Review and Analysis of ‘Where Earth Meets the Sky’
By Mom and Actress, Iv Amenti
Where Earth Meets the Sky is an Indigenous Futurism / Sci-Fi performance on socialization and environmental destruction. Anghared262 is from Omnivessel, which left the earth in the year 2050. She is sent to the once-dying Earth with a mission of scouting for food samples.
When she encounters Earthroot, she enters her ancestral past and questions her allegiance to Omnivessel. Earthroot, a peaceful, global, matriarchy, must face the impending colonization as they lose two of their own to Anghared’s arrival.
The Creators are committed to creating spaces where Wombyn of Color imagine possible futures in collective. Where Earth Meets the Sky will become a part of a larger Transmedia Storytelling Project through future collaborations and a collective imagining where decolonization, healing, and a reclaiming of our ancestral knowledge is not only possible but intentionally created.
Our goal is to bring together radical thinkers and artists towards creating a fictional narrative that spans over a thousand years in the history of Earth and creates a community engaged in resisting the violence and greed in our present dominating culture.
“Greetings! My name is Iv Amenti and I am a actress living in the city of Dallas. I was brought on to the cast of Where Earth Meets the Sky in the Fall of 2017.
My audition seemed to be some sort of pre-destined moment conjured by all of the mystical mujeres, brujas, yeye’s, and every other element of feminine lore that could make such an occurrence possible. When meeting with Vanessa Mercado-Taylor, play’s co-writer and director, you can feel the presence of a genuine arts activist. Not an arts activist on the strength that she believes equal rights for all artists, which I’m sure she does, but in the sense of an artist who designs bodies of work meant to activate change, thoughts and actions. She is that arts creator who creates from a sense of purpose.
Yeah she’s that girl! As an art practitioner who prides herself on those very same principles, this fit was more than ideal, it was kismet.
Our rehearsal process was a tapestry of retreats, bavas, sacred circles, tears, laughter, and an embedded sense that we were involved in pivotal work. The lines often blurred between this indigenous science fiction narrative and reality. The story itself takes place 1,200 years into the future where there has been no war, fighting, or violence on the earth since the departure of the elite warmongers who depleted the earth of its resources then fled to another planet. What they left behind was a population of afro-indigenous peoples to reclaim the earth. T
he play opens with the first visitation to earth from its ex-planeteers in 1,000 years. This visitor has been sent on a mission to check the viability of earth’s resources, but quickly finds out that her place is more with the earth than with the sky. A familiar story line yes, however this narrative is led by a female dominated cast who represent the return of the earth’s matriarchal system. Revolution anyone?
As a mother and artist this production provided a fresh approach to theater that was so comforting. Under the direction of Vanessa, each one my cast mates were made to feel that their role in the play was designed for them specifically. Places were also made for us as mother’s to bring our children to rehearsal without fear that our children would be looked at as a disturbance. It was quite the contrary, we immersed ourselves in the idea that in Earthroot, “where we are women, is where we are mothers”.
Our rehearsal space was intently included in that process. The cast explored what it looked like to decolonize our selves through both the lens of society and theater. The actions of child friendly space was evidence of theatrical decolonization up on its feet. There are not many directors or theater houses that would ever allow for such radical thinking. It was pioneering indeed.
We also dove into ideas of consent in both ourselves and nature. We explored what it looks like for nature to say yes to us with the understanding that in order to receive that yes we must first ask… is this okay. Having these conversations on the backdrop of the #metoo movement provided deep reflections on the need for us as women to have the power to grant consent for our world, and to also know that nature desires the same. So many themes unearth themselves in this play but I dare not share too much… you’re going to have to experience it for yourself.
In all, as a wife and mother I have to be very mindful of the time I spend away from my loved ones. Each project has to be justifiable to my absence, and produce something that my family can be proud of. When my family arrives opening night I know without a shadow of a doubt that what will be witnessed will be worth it.”
More Information on this Afro / Indigenous Sci-fi
With the World Premiere of Where Earth Meets the Sky
by Edyka Chilomé, Ariana Cook, and Vanessa Mercado Taylor
Dallas — (3/28/18) Cara Mía Theatre presents a new genre — Afro / Indigenous Sci-Fi — in the world premiere of Where Earth Meets the Sky on April 14, written by poet Edyka Chilomé, Cara Mía’s Managing Director Ariana Cook and Resident Ensemble Member Vanessa Mercado Taylor.
