Yvette Nolan: Playwright in Context
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The Beginnings of Contemporary Aboriginal Literature in Canada 1967-1972: Part One1
H ARTMUT L UTZ The Beginnings of Contemporary Aboriginal Literature in Canada 1967-1972: Part One1 _____________________ Zusammenfassung Die Feiern zum hundertjährigen Jubiläum des Staates Kanada im Jahre 1967 boten zwei indianischen Künstlern Gelegenheit, Auszüge ihrer Literatur dem nationalen Publi- kum vorzustellen. Erst 1961 bzw. 1962 waren Erste Nationen und Inuit zu wahlberechtig- ten Bürgern Kanadas geworden, doch innerhalb des anglokanadischen Kulturnationa- lismus blieben ihre Stimmen bis in die 1980er Jahre ungehört. 1967 markiert somit zwar einen Beginn, bedeutete jedoch noch keinen Durchbruch. In Werken kanonisierter anglokanadischer Autorinnen und Autoren jener Jahre sind indigene Figuren überwie- gend Projektionsflächen ohne Subjektcharakter. Der Erfolg indianischer Literatur in den USA (1969 Pulitzer-Preis an N. Scott Momaday) hatte keine Auswirkungen auf die litera- rische Szene in Kanada, doch änderte sich nach Bürgerrechts-, Hippie- und Anti- Vietnamkriegsbewegung allmählich auch hier das kulturelle Klima. Von nicht-indigenen Herausgebern edierte Sammlungen „indianischer Märchen und Fabeln“ bleiben in den 1960ern zumeist von unreflektierter kolonialistischer Hybris geprägt, wogegen erste Gemeinschaftsarbeiten von indigenen und nicht-indigenen Autoren Teile der oralen Traditionen indigener Völker Kanadas „unzensiert“ präsentierten. Damit bereiteten sie allmählich das kanadische Lesepublikum auf die Veröffentlichung indigener Texte in modernen literarischen Gattungen vor. Résumé À l’occasion des festivités entourant le centenaire du Canada, en 1967, deux artistes autochtones purent présenter des extraits de leur littérature au public national. En 1961, les membres des Premières Nations avaient obtenu le droit de vote en tant que citoyens canadiens (pour les Inuits, en 1962 seulement), mais au sein de la culture nationale anglo-canadienne, leur voix ne fut guère entendue jusqu’aux années 1980. -
Yvette Nolan [email protected] _____
Yvette Nolan [email protected] _____ Playwriting (selected) The Birds Gateway Theatre (Richmond) 2013 The Unplugging Arts Club (Vancouver) 2012 Toronto Rex Mixed Blood Theatre (Minneapolis) 2008 The Starlight Tour Mixed Blood Theatre (Minneapolis) 2008 Scattering Jake Diaspora Dialogues 2008 Savage Native Earth Performing Arts 2007 Faithless Festival Antigonish 2003 Traps Live Bait/Maritime Conference United Church 2003 Owen CBC Radio – Outfront 2002 Finish Line Hardly Art 2000 Hilda Blake (libretto) Brandon University Music/Theatre 2000 Annie Mae’s Movement Hardly Art/Red Roots 1998 Shakedown Shakespeare Nakai Theatre (Whitehorse) 1997 A Marginal Man Popular Theatre Alliance of Manitoba 1994 Six Women Popular Theatre Alliance of Manitoba 1993 Video Manitoba Association of Playwrights 1992 Job’s Wife Theatre Projects Manitoba 1992 Everybody’s Business Popular Theatre Alliance of Manitoba 1990 BLADE Hardly Art 1990 Directing (selected) Café Daughter Gwaandak Theatre (Yukon) 2011 Tombs of the Vanishing Indian Native Earth Performing Arts 2011 Salt Baby Native Earth Performing Arts 2009 The Ecstasy of Rita Joe National Arts Centre/Western Canada Theatre 2009 A Very Polite Genocide Native Earth Performing Arts 2008 Death of a Chief Native Earth Performing Arts 2008 The Only Good Indian Turtle Gals Performance Ensemble 2007 Annie Mae’s Movement Native Earth Performing Arts 2006 Death of a Chief Native Earth Performing Arts Weesageechak 2005 The Triple Truth Turtle Gals 2005 The Unnatural and Accidental Women Native Earth Performing Arts 2004 -
Ryga, Miss Donohue, and Me: Forty Years of the Ecstasy of Rita Joe in the University
