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Mandé'm Padon

A seed by: Lydie Dubuisson (She/Her)
Project: MT/AT ToolKit - Capacity building, support, and agency
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Lydie Dubuisson is a playwright, director, and curator from Tiohtià:ke/ Montreal. She studied theater and graduated with distinctions from Concordia University. Her work examines intersectionality, collective memory, rituals and multilingual creative processes. Dubuisson wrote QUIET/SILENCE (2018 Discovery Series – Black Theatre Workshop & Maison de la culture NDG), SANCTUARY/SANCTUAIRE (Black Theatre Workshop & Théâtre aux Écuries), SHARING OUR STORIES, TELLING OUR LIVES (Teesri Duniya Theatre), and she is a co-writer of BLACKOUT: THE CONCORDIA COMPUTER RIOT, (Tableau d’Hôte Theatre). She is currently writing a play about the Shelburne riots. She directed AFRODISIAQUE (Collectif Potomitan, Winner of Best Show at Zoofest OFFJFL 2022), RINGTONE (Imago Theatre & Montréal Art Interculturel), SHARING OUR STORIES, TELLING OUR LIVES (Teesri Duniya Theatre), AFRODRAG: PAST, PRESENT & FUTURE (Phi Center) and JANICE LA REINE AUX AILES D’ÉCAILLES (Places des Arts). Lydie Dubuisson is an Artistic Associate at Black Theatre Workshop since 2020. She is also the curator of the dual digital installation, THE BELONGING PROJECTS commissioned by the Black Community Resources Center. Lydie has been working closely with Arrivals Legacy Project since 2020 and the ALP process has greatly impacted her creative process and self-assertiveness.

Disciplines:

Music, Theatre, Spoken Word, Storytelling, Literature, Poetry
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This is an original seed

A Critical fabulation to revisit a story we tell haitian children to scare them.
A story of mercy. A risk to be taken in kreyol only.

In response to “How do we uncover this system and re-route our ways of thinking/being/doing to align with it?”, I ask myself; If the archives are colonized, then how do I use their information to align it with my intentions?

About Critical fabulation to bring back humanity in all of our stories.

I chose this format thinking about all the tapes my parents made us listen to from family in Haiti, and the many tapes we recorded fo family back home.  Since my childhood, we went from radio cassettes to voice memo’s we send on What’sApp or Messenger…

I chose this story from a memory; I visited a fort in Haiti with my dad in 1996.  I have been haunted by the brutality that happened in the cells within the fort’s walls.  I have been haunted by the response from others about the brutality that happened in those cells.

Giving voice to misunderstood women in a language only their descendants can understand… 

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