INDG-3560Y-A - The Living History of Indigenous Dance and Theatre (2022FW - Peterborough Campus)

02/09/2022, 14:25 INDG-3560Y-A: The Living History of Indigenous Dance and Theatre (2022FW - Peterborough Campus)
INDG-3560Y-A: The Living History of Indigenous Dance and

Theatre
2022FW - Peterborough Campus
Instructor:
Instructor: Mara Heiber
Email Address: mheiber@trentu.ca
Phone Number: 705-748-1011 x7579
Office: Enwayaang 308
Office Hours: By Appointment
Meeting Times:
Mondays 2:00-4:50
Co-instructors and Teaching Assistants:
Marrie Mumford
marriemumford@trenu.ca
Department:
Academic Administrative Assistant: Christine Welter

Email Address: cwelter@trentu.ca
Phone Number: 7610
Office: Enwayaang Building, Room 321
Description:
https://my.trentu.ca/portal/applications/syllabus/detailPrint.php?syllabusId=22553 (or short URL: https://my.trentu.ca/portal/s?Id=22553) 1/19

Indigenous performance cultures have evolved from oral traditions through which Indigenous
knowledges, languages and cultures have been passed on to future generations. In this course
Indigenous worldviews are explored in traditional and contemporary oratory, storytelling and
other performance arts, as expressed in the theory and practice of contemporary Indigenous
artists, working in mediums such as dance, film, music and theatre. The students will explore
Indigenous performance from its origins as an integral aspect of community life, through the
period of colonial oppression of Indigenous peoples in Canada, to come full circle to the present
period of resurgence of Indigenous performance.
An important aspect of this course is experiencing and reflecting upon Indigenous performance
and all of its diversity. The students’ relationships with their own stories and experiences are
enriched, as they begin to speak about contemporary Indigeneity as it relates to Indigenous
performance cultures. During the course, performances will be experienced through videos and
movies available via the internet with links provided through BlackBoard.
Learning Outcomes:
This course is intended to enhance the student’s knowledge in the area of Indigenous
performance through:
1. Developing knowledge about contemporary Indigenous performance in Canada through
exposure to Indigenous artists, traditional and contemporary, in dance, film, literature, music and
theatre, as well as visual arts.
2. .Researching the roots of Indigenous performance and oral stories that define and strengthen
community identities, for example memories of place and territory, as well as cultural, political
and social dynamics.
3. Demonstrating an understanding of the relationship between Indigenous knowledges and
Indigenous dance and theatre through traditional and contemporary stories.
4. Demonstrating an awareness of the interconnectedness of Indigenous performance to
Indigenous communities and cultures, together with their relationships to the land.
Texts:
(Listed in the order we use them in the course)

Performing Turtle Island: Indigenous Theatre on the World Stage. Archibald-Barber, J.R., Irwin, K.
and Day, M.J. (eds.). (2019). University of Regina Press. Available on Kindle (Amazon.ca)
The Book of Jessica: A Theatrical Transformation. Griffiths, Linda and Campbell, Maria. (1989).
Toronto: The Coach House Press.
The Ecstasy of Rita Joe. Ryga, George. (1970). Vancouver: Talonbooks.
The Rez Sisters. Highway, Tomson. (1988). Calgary: Fifth House Publishers Ltd.
Toronto at Dreamers Rock. Hayden Taylor, Drew. Available on Kindle (Amazon.ca)

Assessments, Assignments and Tests:
Participation and Contribution in Workshops: 20% (10% Fall + 10% Winter Semester). We ask
students to contribute to each other’s learning through active participation in the Workshops. We
ask that you contribute in 10 of the 12 Lectures/Workshops each term; this is more than simply
showing up. Contributing to a class includes a willingness to read aloud and present Workshop
assignments. We are also looking for you to contribute to discussions, share your ideas, respond
to questions and ask questions of your own. Each class that you actively contribute to represents
½ percentage of your total mark for Participation/Contribution for each term, up to 5% in total.
The balance of the mark is based on the depth of your contribution to the group.
Notebooks: 40% (4 submissions at 10% each- 2 each term). Notebooks should focus on the
assigned readings and viewings for the Modules it covers as per the Assignment Guide posted on
BlackBoard, as well as any guest artists and performances viewed. We ask you to reflect on key
concepts you have learned and any challenges you are having with the material. In many
modules there are assignments and key questions that we focus on. It is important to include
your thoughts on these discussions, addressing your response to the questions included in this
syllabus for each Module. You may also include artwork. As a minimum, submissions are to be
between 1-2 pages per Module covered, double spaced (250-500 words per Module).
Review of Indigenous Performance/Movie: 10% Due November 28, 2022. Please choose one
performance or movie from the list provided on the Assignment Guide and write a review
connecting it to the key ideas presented in this course about Indigenous performance to date.
Use the readings and lectures as your foundation to outline the key ideas of the performance or
movie that you have chosen and its importance to Indigenous performance and community.
Include a discussion of what you think is a key scene or scenes that establishes the importance
you have identified. Papers are to be 5 pages (1250 words), double spaced, and include formal
citations in APA format.
Initial Research Presentation (5% of total): Due Feb. 6, 2023 in the Workshop. This is an initial
presentation to the group during the synchronous Workshop about the topic you are researching
and your key questions/ideas. This is a short presentation of 5-10 minutes maximum.
The Final Research Report/Performance or Art Piece (25% of total): Due April 3, 2022 in the
Workshop. This Final Report/Project includes two parts. First, a presentation to the group during
the Final Workshop presenting the topic(s) you researched and key ideas and reflections that
emerged from your research. 10 minute presentation maximum. The second component is a final
paper, 12 pages in length, with proper citations, or a performance piece, or a piece of art. If your
project is a performance piece or work of art, you present it in the Workshop and write a short
paper, roughly 5 pages in length, outlining your research and process, as well as connecting your
work to key aspects presented in this course. This paper requires students to research two
different Indigenous performance groups, or movies, and present their findings, OR a topic of
your choice in consultation with the instructor, including the possibility of Performance as
Research. We ask that you connect the work to the key concepts presented in the course about
Indigenous performance. You can include drawing comparisons between companies and
performances. All companies/movies must be approved by the course instructors via email
correspondence. The Assignment Guide includes a list of approved movies/performances. All
papers require proper citations.
Grade Total by Withdrawal Date:
30%
Schedule:
Fall Semester 2022

