Academic literature on the topic 'Aboriginal Theatre Canada'

A research study doing applied theatre with youth at an Alberta, Canada young offender facility, asks: How can participatory drama contribute to the education of incarcerated youth to avoid future negative outcomes of their “at-risk” behaviours? This paper focuses on the social implications and the advocacy aspects of the research. It asks how spaces can be created within institutions such as prisons and schools for transformative processes to occur. Rather than the current “moral panic” that blames youth for social ills, rather than punishment and retribution – enacted against the majority of young Aboriginal inmates, strategies are needed that focus on personal and social development. Citing an example from the drama work, the paper proposes the need for appropriate programming for youth and more compassionate attitudes regarding their needs. Participatory drama, along with emerging restorative justice practices based in Indigenous cultures, offer hope for community-based solutions to creating more caring and compassionate processes of schooling and justice and a more caring and compassionate society overall.

The goal of this research is to shed light on current developments in the field of Aboriginal Theatre Studies. This investigation encourages the reader to look again at the ways in which elements of Aboriginal culture are manifesting in contemporary theatre. Aboriginal theatre is increasingly visible in Canada and its cachet is growing with both artists and audiences. As a result, culturally specific worldviews and traditional practices are being introduced to mainstream Canadian theatre audiences. Through interviews with practicing Aboriginal artists like Floyd Favel, Yvette Nolan and Marie Clements and through an exploration of their individual theatrical processes, this research has attempted to identify how practicing Aboriginal artists consciously privilege Indigenous ways of knowing in their approaches to creating theatre for the contemporary stage.

This thesis begins with the claim that gendered violence continues to plague First Nations women and Aboriginal communities across Canada, despite national statistics that suggest improvement. Contemporary Native theatre attempts to counter systemic violence that oppress the Aboriginal peoples. Violence against women is especially prevalent when exploring First Nations realities, and the dramatic works examined illustrate how the rampancy of gendered violence both hinders and defines the lived realities of First Nations women in Canada. Through the careful reading of Tomson Highway’s The Rez Sisters, Yvette Nolan’s Annie Mae’s Movement, and Marie Clements’s The Unnatural and Accidental Women this thesis contends that Native theatre is an affective tool for promoting social change. Through witnessing and testifying, seeking spiritual and cultural fulfillment, and exploring the potentialities of what I call the Aboriginal repertoire, First Nations women and Canada as a nation may take the next steps toward individual and communal wellness.