mia susan amir
— WRITER, CREATOR, PERFORMER, CO-PRODUCER
mia susan amir works at the intersection of creative and community practice as an educator, cultural organizer, writer, director, dramaturg and theatre artist creating immersive, interdisciplinary works. Born in Israel/Occupied Palestine, mia lives on the unceded and occupied territories of the x?m?θkw?y??m (Musqueam), Skwxwu?7mesh (Squamish), and S?l?i?lw?ta?/Selilwitulh (Tsleil-Waututh) Nations.
In her creative practice, mia traces the ways in which sociopolitical events are manifest intergenerationally in the spaces of the home and the body; the narrative hauntings that emerge when our stories go untold; what she calls Dybbuk Consciousness. Her practice, hybrid in form, engages juxtaposition as a critical strategy to bring breath to the unnamed, or ineffable.
Recent/current solo and collaborative performance works include: Across the Salty Waters, presented at 2017 Feminist Art Conference, Toronto. Transmissions: Bodies/Echoes/Ash which toured the Midwest US, and Vancouver 2015/16; and Obscura Lucida: The Land of My Body, co-created with T ’uy’tanat-Cease Wyss as a commission for the 2017 Vines Arts Festival. mia is a featured poet of the 2018 Art Song Lab, collaborating with composer Patrick McGraw.
Current/recent production credits include: Dramaturg on Burqa Boutique, by Brishkay Ahmed; Collaborating Director and Dramaturg on Setting Bones, by Kalik, winner of the 2017 Vancouver Fringe New Play Prize; Director and Dramaturg of Saving Mother, by Crystal Smith, commissioned for the 2017 Vines Arts Festival; Dramaturg on Wyspa, by Kannon Hewitt and Julia Siedlanowska, presented at the 2017 Vancouver Fringe; and her work as Artist Mentor of The Only Animal’s 2016 Generation Hot program.
mia is the Creative Director of The Story We Be, a Dramaturg with the Virago Play Series, and a Dramaturgy Research Associate with PTC. A recipient of the Literary Managers and Dramaturgs of the Americas, 2018 Bly Creative Fellowship, her current research explores the intersections between Crip and Indigenous Dramaturgical Practices in the studio, on the stage, and in the street.
mia’s writing has appeared on SpiderWebShow, Lemon Hound, Digging Through the Fat, and in Sustenance: An Anthology of Writers from B.C. and Beyond on the Subject of Food, Anvil Press. She holds an MFA in Creative Nonfiction from Mills College, Traditional Ohlone Territory, Oakland.