Weekly/Module Schedule
This schedule has been created as Modules that we ask students to complete prior to the Lecture
which occurs on Mondays at 2:00 pm Eastern Standard Time. The date connected with each
Module is the day of the Lecture and connected Workshop
Sept. 12 / Module 1:
Opening Circle: Introductions; Overview of the Living History of Indigenous
Dance, Music and Theatre; Student Expectations/Introductions; Introduction to
Medicine Wheel and 4 Directions Teachings that will ground the course
Discussions: sharing what we know to date; review course syllabus. Q & A. Discuss student
presentations for next week.
Course Materials to prepare for week 1:
Video: Buffy Ste Marie: A Multimedia Life. (60 minutes)
https://vimeo.com/139024721/f31cec4929
Grandfather/ Grandmother Teachings:
Images: Black Elk/ Edna Manitowabi
Manitowabi, Edna. (2011). Waynabozhoo and the Great Flood, In Simpson, Leanne, Dancing on
our Turtle’s Back (68-70).
Introducing the concept of finding yourself in the story- a moment in time; includes past, present
and future.
“Self-in-Relation is an Aboriginal philosophical model of understanding the world linked to an
Aboriginal worldview.” Candace Brunette (based on interviews with Floyd Favel and Monique
Mojica, Returning Home Through Stories).
Native Performance Culture handout (Available on the Blackboard)
Medicine Circles/ Embodied Knowledge/Beginnings of Land Pedagogy
4 Directions: Theory & Praxis
Suggested Reading:
Bell, Nicole. “Teaching by the Medicine Wheel: An Anishinaabe framework for Indigenous
education.” Education Canada Magazine, 2014.
https://www.edcan.ca/articles/teaching-by-the-medicine-wheel/

Sept. 19 / Module 2:

Land Pedagogy: Setting the stage for Resurgence
Oral tradition
Creation and Re-Creation Stories
Medicine Circles
4 Directions
Image: Waterwalkers/ Grandmother Teachings- Shirley Williams & Liz Osawamick.
Naadmaagewin; The Art of Working Together in Our Communities.
Image: Sky Woman
An Anishinaabeg Re-Creation Story, staged as a site specific performance as written
by Basil Johnston and Dr. Leanne Simpson based on oral histories at Zaagigaan (Little Lake) in
Nogojiwanong (Peterborough).
Videos:
Combining photos & music from “Walking at the Edge of Water”:
https://vimeo.com/74866937/374d3b5f02
Photo featuring Rulan Tangen & Leanne Simpson with Leanne’s spoken word piece,
“She Sang Them Home”:
https://vimeo.com/348909015/71085e0172
(Words to “She Sang Them Home” available on BlackBoard)
In-Class Video: featuring an excerpt of “Walking at the Edge of Water,” created and produced by
Rulan Tangen, Founding Artistic Director/Choreographer of Dancing Earth, Santa Fe, New Mexico.
She has passionately cultivated successive generations of Indigenous contemporary performing
artists, and embodies her belief in dance as a purposeful center of the continuance of life. She is
recipient of 2018 Kennedy Center Citizen Artist. https://vimeo.com/70011730
“In Cree cosmology, there exists a silent dialogue in the bush between humans and the spirits of
the land and animals. By reconnecting artists with the ecological source of knowledge, we had an
opportunity to reconnect with a significant facet of the holistic nature of Indigenous knowing…
Ultimately the land influenced the process of creation, because family stories and memories are
rooted in the land.” Candace Brunette (based on interviews with Floyd Favel and Monique Mojica,
Returning Home Through Stories). Native Performance Culture handout (Available on the
Blackboard)
Reading for Week 2:
Mumford, Marrie. (2016). “Naadmaagewin… The Art of Working Together in Our Communities.”
Dance Research Journal, 48 (1), 126-141.
Read pages 130-141. Available on the Blackboard.
Or
Simpson, Leanne. (2014). “Bubbling Like a Beating Heart.” Reflections on Nishnaabeg Poetic and
Narrative Consciousness. In, Indigenous Poetics,
McLeod, Neal (ed.). Waterloo: Laurier Press.

