Ethnographic Research + Practice Lab/ MRU
Dispatch 08 / Performance / 03 March 2026

NewBlood

At Mount Royal University, poetry, music, contemporary and traditional dance carried the life story of Siksika leader Vincent Yellow Old Woman into a shared public space.

Date + timeTuesday, March 3, 2026 · 2:30 PM
PlaceNickel Theatre · Mount Royal University
Presented byAAMRU + Iniskim Centre
Promotional image for New Blood showing a performer in blue regalia against a dark theatrical background.
New Blood / promotional imageImage source: One Yellow Rabbit / High Performance Rodeo
01 / At Mount Royal

A return to the Nickel Theatre

New Blood is a performance about what history does when it is carried not only in documents, but in voices, gestures, music, family stories, and bodies in motion.

Presented at Mount Royal University by the Anthropology Affiliation of MRU (AAMRU) and the Iniskim Centre, the March 3 performance brought the production back to the Nickel Theatre. The official MRU listing describes a work combining poetry, music, contemporary dance, and traditional dance, inspired by the life of Chief Vincent Yellow Old Woman: his childhood experience in residential school, the reclamation of his way of life, and his later leadership in Siksika Nation.

The event sits directly within the public-facing work that Dispatches records: encounters in which research, teaching, performance, and community knowledge meet outside the conventional seminar room.

02 / The performance

A life story, collectively staged

New Blood was collaboratively developed by director and choreographer Deanne Bertsch and Blackfoot elder, Knowledge Carrier, and co-director Eulalia Running Rabbit. Chief Vincent Yellow Old Woman's life provides the narrative spine: the violence of residential schooling, its afterlives, struggles with addiction, the renewal of cultural relation, and a trajectory toward community leadership.

The work is performed through an ensemble of Indigenous and non-Indigenous young people, alongside Blackfoot dancers, drummers, singers, and knowledge holders. Its form refuses a clean separation between “history” and “art”: testimony is translated into choreography; family narrative becomes theatre; and the stage becomes a place where historical knowledge is encountered through sound, movement, proximity, and duration.

The past is not placed safely behind glass. It arrives in the present tense of performance.

That is part of what makes the production especially legible to an ethnographic practice lab. Performance here can be read as a mode of transmission: a social form through which memory is rehearsed, embodied, witnessed, and passed between generations.

A New Blood ensemble performing onstage.
New Blood / ensemble in performancePhotography: Jared Sych / Calgary Arts Development
A young New Blood performer holding a carved staff in front of projected artwork.
Photography: Jared Sych / Calgary Arts Development
03 / ERPL reading

Reconciliation without an ending

The production often travels under the sign of “reconciliation.” Yet its force lies less in offering reconciliation as a completed moral resolution than in making its demands difficult to evade. Residential-school history is not treated as a sealed historical episode. It is staged through its intergenerational effects, through family relations, and through the ongoing labour of cultural continuance.

Seen this way, New Blood turns performance into a public pedagogy of relation. The audience is not simply given information; it is placed in a scene of listening and witnessing. The production's movement between Blackfoot knowledge, youth performance, family history, and theatrical form asks what it means for institutions of education to host Indigenous histories that those same systems once worked to suppress.

This is an interpretive frame offered by the ERPL rather than a claim to speak for the production. It foregrounds a central question the performance makes palpable: how can historical violence be made publicly present without reducing survival to injury, or turning reconciliation into closure?

04 / People + lineages

Who carries the story?

Life story / Siksika Nation

Vincent Yellow Old Woman

The former Siksika chief whose life history — from residential school through cultural reclamation and leadership — anchors the production's narrative.

Director + choreographer

Deanne Bertsch

A drama and dance educator at Strathmore High School who collaboratively developed and choreographed New Blood, building the work through devised theatre and student performance.

Co-director / Knowledge Carrier

Eulalia Running Rabbit

A Blackfoot elder, Knowledge Carrier, educator, and public speaker from the Siksika community whose collaboration is foundational to the production.

Lead actor + dancer / family relation

Hayden Yellow Old Woman

Performs the part of his grandfather, placing the transmission of the story within an explicitly intergenerational family relation.

05 / A travelling work

Beyond one campus performance

2016

Siksika + Treaty 7 performance contexts

The official production archive records performances for residential-school survivors in Siksika Nation and at a Truth and Reconciliation event on the Blood Reserve.

2023

Canadian Museum for Human Rights

The touring record includes a performance at the Canadian Museum for Human Rights in Winnipeg, alongside theatre and civic venues across Western Canada.

2024

Documentary + MRU

A documentary directed by Blackfoot filmmaker Adam Solway premiered on CBC Gem. The production also appeared at MRU's Nickel Theatre in an Anthropology Club reconciliation event.

2026

High Performance Rodeo + return to MRU

After appearing at Calgary's High Performance Rodeo, New Blood returned to MRU on March 3 through AAMRU and the Iniskim Centre.

Follow the work

About this Dispatch

This page documents the March 2026 MRU presentation while situating it within the longer life of New Blood. Event details and production credits have been checked against MRU, the official New Blood site, Calgary Arts Development, One Yellow Rabbit, and documentary information published by Peter Gabriel's official site.

Content note / residential schools · colonial violence · addiction · intergenerational trauma