Australian Choreographer Amrita Hepi To Launch National Arts Centre’s 2026 Indigenous Theatre Season With Solo Performance Rinse

The National Arts Centre (NAC) in Ottawa has announced that acclaimed Australian choreographer and performer Amrita Hepi will open its 2026 Indigenous Theatre season with the Canadian debut of her solo work, Rinse. Scheduled to run from January 22 to January 24, 2026, the production marks a significant international collaboration for the NAC, bringing a distinctive voice from the Bundjalung and Ngāpuhi territories to the Canadian capital. Rinse, a multidisciplinary performance that has garnered international praise for its sharp wit and profound exploration of cultural heritage, will be presented in the NAC’s Azrieli Studio before moving to Peterborough for a subsequent performance on January 28.

As the global arts community continues to prioritize Indigenous perspectives, Hepi’s arrival in Canada signifies the ongoing mission of the NAC Indigenous Theatre to foster a global network of First Nations storytellers. The performance of Rinse is expected to draw a diverse audience, ranging from contemporary dance enthusiasts to scholars of post-colonial studies, as it navigates the complex intersections of memory, desire, and the enduring legacy of colonial history.

The Conceptual Framework of Rinse

At its core, Rinse is an inquiry into the intoxicating nature of beginnings. The performance poses a central, evocative question: "What is it about the beginning that remains intoxicating?" Through a blend of fluid movement, spoken word, and pointed satire, Hepi examines the initial rush of romance, the first chapters of historical narratives, and the birth of artistic movements. However, the work does not merely celebrate the "new"; it critically investigates what occurs when the initial thrill dissipates, leaving behind the weight of reality and the persistence of memory.

The work was co-written with the noted theatremaker Mish Grigor, whose influence is evident in the production’s seamless integration of autobiographical storytelling and fictionalized myth. Together, Hepi and Grigor have crafted a narrative that is both intimate and epic. The performance functions as a "mashup" where personal anecdotes regarding feminism, pop culture, and dance history collide with broader sociopolitical themes. By using the body as a living archive, Hepi challenges the audience to reconsider how history is recorded and whose stories are deemed "authentic."

Visually, the production is defined by a stark, clinical aesthetic. The stage is bathed in bright light, with a set and costume design dominated by shades of white and blue. This minimalist backdrop serves to highlight Hepi’s vibrant, expressive movements and the "cheeky" tone of her monologue. The choice of colors and lighting creates a space that feels both like a gallery and a laboratory, reinforcing the theme of "rinsing" or cleansing away the layers of constructed identity to find what remains underneath.

Chronology of the 2026 Canadian Engagements

The Canadian tour of Rinse is strategically timed to coincide with the beginning of the 2026 calendar year, symbolizing the very "beginnings" the play critiques. The schedule is as follows:

• January 22, 2026: Opening night at the National Arts Centre, Ottawa. The performance will be delivered in English with French surtitles to ensure accessibility for the National Capital Region’s bilingual audience.
• January 23, 2026: Second performance at the NAC Azrieli Studio.
• January 24, 2026: Final performance in Ottawa. This specific matinee/evening engagement will feature American Sign Language (ASL) interpretation, reflecting the NAC’s commitment to inclusive programming.
• January 28, 2026: A regional presentation at Public Energy Performing Arts in Peterborough, Ontario. This engagement allows the work to reach audiences outside the major urban centers, connecting with the vibrant arts community in the Kawarthas.

Prior to its Canadian arrival, Rinse has undergone an extensive international tour. The work has been featured at the prestigious Festival d’Avignon in France, as well as various venues across Europe and Australia. This global trajectory has solidified Hepi’s reputation as one of the most compelling voices in contemporary Indigenous performance.

Artistic Profile: Amrita Hepi

Amrita Hepi is a multidisciplinary artist whose practice is deeply rooted in the concept of the "body as archive." Based between Naarm (Melbourne) and Bangkok, she belongs to the Bundjalung (Australia) and Ngāpuhi (Aotearoa/New Zealand) territories. Her training is as diverse as her output; she is an alumna of NAISDA (National Aboriginal Islander Skills Development Association), Australia’s premier training institution for Aboriginal and Torres Strait Islander dancers, and she furthered her studies at the Alvin Ailey American Dance Theater in New York City.

