient is not only talking about my disease, it's also to talk about the disease of all my people, all the region where I come from. Because it's like almost three hours from where I am, when they took the lithium and everything. So yeah, it's a reflection that, so because I believe that art is not just being in one state and creating beauty. I mean, we start do art when we end up with the beauty and we start telling story about our story, let's say. So yeah, for me, in a way that was really important. And I really like the fact that Madula and I share that need.

21:00

The work, in terms of the form, with Hertwech Eman, it started with installation, interactive installation, but there was, because it was interactive, my understanding is that your body, the bodies of the people were implicated in terms of like how they moved in space and that it was not like an installation and that there was some sort of exchange and conversation happening in the process. I wasn't there, I didn't, so you know, you can fully paint the picture if you'd like or correct me where I'm mistaken, but now it's going in the direction of a play, though I know that you both work in a very transdisciplinary way, but you describe it as a futuristic afro play and I know you've spoken about the need to bring the body and have the body more central in the form, I'm curious, how you, like I'd just love to hear you talk more about form, about why this this form, what you mean by a futuristic afro play.

22:11

I come from theater normally. And then I make a big detour into visual art, cinema, video. And in my part, I wanted in a way to come back to where I start from, which is theater. I don't really know why. So this is some things that came to me recently. And so I was thinking about, OK, the next step of this project going to be something physical. I was thinking about the performance. I didn't know what exactly. And then when I met Majula, and as I was saying, once Majula came in the project, so it was a different project. It was some things that were supposed to change in a way because it's not only me, it's also Majula. So she also bring what she is in the project. So in this kind of free adaptation, so we were thinking about how we can express through the art our encounter. Because not only the encounter of Joseph and Majula is also an encounter of video, of dance, worlds, of body. So how can those elements share a space in a way? So it's not really a question that we had already announced. But we think that the play and the need of the play is to find an answer in a very formal way. So yeah, a little bit complicated.

23:57

Yeah, no, I agree. I mean, I don't come from theater. But my experience in interpersonal and participatory interactive work is that you need to have an excuse to behave in a certain way, or to talk about things or to ask the participants to do something. And that's where the word play can be helpful. Because we say we're doing a play, but it doesn't mean that it's just like a fantasy, it's whatever. It can be a play really close to our reality that we live in. But we can use that play to go places, think about things and present them in ways that we're not used to or comfortable with. And especially if we are asking the participants to also be transparent or reflect or feel something, then the place is a really good excuse to do that. And also in terms of dramaturgy, we can use the format of a play to go places. We have to go to the next, to the next, to the next, kind of. And also the idea of Afro play, for me, is a really nice way to say it's not, it might not be what you're expecting when you go to the theater. Because it's speaking maybe in another way in terms of it's not a theater with a stage and before an audience and how come they're talking and now I don't understand what they're saying or now she's dancing. What I said earlier, it doesn't have to have a strict form because it's still giving birth to itself, kind of. It's not yet there. So it's about this, yeah, for me it's a lot about that, to be able to create something that will probably not be what you expect when you go to a performance.

26:01

Now, thank you. I want to talk more about your artistic approaches.

26:07

Can I just add, I was trying to use the excuse there, because when Madula talked about the excuse, I remember. I mean, we also use the future as an excuse to, you know, because what is the future for us? I think the future is the place of invention, of creation, is the place where we put all our thoughts in. So it might be wrong. Maybe it's not true what we are saying, but yeah, it is in the future. So we never know. We don't know what will happen in the future. So in a way, we take this Afro-futurist form in order to put our thoughts as person with all the context around, and to address some political issue, question, not only political, but also human issue, to address them in a very free form. So the future is also this escape space where we can escape from our imaginary, and yeah, and propose an inventive world in which we live, Madula and I, and all the people that are working with us on the project.

27:27

And I also now want to hear a little bit more about your collaboration from your different points of departure as artists, which you've been speaking to, but yeah, you know, Joseph your work spans theatre, film, photography, installation, creative writing, and a theme you've been working with, or, you know, generally your work is interested in addressing the complexity of memory and identity in a post colonial urban context. And Majula, your work explores bodily identities and the political nuances associated with them, generally through dance and interactive performance so I would love to hear you've spoken about it a bit but I'd love to hear more about what drew you to collaborate with each other and how your practices complement each other and actually more so the latter because yeah you've really spoken about you know the common commonality you found together. So maybe you can speak more about how in this process, your practices complement each other or where there's tension points.

28:30

I mean, I can talk a bit about the, I mean, what's great in the CoLab is that we have so much knowledge. We have so much width of knowledge because we come from so different artistic backgrounds, which means also that we're curious on each other and how the artistic ideas that we have, which also means that, I mean, when Josef was in Stockholm in March this year, March-April, I think the first week we were just talking, talking, talking about different ideas and really taking them in, like, oh, could we do that? You know, it never ended because we were willing to, like, let's take everything in. Let's write everything down. And I think we're both very open in terms of process for putting ideas out there. And then at some point, yeah, we looked at that like, OK, here are some things that we actually feel that we want to keep and continue. So I think, I think we were lucky in the sense that the both of us are curious and are open minded. And I also get the feeling that none of us is too, like, too, like, hooked on. This is my, this is my artistic expression. Rather, like, what will my artistic expression be in this collaboration, I think. And that's what makes it work. And we're willing to try each other's ideas. So I would say that, yeah, that's kind of where we need.