Sept. 26/Module 3:
Connecting to the Land and communities: A key aspect of Indigenous artist resurgence
Movie:
Atanarjuat
Video:
Atanarjuat Made the Impossible Possible for Indigenous Filmmakers:
https://youtu.be/XwoRtJqkmac
Readings for Week:
Kunuk, Zacharias. (2002). “I first heard the story of Atanarjuat from my mother.” In Angilirq, P. A., &
Cohn, N. Atanarjuat: The fast runner ; inspired by a traditional Inuit legend of Igloolik. (pp. 12-13)
Toronto: Coach House Books. Available on the Blackboard.
or
Cohn, Norman. (2002). “The Art of Community Based Filmmaking.” In Angilirq, P. A., & Cohn,
N. Atanarjuat: The fast runner: inspired by a traditional Inuit legend of Igloolik. (pp. 24-25)
Toronto: Coach House Books. Available on the Blackboard.
AND
Greyeyes, Michael. (2019). Stranger in a Strange Land: Views from an Indigenous Lens. In,
and Day, M.J. (eds.). (2019). University of Regina Press.
Please conduct an internet search for Michael Greyeyes and review his life’s work to date.
Oct. 3/ Module 4:
Connecting Indigenous Dance to Indigenous worldviews, communities and histories.
“Dance has been an integral part of our survival and cultural evolution into this century. A tool of
self-expression, dance is ceremony and prayer. It is through our various art practices that we are
able to reclaim our spirit acknowledging and transforming hardships that we have endured for
hundreds of years.” Christine Friday (Temagami), Friday Creeations
Discuss why dance is important to Indigenous peoples. Discuss the Spirit Dance (often called the
Ghost Dance) and the massacre at Wounded Knee on December 29,1890. Why, when and how
did colonial governments ban ceremonies, dancing and music? Why did Canada lift the ban in
1951?
Readings:
Chinook Winds: Aboriginal Dance Project. The Banff Centre Press and 7th Generation Press
(1997). Read: “Department of Indian Affairs Circular by Duncan Campbell Scott.” (p. 12, Available
on BlackBoard).
Embodiment of Indigenous Knowledge handout (Available on Blackboard).
Pow Wow Readings:
Browner, Tara. (2002). Chapters 1. In, Heartbeat of the People: Music and Dance of the
Northern Pow-Wow. (be prepared to discuss these readings in class)
Suggested Reading for history:
Shea Murphy, Jacqueline. (2007). Chapter 1: Have they a Right?: Nineteenth –
Century Indian Dance Practices and Federal Policy. In, The People Have Never Stopped Dancing:
Native American Modern Dance Histories.
Oct. 10/Module 5: NO CLASS---THANKSGIVING HOLIDAY
Topics for your Notebooks for you to cover independently will be provided for this
week
Oct 17/ Module 6:
The Elders of Indigenous Performance- An Introduction to The Women:
Maria Campbell—Métis author, playwright, broadcaster, filmmaker, and Elder, best known for
her important memoir Halfbreed.
Spiderwoman Theater--Lisa Mayo, Gloria Miguel & Muriel Miguel
Spiderwoman Theater is comprised of three generations of the Spiderwoman family: founders

Lisa Mayo, Gloria Miguel & Muriel Miguel (first generation); Monique Mojica and Murielle Borst
(second generation), Josephine Borst and Bear Witness, A Tribe Called Red (third generation).
Daystar/Rosalie Jones—Founder and Artistic Director of DAYSTAR Dance Company, the first
Native modern dance company in the United States.
Readings:
MacKay, Gail. (2014). “Learning to Listen through a Quiet Way of Telling: A Study of Cree
Counselling Discourse Patterns in Maria Campbell’s Halfbreed.” In McLeod, Neal (Ed.), Indigenous
Poetics in Canada. Waterloo: Wilfred Laurier Press. 351 – 369.
or
Hillis, Doris. (1988). “‘You Have to Own Yourself’: An Interview with Maria Campbell.” Prairie Fire,
9: 44-58.
READING WEEK OCTOBER 24-28, 2022
October 31st / Module 7:
Maria Campbell: Grandmother of the Métis
“We cannot underestimate the significance of Cree language in perceiving and interpreting ways
of knowing and stories. Cree language is the fundamental structural lens by which Cree
worldview is perceived, understood and expressed in everyday life.” Candace Brunette (based on
interviews with Floyd Favel and Monique Mojica, Returning Home Through Stories). Native
Performance Culture handout (Available on the Blackboard)
What is your impression of Jessica as the first cross-cultural theatrical collaboration between an
Indigenous and a non-Indigenous artist?
Videos:
The Red Dress video, 1975, A National Film Board of Canada production,
(based on a story from Halfbreed)
https://www.nfb.ca/film/red_dress/

The REDress REdress Project, by Jaime Black

https://youtu.be/gvHm-gxdKz0
Readings:
Griffiths, Linda and Campbell, Maria. (1989). “History.” In The Book of Jessica: A Theatrical
Transformation. Toronto: The Coach House Press. 9-11
Griffiths, Linda and Campbell, Maria. (1989). “Spiritual Things.” In The Book of Jessica: A Theatrical
or
Griffiths, Linda and Campbell, Maria. (1989). “The Red Cloth.” In The Book of Jessica: A Theatrical
To be read aloud in the workshop:
Red dress story in Halfbreed, 101-103 (Available on Blackboard)