TRiC38#1x12.qxp_TRiC'16 2017-05-30 11:03 AM Page 11 ARTICLES Ryga, Miss Donohue, and Me: Forty Years of The Ecstasy of Rita Joe in the University MOIRA DAY This article is dedicated to the memory of Frank Bueckert (1922-2017), a valued friend, mentor, and teacher. While the seminal role that George Ryga’s 1967 classic, The Ecstasy of Rita Joe, played in igniting the modern Canadian theatre has often been acknowledged, the extent to which its success also constituted a concentrated attack on what Ryga termed the “complacent educator” in 1977, and helped revolution- ize the publication and teaching of Canadian plays at the post-secondary level, may have been less well acknowledged. This article, which documents Moira Day’s own forty-year odyssey with the play in the (largely) prairie university classroom as both a student and an instructor, investigates the play’s initial impact on scholarship, publication, curriculum at the post-secondary level, and some of its ramifications on school and university production and actor training over the 1970 and 1980s. It also deals with the challenges of continuing to teach and interpret the play from the 1990s onward, as new practices and theories have continued to alter its meaning, and considers why this odd, iconoclastic text, despite its flaws, continues to fascinate us fifty years after its initial production. On a souvent souligné le rôle essentiel qu’a joué The Ecstasy of Rita Joe, une pièce qu’a écrite George Ryga en 1967, dans la mouvance du théâtre canadien. Or, on a peut-être moins insisté sur la mesure dans laquelle son succès aura constitué une attaque concentrée sur ce que Ryga appelait en 1977 l’« éducateur complaisant », ni même sur le fait que la pièce aura servi à révolutionner la publication et l’enseignement de la dramaturgie canadienne au niveau post-secondaire. -
Falls Around Her
Baswewe Films and The Film Farm Present FALLS AROUND HER Starring Tantoo Cardinal Written and Directed by Darlene Naponse PRESS KIT SYNOPSIS Falls Around Her follows Mary Birchbark (Tantoo Cardinal), a legendary singer who returns to the vast wilderness of her reserve to reconnect with the land and her community. Mary begins to sense that someone might be watching her. Unsure of what is real and what is imagined, Mary embraces isolation as she explores the psychological impact of her past and present. PRODUCTION NOTES Work and Walk in a Good Way Honour the Seven Grandfathers teachings: Honesty – Wisdom – Respect – Bravery – Humility – Truth – Love Those words and several others would accompany Falls Around Her’s first callsheet and would be included in every callsheet during the shoot. For the Anishinaabe people, the Teachings of the Seven Grandfathers is a set of teachings on human conduct toward others. As film crews employ many people from several different backgrounds, it’s a daily reminder to treat all creation with respect. And cast and crew took those words to heart every day and it contributed to a joyful set. Even more amazing given that there was a mix of crew of indigenous and non-indigenous people. The crew for Falls Around Her became an amalgamation of Toronto and Atikameksheng Anishnawbek/Sudbury/North Bay crews along with many indigenous locals. For the locals, it was the biggest production to ever have its home base on the reservation, and they were prepared for the challenge and the collective hard work of all is reflected on-screen. -
1850-EQ Spring 15 MAG.Indd
EQUITY QUARTERLY SPRING 2015 PERSPECTIVES ON DIVERSITY STAGING THE FUTURE EQ ENDING HARASSMENT NOW The Equity Census THE EQUITYCENSUS STAGING THE FUTURE CULTURE & ETHNICITY | DIVERSE ABILITY | GENDER & SEXUAL IDENTITY Be a part of the biggest and boldest project ever undertaken by Equity – and all you need to do is tell us about yourself. The Equity Census is a ground-breaking demographic survey designed to better understand and serve all Equity members. It will examine the diverse composition of Equity’s The Equity Census opens membership specifically focusing on diversity of culture and ethnicity, diverse ability and Friday, April 24. gender and sexual identity. The survey seeks to identify potential barriers to employment within the Association’s jurisdiction. Data gathered will be a powerful tool in collective bargaining for equitable representation of diversity onstage and in related hiring. The Equity Census Members will be given the option of providing their member number at the conclusion of the closes Friday, May 22. survey so that, for the first time, Equity will be able to analyze how diversity impacts members’ work opportunities and income-earned. The Equity Census is completely confidential A report on the survey and will be conducted by an independent research firm. Its findings will strengthen Equity’s advocacy efforts promoting live performance and inform recommendations for legislative will be published in the change promoting the vibrancy and continued relevance of the performing arts in Canada. Summer EQ. What else do I need to know? + Check and update Regular and Life Your privacy is Eligible members Any member your contact info at members in good important to us. -
