A digital reimagining - Red Sky Performance
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a digital reimagining redskyperformance.com 1
A Note from the Artistic Director
Mistatim has galloped into the hearts and minds The idea of Mistatim has been in my mind for a Chi-miigwetch to those who show us that
of over one million children. This energetic while. It is about the taming of a wild horse, and another way is possible in a world that seems to
story of reconciliation is more relevant than ever the two different worldviews as revealed in their be driven by fear, greed and domination.
before with the recent discovery of thousands of approaches to taming a horse. It was a story
unmarked graves of Indigenous children found waiting to be told in hindsight as I have always As storytellers, we are the truth-tellers
on the grounds of former residential schools. marveled at a horse whisperer’s remarkable gift and galvanizers, and we know that stories
for understanding, compassion and gentleness. can reframe and change the conversation
Mistatim is a story of reconciliation created And, I am equally fascinated by children who nationwide. We are pleased to offer new ways
for children about power relationships that are born with special gifts, and who must learn of reimagining a future that matters and we
are reinforced by boundaries and borders, and to discover, realize, and then share their gifts know that it starts with the current generation
how children instinctively find ways to cross, with the world. I was fortunate to bring the of children.
navigate and transform them. This timely story idea, story elements, and characterization of
offers an exceptional vehicle for understanding It is my pleasure to welcome you to the world
Mistatim to the right team of collaborators.
the relationships between Indigenous/non- of Mistatim.
Indigenous, adult/child, boy/girl, human/animal I would like to take this opportunity to dedicate
Sandra Laronde
and reserve/ranch. It also serves as a catalyst this story to all of the Indigenous children who Teme-Augama Anishinaabe
for new dialogue on reconciliation, intercultural went to residential schools and to those that
connections, and intergenerational impact and never made it home.
legacy.
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About the Show
Mistatim is about the taming of a wild horse The 2021 version of Mistatim has been
and the truest of friendships. A wooden fence created as a collaboration between Red Sky
is all that separates Calvin’s ranch and Speck’s Performance and the TSO, in association with
reservation, but in many ways they are worlds Crow’s Theatre. It is a digital reimagining of
apart. Red Sky Performance’s acclaimed production,
featuring music co-created by TSO musicians
Mistatim tells the story of a wild horse who and Indigenous music creators. This digital film
encounters Calvin on his ranch and Speck on will premiere on September 30, 2021, Canada’s
her reservation. Under a prairie sky, a simple first National Day for Truth & Reconciliation.
wooden fence is all that separates them. In
many ways, they are worlds apart—that is, until
Mistatim turns their worlds upside down and the
truest of friendships are born.
Creative Team
CONCEPT, DRAMATURGY & MASK DESIGN & BUILD Red Sky Performance’s
DIRECTOR Karen Rodd Mistatim premiered at
Sandra Laronde Toronto’s Young People’s
COSTUME Theatre.
PLAYWRIGHT Elaine Redding & Charlene
Erin Shields Senuik ORIGINAL CAST
CHOREOGRAPHY MUSIC MISTATIM
Carlos Rivera & Sandra Bryden Gwiss, Lancelot Carlos Rivera
Laronde Knight, Stan Louttit, Mali
Obomsawin, arranged SPECK
MUSIC & SOUND DESIGN by Gary Kulesha Sera-Lys McArthur
Rick Sacks
CONDUCTOR CALVIN
ASSOCIATE SOUND DESIGN Gary Kulesha Brendan McMurtry-Howlett
Marc Merilainen
MUSICIANS OF THE TORONTO
SET DESIGN SYMPHONY ORCHESTRA
Andrew Moro Eric Abramovitz, clarinet
Darren Hicks, basson
CREE TRANSLATION James Gardiner, trumpet
Tyrone Tootoosis Sr. Gordon Wolfe, trombone
Wendy Rose, violin
Chas Elliott, double bass
Joseph Kelly, percussion
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Playwright’s Note
The fence was the first image that came to me As I moved through the play writing each I hope the image of the fence will resonate
when I started to create the characters and scene, the fence was always very present for with young audience members. Fences exist
story for Mistatim. Fences are built to separate me. My vision was that the fence would move everywhere in the world. Sometimes those
land, to control access to that land and, in the and offer the audience different perspectives fences are literal, as they are in this play. Most
case of animals, to prevent escape. Fences are on one meeting place. As the action of the of the time, however, those fences exist only
intended to separate people and things. play progresses, each character reveals greater in our minds. While there is no way to remove
insight into life on his/her side of the fence and every barrier between people, the process of
In this story, the fence becomes the place in doing so, the fence becomes less and less of negotiating those fences can bring us closer
where two very different children and one a barrier between them. together.