Hepi’s career is marked by a series of high-profile accolades. She is a two-time winner of the People’s Choice Award at the Keir Choreographic Award, one of Australia’s most significant prizes for contemporary dance. Her work frequently explores the commodification of Indigenous culture, particularly how global markets seek a performative "authenticity" from Indigenous creators. By employing satire, Hepi subverts these expectations, offering a nuanced view of Indigeneity that refuses to be static or easily categorized.

Beyond her solo work, Hepi is a vital collaborator within the Australian arts ecosystem. She is a Triad member of the performance company APHIDS and serves on the board of directors for the RISING festival in Melbourne. Her involvement with STRUT Dance as an Artistic Associate further demonstrates her commitment to the development of the choreographic craft.

Collaborative Influence: Mish Grigor and APHIDS

The success of Rinse is inextricably linked to the collaborative partnership between Hepi and Mish Grigor. Grigor, a writer, director, and performer, is known for her use of humor and autobiography to dismantle social norms. As a co-director of APHIDS—alongside Lara Thoms and Eugenia Lim—Grigor works within a collective framework that seeks to produce art "greater than the sum of its parts."

APHIDS has a long-standing history of creating experimental work that spans galleries, theaters, and public spaces. Grigor’s expertise in dialogue and conversational performance provides the perfect foil for Hepi’s movement-based storytelling. Their collaboration on Rinse ensures that the text is as rigorous as the choreography, allowing for a performance that speaks to the intellect as much as the senses.

The Significance of the NAC Indigenous Theatre

The presentation of Rinse at the National Arts Centre is a testament to the growing influence of the NAC’s Indigenous Theatre department. Launched in 2019 under the artistic leadership of Kevin Loring, the department is the first of its kind at a national performing arts center anywhere in the world. Its mission is to provide a platform for Indigenous stories, told by Indigenous artists, for all audiences.

By bringing an Australian Indigenous artist like Hepi to the Canadian stage, the NAC highlights the parallels between the colonial histories of Australia and Canada. Both nations are currently engaged in complex processes of reconciliation and truth-telling. Artistic exchanges like these allow for a shared exploration of resistance, sovereignty, and the reclamation of cultural narratives.

Supporting data suggests that Indigenous-led programming has seen a steady increase in audience engagement across Canada over the last decade. The inclusion of international Indigenous artists further enriches this landscape, providing a broader context for local audiences to understand the global scope of Indigenous excellence.

Broader Implications and Analysis

The arrival of Rinse in 2026 comes at a time when the "commodification of authenticity" is a central debate in the global art world. Hepi’s work is a timely intervention, using the stage to deconstruct how Indigenous bodies are often expected to perform a specific type of "heritage" for the consumption of non-Indigenous audiences. Through the use of satire, Hepi regains agency, dictating the terms of how her body and her history are viewed.

Furthermore, the performance explores the concept of "resistance through joy." While the themes of colonial history and cultural erasure are heavy, the "playful edge" and "witty take" described in the production notes suggest that Hepi uses humor as a tool for survival and critique. This approach aligns with a broader movement in contemporary Indigenous art that moves beyond trauma-centric narratives toward those of resilience, complexity, and future-building.

The inclusion of regional venues like Public Energy Performing Arts in Peterborough is also a strategic move. It acknowledges that the dialogue surrounding Indigenous art must extend beyond national institutions and into the grassroots communities where cultural shifts often begin.

Accessibility and Public Engagement

The National Arts Centre has prioritized accessibility for the run of Rinse. The January 24 performance featuring ASL interpretation is part of a broader initiative to make the arts accessible to the Deaf and hard-of-hearing communities. Additionally, the use of French surtitles for all Ottawa performances ensures that the work remains inclusive within the context of Canada’s official bilingualism.

For those in the Peterborough area, the presentation by Public Energy Performing Arts on January 28 represents a rare opportunity to witness an international work of this caliber in a more intimate, community-focused setting. Public Energy has a 30-year history of presenting provocative contemporary dance and performance, making it a fitting partner for Hepi’s Canadian tour.

As the 2026 season approaches, Rinse stands out as a flagship production that promises to challenge, entertain, and provoke meaningful conversation. By looking back at the "intoxicating beginning" and forward to the possibilities of resistance, Amrita Hepi invites the Canadian public to participate in a ritual of memory and renewal that is as epic in its scope as it is intimate in its execution.