In Spirit by Tara Beagan who was born in Niitsitapi country and is a proud Ntlaka’pamux and Irish-Canadian, is about twelve-year-old Molly who was riding her new bicycle on a deserted road when a man in a truck pulled up next to her, saying he was lost. He asked if she could get in and help him back to the highway, and said he could bring her back to her bike after. Molly declined, out of interest for her own safety. The next things Molly remembers are dirt, branches, trees, pain, and darkness. Molly is now a spirit.
In The Breathing Hole, stories of the Canadian Arctic intersect in this epic five-hundred-year journey led by a one-eared polar bear. In 1535, Hummiktuq, an Inuk widow, has a strange dream about the future. The next day, she discovers a bear cub floating on ice near a breathing hole in the eastern portion of the Kitikmeot Region of Nunavut, traditional homelands of the Nattilik Inuit (Nattilingmiut). Despite the concerns of her community, she adopts him and names him Angu’ruaq.
Th’owxiya / The Hungry Feast Dish by Kwantlen First Nation writer, Joseph Dandurand, is the story of the Kwantlen First Nation village of Squa’lets and the tale of Th’owxiya, an old and powerful spirit that inhabits a feast dish of tempting, beautiful foods from around the world. But even surrounded by this delicious food, Th’owxiya herself craves only the taste of children. When she catches a hungry mouse named Kw’at’el stealing a piece of cheese from her dish, she threatens to devour Kw’at’el’s whole family, unless he can bring Th’owxiya two child spirits.
Medicine Shows: Indigenous Performance Culture examines how theatre has been used to make medicine, reconnecting individuals and communities, giving voice to the silenced and disappeared, staging ceremony, and honouring the ancestors. Contemporary Indigenous theatre in Canada is just over thirty years old, if one begins counting from the premiere of Linda Griffiths and Maria Campbell’s Jessica in Saskatoon and the establishment of Native Earth Performing Arts in Toronto.
Aboriginal drama and theatre in Canada is a rich subject, and this collection marks only a beginning in the process of watching, studying, and understanding its complexity and liberative possibilities. Contributors include: Tomson Highway, Sheila Rabillard, Floyd Favel Starr, Alan Filewood, Reid Gilbert, Drew Hayden Taylor, Robert Nunn, Yvette Nolan, Ric Knowles, Geraldine Manossa, Daniel David Moses, Rob Appleford, Armand Garnet Ruffo.
Stories from the Bush: The Woodland Plays of De-ba-jeh-mu-jig Theatre Group is a collection of six original plays that were written by De-ba-jeh-mu-jig Theatre. This Indigenous theatre group is well-established and groundbreaking. Among the plays in this collection are the first play to ever be professionally produced in Ojibwe, the first play created using the Four Directions Creation Process and other works that focus on the foundation teachings of Odawa Midewin, using traditional stories to create theatre and explore modern themes on time-honoured values.
Where Stories Meet: An Oral History of De-ba-jeh-mu-jig Theatre published by Playwrights Canada Press in 2007 tells the history from the founders' perspectives of this unique theatre company located on Manitoulin Island. Interviews with Shirley Cheechoo, Tomson Highway, Alanis King, Larry Lewis, Audrey Debassige Wemigwans, Rose Marie and Marjorie Trudeau, Ron Berti, and Joe Osawabine explore the history of the company and each playwright's and director's perspectives on Indigenous theatre in Canada.
Almighty Voice and His Wife: A Play is a 2-act drama about a Cree couple during the time following the Riel Rebellion by Delaware (Six Nations) playwright Daniel David Moses. The drama takes an historical person, Almighty Voice, and combines this narrative with a satirical perspective of a minstrel show featuring two "white-face" Indians commenting on the appropriation of the Aboriginal voice. This is the second edition of the book first released in 2001.