Where Earth Meets the Sky tells the story of Anghared262 from Omnivessel, which left the earth in the year 2050. She is sent to the once-dying Earth with a mission of scouting for food samples. When she encounters Earthroot, she enters her ancestral past and questions her allegiance to Omnivessel. Earthroot, a peaceful, global, matriarchy, must face the impending colonization as they lose two of their own to Anghared’s arrival.
Where Earth Meets the Sky is an Indigenous Futurism / Sci-Fi performance on socialization and environmental destruction.
With a commitment to creating spaces where Wombyn of Color, Cara Mía Theatre presents the world premiere production of Where Earth Meets the Sky imagines a world where decolonization, healing, and a reclaiming of our ancestral knowledge is not only possible but intentionally created.
Cast: Iv Amenti, Carlos Arranz, Gloria Vivica Benavides, Barbie Bernier, Ariana Cook, Whitney LaTrice Coulter, Tamitha Curiel, Frida Espinosa Müller, Jonah Gutierrez, Tammy Hendrix, Jori Jackson, Kwame Lilly, Melaniea Luisa, Guadalupe Reveles, Priscilla Rice, Nicole Romero, Deo Sawyer, Stefanie Tovar, Natasha Wells, Morgana Wilborn
Creative Team: Director- Vanessa Mercado Taylor, Spaceship Design- Chris Taylor, Costume Design — Ryan Matthieu Smith, Lighting Design — Linda Blase, Sound Design- Brianne Sargent, Projection Design — Kate Ducey, Fight Choreography- Jonah Gutierrez, Movement Facilitation- Iv Amenti and Alexandra Hernandez, Dramaturg — Edyka Chilomé
Where Earth Meets The Sky
By Edyka Chilomé, Ariana Cook, & Vanessa Mercado Taylor
Directed by Vanessa Mercado Taylor
April 14–29, 2018
Friday, April 13: 8:00 p.m. (Preview Performance)
Saturday, April 14: 8:00 p.m. (Opening Night)
Sunday, April 15: 2:30 PM
Thursday, April 19: 8:00 PM
Friday, April 20: 8:00 PM
Saturday, April 21: 8:00 PM
Sunday, April 22: 2:30 PM
Thursday, April 26: 8:00 PM
Friday, April 27: 8:00 PM
Saturday, April 28: 8:00 PM
Sunday, April 29: 2:30 PM
Performed in English with some Spanish and languages yet known. Rated PG13.
SINGLE TICKET, PRORATED SEASON PASSES, and PRORATED MEMBERSHIP PURCHASE INFORMATION
Box Office: 214–516–0706
Season Single Tickets: $18
Senior / Student / Veteran Tickets: $13
Thursday Discount Nights: $13
Preview Nights: $10
Group Rates: $10 tickets for groups of 10 or more
ABOUT CARA MÍA THEATRE CO.
Cara Mía Theatre Co. is a non-profit theatre company that presents live accessible theatre by producing critically acclaimed published plays and creating new and experimental works while developing innovative and educational youth arts programming reflective of the Latino experience in the U.S. Co-Founder Eliberto Gonzalez founded Cara Mía Theatre Co. in 1996 because he believed that Latino literature and its writers ought to be more accessible to the general public.
With Adelina Anthony, Gonzalez started the company as a vehicle to bring the Chicano / US Latino experience to Dallas stages. Since, the cultural breadth of CMTC’s plays has expanded, and the company’s artistic approach has simultaneously evolved, especially since the arrival of current Executive Artistic Director David Lozano in 2002. To expand the company’s reach to non-theatre going Latinos, Lozano chose to focus on creating new bilingual plays that were both topical and theatrically unique.
Trained in physical theatre, Lozano formed a resident artistic ensemble that devised new works in the form of clown and mask performance, poetic movement and topical, issue-driven plays that speak to the experiences of the local Latinos. Today, CMTC boasts of a 15-member resident artistic ensemble that creates new works and also produces classic and new plays by the most acclaimed Latino playwrights in the nation.
Cara Mía Theatre Co. is sponsored by the City of Dallas Office of Cultural Affairs, The Law Offices of Domingo Garcia, Dallas Tourism Public Improvement District, Latino Center for Leadership Development, Embrey Family Foundation, the Communities Foundation of Texas, TACA, Texas Instruments Foundation, the Shubert Foundation, Bloomberg Philanthropies, Sammons Center for the Arts, Texas Commission on the Arts, Ignite Arts Dallas, Mercado, Melinda D. And Jim A. Johnson, Pepsico Foundation, National Endowment for the Arts, AT&T Performing Arts Center, and in partnership with the Latino Cultural Center.
Executive Artistic Director: David Lozano
Originally published on April 16, 2018.