30:05

In a way, the process, it's about losing control. I think, in a way. I just remember it's just something that doesn't. I just remember that the first time, when I started this project, I wanted to experience something that's physical. So I created this world installation with motherboards. And I was like, OK, I'm not going to work with video. I'm not going to work with immaterial material, in a way. But I remember that, as a videographer, I did a video in that process. Even if it was to document what I was doing, but I did a short movie at the end. So when I'm coming in a collaboration, it's like I'm coming with everything that I know. But in this project, it's a bit also different. So trying to do the things I do the less, in a way. And as I said, it has been a while I didn't play. I didn't perform in a very theatrical way. So it's also challenging each other to, OK. I remember that even in the process, we were like, OK. Ah, that's how you work. OK. I agree. OK, let's go. Ah, that's how you work. OK. So it's something of also losing control to find the other, and to meet the other. So yeah, for me, the process is more about that.

31:43

Can you talk about the version of what is already here that will be developed during the Push Festival while you're artists in residence? Yeah, because my understanding is that conversation with local artists, researchers, public who are thinking about these issues and how they affect society, but that conversation and that exchange with local community is really important to how you will develop this iteration of the work and that you are planning to also open the studio at different points to bring people in. Can you talk about, yeah, what you have envisioned for your process at Push so far?

32:34

A part of it will be to build the installation. That's a big part of it, of course, to actualize the envisioned space that we have in which the performance will happen, the play. And another part is also connecting back to this humanity. For me, at least, it's really important to create the space. Sure, it's futuristic, and it probably will be quite like out there. But when people come to that space, they feel that this place is, it concerns them. And we can't do that if we don't meet people, if we don't listen to what they have to say, what they feel, and any thoughts they have about the topics. Because otherwise, it's based on the thoughts of me and Joseph only. But we want to have, it's complex, and we want to have that complexity within the play. And also important fact, we need to meet people live. And also, I mean, we have been talking, and I've been reading on some about these issues, like about being addicted to phones, or about techno-feudalism. And I feel the importance of having those discussions to be able for that to color the whole work, basically.

34:06

So we had a first residency in March, April, as Majula mentioned it. And we tried to work a little bit on the dramaturgy. And our need is that in November, in the framework of the Biennale of Lubumbashi, to meet another residency. Unfortunately, Majula can't join because of some sanitary problem, issues that are in combo, but we'll make it online. So we mostly working on the sound of the piece with Frank Mocca. So we wanted to take the time in Vancouver to start thinking on the light level of the project and all the installation level of the project. So I know that we couldn't have enough time to create the whole installation, but the idea is to rethink now the installation in a platform. Because what we had is like an installation that I display in the gallery, but now we have to think it's in a platform. So we probably start by there and to see what could be the possibility. How can we adapt it and see in the meantime to continue also on the dramaturgy with Majula, because we all be there. So that's why we're trying to bring with us our friend, Tabiso, who is like working a lot on light level. So to start those reflections with him in that space and to experiment. So we don't know what would be the, you know, the outputs, but we know that we'll experiment a lot and we'll try a lot to see how it can take, the play can take the space in a sort of thing on the sonography with different people. That is also interesting for us to meet not only professionals, but also people, because we need to start writing, to start understanding what are the concerns of the people, what are our concerns. So those interactions will help us in a way to structure, to also to say that, okay, let's lose again control and put more of what people really think about the topic, not us. Yeah, I think in a way it will be that.

37:03

I'm so looking forward to it. I'm so excited that this is happening. I think that and this is, you know, our first artist in residency. There may have been some earlier ones. It hasn't been like, you know, we're in our 20th anniversary year for 2025. I'm sure there's been there have been some artists in residence here or there, maybe in, you know, informal or formal ways over the years, but really it hasn't been something that we've been doing. And I'm really excited about supporting the development of new work and also exactly the process you're talking about, inviting our communities to get to know you, to get to know your practice and to engage in these conversations. I'm thrilled that you'll be here for the majority of the festival and that, you know, that people will have the opportunity to step inside your into your world and see what you're working on. Joseph, we also met in Riga at the Homo Novus festival. And so that's just been a really, it's so nice that a conversation, one conversation, you know, there has led to this and led to me meeting you, and hopefully Tabisa will join as well. So thank you so much for being in conversation with me today and introducing our listeners to your approach.

38:25

Thank you so much for having us. We're really looking forward to coming to your part of the world and to meet the people. Yeah.

38:38

Yeah, as we've seen in Israel, we say, yeah, so which mean, thank you. Thanks a lot. Thanks a lot for the conversation. Because I think that every conversation that we had on the project help us to understand better what we want to do in a way. So that's the incredible things with discussion. I wish the play could be a discussion.

39:01

Who knows?

39:05

You just heard Gabrielle Martin's conversation with Majula Drame and Joseph K. Kasao Mobambwe, who will be doing an artist residency at Push Festival this year, which runs January 23rd to February 9th. A studio showing of their work in progress, What Is Already Here?, will be presented with Vivo Media Arts Center on Friday, February 7th. Push Play is produced by myself, Trisha Knowles, and the lovely Ben Charlam. Original music by Joseph Kiribayashi. New episodes of Push Play are released every Tuesday and Friday, wherever you get your podcasts. This year marks the 20th festival for Push International Performing Arts Festival. If you'd like to explore more of Push over the last 20 years, please look for our special 20th anniversary retrospective Push Play season. And for more information on the 2025 Push Festival, and to discover the full lineup of more than 20 works of theater, dance, music, and multimedia performances, visit pushfestival.ca and follow us on social media.