Red cloth story in The Book of Jessica, 110-111 (Available on Blackboard)
Suggested Reading:
Archibald-Barber, Jesse, et at. (2019). Introduction: Perspectives on Current Practice. In,
and Day, M.J. (eds.). University of Regina Press.
Nov. 7/ Module 8: Spiderwomen Theatre
Spiderwoman Theater influences (Lisa Mayo studied with Uta Hagen at the HB Studio; Gloria
Miguel studied with Irma Sandrey at the Lee Strasberg Institute of Theater and Muriel Miguel
studied with Joseph Chakin at the Open Theatre, all in New York City) and the journey that led to
the development of their Storyweaving method.
Discuss Storying as significant in the theoretical analysis of Native plays, as one of four main
themes according to Stanlake. Storying “contains interrelated concepts of the power of language
derived from numerous origins stories, supporting a holistic view of communication in that the
term story refers equally to history, fiction, and performance.”
Discourses in Dramaturgy handout (Available on Blackboard)
(Excerpted from Stanlake, Christy (2009). Platiality in Native American Drama. In Native American
Drama: A Critical Perspective. Cambridge, UK: Cambridge University Press.)
“The body acted as a methodological tool in a way of knowing that relies heavily on bodily
sensations and closely relates to an Indigenous way of knowing… Unlike the Cartesian mind/body
split, Aboriginal ways of knowing have always centered on a holistic framework that integrates
mind, body, emotion [heart] and spirit.” Candace Brunette (based on interviews with Floyd Favel
and Monique Mojica, Returning Home Through Stories). Native Performance Culture handout
(Available on the Blackboard)
Videos:
Lysistrata Numbah excerpt (Spiderwoman Theater):
https://vimeo.com/190937271/6eff008de2

(beginning-12:21, 23:05-end)
Stories from the Body Interview with Monique
https://www.agingactivisms.org/manifestingresistance
TedTalk:Thinking about Unconscious Bias, Helen Turnbull
(please review before class)
https://www.youtube.com/watch?v=zdV8OpXhl2g
Assignment due this week:
(Based on Constructing Histories handout)
Please answer the five questions in the Constructing Histories handout.
What does locating yourself in the research mean? What is your understanding of contributing to
Indigenous communities and/or scholarship?
Readings:
Abbott, Larry. “Spiderwoman Theater and the Tapestry of Story.” Canadian Journal of Native
Studies, XVI, No. 1 (1996): 165-180.
or
Mojica, Monique. (2009). “Stories from the Body: Blood Memory and Organic Texts.” In Native
American Performance and Representation, Wilmer S.E. (ed.).
Nov. 14 / Module 9: DAYSTAR/Rosalie Jones
“You will never do original work until it comes from who you are.”
Video:
No Home But the Heart (please review before class)
IAIA (Institute of American Indian Arts) Exquisite Corps
https://youtu.be/s6n31ujR5TI
Readings:
Jones, D.R. (2009). “Inventing Native Modern Dance: A Tough Trip through Paradise.” In Native
American Performance and Representation, Wilmer S.E. (ed.).
Tangen, Rulan. (2016). “Choreographer’s Statement.” Dance Research Journal. 48 (1), 18-23.
Suggested Reading:
Jones, D.R. (2003). “No Home but the Heart.” In, Darby, J. and Fitzgerald, S., Keepers of the
Morning Star: An Anthology of Native Women’s Theater.
Nov. 21 / Module 10: The Ecstasy of Rita Joe. Ryga, George. (1970). Vancouver: Talonbooks. (The
Play)
Content Warning: The end of this play depicts the rape and murder of Indigenous characters.
Please contact Marrie Mumford if you would like to make an appointment to discuss this matter
further.
Video:

Joy Coghill on The Ecstasy of Rita Joe, Frances Hyland, and the Vancouver Playhouse:
https://youtu.be/ZMkg_ZSfOSg
(beginning-7:11, 11:38-end)
What was the significance of the first production in 1967? How is it important in Canadian Theatre
History? How is it important to Indigenous people?
In 1971, the Manitoba Indian Brotherhood commissioned the Royal Winnipeg Ballet (RWB) to
create a ballet of The Ecstasy of Rita Joe. Academy Award nominee Chief Dan George of Little Big
Man fame appears on film and sound tape in this Canadian ballet. Description from RWB:
Based on an original stage play by George Ryga; Rita Joe is an Indian girl about to be swallowed
up in a sea of city faces, her dreams and memories jumbled together in an unreal reality. It reveals
the prejudice encountered by many Indians in Canadian cities; it is a most poignant and realistic
drama. Premiered in Winnipeg in July 1971, the mixed-media ballet was also shown in Ottawa,
and in 35 US cities during the fall, as well as in Vancouver BC January 1972.
Discuss foundations of Place as significant in the theoretical analysis of Native plays, as one of
four main themes according to Stanlake. Emanating from the concept of Place are interrelated
concepts of Character, Belonging (Identity), Time (past, present and future), Land, Language and
Communities.
Assignment for today: Choose a monologue from Rita Joe, David Joe (Father), or the Magistrate
to read aloud in class
Nov 28/ Module 11: The Ecstasy of Rita Joe (continued)
Check in with the class to see how everyone is doing after reading and processing the play.
Videos
Peter Hinton on The Ecstasy of Rita Joe: https://youtu.be/5NCshPfUOQU
Readings:
Nolan, Yvette. (2019). “A Prayer for Rita Joe.” In, Performing Turtle Island: Indigenous Theatre on
the World Stage. Archibald-Barber, J.R., Irwin, K. and Day, M.J. (eds.). (2019). University of Regina
Press
Dempsey, Shawna. (2009). “Yvette Nolan Takes Centre Stage.” Herizons. 23:2, 23-25. Available on
the Blackboard.
How is the 2009 version different from the original production?
Mapping exercise---list what was changed, why it was changed, when it was changed, how it was
changed, and how it relates to Stanlake’s Survivance.
Survivance = survival + resistance. Discuss Survivance as significant in the theoretical analysis of
Native plays, as one of four main themes according to Stanlake. Gerald Vizenor (who coined the
term) defines survivance as “the combination of Native resistance (to stereotypical representations
and reductive studies) and survival (continuance of traditions splintering into ever changing, multi-
dimensional lived experiences of contemporary Native peoples.”
Dec 5/ Module 12: Closing Circle for the Term;
Reading: None.
A Winter Story. A Guest Elder will visit.
An introduction to contemporary work ongoing.
We will talk a bit about Roulan Tangen, Santee Smith, Penny Couchee, Rosa John, ….all the
important Indigenous women that these works we have studied have impacted. We will try to
bring in some of these important women during the term based on their availability (via Zoom).
Closing circle for the term…what worked what didn’t…Elder to tell a story maybe.
Shkwasswe wii-kinoomaag’iziing! December 2021 classes recess or Winter Break
Maajtaatang wii-kinoomaag’iziing! Classes begin January 9, 2023 …See you then...
WINTER SEMISTER 2022
Jan 9/Module 13: Introducing the Trickster…
Introduce the four brothers/sisters described in the oral history as written by Basil Johnson:
Majiikiwis, Pakawis, Jibaayabooz or Nanaboozhoo*
* Since Anishinaabemowin was not originally a written language, and there are also several
different dialects of the language, these four brothers/ sisters’ names vary in spelling depending
on the source and the region the author is from.
Video:
Napi
https://vimeo.com/damieneaglebear/napi
Readings:
Johnston, Basil. In The Manitous: The Spiritual World of the Ojibway. St. Paul: Minnesota Historical
Society Press, 2001 (see sections below)
Storytelling Exercises handout (Available on Blackboard)
Assignment for Next Class:
Tell 5 minutes of one story from one of the following readings---
retell the story….no notes, no memorizing
Choose one of the following readings:
“Chapter 3: Maudjee-Kawiss, The First Son” (pp. 17–26);
or
“Chapter 4: Pukawiss, The Disowned” (pp. 27–36);
or
“Chapter 5: Cheeby-aub-oozoo, The Ghost of Rabbit” (pp. 37–50);
or
“Chapter 6: Nana’b’oozo” (pp. 51–96).
Jan 16/Module 14: TRICKSTER STORY PRESENTATIONS
Jan 23/Module 15: Resurgence Narratives:

