Hovering Between – Transnational dialogues on decolonization
This contribution to Hovering Between – ’transnational dialogues on decolonization’
follows the invitation to share in the context of an immersive panel at the TANZPLATTFORM DEUTSCHLAND 2024 (Dance Across Triangular Borders – Processes of Decolonization in Contemporary Dance, curated by Sandra Chatterjee.
Miigwetch to Sandra Chatterjee for your offerings and for hosting the sharing of our practices.

Them Voices, choreographer & performer, Lara Kramer, Festival TransAmeriques, 2022 | photo credit: Alex Cote

Brandon Indian Residential School, visiting/revisiting mother & daughter | Photo credit: Lara Kramer, 2008
Shifting Temporalities and Dreaming Landscapes
Contribution by Lara Kramer
The intimate sharing of our practices, our stories, our ways of being and seeing.
Dreaming a landscape, dreaming it into existence.
n response to this call for Hovering Between – ’transnational dialogues on decolonization:
Contemplating different ways to build connection and nurture dialogue, understanding the imperative of trust, deepening knowledge and creating a true sense of belonging, mutuality, reciprocal and dynamic. Beyond the immediate work and encompassing kinship, family, and a broader sense of shared humanity. Nurturing dialogue as holistic, engaging both the material and immaterial realms, tapping into the invisible or unsaid aspects- those intangible layers of understanding that resonate beyond words.”Felt space,” a connection that operates on multiple levels—spiritual, emotional, and sensory. Transcending conventional frameworks, moving into deeper, universal planes where trust and belonging are not just concepts but lived experiences. Recognizing the responsibility, vulnerability, generosity, and humility needed to sustain them across many levels and wide spaces.
This reflection deepens when I think about what Sandra Chatterjee wove together so powerfully in Freiburg last winter: the intersecting stories and invisible dialogues that connected us, as well as the unseen elements that continue to live, breathe, dance, pray, probe, and leave their imprints, lingering in the spaces in between. A depth of immediacy in our connections during that gathering. Mutual support and collaboration bridged worlds with great affinity with the offerings I encounter in my own circles.
Hovering evokes a sense of levity, of flight, and of soaring through my lucid dreams in a world where shadows seep and spill. Hovering suggests something intemporal, a suspension of time and space, a shifting of temporality— a movement through bodies, language, rituals, and realms. In this transformative experience, we were energetically invited home—drawn into the profound depths of all our respective interior landscapes. Establishing sort of sanctuaries to share and to exist in real forms of mutuality. We were in a rare instance of relation!
All listening to our silence
as it holds each beat
And now as ever, dreaming into these landscapes feels both urgent and essential. There is a call for conscious visioning that propels us into realms where a shifting unfolds and expands. In this space, multiple pathways of life, in all of their manifestations, can emerge and continue the necessary cycles that are already occurring. We so direly need more spaces for such transformative temporalities. We so direly need to live in the dream space with our spirit. We so direly need to mobilize the unfolding of the dreaming landscape.
I landed here from inside my dream
I fold in. I fold out. gazing to the lights
carrying the ashes of broken cries
she comes to me in my dream
and reminds me of my gut
DancesDancing with the invisible

Windigo, choreographer: Lara Kramer, performer: Jassem Hindi, premier Festival TransAmeriques 2018 | photo credit: Frederic Chais
My storytelling and writing are deeply grounded in my lived experiences and unique epistemologies. With my experiences, I aim to open my senses more fully—to listen to the earth, to smell, feel, dream, hear, touch, and taste. Anishinaabe knowledge systems form the foundation of my practice. These practices pulse as acts of restoration. These practices are guided by values and principles of reciprocity, intergenerational care, knowledge transmission and relationality across many systems and networks. These practices recognize the intricate and living interconnections that bind all things.
Sensation becomes a doorway—my sensations, the sensations of the landscape—open to vibrations, open to the spiritual sense of animacy, open to the notion of living landscapes. Dreams and imagination flow into this practice, my dreams peer in offering love, laughter, and a profound depth of voice to all of my relations. Love and laughter fold in, unfold, and ripple becoming space for sharing, and dreaming/imagining landscapes that are alive with possibility.
the play and curiosity
A gravitational pull and expansion
And maps, that span lifetimes in dens
regions of my being
And medicine that swells within
a generous terrain
I fill my palms with salt tears recalling
Dancing a thousand dances searching for a
kind of opening

Phantom stills & vibrations, Treaty 3 territory, Installation + performance, creator + choreographer: Lara Kramer in collaboration with Stefan Petersen, premier at the MAI (Montreal arts intercultures) in co-presentation with Festival TransAmeriques, 2018 | photo credit: Stefan Petersen, 2016
paralleled legacies that are etched into our landscapes. Mark/markings of painters.
hues we haven’t met. Hovering between portals where we met in prayer, in song, in dance.
where there is a continuation of commodifying
further invisible and emotional labor
There is invitation for further imagination.
To hear heartbeats, see heartbeats from the regions of your being.
The damp earth welcomes as wet creases
tell stories and wetter matter shares time.
Much like the galaxies i want to meet
They like the galaxies i want to meet
Hold like the galaxies
I want to meet
Tempt tempo, tempo of holding grounds
We continue to navigate standardized frameworks,
to frequencies that are not calibrating on the edge enough,
the processes require ongoing
inquiry,
rigour,
and responsibility
connect to our cosmos.
Missing the beat of each shooting star
Missing the beat of each shooting star
Missing the beat of each shooting star
Missing the beat of each shooting star

This is the Place Where We Pray, creator + performer: Lara Kramer, Place Publique, 2024 | photo credit: Hugo St-Laurent
Bio
Lara Kramer is a performer, choreographer and multidisciplinary artist of mixed Oji-cree and settler heritage. She lives and works in Tiohtià:ke/Mooniyang/Montreal. For the past fourteen years, her choreographic work, research and fieldwork have been grounded in intergenerational relationships and intergenerational knowledge. She is the first generation of her family not to have attended the Indian Residential Schools in Canada. Her creations in the form of dance, performance and installation have been presented across Canada and Australia, New Zealand, Martinique, Norway, Vienna, the US and the UK.
Lara Kramer is the associate artist of the Centre de Création O Vertigo – CCOV since 2021