horse meet. Speck and Calvin begin the play
on their own sides of the fence looking across Mistatim is a story of two young people Erin Shields
at one another. At their backs are their land, searching for ways to connect with the adults
their families, their cultures and their inherited in their lives while developing a friendship
worldviews. And yet they both stare, quite with one another. Eventually Speck and Calvin
boldly, across the fence at one another. destroy the fence to liberate Mistatim for whom
the fence is a type of prison.
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Canada’s Residential School System
by Suzanne Keeptwo
Mistatim may be students’ first exposure to In 1847, church and state entered into
Canada’s dark legacy of the Residential School partnership to Christianize and “civilize”
system. Others may have some knowledge indigenous peoples. By 1857, the Gradual
of it or it may be part of some students’ own Civilization Act became law. Government
family history. In any case, this is sensitive and officials determined how to assimilate First
complex material to learn about and discuss. Nation, Métis, and Inuit peoples by segregating
children from their families and immerse them
European policy assumed the education of into the colonizers’ language, religion and
indigenous children as early as the 1600s. The culture by way of the educational institution.
appropriation of new lands had to be morally The first catholic residential school opened in
and legally justified; it was a Christian duty to Mission, British Columbia in 1863. Indigenous in effect from 1892 until 1969, administered by Immersion into scalding bathwater with snakes
rule over non-Christian “primitives”. However, communities were childless and, children were the Catholic, Anglican, United, and Presbyterian has also been reported. Students were taught
First Nation peoples did not willingly embrace parentless for 150 years. Churches. Although the federal government to be submissive, to never question authority,
the colonizers alleged superior way of life withdrew in 1969, many schools continued or react to any corporal punishment of siblings
and became an obstacle to land acquisition, The residential school system was the Canadian operating with the last residential school closing or classmates; much of their day was filled with
eventually documented as the “Indian problem”. government’s deliberate attempt to rupture in 1996. manual labour. Children were also used for
indigenous families. The system was officially medical experimentation. In 1907, a Montreal
The residential school system was set to newspaper reported that 42% of children
eradicate cultural identity, language, spirituality, attending residential school died due to disease,
and the connection to the land. The goal was abuse, neglect, hunger, or suicide.
for the children “to have the Indian educated
out of them”. In 1920, Duncan Campbell Scott, The implementation of these institutions
Minister of Indian Affairs, states: “Our objective resulted in the cultural genocide of thousands
is to continue until there is not a single Indian of First Nation, Métis, and Inuit peoples over the
in Canada that has not been absorbed into the course of 150 years. Some estimate that up to
body politic, and there is no Indian question, 50,000 children died during this era of systemic
and no Indian department.” ethnocide.
Priests, ministers, Indian Affair agents, and the The intergenerational trauma of learned
police were legally allowed to forcibly remove shame, abuse and neglect resulting from this
children—as young as 3-years old—from their dark chapter of Canadian history is inevitably
communities. They were isolated from their apparent to this day.
families for ten months of the year until they
reached the age of sixteen. Some were located Suzanne Keeptwo is a freelance writer, editor,
too far to return home at all. and educator of Metis (Algonkin) descent.
Nothing of indigenous culture and tradition
was tolerated at the institutions. Speaking one’s
mother tongue was prohibited. Punishments for
the simplest of “errors” were cruel, debilitating,
and immoral. Survivors report that needles were
pushed through their tongues as punishment.
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The Truth and Reconciliation Commission, set forth to free Mistatim from injustice. The
specifically the Calls to Action for education same principle is at the core of the Truth and
(#62-65), seeks to establish new relationships Reconciliation Commission’s work. In our roles
between educators and Indigenous as educators, truth involves explicit curricular
communities by honouring Indigenous history, attention to the legacy of the residential school
culture, and language within educational system and its attendant intergenerational
curricula. Because of the role education has trauma. Reconciliation requires centering
played in the erasure of Indigenous culture, Indigenous voices in curricula, consulting
educators must be proactive in centering with families and communities to engage with
Indigenous experience in classrooms in order to students’ cultural needs, and, as educators,
overcome a historical trust deficit accumulated we must recognize the role that schools have
over multiple generations. had in the past, and the role that they can have
in building a better future for all Canadian
A story of reconciliation for children, Mistatim students.