The Beginning of a Movement, National & International
History of the Association for Native Development in the Performing and Visual Arts
(ANDPVA), executive director James Buller, and Native Theatre School
Introduce two international conferences – one at York in 1980 and one that began at the
Curve Lake Pow Wow and moved to Peterborough in 1982 with 17 different theatre
companies from Indigenous nations across Canada and around the world.
Readings:
Favel Starr, F. (2005). “The artificial tree: native performance culture research, 1991-1996.” In,
Appleford, R. (ed.). Aboriginal Drama and Theatre.
Kidd, Ross. (1982). Reclaiming Culture: Indigenous Performers Take Back Their Show. In
Theaterwork Magazine, Vol. 3, No. 1 (November/December). Santa Fe, New Mexico: Theatrework.
Available on the Blackboard.
or
International conference readings:
Keeshig-Tobias, Lenore (1982). The Gift of Celebration. The Ontario Indian. Toronto. Available on
the Blackboard.
Jan 30/Module 16: Resurgence Continued
The Aboriginal Film & Video Arts Alliance (AFVAA) negotiated an Indigenous Program at the Banff
Centre for the Arts in all disciplines, based on Self-Government in the Arts. Some of the early
members of AFVAA included: Jeanette Armstrong, Marjorie Beaucage, Maria Campbell, Wil
Campbell, Joane Cardinal-Schubert, Doug Cuthand, Lenore Keeshig-Tobias, Denis LaCroix, Alanis
Obomsawin, Loretta Todd, and Bernelda Wheeler. The negotiation was with Carol Phillips, then
Vice-President of the Banff Centre.
At the first meeting of AFVAA, the Ontario Aboriginal Film & Video Art Alliance was established, led
by Cat Cayuga and Denis LaCroix. In later years, Cynthia Lickers became the director of AFVAA
(Ontario ) and later went to work with VTape, after which the Ontario AFVAA was transformed into
the imagineNATIVE Film + Media Arts Festival.
Aboriginal Dance Program at the Banff Centre

Current companies--putting stories together to create a performance
Blue Quills Conference
Readings:
Mumford, Marrie. (2000). Reflections on the Aboriginal Dance Program. In Doolittle, L., and
Flynn, A.(eds.) Dancing Bodies, Living Histories. Banff: The Banff Centre Press.
Chinook Winds: Aboriginal Dance Project. Banff: 7th Generation Books. 1997.
Laronde, Sandra. They Give Us Their Strength. (Available on Blackboard)
Trujillo, Raoul. Interview. (Available on Blackboard)
Wallace, Russel. Interview. (Available on Blackboard)

and
Greyeyes, Carol. (2019). Making Our own Bundle: Philosophical Reflections on Indigenous
Theatre Education. In, Performing Turtle Island: Indigenous Theatre on the World Stage.
Archibald-Barber, J.R., Irwin, K. and Day, M.J. (eds.). (2019). University of Regina Press.
Feb. 6/ Module 17: René Highway (the younger brother)
Video:
Induction into Hall of Fame:
https://www.youtube.com/watch?v=XW3u3TicDqA
Spirit of the Caribou, a short film by Cara Mumford

https://vimeo.com/429438625/0fe1aae564
Tribute to Rene (Micah Barnes):

