foldA 2019 recap

🎉 foldA 2019 🎉 We are proud of how foldA 2019 built on the successes of last year. The Howlround Digital + Live Performance Convening featured US...

foldA is hiring!

foldA (festival of live digital Art) is hiring! We are looking for four people to join our team in Kingston this summer for the...
Sarah Garton Stanley with two collaborators in the CdnStudio.

Dylan Goes Electric

This year, with the support of the Canada Council for the Arts, SWS Performance underwent a process to better understand who we are, what...

Why Debate Free Speech Online?

Freedom of Speech Online I decided to dress up for Halloween this year.   Like the majority of people who leave their costume making to the...

Civil Debates 5: Online Freedom of Speech

Online freedom of speech has become a hotbed issue in the digital, interactive era. What is harassment? How does that impact our Charter rights...

The ‘Why Write? Panel

Saturday November 19th from 2:30-4pm join us at the Isabel Bader Studio Theatre In the spirit of asking “who cares about theatre and live performance?”...
Rhiannon's headshot. Blue hair!

Rhiannon Collett

https://soundcloud.com/spiderweb-show/rhiannon-collett-thought-11-institution-vs-diy Good morning, Rhiannon here with my eleventh thought. Little known fact about me, I am such a rebel. No, uh - I guess this morning...
Large butcher knife cutting through bloody steak.

Make Sure You Choose a Knife That Can Cut Through Bullshit

Politics is the knife. Passion is the force to wield it. What each of us must decide is where to cut.
3 women dressed in 60s clothing discuss at desks.

Political Theatre, Then and Now

Founded [in 1975], GCTC was dedicated to producing Canadian and political plays. “Canadian" meant written by Canadians; and “political” meant, to us, political parties, history, social issues. It was pretty broad, but not borderless; “the personal is political” and “everything is political” were not GCTC slogans.
Res brick building with large windows.

Artists and Gentrification

The marginalized communities that used to call downtown home are becoming even more marginalized as the affordable spaces to live are pushed towards the edges of the city. The spaces that we are occupying as artists are still in a downtown core that is becoming increasingly unaffordable and alienating – with a high-end culture made for a certain income bracket.