Nomadic Woman

  • Concept and direction: Katarzyna Pastuszak 
  • Choreography: Katarzyna Pastuszak, Dorota Androsz 
  • Texts: Louise Fontain, Katarzyna Pastuszak, Dorota Androsz, Barbara Szamotulska
  • Performance: Louise Fontain, Dorota Androsz, Katarzyna Pastuszak, Aleksandra Sliwinska, Agnieszka Kamińska, Nel Melon, Anna Kalwajtys, Barbara Szamotulska, Magdalena Jędra,
  • Video: Katarzyna Pastuszak, Louise Fontain 
  • Set design: Katarzyna Pastuszak 
  • Live music: Joanna Duda 
  • Costumes: Louise Fontain, Katarzyna Pastuszak, Dorota Androsz, Barbara Szamotulska
  • Light: Jozef Leoniuk
  • Premiere: 11.12.2012, Club Zak, Gdansk, Poland
  • Financial support: City Council of Gdansk 


NOMADIC WOMAN is a performance about women and their inner and outer immigration. It is also a contemporary version of a myth of rebirth and return of the woman to herself and to the world.
The core of the performance is formed by stories of women who have experienced a form of exile, women who were in some way torn from their natural environment, their family, homeland, community and/or from their own body. These women, just like nomads, have lived their life in continuous motion, without a secure and constant place of living, without a sense of belonging and sense of self/worth. The performance was inspired b
y the life story of Louise Fontain. Her “nomadic” life started in Greenland from which she was deported as a child to a foster family in Denmark and after years of exile and violence returned to herself in the North of Norway in the environment of nature and within the community sami culture. On the theoretical level the performance also resonates with the concept of “nomadic identity” developed by Rosi Braidotti. Recently NOMADIC WOMAN was performed in Japan and Greenland. NOMADIC WOMAN is performed by a group of interdisciplinary artists including Louise Fontain (Greenland/Norway, storyteller/performer), Katarzyna Pastuszak (Amareya Theatre, performer/dancer), Joanna Duda (musician/composer, Wojtek Mazolewski Quintet, J=J), Dorota Androsz (actress, Wybrzeże Theatre), Agnieszka Kamińska (Amareya Theatre, performer/dancer), Aleksandra Śliwińska (Amareya Theatre, performer/dancer), Anna Kalwajtys (performer), Magdalena Jędra (dancer).



The scary truth about the Danish and what they did in Greenland 0 the performance "Nomadic woman" and Louise Fontain's story is just the tip of the iceberg....







While I grew up in Greenland, my grandmother Louise lived in a small village with 100 people.



My grandmother had 10 children whom she took care of. Most of our daily food came from the sea


My grandfather was a great hunter, hunt from his kayak.



My grandmother's life was an adventure in itself, hard working, always a lot to do - gather firewood, picking berries, sew clothes for all, carry water from a lake in the mountains, fix all the catch from the nature, the animals and fish.



At her home, everything was understandable; the fire and the animals gave food to eat, clothes to wear and the sky gave sun and snow, that was crucial for hunting and trapping days. Today's rhythm was determined by nature and the seasons.


We children could play outdoors all day or help Grandma with her activities.



My grandmother has had a strong influence on my life, she made a lullaby to me, my own song. And since her death, I often have conversation with her in my dreams.


This ulo (inuit womenknife) I got from my Grandmother Louise before she died in 1986.




My grandmother never learned Danish language. And I forgot my own language.


And I forgot my song.......................


It began 40 years ago.


My life in a close relationship to nature and my own family took a dramatic change.


From 1961-1976 were thousands of Inuit children with good abilities sent to Denmark to acquire the Danish language and culture. The idea behind the project was that children should be prepared to be able to go to college and become Leaders in modern Greenlandic society.



I'm sad about the fact that I lost the majority of life: language of the heart - which binds me to the family and to my people. The loss of identity - not be enough Danish or Greenlandic probably was the consequence and it has affected my life in all the years ... where I should be at home, I was a stranger.


 I was 9 years old.


«In the end of the train journey
we found out that we will be separated


alone each of us
children were to be picked up by their "civilized" Danish parents


- and a new life awaited.  Najavaraq
Now she must be Mette Greenlander far from home
with well-meaning people
to teach her new manners and new culture from now on it is forbidden to speak or even think Greenlandic it ´s no longer allowed to jump free in nature Now everything must be done in due time On paper, it is 1 year, but it will be forever
on paper it´s: 
there are not supervise the child and her new family

40 years later, no one will talk about it. Danish government and the Greenlandic society will not take responsibility for what happened...




The Danish Primeminister says: it's a boring story we have together, but this is a time we have put behind us...



Here on the mountains, I find closeness to nature and my own story, although I often try to escape from it. 


One day I know while I pick berries or slack the fish, I´ll remember my language ...
- one day I´lll find my grandmother Louise' song:








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translation: KOICHI KUYAMA