https://www.youtube.com/watch?v=NGDfRn2rt5s
Readings:
Jones, R. (1992). “Modern Native Dance: Beyond Tribe and Tradition.” In, Heth, C.(ed). Native
American Dance: Ceremonies and Social Traditions. (René’s biography on p. 180, Available on
Blackboard)
Peacock, T. and Wisuri, M. (2006). The Four Hills of Life: Ojibwe Wisdom. “Chapter 5: Gichi-
aya’aag-Adults.” St. Paul, MN: Minnesota Historical Society Press.
Scudeler, June. (2016). “Fed by Spirits: Mamâhtâwisiwin in René Highway’s New Song . . . New
Dance.” Native American and Indigenous Studies. Vol. 3, No. 1.
René Highway obituary

http://www.canadianshakespeares.ca/multimedia/pdf/highway_obit.pdf
Feb 13 / Module 18: Tomson Highway
Video:
Tomson Highway Profile
https://youtu.be/gGgLzDJFf98?t=3
Readings:
Rez Sisters (the Play)
The Biography of Tomson in the 1988 edition (Available on Blackboard)
In Conversation with Tomson Highway:

https://www.macleans.ca/culture/in-conversation-with-tomson-highway/

Scudeler, June. (2016). “This show won’t mean anything unless it comes from ‘the people’”:
wahkohtowin in Tomson Highway’s Kiss of the Fur Queen Movie Treatment. Canadian Literature
(230/231 / Autumn/Winter)
or
Rabillard, S. (2005). “Absorption, Elimination, and the Hybrid: Some Impure Questions of Gender
and Culture in the Trickster Drama of Tomson Highway”. In, Appleford, R. (ed.). Aboriginal Drama
and Theatre.
Assignment for today: Pick a monologue from Rez Sisters to read aloud…
one person volunteer to do opening monologue
Questions: What is the Role of trickster in the Rez Sisters…where, when and why does the
trickster appear and map it each scene number in the play.
READING WEEK FEBUARY 20-24
Feb. 27/Module 19: Daniel David Moses
Assignment for Today: Read first the whole play before the workshop and we will work on second
act together… What questions do you have about the second act? What do you think about it…
does it make sense to you? If so, how do you interpret it?
Readings:
Almighty Voice and his wife (Play)
Obituary: Playwright and poet Daniel David Moses blasted Indigenous stereotypes off Canadian
stages
https://www.theglobeandmail.com/arts/theatre-and-performance/article-playwright-and-poet-
daniel-david-moses-blasted-indigenous-stereotypes/
Moses, D.D. (2005). “A Handful of Plays by Native Earthlings.” In, Appleford, R. (ed.). Aboriginal
Drama and Theatre.
or
Smith, A. and Moses, D.D.. (2019). “Conversation with Daniel David Moses, August 2016.” In,
and Day, M.J. (eds.). (2019). University of Regina Press.
March 6/Module 20: Drew Hayden Taylor
Zoom in Drew Hayden Taylor (if possible)
Video (if Drew is not available):

https://keynotespeakerscanada.ca/speaker/drew-hayden-taylor/

Assignment for today:

Choose a piece to read aloud from Toronto at Dreamers Rock, a character from the past or
present or future.
Readings:
Toronto at Dreamers Rock (Play)
Taylor, D.H. (2005). “Laughing Till Your Face is Red.” In Newhouse, D., Voyageur, C.J. and
Beavon, D. (eds), Hidden In Plain Sight: Contributions of Aboriginal Peoples to Canadian Identity
and Culture.
PeterBio/Drew Hayden Taylor:

https://www.mykawartha.com/news-story/3693717-peterbio-drew-hayden-taylor/
or
An Afternoon with Drew Hayden Taylor, Playwright

http://aurora.icaap.org/index.php/aurora/article/view/3/3
March 13/Module 21: International – Maori Performance and Haka
Videos:
Whakaaria Mai full production – Kahurangi Maori Dance Theatre (watch before workshop)
https://youtu.be/Djnvs0c0ya0
Haka Powhiri – Kahurangi Maori Dance Theatre

https://youtu.be/vqdXvwAUXuY
Readings:
Matthews, N. (2004). The Physicality of Maori Message Transmission – Ko te tinana, he waka
tuku korero. Junctures (3-Dec)
or
Bradshaw, S. (2015). Contemporary dance: A Maori Perspective (Part One). Dance Research
Aotearoa.
March 20/Module 22- International – Bangarra Dance Theatre (Australia)
Read: Contemporary Indigenous Dance: Continuing Connections to Culture

https://www.yarn.com.au/blogs/yarn-in-the-community/contemporary-indigenous-dancers-
making-a-difference

Videos:
Spear trailer:

https://youtu.be/39Zd6jEKgts
Spear – Earth Spirit scene clip:

https://youtu.be/oBAsadAZ57E
Movie: Firestarter: The story of Bangarra Dance Theatre

https://www.tvo.org/video/documentaries/firestarter-the-story-of-bangarra
(we will watch this in class)
Reading:
Stephen Page and Spear (interview):
https://www.sbs.com.au/movies/article/2016/03/10/stephen-page-drives-spear-through-
traditional-cinema-dance-film-interview

Recommended Reading:
Spear Study Guide:
https://issuu.com/bangarra/docs/spear_study_guide_755ea3f7966591
March 27/Module 23 – Contemporary Indigenous Dance
Read: Unboxing the term “Indigenous Dance Artist” with three generations
https://thedancecurrent.com/article/on-indigeneity/
Read: New Film Reveals how Indigenous Dance Innovator Sandra Laronde is shifting the narrative
of Canada
https://www.yarn.com.au/blogs/yarn-in-the-community/contemporary-indigenous-dancers-
making-a-difference
Read: Contemporary Indigenous Dance Festival takes Centre Stage in Vancouver

https://dailyhive.com/vancouver/matriarchs-uprising-indigenous-dance-festival
We will look at:

