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NATIVE THEATRE IN CANADA A Report Presented To The Royal Commission on Aboriginal Peoples by Native Earth Performing Arts Inc. July 1993 Researched and Written by Pamela Matthews • TABLE OF CONTENTS INTRODUCTION I Introducti on 1 11 List of Interviews 3 III Recommendations 4 CHAPTER ONE I Native Theatre in Canada What is Native Theatre? 5 Early Native Theatre 6 Towards a Modern Theatre 8 Why the Stage? 8 11 Native Earth Performing Arts Before NEPA 11 The Early Years 12 A Major Breakthrough - "The Highway Years" 14 The Rez Sisters 15 After The Rez Sisters 19 Celebrating 10 Years of Great Native Theatre 29 III Importance of Native Earth To Past and Present Employees 34 To Non-Native Friends and Associates 39 To Native Audience 43 To Non-Native Audience 44 Questionnaires 46 IV Recommendations and Suggestions 57 CHAPTER TWO 1 Importance ot Native Theatre To Native Communities 64 To Non-Native Communities 68 Comparison of Audience Response 71 Cultural Issues of Concern and the Arts Community 73 11 Other Native Theatre Companies De-Ba-Jeh-Mu-Jig Theatre Group 77 Muskigee Dramatic Arts 97 Spirit Song Native Indian Theatre Company 99 Sen'klip Native Theatre Company 101 Full Circle First Nations Performance 113 The Sweetgrass Players 117 Tunooniq Theatre 124 Native Theatre Group (Xaesade) 132 Igloolik Dance and Drama Group 136 Les Productions Ondinnok 139 Koostachin Productions 142 III Miscellaneous Productions 144 IV Comparisons of NEPA to Other Theatre Companies 155 V Native Theatre Companies of the Past Northern Delights 156 Four Winds Theatre 159 Awasikan Theatre 161 CHAPTER THREE I Training Mainstream Education 165 Native Theatre School 166 Spirit Song Native Indian Theatre Company 170 The En'owkin International School of Writing 175 Ben Calf Robe/Saskatoon Native Survival School 176 Takwakin Theatre 177 Supplementary Courses 178 Mainstream Education - Is It Appropriate? 178 Formal Training And/Or Experience 179 Problem Solving/Recommendations 182 II Symposium on Native Theatre 185 Spiderwoman Theatre 199 III "Beyond Survival" - Interviews 202 WORKS CITED 219 INTRODUCTION Native Earth Performing Arts Inc. is Toronto's only professional Native Theatre company and one of only a handful across the country. Founded in 1982, it is currently under the Artistic Directorship of Floyd Favel, a renowned Cree Director, writer and teacher. Native Earth received much recognition and success in the 1980's under Artistic Director Tomson Highway, one of Canada's leading playwrights. Over the past decade, Native theatre in Canada has grown tremendously and has become an important voice for the Native community. Native Earth Performing Arts decided to submit a report to the Royal Commission on Aboriginal Peoples on Native Theatre in Canada because it is, in a contemporary sense, a relatively young artistic milieu which is making great strides It is perhaps true that many people outside of the artistic community do not understand the real value that theatre plays to society. And it is perhaps true that this lack of knowledge exists in the Native community in part because the discipline is so young. Therefore, it is the role of theatre practitioners to create their art and educate their communities. Slowly, this is happening in Canada. We at Native Earth want the Royal Commission on Aboriginal Peoples to recognize the importance theatre plays to the Native community. This report states the importance of Native Theatre, specifically of Native Earth, to the Native community and to the larger Canadian community. The report also explores the means by which Native theatre serves the communities, including its cultural impact. Recommendations are made as to how Native theatre can better serve its community. Research material came from various sources, but very little has been written about Native theatre. Most information came from personal and telephone interviews. Almost one hundred interviews were conducted between April and June, 1993, but this is just a handful of the various artists and audience members with information to contribute. Since there is no known Native theatre companies in the eastern provinces, in April 1993, a trip was taken to western Canada, specifically Calgary, Edmonton and Vancouver, to collect data on other Native theatres and to view some of their productions. Many interviews were conducted with various artists. Chapter One covers the early history of Native theatre and the history and importance of Native Earth Performing Arts. Chapter Two deals with the importance of Native theatre, other existing Native theatres in Canada and the few Native theatre companies of the 1 fcst. Chapter Three discusses training and recommendations; the fymposium on Native Theatre held last May, 1993 and finally, interviews with various artists at the "Beyond Survival" Conference on their opinions of the importance of Native theatre and how it addresses the cultural issues of concern today. It is hoped that the work of these many talented, committed people will be recognized for its worth so that their recommendations towards even greater work can be realized. Native Earth Performing Arts appreciates the support of the Royal Commission on Aboriginal Peoples in producing this important document. 