Time flies when you’re having fun—and it’s already been five years since NAC Indigenous Theatre’s inaugural season in 2019.
There’s certainly lots to celebrate: telling fascinating and important stories on one of national theatre’s biggest stages, overcoming a global pandemic and not to mention the commitment to uplifting Indigenous voices in the arts community.
“It’s been going really great,” says Kevin Loring, Nlaka’pamux artistic director for NAC Indigenous Theatre, about the 2024-25 season so far.
Else Charlem Danielsen, The Breathing Hole. Photo by Fred Cattroll.
Today marks the festivities for this milestone, with an event bringing elders and communities members together for live music, food and art installations—including the unveiling of a Pinock Smith canoe crafted to resemble the one that was made five years ago at a similar celebration for Indigenous Theatre’s first season.
It’s also opening night for Raven Mother, a now sold-out performance, in collaboration with NAC Dance.
“We just wanted to do something that echoed in a smaller way what we did when we launched in 2019,” says Loring. “Often when we do an opening night, we have a welcome to the territory, and there’s a number of artists who have been guiding us through for the last five years, so we’re going to be gifting them and honouring them.”
Kelsey Wavey, Cheri Maracle, Lisa Nasson, Women of the Fur Trade. Photo by Curtis Perry
While there have been plenty of successes on the journey up to this point, Loring also points to the bitter-sweetness he’s also felt programming theatre through some tumultuous times.
“It’s been very satisfying, and very challenging,” he says. “Our first season was interrupted by the pandemic, but the work that we have brought to the stage has been spectacular. The audience response has been overwhelmingly positive, and we’ve just been getting bigger and better.”
Another aspect of Indigenous Theatre has been their beyond-the-stage programming. This usually features workshops, like beading and life drawings, markets, and even online advocacy and outreach.
Loring says that these events bring another level of community to the theatre space.
“What’s really great about the beyond-the-stage stuff that we do at the NAC is it really helps to bring awareness and understanding, and highlights the culture behind the work that’s on stage,” says Loring. “It also brings folks in who maybe aren’t as familiar with the NAC for certain aspects.”
Adàwàning, Indigenous Women’s Art Market. Photo by Curtis Perry
Loring also says that the work done in online spaces is just as important—especially considering the changing media landscape after COVID. He references one of the online projects undertaken by Indigenous artists across the country who created smaller digital works of their interactions with the land.
“We really had to pivot during the pandemic, and we sort of continued since then,” he says. “In the past, we’ve had Dancing the Land which was a very successful dance video project that we performed on our digital platforms. I think it actually has the most views of anything that we’ve ever put on the web. You know, it’s the age we live in, we have to use all the things we can.”
What’s in store for Indigenous Theatre for the next five years? Loring says that he’s ready to expand.
“I’m looking forward to more work on our stages,” he says. “Everything we’ve been doing has been really well received. Our audiences have been growing and strengthening and we’re very excited for what’s to come.”
For information on the Nov. 20 opening night celebration, check out the event’s online page. It’s free, and will be held in the canal lobby. Festivities start at 5pm. Just because it’s sold out tonight, doesn’t mean you can’t catch Raven Mother, which performs until Nov. 22. For tickets, click here. For more information about NAC Indigenous Theatre programming, and their 2024-25 season, check out their website.
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