The Case of Talonbooks
A Legacy of Canadian Cultural Tradition and the Small Press: The Case of Talonbooks KATHLEEN SCHERF INETEEN SIXTY-SEVEN was an auspicious year for the support and profile of Canadian literary culture. The Centennial, N Expo ’67, accessible Canada Council grants to publishers and authors, Local Initiatives Project and Opportunities for Youth grants, the expansion of universities and their student bases, and the tenth anniver- sary of McClelland & Stewart’s launch in 1957 of the New Canadian Library series — all played a role in raising the Canadian literary con- sciousness. Two of the consciousnesses raised belonged to David Robinson and Jim Brown, who in that year launched on the University of British Columbia (UBC) campus a little magazine called Talon. The expansion in literary culture of which Talon was a part included the breathtakingly rapid expansion of little magazines and small presses in English Canada during the 1960s and 1970s. In 1967, for example, Canadian Literature devoted an entire issue (number 33) to “Publishing in Canada.” The issue contains responses to a questionnaire about Cana- dian publishing circulated by editor George Woodcock to various writ- ers and publishers: Earle Birney, Kildare Dobbs, Arnold Edinborough, Robert Fulford, Roderick Haig-Brown, Carl F. Klinck, Hugh MacLennan and Robert Weaver — all big names. Not one of those questions or an- swers deals with the existence of small presses, and of the issue’s six ad- ditional articles about publishing, only one, by Wynne Francis, has as its subject “The Little Press,” and it is primarily a checklist. Only three years later, in 1970, in a Dalhousie Review article on Canadian poetry published in 1969, Douglas Barbour remarks that eight- een of the twenty books under consideration in his review were issued by small presses. -
Crossing Canadian Cultural Borders: a Study of the Aboriginal/White Stereotypical Relations in George Ryga's the Ecstasy of Ri
International Journal of Applied Linguistics & English Literature E-ISSN: 2200-3452 & P-ISSN: 2200-3592 www.ijalel.aiac.org.au Crossing Canadian Cultural Borders: A study of the Aboriginal/White Stereotypical Relations in George Ryga’s The Ecstasy of Rita Joe Maram M. Samman* Taibah University, Saudi Arabia Corresponding Author: Maram M. Samman, E-mail: [email protected] ARTICLE INFO ABSTRACT Article history This paper traces the intercultural journey of a young Aboriginal girl into the hegemonic white Received: August 14, 2017 society. Rita Joe crossed the imaginary border that separates her reserve from the other Canadian Accepted: October 20, 2017 society living in the urban developed city. Through this play, George Ryga aims at achieving liberation and social equality for the Aboriginals who are considered a colonized minority in Published: January 05, 2018 their land. The research illustrates how Ryga represented his personal version of the colonial Volume: 7 Issue: 1 Aboriginal history to provide an empowering body narrative that supports their identity in Advance access: December 2017 the present and resists the erosion of their culture and tradition. The play makes very strong statements to preserve the family, history and local heritage against this forced assimilation. It tells the truth as its playwright saw it. The play is about the trail of Rita Joe after she moved Conflicts of interest: None from her reserve in pursuit of the illusion of the city where she thought she would find freedom Funding: None and social equality. In fact the audience and the readers are all on trial. Ryga is pointing fingers at everyone who is responsible for the plights of the Aboriginals as it is clear in the play. -
Post Cards: Performing Turtle Island by Anne Smith