2 LIST OF INTERVIEWS The following is a list of the personal and telephone interviews conducted between April and June, 1993. This list also includes the names of the participants in the symposium on Native theatre. Acco, Ann Adams, Evan Albert, Darcy Alexis, Ruby Armstrong, Jeannette Andrews, Paul Barnes, Herbie Bell, John Kim Benson, Maxine Benson, Neil Blondin, John Bomberry, Elaine Burning, Jack Charlette, Kennetch Charlie, Debra Charlton, Margo Colorado, Hortensia Crowchild, Lee Cullingham, James Cunningham, Shane Dallas, Dolores Damm, Kateri Durand, Yves Sioui Favel, Floyd First Rider, Amethyst Fisher, Jonathan Goldstein, Shelley Greyeyes, Carol Guss, Darrell Handley, Mark Henderson, Bill Hill, Lynda Humber, Marie Kane, Margo King-Odjig, Alanis Kleist, Makka Koochie Koostachin, Jules Lacroix, Denis LaRiviere, Wayne LaVallee, Pat Levine, Ira Linklater, Doris Manitowabi, Edna Vince Manitowabi Maracle, Dennis Maracle, Lee Mason, Tina Matthews, Pamela Mayo, Lisa Melting Tallow, Robin Merasty, Billy Mercredi, Duncan Miguel, Gloria Miguel, Muriel Morriseau, Renae Moses, Daniel David Mosionier, Beatrice Neilsson, Reidar Nolan, Yvette Norton, Sam O'Sullivan, Gunargie Ott, Allison Phalen, Lynn Preston, Jennifer Qamaniq, David Rathbone, Paul Sheppard, Joecy Slipperjack, Ruby Sioman, Julieanne Strombergs, Vinetta Taylor, Drew Hayden Taylor, Pat Van Fossen, Rachel Wheeler, Bernelda Wildcat, Laurie Young-Ing, Greg 3 RBCOMMEN DATIOHS The following is a list of recommendations as to how Native Theatre can better serve both the Aboriginal and non-aboriginal communities. (1) Before any recommendations can be realized, more money must be made available from funding sources. NOTE: Native Earth currently has access to the following government sources for funding: Employment and Immigration Canada; the Canada Council - Theatre Section; Ontario Arts Council - Theatre Section; The Toronto Arts Council - Theatre Section; Department of Communications; Metropolitan Cultural Affairs; Secretary of State - Native Citizen's Directorate; Ontario Ministry of Citizenship - Native Community Branch; and the Ministry of Culture, Tourism and Recreation. (2) Make the Native Theatre School a year round process (3) Conduct information sessions with funding agencies (4) Improve training and education systems: (a) Create more apprenticeship programs (b) Approach mainstream post-secondary programs to incorporate and recruit more Native students (c) Create regular workshops, classes or coffee houses to stimulate and encourage on-going training (d) Conduct workshops to keep artists up-to-date on current funding and available courses (5) Acquire our own space to perform, rehearse and train (6) Devise a plan to get the political organizations involved in the arts community (7) Create a "Native Theatre In Canada Newsletter" to encourage communication (8) Finally, conduct a Canada wide Conference on Native Theatre where theatre professionals can meet, dialogue, share experiences; discuss needs, barriers and resources; and to discuss all of the above. 4 CHAPTER ONB NATIVE THEATRE IH CANADA WHAT IS NATIVE THEATRE? First of all, what is 'theatre1? There are many definitions of this term. For our purposes, we will concentrate on those terms that are relevant to this project. First of all, it is "a building, part of a building, or outdoor area for staging dramatic presentations or stage entertainments". The term also refers to the audience, the "theatrical or acting company" or the "quality or effectiveness of a dramatic performance." The most important elements we are dealing with are "dramatic performances as a branch of art" and "dramatic works collectively, as of literature, a nation, or an author" (Random House). Next, what is the meaning of the term "Native"? This term also has a wide variety of definitions, including references to the place in which one is born, remaining in a natural state, found in nature rather than being artificially produced and a variety of synonyms, such as inherited, innate, inbred, congenital, autochthonous, aboriginal, real, genuine and original (Random House). The definitions we will focus on are "belonging by birth to a people regarded as natives, esp. outside of the general body of white peoples" and "of indigenous origin, growth or production". So what, therefore,
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