ABSTRACT
Every year theatre artist and scholar Sonia Norris gets on another plane, wades into the swamp and creates another feminist disturbance of enraged laughter. Anthropocene moment of crisis and opportunity: in the alarm and feelings of consequence that entail a meeting with a traumatized environment, how do the people sit together on this ground, feel the world and sing with joy as if they were celebrating? Making the content clear is important—deep traumas can be, yes, triggered. But these relationships between the body and psyche’s wounds and the external environment are subtle, not predictable, and when the readers set people up to think being unsettled, feeling something difficult, equals being abused. Ondinnok defines its theatre as one that seeks to repatriate a memory in order to unleash a future. One of the founders says: “One cannot live carrying the dead on one’s back” (ibid).
