Bev Sellars was chief of the Xat’sull (Soda Creek) First Nation in Williams Lake, British Columbia, for more than 20 years, and she now serves as a member of its Council. Sellars was ï¬rst elected chief in 1987 and has spoken out on behalf of her community on racism and residential schools and on the environmental and social threats of mineral resource exploitation in her region.
Cerulean Blue is a comedic play about a struggling blues band invited to participate in a benefit concert for a First Nation community in conflict with governmental authorities. Upon arriving, the band discovers the entire lineup of musical acts has cancelled and they’re left trapped behind barricades. Complicating the matter, there is conflict within the band and the sudden appearance of an old girlfriend makes the event even more perilous. This play by Ojibwe playwright and author Drew Hayden Taylor is an homage to fast-moving farces while also addressing Aboriginal issues.
At its core, God and the Indian, by celebrated Ojibwe playwright Drew Hayden Taylor, explores the complex process of healing through dialogue. Loosely based on Death and the Maiden by Chilean playwright Ariel Dorfman, the play identifies the ambiguities that frame past traumatic events. Against the backdrop of Canada’s Truth and Reconciliation Commission, which has facilitated the recent outpouring of stories from residential school survivors across the country, the play explores what is possible when the abused meets the abuser and is given a free forum for expression.
The (Post) Mistress is a new one-woman musical theatre work written and composed by Cree playwright, composer and classical pianist, Tomson Highway. The (Post) Mistress recounts the adventures of a small-town postmistress, Marie-Louise Faucon, who divines the contents of sealed letters that pass through her hands. Having worked at the same rural post office for many years (in the fictional northern Ontario town of Lovely, just west of copper mining town Complexity), the postmistress becomes deeply involved in the emotional lives of her clients.
They Called Me Number One is one of four shortlisted finalists in CODE's (Canadian Organization for Development through Education) 2014 Burt Award for First Nations, Métis and Inuit Literature. Author Bev Sellars received 3rd prize for the 2014 Burt Award. They Called Me Number One: Secrets and Survival at Indian Residential School by Xat’sull (Soda Creek) First Nation Chief Bev Sellars is the poignant and gripping memoir of her life and education at the St. Joseph's Mission Residential School located at Williams Lake, British Columbia.
With breathtaking virtuosity, Garry Thomas Morse sets out to recover the appropriated, stolen and scattered world of his ancestral people from Alert Bay to Quadra Island to Vancouver, retracing Captain Vancouver’s original sailing route. These poems draw upon both written history and oral tradition to reflect all of the respective stories of the community, which vocally weave in and out of the dialogics of the text. Governor General’s Poetry Award finalist (2011) for Discovery Passages. First Nation Communities Read 2013-2014 title.
Edward Curtis Project: A Modern Picture Story is part art catalogue and part drama. It features a collaborative project produced specifically for the 2010 Vancouver Olympics that comments on the colonization of Aboriginal peoples in Canada in the 21st century. The play by Marie Clements examines the life work of photographer Edward S. Curtis through the eyes of an Aboriginal journalist who is suffering from post-traumatic stress disorder after covering a particularly tragic news story in the Arctic.
News: Postcards from the Four Directions is an anthology of Ojibwe playwright Drew Hayden Taylor's 2010 work containing 90 essays, columns, editorials, and reflections on Aboriginal peoples in Canada. All offerings contain the writer's trademark satirical twist and are organized into the four cardinal directions: North for contemplation and wisdom; South for journeys both physical and spiritual; East for beginnings and youth; and West for maturity and responsibility.
Dead White Writer on the Floor uses two literary conventions - theatre of the absurd and mystery novels - to create one of the funniest and thought-provoking plays ever about identity politics. In Act One, six 'savages'; noble, innocent, ignorant, fearless, wise and gay, respectively; find themselves in a locked room with the body of a white writer, which they stash in a closet. None of them can figure out how he died or which of them might have killed him.