Nearly 300 people had the opportunity to experience Continuance – Immersive Commemoration at the Woodland Cultural Centre on Friday, May 29, 2026.
Co-presented by Kaha:wi Dance Theatre and Woodland Cultural Centre, the multimedia performance was created to mark the reopening of the former Mohawk Institute Residential School as an interpretive museum and site of conscience.
Led by Artistic Director Santee Smith of Kaha:wi Dance Theatre, Continuance was built on over a decade of artistic engagement at the site.
“I’d like to acknowledge all of the survivors who have helped us over the years,” said Santee Smith, founding artistic director of Kaha:wi Dance Theatre. “We’ve been working inside this building and starting in the boys playroom since 2016. That’s ten years of us working with survivors, listening to the stories, getting them to help shape the work that we do, and so it’s a true honour to be able to do that.”
Inspired by the Ohen:ton Karihwatehkwen (Thanksgiving Address), the production was designed to not only honour the survivors, but to celebrate Indigenous cultural continuance, resilience and renewal.
“We honour the children that walked through these doors and were forever changed. We are here in remembrance and thanksgiving, to be reminded of the strength of our eternal fires – our family fires – and the continuance of Onkwehonwe-neha, our way of life,” Smith told the audience. “Through our expression we aim for the embers that were intentionally scattered by church and state, and come together to burn bright and strong as one in our song and dance.”
During the performance, audience members were immersed in 3D projected imagery, intricate choreography and live music.
Guests watched silently as dancers moved their way through the crowd and across the stage, as Haudenosaunee imagery was displayed behind them; lighting the former Mohawk Institute in vibrant colours.
Vocals from singer-songwriter and composer Semiah, along with Derek Miller and Lacey Hill, were backed by musicians Maggie Yakorennio Powless-Lynes and Nathan Powless-Lynes, helping to heighten the experience.
Noting that the residential school system was designed to assimilate Indigenous children by cutting ties to their language, culture, society and traditions, the production
“We honour our ancestors as children and their families, and memorialize how this Institution was designed to take away their gifts: oweena – our language, karenna – our songs, kahsenna – our names, skén:nen – our peace,” Smith told the audience. “In the attempt to break spirits, brothers and sisters were separated, numbers replaced names, silence replaced song, marching replaced dance, and abuse replaced peace. This we will never forget, but in response we say let there be peace.”
After the performance and a short break, classically trained tenor and composer Jeremy Dutcher ended the evening by singing their own songs for the audience, captivating them with soulful sounds that moved them.
Afterwards, audience members Michelle Fawcett and Steve Riis said they felt the show was impressive.
“It was very moving, it was just incredible and really emotional,” said Fawcett. “I’m a teacher and I was showing my students a six minute snippet from a previous performance of this, and I felt like I was watching it tonight through their eyes.”
She continued, “It was very moving and impactful. To see the beauty and the joy of Indigenous culture being celebrated on the wall of that building tonight felt very significant. I’m thankful for the Woodland Cultural Centre and the incredible work they do. As settler folks, where else can you get this level of education?”
Kimberly De Jong’s reporting is funded by the Canadian government through its Local Journalism Initiative.The funding allows her to report rural and agricultural stories from Blandford-Blenheim and Brant County. Reach her at kimberly.dejong@brantbeacon.ca.