Post Cards: Performing Turtle Island by Anne Smith 1 October 2015 PSi#21 Fluid States – Canada: Performing Turtle Island The Performing Turtle Island Conference was held September 17, 18, 19, 2015, conjointly at the University of Regina and the First Nations University of Canada, on adjoining campuses in Regina, Canada, located on Treaty Four land, of the Starblanket First Nation. The name, “Turtle Island”, referring to North America, comes from the Iroquois Creation Story; Sky Woman falls to the ocean and the animals work together to make a place for her on the back of Turtle. This story is shared by many Aboriginal peoples from the east coast woodlands of North America. It is now a commonly used term by Aboriginal peoples across North America. The conference has brought together Aboriginal and non-Aboriginal artists and researchers who are exploring how idigeneity has been performed over the past four or so decades, how indigenous artists are expressing themselves now, at the beginning of the 21st Century, and how indigeneity will be performed in the coming decades. Where does Indigenous identity and community fit in to the construction of the country’s identity? Indeed, what do we mean by Indigenous identity, and, given the proliferation of newcomers, what do we mean by Canadian identity? In the face of growing international mobility and a radically changing Canadian demographic, it is important to take another look at how identity is constructed on Turtle Island within the ideational borders that designate Canada. While we are concerned with traditional performance, we aim our focus more on contemporary forms that express Indigenous identities across diverse cultural and social contexts. -
HIST 5222 Topics in Canadian Social History Fall 2014 Antimodernism, Modernism, and Postmodernism in Twentieth-Century Canadian Culture
HIST 5222 Topics in Canadian Social History Fall 2014 Antimodernism, Modernism, and Postmodernism in Twentieth-Century Canadian Culture This year’s version of HIST 5222 can be organized in two ways. There are currently 11 undergrads enrolled in HIST 4222; there is an additional undergrad who will be taking it as a GWST credit. Also, others have expressed interest in the course, but are “shopping around,” as Dalhousie undergrads do. HIST 4222 is scheduled for Mondays, 10:35-1:25. If the final numbers shrink, graduate students can join the undergraduate version without any quality- based questions arising. If, however, undergrad demands remains high, and depending on graduate interest, it may be more productive to have a second version of the class, with the graduate students & a few undergrads with similar research interests. In terms of the graduate workload, greater than that of the undergraduate version: 1. The case study essay is to be approximately 3000 words (10 pages, with footnotes) in length. 2. The research essay is to be approximately 6000 words (20 pages, with footnotes) in length. 3. Finally, each graduate student will be assigned two additional articles, agreed to by the student and instructor after consultation. Interested students are asked to email me, [email protected], between Friday, Sept 4th, and Sunday, Sept 6th, so that I can assess demand before Monday’s first meeting. Once we have decided on the final format of HIST 5222, I will draw up an official syllabus with proper meeting dates. HIST 4222/5222 Topics in Canadian Social History Fall 2014 Antimodernism, Modernism, and Postmodernism in Twentieth-Century Canadian Culture Todd McCallum [email protected] McCain 1162, 902 494 3643 What follows is the class schedule; the full syllabus, with accompanying material on university, faculty and departmental regulations, will be distributed in class. -
Resources Pertaining to First Nations, Inuit, and Metis. Fifth Edition. INSTITUTION Manitoba Dept
DOCUMENT RESUME ED 400 143 RC 020 735 AUTHOR Bagworth, Ruth, Comp. TITLE Native Peoples: Resources Pertaining to First Nations, Inuit, and Metis. Fifth Edition. INSTITUTION Manitoba Dept. of Education and Training, Winnipeg. REPORT NO ISBN-0-7711-1305-6 PUB DATE 95 NOTE 261p.; Supersedes fourth edition, ED 350 116. PUB TYPE Reference Materials Bibliographies (131) EDRS PRICE MFO1 /PC11 Plus Postage. DESCRIPTORS American Indian Culture; American Indian Education; American Indian History; American Indian Languages; American Indian Literature; American Indian Studies; Annotated Bibliographies; Audiovisual Aids; *Canada Natives; Elementary Secondary Education; *Eskimos; Foreign Countries; Instructional Material Evaluation; *Instructional