Ep. 62 - The Heart Pulse (Remember that time we met in the future?)

Gabrielle Martin chats with Lara Kramer about Remember that time we met in the future?, coming up at the 2026 PuSh Festival! Show Notes Gabrielle and Lara discuss:  What are the starting seeds and core concepts of this particular work? How does intergenerational knowledge fit into your work? How do you navigate between remembrance and futurity? How are generational connections present in the work? What is the "hollowing feeling in the gut"? How is creating your work like a living canvas? How do ideas arise through collaboration with other artists with diverse points of entry into the arts? What compelled you to make this leap in scale and collaboration? About Remember that time we met in the future? Remember that time we met in the future? moves through a world in transformation—where land, light, sound, and memory converge. Within a shifting terrain of salvaged materials and spectral landscapes, four Indigenous artists journey through nonlinear time, where body and land, spirit and matter are inseparable. Each movement is a trace of ancestral memory, of futures unfolding, of a pulse shared between beings and worlds. Through intimate physicality, layered imagery, and atmospheric force, the performers navigate a landscape of story, ritual, and resonance. This is not dance as spectacle, but as invocation where stillness holds weight, sound becomes breath, and tenderness meets storm. In this durational dreamscape, the dancers walk with more-than-human kin, carrying the gravity of lived experience and the glow of emergent futures. Remember that time we met in the future? invites audiences into a present stretched by memory, a space of becoming, of heartbeats carried forward. About Lara Kramer Lara Kramer is a performer, choreographer, and multidisciplinary artist of mixed Oji-cree and settler heritage, raised in London, Ontario. She lives and works in Tiohtià:ke/Mooniyang/ Montreal. Her choreographic work, research and field work over the last fifteen years has been grounded in intergenerational relations, intergenerational knowledge, and the impacts of the Indian Residential Schools of Canada. She is the first generation in her family to not attend the Residential schools. Kramer's relationship to experiential practice and the creative process of performance, sonic development and visual design is anchored in the embodiment of experiences such as dreams, memories, knowledge, and reclamation. Her creations in the form of dance, performance and installation have been presented across Canada and Australia, New Zealand, Martinique, Norway, the US and the UK. Land Acknowledgement This conversation was recorded on the unceded, stolen and ancestral territories of the Coast Salish Peoples: the xʷməθkʷəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and Səl̓ílwətaɬ (Tsleil-Waututh), colonially known as Vancouver. Lara joined the conversation from what is now known as Montreal, on the traditional territory of the Kanien'kehà:ka, a place which has long served as a site of meeting and exchange amongst many First Nations including the Kanien'kehá:ka of the Haudenosaunee Confederacy, Huron/Wendat, Abenaki, and Anishinaabeg, . It is our duty to establish right relations with the people on whose territories we live and work, and with the land itself. Credits PuSh Play is produced by Ben Charland and Tricia Knowles. Original music by Joseph Hirabayashi. Show Transcript