-CIT
-Native Earth
-Kaha:Wi Dance Theatre/Santee Smith
-Dancing Earth
-Raven Spirit Dance
-Sandra Lamouche
-Red Sky
April 3/Module 24 –PRESENTATIONS and closing circle

Course Guidelines:
In Person Lecture/Workshop will take place in Nozhem, First Peoples Performance Space on the
first floor of Enwayaang. There are no desks in the space and seating will be mats on the floor.
Some chairs will be available. Please come prepared and dress appropriately. Please remove
your shoes upon entry.
BlackBoard will be used to provide links and act as guide through this course with content to be
covered by students prior to lectures/workshops.
Office Hours will be offered by both instructors by appointment, either by telephone or Zoom.
Email Communication Protocol—Students should contact the course Instructors via email. Please
contact Mara Heiber at mheiber@trentu.ca with questions, issues and/or concerns about the
course. Please compose and send emails from your trentu account only and include 3560Y within
the subject of your email. We will strive to answer your emails within 48 hours when sent
between Monday and Friday. Emails forwarded on the weekend will be answered during the
following week. Please be patient.
We ask that students keep up with the course content so that they can fully participate in the
Lectures, Workshop discussions and activities. The course is a 3 Hour Weekly combination of
Lecture and Workshop. The class runs as a lecture followed by discussion and sometimes
activities in Workshop format. Lectures are an important aspect of the course to allow us to move
through the course materials together as a group. The class will include meeting with artists,
when possible, including via Zoom. Please ensure you have access to a computer that can run
Zoom for those times.
Submission of Assignments
All assignments are to be submitted to BlackBoard on the due date by 11:59 p.m. Eastern Standard
Time (the local time of Peterborough, Ontario where Trent University is located) as a MSWord
Document or Powerpoint presentation. Video submissions will need to be discussed with the
instructors.
It is the responsibility of the student to ensure that you can submit assignments online through
uploading the assignment to BlackBoard in the appropriate format. BlackBoard will send you a
confirmation email upon successful submission. Email submissions will not be accepted without
prior consent of the instructors.
If you are experiencing technological difficulties accessing any of the content in this course, or
you do not know how to access BlackBoard or upload your assignments, please contact the
Information Technology Service Desk at http://www.trentu.ca/it/, email: it@trentu.ca, phone 705-
748-1010, or visit the IT Support Desk in Bata Library if possible.
Late Submissions:
There will be a 5% per day late penalty (including weekends) for assignments that are not
submitted by the due date, or assignments not submitted by a negotiated extension. Please be
timely. Students requiring a deadline extension must email the Course Instructors (from their
Trent accounts) 4 days prior to the submission due date.

University Policies:
Academic Integrity
Academic dishonesty, which includes plagiarism and cheating, is an extremely serious academic
offence and carries penalties varying from failure on an assignment to expulsion from the
University. Definitions, penalties, and procedures for dealing with plagiarism and cheating are set
out in Trent University’s Academic Integrity Policy. You have a responsibility to educate yourself –
unfamiliarity with the policy is not an excuse. You are strongly encouraged to visit Trent’s
Academic Integrity website to learn more: www.trentu.ca/academicintegrity.
Access to Instruction
It is Trent University's intent to create an inclusive learning environment. If a student has a

disability and documentation from a regulated health care practitioner and feels that they may
need accommodations to succeed in a course, the student should contact the Student
Accessibility Services Office (SAS) at the respective campus as soon as possible.
Sharing and Distribution of Course Content
Students in this class should be aware that classroom activities (lecture, seminars, labs, etc.) may
be recorded for teaching and learning purposes. Any students with concerns about being
recorded in a classroom context should speak with their professor. If a student shares or
distributes course content in any way that breaches copyright legislation, privacy legislation,
and/or this policy, the student will be subject to disciplinary actions under the relevant Academic
Integrity Policy, the Charter of Student Rights & Responsibilities, or the Policy on the Protection of
Personal Information, at a minimum, and may be subject to legal consequences that are outside
of the responsibility of the university.
Student Absenteeism, Missed Tests and Examinations
Students are responsible for completing all course requirements, including attending classes and
meeting assignment deadlines as specified on their syllabus.
Adjustments and deferrals to dates for participation, assignment submissions, tests, midterms and
final examinations are not automatic. It is the student’s responsibility to email their instructor
immediately if they are unable to fulfill academic requirements.
Courses delivered remotely may involve student participation in scheduled (synchronous) classes
via web-based platforms, such as Zoom. Students unable to participate (i.e., by video and/or
audio) should email their instructors to request alternative arrangements for participation in these
scheduled (synchronous) classes.
Students are required to be available for all tests, midterms and exams that are listed in their
course syllabus and scheduled by their instructor or the Office of the Registrar. Depending on
their program, the instructor or the chair/director may decide on alternative arrangements for
exams and tests. Normally a doctor’s note or supporting documentation is not required; however,
when a student’s success in the course or program is in jeopardy as determined by the instructor
or chair/director, documentation may be requested.
Specific SAS accommodations can be implemented for students registered with Student
Accessibility Services (SAS), but it is the responsibility of the student to make these arrangements
in advance as per SAS guidelines, and to discuss accommodations of due dates with their
instructors.
Students can notify the Office of the Registrar of their wish to observe cultural or religious
holidays during scheduled examination periods by the deadline set in the Academic Calendar.
Personal travel plans are not acceptable reasons for missing tests or exams.
Print