Materials; *Library Collections; *Metis (People); *Resource Materials; Tribes IDENTIFIERS *Canada; Native Americans ABSTRACT This bibliography lists materials on Native peoples available through the library at the Manitoba Department of Education and Training (Canada). All materials are loanable except the periodicals collection, which is available for in-house use only. Materials are categorized under the headings of First Nations, Inuit, and Metis and include both print and audiovisual resources. Print materials include books, research studies, essays, theses, bibliographies, and journals; audiovisual materials include kits, pictures, jackdaws, phonodiscs, phonotapes, compact discs, videorecordings, and films. The approximately 2,000 listings include author, title, publisher, a brief description, library -
Maggie & Pierre
• VIDEO on-line cut took 20 hours. be done in TV, and what can be done by able at the end of the first year. • "People who don't know the show think The music came together smoothly. film personnel in TV." When he was in No TV sale has been made to the it's tied to current events and assume it's John Mills-Cockell, at the time doing a Hollywood in 1982, says Pickford, "Film United States or Europe, though a Bri no longer relevant today. I feel the show show at Toronto Free Theatre, wrote people were just starting to realize tish distributor, London Films, is hand can surface in five years and be able to the original score in two days. lilt was they'd better learn video ifthey wanted ling European sales and Butler travelled stand on its own." And please, says the like a Christmas gift," said Griffiths. Two to continue editing. In the late seven to MIP-TV in Cannes this spring to actress, don't call it satire. "I hate that Rolling Stones songs were used in the ties, video was considered a toy. Only _promote the show. Though he says it's word and its connotation that the play is show, "Paint It Black" and "Wild Hor recently has there been recognition "reasonably possible to get all its costs spiteful" Director Lavut agrees: the ses", but those aren't the Stones on the (from film people) of its real potential back in Canada," Butler is hopeful show, subtitled "A fantasy of love, poli soundtrack. -
Performing Memory, Transforming Time: History and Indigenous North American Drama
Performing Memory, Transforming Time History and Indigenous North American Drama Birgit Däwes It is important to . connect our stories of the past to our future. Our future is the generations who will take their stories out into the world of the new millennium and who will create a new legacy for their future generations. This is the “Persistence of Memory.” —Muriel Miguel, “Director’s Notes on Persistence of Memory” I Indigenous drama and performance constitute—along with storytell- ing—the oldest literary genre in the Americas.1 Ranging from the ancient Kwakiutl mystery plays to the Hopi clown dances, performa- tive traditions have been primary modes of cultural expression all across the continent. In the late nineteenth and twentieth centuries, some of these traditions were transformed into pan-tribal and more secular art forms, such as pow wows, pageants, or scripted plays, which also incorporated European American and Asian theatrical styles. When Lynn Riggs gained mainstream popularity in the 1930s (albeit largely without reference to his Cherokee heritage) and the first pageants were performed at the Six Nations Reserve’s Forest 1 © 2013 State University of New York Press, Albany SP_DAW_Ch 00_001-016.indd 1 9/28/12 1:51 PM 2 Birgit Däwes Theatre in Ontario, Canada, in the 1940s, the path was paved for a contemporary Native theatre movement. And this movement is well underway. There are currently over 250 published and far over 600 unpublished plays by some 250 Native American and First Nations playwrights and theatre groups on the North American market.2 Furthermore, the access to an abundance of material is increasing- ly improving: Mimi Gisolfi D’Aponte’s pioneer collection of Native American plays, Seventh Generation (1999), was followed by eight other anthologies dedicated exclusively to indigenous plays,3 and Alexander Street Press’s North American Indian Drama, a digital full- text collection of more than 200 indigenous plays, is even searchable by semantic parameters.