offers important lessons for educators in this
regard – it is a story that asks its audience, why Despite the efforts of the state, and through
tame and punish when we can learn to listen relentless resistance, Indigenous people are
and seek to understand? As Calvin attempts to now one of the fastest growing demographics
“train” Mistatim, he mirrors the historical actions in Canada. With a resurgence in Indigenous
of residential schools, where colonizers sought cultures afoot, Mistatim imparts upon young
to suppress Indigenous knowledge, culture, learners an introduction to the diversity of
and tradition. Just as Speck opens Calvin’s eyes arts and culture in Canada. So too does it
to view Mistatim with respect, empathy, and provide teachers with a resource that enhances
compassion, teachers must also commit to students’ comprehension of history, enriches
building trust with Indigenous students and their their pedagogical experience, and develops a
families, and to help redefine the classroom vocabulary with which to continue these critical
A Teacher’s Guide to Truth, as a space where Indigeneity is celebrated and
affirmed.
conversations about reconciliation and diversity
as students advance into upper years.
Reconciliation, and Mistatim
Shifting perspectives is central to Mistatim— Franco Saccucci is a queer settler, activist-
Speck and Calvin each begin to see truth educator, and graduate student at OISE/
through each other’s eyes, and together they University of Toronto.
by Franco Saccucci (2018)
For over 100 years, residential schools were the In the government’s official apology of June
institutions tasked by the Canadian government 11, 2008, Prime Minister Stephen Harper
and administered by churches to, in the words acknowledged that “two primary objectives of
of Sir John A. Macdonald, “kill the Indian out the residential school system were to remove
of the child.” More than 163,000 children and isolate children from the influence of their
were taken from their families, and sent to homes, families, traditions and cultures, and
one of the 130 residential school across the to assimilate them into the dominant culture.
country, tearing apart families, communities, These objectives were based on the assumption
and traditions. In the words of the Truth and Aboriginal cultures and spiritual beliefs were
Reconciliation Commission, this was cultural inferior and unequal... Today, we recognize
genocide of Canada’s Indigenous peoples, “the that this policy of assimilation was wrong, has
destruction of those structures and practices caused great harm, and has no place in our
that allow the group to continue as a group.” country.”
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Truth and Reconciliation Commission of
63. We call upon the Council of Ministers 64. We call upon all levels of government that
of Education, Canada to maintain an annual provide public funds to denominational schools
commitment to Aboriginal education issues, to require such schools to provide an education
including: on comparative religious studies, which must
Canada: Calls to Action 62-65 — Education for Reconciliation i. Developing and implementing
Kindergarten to Grade Twelve curriculum
include a segment on Aboriginal spiritual beliefs
and practices developed in collaboration with
Aboriginal Elders.
and learning resources on Aboriginal
62. We call upon the federal, provincial, and on how to integrate Indigenous knowledge peoples in Canadian history, and the history 65. We call upon the federal government,
territorial governments, in consultation and and teaching methods into classrooms. and legacy of residential schools. through the Social Sciences and Humanities
collaboration with Survivors, Aboriginal peoples, Research Council, and in collaboration with
and educators, to: iii. Provide the necessary funding to ii. Sharing information and best practices on Aboriginal peoples, post-secondary institutions
Aboriginal schools to utilize Indigenous teaching curriculum related to residential and educators, and the National Centre
i. Make age-appropriate curriculum on knowledge and teaching methods in schools and Aboriginal history. for Truth and Reconciliation and its partner
residential schools, Treaties, and Aboriginal classrooms. institutions, to establish a national research
peoples’ historical and contemporary iii. Building student capacity for intercultural program with multi-year funding to advance
contributions to Canada a mandatory iv. Establish senior-level positions in understanding, empathy, and mutual respect. understanding of reconciliation.
education requirement for Kindergarten to government at the assistant deputy minister
Grade Twelve students. level or higher dedicated to Aboriginal iv. Identifying teacher-training needs relating
content in education. to the above.
ii. Provide the necessary funding to post-
secondary institutions to educate teachers
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Curriculum Expectations
A Study Guide Note from Karen Gilodo
Speck: “Some people just get stuck in one
feeling.”
