Summer school a coup for Western Canada

Page 27

For the first time in a 27 year history, the Native Theatre School (NTS) left its Toronto operations to establish a permanent summer program in the West.

The four-week program, dubbed a 'summer intensive' by artistic director Carol Greyeyes, was not only a resounding success. It has fulfilled the original mandate of Cree founder James Buller, who envisioned a truly national theatre school that would give First Nation people a strong voice in the arts.

Held at the Wahpeton Dakota Nation (north of Prince Albert, Sask.) in July, the four-week program gave Aboriginal students from across the country a chance to dive headfirst into Native theatre taught by some of the most celebrated names in the arts today.

"Everyone is excited across the country and in the western USA. It certainly changes the picture for Native people in Western Canada," said Greyeyes. "Part of our deal with Saskatchewan was that we would reserve three places at the school for Saskatchewan students."

Reasons Saskatchewan seemed like a natural location were its strong customs, powwow traditions and Aboriginal languages.

"It is very significant that the school was held in a completely Native environment, with Elders, hands-on cultural teachings, and the opportunity to attend a sundance and the Wahpeton powwow. Many students had never been to one," said Greyeyes.

"The Dakota Nation very generously offered their hospitality, with the understanding that we respect their beliefs, how they do things. Our founder, James Buller, from the Sweetgrass First Nation in Saskatchewan, whose work and philosophy really permeates our organization, has passed on. But I think that he is smiling, because the people in his home province are partaking in his dream and vision. He believed that a school, for and by Natives, would give our people a real voice in the arts, training them to become performers, writers and directors. To create an Aboriginal body of work and talent, and take that word and training back to their own reserves," said Greyeyes.

Marie Mumford, director of the Aboriginal arts program at Banff Centre for the Arts was on hand for the first presentation of the summer program's production of Dancing Spirit held July 27 and 28.

The show was the culmination of the intensive theatre training for the 12 Native students, who created the unique work based on their own songs, poetry, dialogue and dances.

"This has been a very exciting evening, historically speaking," said Mumford.

"I am from southern Alberta, Chipewyan-Cree. Because the school is national in scope and we always think of things as happening in the East, it's great to see it come back home to the West, gives students a chance to see it in Saskatchewan on Aboriginal territory. If they wish to pursue full-time theatrical training, they can travel East and study in Toronto. It is also great in the summer school that you have people from different nations to exchange culture, create work and form a national network."

J,net August, who recently completed the four-week residency, is a member of the wolf clan of the Nuu-chah-nulth Nation on Vancouver Island. It is her goal to advocate for Aboriginal peoples raised in adoption and foster care placements.

With a background in dance, theatre and clowning, August studied at Carlton University at the school of social work, completing her degree with Native studies in Nanaimo, B.C.

After hearing Carol Greyeyes speak about the summer school, August decided to come on board for the July 2000 session.

What surprised her the most was the amount of artistic freedom and responsibility put into the hands of the students.

"The school had us develop our own work for the final presentation. It was exciting to study with Lee Maracle, a Native writer. He taught us how to do group story weaving. Dancing Spirit is a shared collaboration of stories, ideas, songs."

There was no star system philosophy promoted at the summer school. The students learned improvisatio from Herbie Barnes, how to watch each other's backs on stage and make each other look good.

They learned dance technique from Rosa John, traditional powwow dances from Boye Ladd, who explained the relationship between dancing and spirituality, the sacred and ceremonial.

"Some of us were raised in foster care, so it was really significant to learn how to make a deerskin drum with Terrence Oxebin. It helped us to find our cultural voice, rekindle what we had lost," said August.

The students learned how to round dance and studied the protocol and traditions of the sundance from visiting Elders.

Meeting Sadie Buck from the Six Nations was another powerful cultural experience, said August.

"She helped us come to create our own songs in the play. Our theme song talks about the dancing spirits being happy despite all the darkness that might be behind them. That there is still room for hope and beauty that comes from nature in our culture, what we as Native people have managed to keep alive."