Towards an Eighth Fire Approach: Developing Modes of Indigenous-Settler Performance-Making on Turtle Island (original) (raw)
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2010
This research examines Native Performance Culture (NPC), a unique practice in Native theatre that returns Aboriginal people to the sources of Aboriginal knowledge, and interrupts the colonial fragmenting processes. By looking at the experiences of six collaborators involved in a specific art project, the artist-researcher shares her journey of healing through the arts, while interweaving the voices of artistic collaborators Monique Mojica, Floyd Favel, and Erika Iserhoff. This study takes a decolonizing framework, and places NPC as a form of Indigenous research while illuminating the methodological discourses of NPC, which are rooted in an inter-dialogue between self-in-relation to family, community, land, and embodied legacies.
This essay engages collaborative art projects in a field of settler/indigenous relations: drumming and performances of self at a Michigan language revitalization symposium, Native Women Language Keepers; Anishinaabe artist Rebecca Belmore’s iconic video performance work at the Canadian pavilion of the Venice Biennial; and the Australian community cultural development project Ghost Nets, which emphasizes relationships while cleaning up fishing debris off beaches. The essay argues for reading strategies that acknowledge relational living, in the flow of history, speaking from webs of more than one voice, and attending to gaps.
Theatre Research in Canada, 2017
Sahtu Dene Metis theatre artist Marie Clements’s and settler photographer Rita Leistner’s intercultural and multi-media collaboration The Edward Curtis Project (TECP) explores the tense negotiations between settler and Indigenous characters who are brought together from different time frames through an Indigenous concept of fluidly intersecting temporalities (McVie). Clements re-appropriates the American photographer Edward Curtis’s strategy of asking his Indigenous subjects to re-enact banned rituals and ceremonies; she thus stages Curtis as a settler avatar re-enacting scenes from his past that often involve confrontations between himself and numerous historical and contemporary Indigenous subjects. In her discussion of the production, Brenda Vellino first establishes the broader theatre studies context for the conflict transformation possibilities presented by TECP. Its intercultural rehearsal of relationship renegotiation may be read as essential for substantive redress between ...
Theatre Research in Canada-recherches Theatrales Au Canada, 2017
Sahtu Dene Metis theatre artist Marie Clements's and settler photographer Rita Leistner's intercultural and multi-media collaboration The Edward Curtis Project (TECP) explores the tense negotiations between settler and Indigenous characters who are brought together from different time frames through an Indigenous concept of fluidly intersecting temporalities (McVie). Clements re-appropriates the American photographer Edward Curtis's strategy of asking his Indigenous subjects to re-enact banned rituals and ceremonies; she thus stages Curtis as a settler avatar re-enacting scenes from his past that often involve confrontations between himself and numerous historical and contemporary Indigenous subjects. In her discussion of the production, Brenda Vellino first establishes the broader theatre studies context for the conflict transformation possibilities presented by TECP. Its intercultural rehearsal of relationship renegotiation may be read as essential for substantive redress between settler and Indigenous subjects. She discusses Clements's rehearsal of Indigenous confrontation and negotiation with the settler avatar Edward Curtis in light of a recent turn toward rereading the Curtis archive for Indigenous agency and cultural authority. She then explores Clements's critique of a politics of mediated projection as central to both the stagecraft and questions of TECP. Finally, she considers the significance of Clements's culminating Windigo exorcism ceremony as painful but necessary medicine for both settler and Indigenous subjects. Clements's and Leistner's project thus invites consideration of rehearsal as a process, practice, and trope of multi-layered relationship renegotiation between members of Indigenous and settler communities who seek active redress. The Edward Curtis Project (TECP), une collaboration interculturelle et multimédia entre l'artiste de théâtre Sahtu déné métisse Marie Clements et la colonisatrice et photographe Rita Leistner, explore les négociations tendues entre des personnages colonisateurs et autochtones de différentes époques réunis grâce à un concept autochtone de temporalités à entrecroisement fluide (McVie). Clements se réapproprie une stratégie du photographe américain Edward Curtis, qui demandait à ses sujets autochtones de reconstituer des cérémonies et des rituels interdits. Ce faisant, elle met Curtis en scène comme une représentation du colon, qui rejoue des scènes de son passé reposant souvent sur des confrontations avec des figures autochtones historiques et contemporaines. Dans cet article, Brenda Vellino commence par présenter le contexte plus large en études théâtrales dans lequel s'inscrivent les possibilités de transformation du conflit que propose le TECP. Selon elle, l'exercice interculturel de renégo-92
Decolonizing Playwriting through Indigenous Ceremonial Performances
2019
This dissertation attempts to express the importance of storytelling within the Indigenous Theatre framework. It does so by first analyzing the progression of the writer’s unique upbringing and analyzing the influences of story upon an indigenous identity. I will also attempt to describe the aesthetics of Native Theater along two lines of methodology which includes praxis described and developed by Hanay Geiogamah and Rolland Meinholtz. I will also explain how the script 1n2ian tries to follow those concepts of Native Theater to create a ceremonial performance that uses a blending of both methodologies.