Speck’s Grandmother is sad. Calvin’s father This study guide and the exercises are intended
is mad. And no one knows what to do about to encourage students to think critically and
it. Mistatim is a story of two young people emotionally about trust. They will be asked to
searching for ways to connect with the adults put their trust in each other and to creatively
in their lives while developing a friendship represent images of healing as they consider
with one another. At the heart of the story how to move from a state of mistrust to one
is Mistatim, Calvin’s horse that he is trying of trust. They will also be asked to think about
(unsuccessfully) to “break”. Speck has a gentle the pressures facing Speck and Calvin and to
way of communicating with Mistatim. Working find ways to visually represent those pressures.
together to understand Mistatim, Speck and Overall, we hope this guide will be a jumping off
Calvin find respect for each other and the tools point for discussion and reflection. CURRICULUM CONNECTIONS, GRADES 1-8 of other group members).
they need to cope with their family lives. Most • Identify the point of view presented in oral
of all they learn about trust - how to find it and • The Arts: Reflecting, Responding, and texts and ask questions about possible bias.
how to nurture it. Analyzing, Exploring Forms and Cultural • identify who produces various media and
Contexts determine the commercial, ideological,
• Native Languages: Knowledge and political, cultural, and/or artistic interests or
Understanding of Culture, Communication
• Social Studies (Grades 1-6): Heritage and perspectives that the texts may involve.
Identity, Canadian History
• History, Grade 7: Canada, 1800-1850: Social Studies
Conflicts and Challenges • Compare and contrast the perspectives of
• History, Grade 8: 1890-1914: A Changing some different groups.
Society • Identify some ways in which heritage is
• Science and Technology Studies: Habitats passed on through various community
and Communities, Interactions in the celebrations and events.
Environment, Growth and Changes in • Identify some present-day issues concerning
Animals First Nation peoples that relate to results of
• Language Arts: Oral Communication, early contact.
Interpreting Texts, Elements of Style,
• Demonstrate an appreciation and
Perspectives & Points of View
understanding of aspects of the First Nations
By seeing a performance of Mistatim and culture under study.
participating in the exercises in this guide and
responding to discussion questions, students Science
will: • Investigate the ways in which a variety of
animals adapt to their environment and/or to
Language changes in their environment, using various
• Demonstrate an understanding of methods.
appropriate speaking behaviour in a variety • Identify ways in which animals are helpful to,
of situations, including paired sharing and and ways in which they meet the needs of,
small- and large-group discussions (e.g., living things, including humans, to explain
acknowledge and extend other group why humans should protect animals and the
members’ contributions; make relevant and places where they live.
constructive comments on the contributions
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4. When the obstacle course is set and the “A’s” Directions:
are blindfolded, have the “B’s” meet their 1. As a class, spend a few minutes
partners and let them know they will be brainstorming words that come to mind
guided through the room. when discussing “mistrust”.
5. Have the “B’s” lead their partners around 2. Next, spend a few minutes brainstorming
the room (by the arm) taking extra care to words that come to mind when discussing
communicate with their partners where the “trust”.
obstacles are and how to safely avoid them. 3. Keep a record of student responses and
6. Once the “A’s” have been led around the make it available for the next exercise
room, have players switch roles so that 4. Divide students into groups of 5-6.
“A” will be leading “B” through an obstacle 5. Ask one student in each group to volunteer
course. to be the “sculptor”. The rest of the group
7. Have the “B’s” leave the room and put on will be “clay”.
blindfolds. This time, let the “A’s” know that 6. Direct the “clay” students to create a tableau
the goal will be the same – to safely lead that represents “mistrust”.
their partners around the room. However, 7. Next ask the “sculptor” to sculpt the image
this time, they will not be able to use of “mistrust” into “trust”. Ask students to
words to communicate with their partners. remember both images.
They must speak in gibberish. Encourage 8. When the groups have created their two
“A’s” to experiment with tone. How will sculptures ask each group to present their
their partners react if the tone is calm and sculptures to the rest of the class. Be sure
reassuring? What if their tone is loud and to include in the presentations, the sculptor
alarming? actively working to change the sculpture
from “mistrust” to “trust”.
DEBRIEF: 9. Next, ask students to name their sculptures.
