Limited Quantity This title is not always stocked, please allow additional time for shipping. Indian Myths and Legends from the North Pacific Coast of North America: A Translation of Franz Boas' 1895 Edition of Indianische Sagen von der Nord-Pacifischen Kuste-Amerikas contains 250 legends from the Northwest Coast First Nations. These stories were collected by Boas and first published in German periodicals between 1891 and 1895.
Only Drunks and Children Tell the Truth is the emotional story of a woman's struggle to acknowledge her birth family. Grace, a First Nation girl adopted by a White family, is asked by her birth sister to return to the Reserve for their mother's funeral. Afraid of opening old wounds, Grace must find a place where the culture of her past can feed the truth of her present. Ojibwe playwright was the Winner of the 1996 Dora Mavor Moore Award Small Theatre: Outstanding New Play.
The Baby Blues by Ojibwe playwright Drew Hayden Taylor is a social satire mixed with a large dose of Indigenous humour about identity, parenthood, powwows, and stereotypes. An aging fancy dancer, a young fancy dancer, an anthropology student with 1/64th Aboriginal heritage, a single-parent mom, and her daughter all meet during a powwow weekend. All participants in this drama learn important lessons about themselves, life, and First Nations cultures.
alterNatives: A Play by Ojibwe playwright sets the stage with a very liberal contemporary couple, Angel, an urban Native science fiction writer, and Colleen, a non-practising Jewish intellectual who teaches Native literature as the pair hosts a dinner party. The guests at this little sitcom soiree are couples that represent what by now have become the cliched extremes of both societies: Angel's former radical Native activist buddies and Colleen's environmentally concerned vegetarian / veterinarian friends.
The Boy in the Treehouse, and Girl Who Loved Her Horses is collection of two plays about the process of children becoming adults by Ojibwe playwright Drew Hayden Taylor. In The Boy in the Treehouse, Simon, the son of an Ojibwe mother and a British father, climbs into his half-finished tree house on the vision-quest his books say is necessary for him to reclaim his mother's culture.
The Buz'Gem Blues is the third play in Drew Hayden Taylor's ongoing zany, outrageous, often farcical examination of both Native and non-Native stereotypes in what is to become what he calls his Blues Quartet. Marianne has talked her mother, Martha, into attending an Elders conference with her, where she is to be used as a resource person, even though Martha doesn't believe she has anything to offer anyone.