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    Come and Dream

    Avenida Houston's new interactive art installation honors indigenous traditions

    CultureMap Create
    Jun 24, 2025 | 12:00 pm
    Weci | Koninut Avenida Houston

    "Weci | Koninut" is meant to be experienced outdoors and at your own pace.

    Rendering courtesy of Init

    This summer, Houston becomes the gateway to a powerful new cultural experience as Weci | Koninut opens to the public at Avenida Houston beginning June 26.

    Blending Indigenous tradition with cutting-edge interactive technology, this free interactive installation by First Nations artists Julie-Christina Picher and Dave Jenniss transforms the bustling urban plaza into a dreamscape inspired by ancestral memories and the natural rhythms of the Atikamekw people.

    Designed to be experienced outdoors and at one’s own pace, the piece invites visitors to wander through six illuminated dreamcatchers, each representing a season from the Atikamekw’s six-part calendar: Sikon (pre-spring), Miroskamin (spring), Nipin (summer), Takwakin (fall), Pitcipipon (pre-winter), and Pipon (winter).

    Each is activated by motion as people approach, with original music, Indigenous symbols, and environmental soundscapes wrapping participants in a contemplative atmosphere that evokes the forest and ancestral territories.

    The installation is the result of a cross-cultural collaboration between Quebec-based creative firms Creos and Init, and Houston First Corporation, which is responsible for operating many of the city’s premier arts and culture venues. It’s a partnership that emphasizes the global relevance of Native stories and their power to engage people from all walks of life.

    “Bringing Weci | Koninut to Houston underscores our efforts to make the city a global destination for culture and innovation,” says Michael Heckman, president and CEO of Houston First Corporation. “This unique installation offers our community an exciting immersion into the richness of Native traditions and celebrates the importance of art in building bridges between peoples.”

    The title Weci | Koninut roughly translates from Atikamekw to "come and dream," and that invitation is at the core of the experience.

    “This immersive installation embodies an alchemy of visual arts, original music, and spatial design, creating an enveloping universe that transports visitors,” says Virginie Simon, production director at Init. “It’s a celebration of Indigenous identity, storytelling, and collective memory.”

    Dave Jenniss, Julie-Christina Picher, Virginie Simon Weci | Koninut Artists Dave Jenniss and Julie-Christina Picher with Init's Virginie Simon during the making of "Weci | Koninut."Photo courtesy of Init

    Beyond its ethereal beauty, Weci | Koninut is also a deeply meaningful statement about cultural survival and environmental awareness. It asks visitors to consider how we relate to the world around us, and how those relationships are shaped by history, tradition, and shared experience.

    For the artists and their collaborators, it’s not just about showcasing Native art but also about reclaiming space, voice, and presence in public life.

    “Making Weci | Koninut accessible and visible beyond our borders is a great source of pride for Creos,” says Alexandre Lemieux, director of business development and co-founder of Creos. “This unifying work epitomizes our commitment to creating meaningful public art that fosters contemplation, dialogue, and intercultural connection.”

    On display in Houston through September 1, Weci | Koninut will then return to Quebec for a tour through Canadian cities. But for now, Houston audiences will be the first to encounter this convergence of ancient wisdom and contemporary creativity, made tangible under the open sky.

    avenida houstonweciart installationindigenous arthouston firstcreosinitnative american artweci koninutatikamekwpromoted
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    Small-Town Gossip

    Houston Grand Opera trades Appalachian heartbreak for black-tie revelry

    Joel Luks
    Oct 28, 2026 | 11:45 am
    Houston Grand Opera opening 2026
    Photo by Michelle Watson
    James Gaffigan, Astley Blair, and Ping Sun.

    Ain’t it a pretty night? Well, that depends on whom you ask.

    For the title character in Carlisle Floyd’s Susannah, things go south rather quickly. For the Houston Grand Opera crowd gathered at the Wortham Theater Center on October 23, however, the evening was looking positively peachy.

    HGO opened its 72nd season with the American classic, celebrating Floyd’s centennial and the nation’s 250th birthday. And what better way to salute Americana than with a little Appalachian intrigue, religious fervor, and small-town gossip?

    The drama began before anyone sang a note. A passionate overture accompanied by sweeping projections offered a tantalizing preview of the story’s twists and turns. Spoiler alert: Susannah wasn’t headed for a fairy-tale ending. But the evening certainly had its leading man. James Gaffigan made his first appearance as HGO’s music director designate, taking the podium for a production reimagined by soprano-turned-director Patricia Racette.

    Houston Grand Opera opening 2026

    Photo by Michelle Watson

    James Gaffigan, Astley Blair, and Ping Sun.

    Soprano Sylvia D’Eramo made her role debut as Susannah, with baritone Rod Gilfry portraying the Reverend Olin Blitch. Tenors Bille Bruley and Aaron Blake rounded out the principal cast as Sam and Little Bat. And the audience delivered a standing ovation. Because heartbreak sounds better with a full orchestra.

    Chairs Sylvia Barnes and Jim Trimble, longtime HGO supporters, welcomed guests to Ray C. Fish Plaza, where The Events Company had conjured an Appalachian autumn, complete with sunset hues, lush greenery, and the illusion of a stream. Anyone fancy a dip? Considering how things turned out for Susannah after her ill-fated bathing excursion, perhaps not. You never know who might be watching. Better to plunge a fork into the flourless chocolate torte.

    And while Susannah might have had opinions about mail-order catalogs (if you know, you know), the Houston crowd was having none of that. The dress code was decidedly black tie.

    During dinner, board chair Astley Blair celebrated HGO’s recent Grammy win, while CEO Khori Dastoor reflected on the company’s artistic ambitions. Gaffigan introduced the cast, who received yet another standing O.

    Perhaps Susannah would have fared better had she set her sights beyond Nashville, Asheville, and Knoxville. Houston, after all, knows a thing or two about tall buildings, fancy clothes, and pretty nights. The festivities drew 370 guests and raised $640,000 to support HGO’s mission of bringing opera to Houston’s diverse communities.

    Making a scene were Claire Liu and Joe Greenberg, Patrick Summers, Margaret Alkek Williams, Renu and Suresh Khator, Dian and Harlan Stai, Farida Abjani, François Badoual, Jennifer Bielstein, Jack Bell, Katy and Logan Boatman, Norma and Beto Cardenas, Janet Clark, Louise Chapman, Ambassador Breno Costa, Molly and Jim Crownover, Isabel and Danny David, Mindy and Josh Davidson, Debra Dunn, Mahshid and Rod Foroozan, Sarah and Doug Foshee, Lily and Charles Foster, Mary Foster and Don DeSimone, Marianne and Joe Geagea, Christel and François Good, Janet Gurwitch and Ron Franklin, Celina Hellmund, Gary Hollingsworth and Ken Hyde, Elizabeth and Richard Husseini, Michelle and Doug Huth, Teresa and José Ivo, Sarah and Bryant Lee, Tomikia LeGrande, Kristen and Matthew Loden, Cynthia and Tony Petrello, Irina and Andrey Polunin, Ambassador David Satterfield, Ping Sun and David Leebron, Apurva Thekdi, Ellen and Bob Vladem, and Geraldina and Scott Wise.

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