INDG-3560Y-A - The Living History of Indigenous Dance and Theatre (2022FW - Peterborough Campus)

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

INDG-3560Y-A - The Living History of Indigenous Dance and Theatre (2022FW - Peterborough Campus)

Uploaded by

Copyright:

Available Formats

02/09/2022, 14:25 INDG-3560Y-A: The Living History of Indigenous Dance and Theatre (2022FW - Peterborough Campus)

INDG-3560Y-A: The Living History of Indigenous Dance and

2022FW - Peterborough Campus

Co-instructors and Teaching Assistants:

Academic Administrative Assistant: Christine Welter

https://my.trentu.ca/portal/applications/syllabus/detailPrint.php?syllabusId=22553 (or short URL: https://my.trentu.ca/portal/s?Id=22553) 1/19

(Listed in the order we use them in the course)

https://my.trentu.ca/portal/applications/syllabus/detailPrint.php?syllabusId=22553 (or short URL: https://my.trentu.ca/portal/s?Id=22553) 2/19

Assessments, Assignments and Tests:

Grade Total by Withdrawal Date:

Fall Semester 2022

https://my.trentu.ca/portal/applications/syllabus/detailPrint.php?syllabusId=22553 (or short URL: https://my.trentu.ca/portal/s?Id=22553) 4/19

Sept. 19 / Module 2:

https://my.trentu.ca/portal/applications/syllabus/detailPrint.php?syllabusId=22553 (or short URL: https://my.trentu.ca/portal/s?Id=22553) 5/19

Spiderwoman Theater is comprised of three generations of the Spiderwoman family: founders

https://my.trentu.ca/portal/applications/syllabus/detailPrint.php?syllabusId=22553 (or short URL: https://my.trentu.ca/portal/s?Id=22553) 7/19

The REDress REdress Project, by Jaime Black

Red dress story in Halfbreed, 101-103 (Available on Blackboard)

https://my.trentu.ca/portal/applications/syllabus/detailPrint.php?syllabusId=22553 (or short URL: https://my.trentu.ca/portal/s?Id=22553) 8/19

https://my.trentu.ca/portal/applications/syllabus/detailPrint.php?syllabusId=22553 (or short URL: https://my.trentu.ca/portal/s?Id=22553) 9/19

https://my.trentu.ca/portal/applications/syllabus/detailPrint.php?syllabusId=22553 (or short URL: https://my.trentu.ca/portal/s?Id=22553) 11/19

The Beginning of a Movement, National & International

Aboriginal Dance Program at the Banff Centre

Blue Quills Conference

https://my.trentu.ca/portal/applications/syllabus/detailPrint.php?syllabusId=22553 (or short URL: https://my.trentu.ca/portal/s?Id=22553) 12/19

Feb. 6/ Module 17: René Highway (the younger brother)

Spirit of the Caribou, a short film by Cara Mumford

Tribute to Rene (Micah Barnes):

René Highway obituary

Feb 13 / Module 18: Tomson Highway

The Biography of Tomson in the 1988 edition (Available on Blackboard)

In Conversation with Tomson Highway:

https://my.trentu.ca/portal/applications/syllabus/detailPrint.php?syllabusId=22553 (or short URL: https://my.trentu.ca/portal/s?Id=22553) 13/19

READING WEEK FEBUARY 20-24

Feb. 27/Module 19: Daniel David Moses

March 6/Module 20: Drew Hayden Taylor

Zoom in Drew Hayden Taylor (if possible)

Video (if Drew is not available):

https://my.trentu.ca/portal/applications/syllabus/detailPrint.php?syllabusId=22553 (or short URL: https://my.trentu.ca/portal/s?Id=22553) 14/19

Assignment for today:

PeterBio/Drew Hayden Taylor:

An Afternoon with Drew Hayden Taylor, Playwright

March 13/Module 21: International – Maori Performance and Haka

Haka Powhiri – Kahurangi Maori Dance Theatre

March 20/Module 22- International – Bangarra Dance Theatre (Australia)

Read: Contemporary Indigenous Dance: Continuing Connections to Culture

https://my.trentu.ca/portal/applications/syllabus/detailPrint.php?syllabusId=22553 (or short URL: https://my.trentu.ca/portal/s?Id=22553) 15/19

Spear – Earth Spirit scene clip:

Movie: Firestarter: The story of Bangarra Dance Theatre

March 27/Module 23 – Contemporary Indigenous Dance

Read: Contemporary Indigenous Dance Festival takes Centre Stage in Vancouver

We will look at:

April 3/Module 24 –PRESENTATIONS and closing circle

https://my.trentu.ca/portal/applications/syllabus/detailPrint.php?syllabusId=22553 (or short URL: https://my.trentu.ca/portal/s?Id=22553) 16/19

https://my.trentu.ca/portal/applications/syllabus/detailPrint.php?syllabusId=22553 (or short URL: https://my.trentu.ca/portal/s?Id=22553) 17/19

It is Trent University's intent to create an inclusive learning environment. If a student has a

Sharing and Distribution of Course Content

Student Absenteeism, Missed Tests and Examinations

https://my.trentu.ca/portal/applications/syllabus/detailPrint.php?syllabusId=22553 (or short URL: https://my.trentu.ca/portal/s?Id=22553) 19/19

You might also like