After the exercise, ask students the following
Pre-Show Activities questions:
• How did it feel to be led around the obstacle
course blindfolded? What was it like to be
EXTENSION:
As a class, have students think about the
images they created. If they were to show
the guide? their sculptures at a gallery, what would the
DISCUSSION STARTERS WARM-UP: DEVELOPING TRUST • How did it feel to guide someone using only exhibit be called? Have them curate an exhibit
gibberish? What was it like to be guided of their sculptures and invite another class to
• Who is in charge of the natural world? Objective: by someone whose words you could not the opening. Give them time and resources to
• What does it mean to “break” a horse? Why In this exercise students will have to trust one understand? research what a gallery exhibit looks like, what
do people “break” animals? another and allow themselves to be vulnerable. • Did you prefer being the guide or being extra information might be included in wall
• What do students already know about guided through the course? text and in which order they would present the
Residential Schools? MATERIALS: • What was the reaction from the person sculptures.
• What do students already know about • A space in which to move being led with gibberish as the only means
Reservations? • Scarves to be used as blindfolds of communication? DEBRIEF:
• What do students know about the First After the exercise, ask students the following
People of Canada? DIRECTIONS: EXERCISE: MOVING FROM MISTRUST TO questions:
• Can people heal from oppression? How? 1. Divide students into pairs and ask them to TRUST • What did it feel like to be a part of the
What if the oppression is systemic and decide who will be player “A” and who will tableau?
enduring? be player “B”. Objective: • How did you think of your poses in each
2. Have all of the “A’s” leave the room. Ask the This exercise asks students to creatively explore tableau?
“A’s” to put on a blindfold. the concepts of trust and mistrust. • What are some other ways that we can use
3. Instruct the “B’s” to create an obstacle tableaux to help tell a story?
course with items found in the classroom.
The “B’s” will be guiding their partners safely
through the obstacle course.
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Post-Show Activities
Materials: shared on each statement or quote, offer
DISCUSSION STARTERS • What does Mistatim represent? Is the horse a • A space in which to move students the chance to move to a new
symbol for something? position on the line if they have changed
• Calvin and Speck live in the same small town • Have students conduct some research on Directions: their mind, or feel differently about the
near one another and yet have never met. Red Sky Performance. Why do students think 1. Ask students to imagine a line running along statement.
Why? Red Sky wanted to tell this story? the length of the floor.
• Speck says “some people just get stuck in 2. Explain that a series of statements and EXERCISE: CHARACTER SKETCHES
one feeling” Why is Speck’s grandmother WARM-UP: STAND THE LINE quotes from the play will be read out
sad? loud and it is the students’ job to agree or Speck and Calvin are unlikely friends. They go
• Why does Speck keep a record of “everyone Objective: disagree with the statements by choosing to different schools, have learned different
who needs to be remembered”? This activity provides an opportunity for their position on the line on the floor. You things and have different relationships to their
• Why is Calvin’s Dad mad all the time? How students to explore and share their opinions on may find your own quotes and create your caregivers. Despite their differences however,
does Calvin cope with his Dad’s anger? some of the themes in the play in a structured own statements, or use some of these they come to learn about and from one another
• Speck says “you know how your mind and non-judgmental setting. By using general examples: and become friends.
holds on to things you’ve heard before…”. statements and quotes from the play, students • “People can learn to trust.”
What does she mean? How is Speck able to will examine their beliefs, hear alternate points • “People are in charge of the natural Objective:
communicate with Mistatim? of view, and have an opportunity to re-think world.” In this character sketch exercise, students will
• Calvin and Speck have different views on their position on some of the major themes of • “Trust can be demanded.” visually represent Speck and Calvin’s differences
how to “train” Mistatim? How did they arrive the play. • “Children should do what adults tell them and similarities.
at their viewpoints? How do their viewpoints to do.”
change over the course of the play? • “Everyone is worthy of forgiveness.” Materials:
• “You should trust me like I want you to.” • Large pieces of craft paper
• “Tell him we don’t want to hurt him. We • Crayons/Pencil Crayons
just want to train him.”
• “Once people shut themselves up in Directions:
their ways, they don’t change, they can’t 1. Divide students into groups of four.
change.” 2. Have students choose between Speck and
• “Everyone gets scared.” Calvin for their character sketch.
3. Define with the class the end of the line 3. Ask one student to volunteer to lie down
which represents “strongly agree” and then on the craft paper and be loosely traced to
indicate that the opposite end represents create an outline of a person on the paper.
“strongly disagree”. The midpoint of the 4. Outside of the lines of the body, have
room is a neutral position where students students write down all the words that
can stand if they neither agree nor disagree reflect the pressure Speck/Calvin are under
with the statement. in their personal lives. Inside the lines have
4. When each statement is read aloud, students them draw images that represent how they
decide which place on the line represents feel about the pressures they are facing.
their own opinion. They can stand anywhere 5. Have groups present their character
on the line, near either end, or somewhere sketches to the class.
in the middle.
