Performing Turtle Island: Indigenous Theatre on the World Stage is edited by Jesse Rae Archibald-Barber (Metis/Cree), Kathleen Irwin, and Moira J. Day. Performing Turtle Island cites the TRC Call to Action 83 for Indigenous and non-Indigenous artists to undertake collaborative projects and produce works that contribute to the reconciliation process. Acting on this call the two main parts of this work refer to Critical Self-Representation in Production and Training in part I: and, part II Performance in Dialogue with the Text.
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.
Native American Performance and Representation is a collection of 14 essays that evolved from a 2002 workshop about Native American Ritual and Performance. The papers discuss theatrical production written by Native American and First Nations playwrights. Contributors use multiple perspectives to look at the varying nature of Native performance strategies. They consider the combination and balance of the traditional and modern techniques of performers in a multicultural world.
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.