Ali Ikhwan
Introduction
The Walker Art Center, a beacon of contemporary culture in Minneapolis, is currently hosting a transformative artistic experience that transcends the traditional boundaries of performance art. From May 13 to May 16, 2026, the McGuire Theater serves as the stage for A:gajö:gwah dësa’nigö’wënye: (i hope it will stir your mind), a groundbreaking work by renowned choreographer and lead artist Rosy Simas. Developed over a rigorous two-year residency, this production is not merely a dance performance; it is a profound exploration of relationality, ancestral memory, and the "good mind"—a Seneca philosophy that serves as the project’s heartbeat.
By weaving together movement, sound, visual art, and community engagement, Simas has created a space where the audience and performers are invited into a shared, immersive environment. The work challenges the separations between the sonic and the somatic, the traditional and the contemporary, and, ultimately, the artificial divide between art and life.
The Philosophy of the "Good Mind"
At the core of A:gajö:gwah dësa’nigö’wënye: lies a deep commitment to the Seneca notion of a "good mind." This is not a passive state, but an active, peacemaking state of being that informs every aspect of the production. From the intricate choreography to the physical construction of the set, the project is imbued with an intention to facilitate peace and collective reflection.
Simas’s movement practice is rooted in "Deep Listening"—a practice that calls for the performer and the observer alike to listen to the earth, the stars, the ancestors, and each other. The choreography, while highly structured, remains fluid, drawing from improvisational scores that honor a foundational philosophical belief: the matter that constitutes our bodies today is the same matter that existed in the universe at its inception and the same matter that lived within our ancestors.
This conceptual framework allows the dancers to move through an abstract, transdisciplinary universe. By incorporating Haudenosaunee practices, such as moving in counter-clockwise patterns, the piece effectively rejects colonial dichotomies, suggesting instead a cyclical, interconnected existence that transcends time and space.
Chronology of Development and Performance
The journey toward this production began two years ago during Simas’s residency at the Walker Art Center. This time was spent not just in rehearsals, but in deep research, consultation with culture bearers, and the gathering of raw materials that ground the performance in Seneca land and heritage.
- 2024–2026: The residency period focused on collaboration, material sourcing, and the development of the accompanying gallery installation.
- May 13–16, 2026: The world premiere run at the McGuire Theater, featuring five performers who embody the intricate, research-driven choreography.
- Through July 5, 2026: The concurrent gallery installation remains on view, allowing visitors to further explore the sculptural elements and the cultural significance of the corn husks utilized throughout the project.
The performance schedule includes a variety of showtimes designed to accommodate different audience needs, with specific sessions dedicated to accessibility features, including ASL interpretation and audio description.
The Sensory Landscape: Sound, Light, and Matter
The immersive nature of the piece is bolstered by an evocative soundscape composed by François Richomme. Richomme’s work incorporates field recordings gathered directly from Seneca lands, bringing the texture of the earth into the acoustic space of the theater.
Visually, the stage is anchored by massive backdrops of corn husks. These organic elements serve as a physical bridge to the project’s origins, grounding the abstract movements of the performers in the literal soil and agriculture of the Seneca people. The lighting design, led by Heidi Eckwall, works in concert with abstract video footage—also filmed on Seneca land—to explore the interplay of light and shadow, further guiding the audience’s focus toward the present moment.
Accessibility as an Inherent Artistic Element
Perhaps most notably, A:gajö:gwah dësa’nigö’wënye: treats accessibility not as an afterthought, but as an inherent component of its creation. The production team has gone to extraordinary lengths to ensure that the work is truly open to all.
- Equitable Seating: The theater utilizes a specialized seating structure with ramps, ensuring safe and equitable access for all patrons.
- Audio Description and ASL: The production offers audio description from an Indigenous perspective and ASL interpretation, ensuring that the nuances of the performance are translated through a culturally informed lens.
- Sensory Considerations: A preshow sensory tour is offered for blind and low-vision audience members. Furthermore, the Saturday, May 16, 2:00 pm performance is designated as "mask-required" and "scent-free" to accommodate those with chemical sensitivities or health concerns.
This commitment to inclusion is supported by the Walker Art Center’s accessibility resources, including a detailed wayfinding guide designed to alleviate the stress of arrival and navigation.
Implications: A Model for Transdisciplinary Collaboration
The success of A:gajö:gwah dësa’nigö’wënye: signals a shift in how major institutions like the Walker can host Indigenous-led, transdisciplinary projects. By providing space for long-term residencies, the institution allows for a depth of engagement that typical, short-term bookings cannot match.
The project highlights the vital importance of "cultural bearers"—the teachers and elders who provided guidance throughout the development phase. This collaborative model demonstrates that art can be a form of community healing. As the audience and performers share space, the performance becomes a conduit for "rest, peace, and engagement," providing a necessary antidote to the frantic pace of contemporary life.
The dedication of the work to figures like the late Laura Waterman Wittstock, Christopher J. Fleming, and Rachel Jendrzejewski underscores the personal and communal stakes of the project. It serves as a reminder that art is an act of legacy—a way to keep the spirit of those who have passed on present in the living, moving world.
Official Responses and Acknowledgments
The production has been made possible through a complex web of institutional and philanthropic support. Major funding has been provided by the Mellon Foundation, the Doris Duke Foundation, and the National Performance Network (NPN), among others. Locally, the project was supported by the Minnesota State Arts Board and the City of Minneapolis Arts & Cultural Affairs Department.
Philip Bither, Director and Senior Curator of Performing Arts at the Walker, along with a vast team of technicians, designers, and engagement coordinators, worked closely with Simas to realize this vision. In a statement regarding the project, Simas expressed deep gratitude not only to the formal team but to the gallery assistants and ticketing staff who have treated the "relatives"—the corn husk sculptures—and the audience with such care.
Conclusion
A:gajö:gwah dësa’nigö’wënye: is a testament to the power of artistic persistence. It asks the audience to do something radical in today’s digital age: to stop, to listen, and to connect. By grounding itself in the ancient, resilient traditions of the Seneca people, the production offers a contemporary vision of peace that is both deeply personal and universally resonant. For those in Minneapolis, the performances at the McGuire Theater offer a rare opportunity to witness a work that does not just perform art, but performs a necessary service to the human spirit.
Whether through the tactile beauty of the corn husk sculptures, the rhythmic,, grounded movement of the dancers, or the inclusive, welcoming environment created for every guest, Rosy Simas has successfully "stirred the mind" of her audience, leaving a mark that will surely endure long after the final curtain falls on July 5.
Evan Lee Salim
Laily UPN