5. After each statement is read, pick a EXTENSION:
few students to explain their choice of Mistatim is a witness to the burgeoning
position. This is not a debate. The students’ friendship between Speck and Calvin. What are
viewpoints should not be judged, just the needs Mistatim has that he communicates
shared. to Speck? What would he want to say to Calvin/
6. After a number of viewpoints have been Speck? Create a character sketch of Mistatim.
18 redskyperformance.com redskyperformance.com 19LISTENING JOURNAL
Your Name: Date:
1. What kind of instruments do you hear?
2. How does listening to this piece make you feel? What two words would you
use to describe this piece of music?
Music Activity 3. Describe what is happening in the story while the music is playing.
DISCUSSION STARTERS Directions:
1. After watching Mistatim with your class,
• Did any of the music surprise you? Why, or choose two scenes which feature music.
why not? 2. Watch one of the scenes, and answer the
• Did the music remind you of anything? listening journal questions as a whole class.
• What was the most memorable musical 3. Once you have modeled how to answer 4. Why do you think this music was chosen for this scene?
moment? these questions as a group, watch the
second scene, but this time have students fill
EXERCISE: COMPARE AND CONTRAST out the listening journal on their own. (You
may have to play the scene a few times.)
Objective: 4. When students are finished, ask individuals
The goal of this activity is to get students to share their answers with the group.
thinking about how music affected and 5. Compare the music from the two scenes: if 5. What would the scene be like without music playing?
changed the scenes in Mistatim. the two pieces of music changed spots, how
would that affect the tone of the scenes?
Materials: 6. Finally, as a classroom, discuss how the
• A computer with Internet access and a music was co-created by TSO musicians
projector to show Mistatim. and Indigenous music creators. Why do
• Printed handouts for your students you think this collaborative process was
important when creating music for Mistatim?
20 redskyperformance.com redskyperformance.com 21Education Reports & other Cultural resources Website Resources
(all on Wabano website)
Pe Nah to Tah Education Report (contains The Truth and Reconciliation Commission Final
Report
School board checklist)
Now, Now, Now: Mental Wellness for Aboriginal Healing Foundation
Indigenous Youth in the Champlain Region
Anishinabek Nation: Indian Residential School
Commemoration Project
Children’s Fiction
Legacy of Hope Foundation
She Holds Up the Stars by Sandra Laronde
Project Heart
Fatty Legs: A True Story
Shi-shi-etko by Nicola I. Campbell Speaking My Truth
Shin-chi’s Canoe by Nicola I. Campbell
Additional Resources
Mistatim: Indigenous Ways of Knowing for the Indigenous & Reconciliation Reading Lists
Classroom Educator Workshop The Canadian Children’s Book Centre
On September 27th, Carlie Chase and Sandra Toronto District School Board
Laronde hosted a 60-minute virtual workshop Ryerson University
on Truth & Reconciliation! We explored ways UBC
that educators can support Indigenous students Ontario Public Libraries
and honour Indigenous ways of knowing, being, Vancouver Public Library
and doing in your classroom. Click here to see Calgary Public Library
the recording of that lesson. CBC
The following are some of the resources that
were provided:
RISE: Reconciliation in Solidarity Edmonton
Curriculum and Activity Guides
Credits
Toronto Zoo Ways of Knowing Guide
Circle of Courage Toronto Zoo Curriculum-Based Activity Guide
This 2021 guide is based on the original Mistatim study guide written by Karen Gilodo, Associate
Book: Reclaiming Youth at Risk, Dr Martin CBC Indian Act Teaching Guide Artistic Director, Education of Young People’s Theatre (YPT). The 2021 edition was designed by Pierre
Brokenleg Canadian Encyclopedia Indigenous Peoples Rivard, Education Manager of the Toronto Symphony Orchestra (TSO).
Seminars Topic & Timelines
All images in this guide are taken from Red Sky Performance’s digital Mistatim performance. The
cover image is by David Hou. This guide is copyright protected.
22 redskyperformance.com redskyperformance.com 23Red Sky Performance is a leading company of Indigenous
performance in Canada and worldwide.
www.redskyperformance.com
Red Sky Peformance gratefully acknowledges:
PERFORMANCE
PERFORMANCE
PERFORMANCE
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