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attention to
Missing and Murdered Indigenous Women, warning the vulnerability of alcohol and addictions and vulnerabilites that can lead to human sex trafficking. Jessica Loft Cross (Thompson) brought the project to Shelby Mitchell-Adams in order to come together in a collaborative effort to raise awareness. They signed a contract and were given permission from Colleen Murphy to make the revisions to the play. Director Constantine Kourtedis and Jessica Loft Cross spearheaded the adaptation by changing the structural format of the play breaking it down into scenes between the Sister and the Police Officer, and the Dying Woman and Killer and Jessica added the cultural elements. It changed the rhythm and tempo allowing viewers to take the story in slowly and intimately. The production was performed in 2016 from August 19 to 20 in Akwesasne Mohawk Territory in New York, and from August 26 to 27 in Kahnawake Mohawk Territory in Quebec intended for a Native American Indigenous audience. There were 700 attendees overall and the impact of the play was positively received by those who were in attendance. A talk back session followed the performance. On the first night a viewer in the audience was awestruck learning five minutes into the play that the subject matter was about the Robert Pickton case. She followed up by telling her family connection with a victim of Pickton and sang a woman's warrior song in memory of her beloved cousin.
72:’s four fictionalized characters — The Dying Woman, The Killer, The Cop and The Sister — describe their perspectives and experiences of the events inspired by the Robert Pickton case. The play is simultaneously set within two different temporalities. In one, The Cop and Sister reflectively respond to the missing Girl - Sister spends her life looking for her missing sibling and convincing the dismissive cop to do the same, and the Cop, who is “caught within a justice system that has made him apathetic and narrow-minded,” comes to understand that his doings were wrong. Meanwhile, in the second temporal frame, the characters Girl and Killer instead illuminate the brutalization and violence against Girl in real time. The two parallel temporalities reflect Murphy's aim to capture a sense of feeling and emotional immediacy in her audience. As the
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express their perspectives of the play; specifically, of its “profoundly offensive and disrespectful” visuals, contributing to the “re-traumatization” felt by the families of victims. Bear writes, “Indigenous creations like the play Pig Girl allow the narration of our social realities without any cultural context, thereby continuing to legitimize the dominant colonial discourse and colonial violence against women, particularly
Indigenous women."
274:“Questions of voice, theft and appropriation have long been central to postcolonial discussions in Canada and beyond ... Many asked whether it was acceptable for a non-Indigenous person to write from an Indigenous perspective, or a racial majority member from the perspective of someone from a racial minority. This was intricately linked with the “appropriation of voice” debate. Kelly's comment here echoes
175:, for example, points out the production's “graphic depiction of violence against women and non-Indigenous cast”. She then describes the controversy surrounding the production, including the ethics of Colleen Murphy herself, as a non-Indigenous writer, writing on behalf of the Indigenous victims of the case. Additionally, Lyn Gardner from
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responsibly and accountably? How complicit is an artist in histories of exploitation through the very act of presentation and reproduction? Is communal grief appropriative? What does respectful memorializing look like? What is the role of cultural productions in shaping both cultural memory and political vision?”
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was received more positively by audiences. Family members of the victims in the Robert
Pickton case thanked the cast for their performance. Jessica Loft Cross (Thompson) and Shelby Mitchell-Adams, former owners of the company and members of the Akwesasne Mohawk, described the cathartic effects of the
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calls for action by creating this glaring microscope facing us to care. Care about the sister, care about the mother and most importantly care for Dying Woman who endures to speak. To be heard." Reneltta also explains Imago's differences from the
Edmonton production, saying they “took the gratuitous
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Metis actor and playwright Bruce
Sinclair expressed similar concerns regarding the cast of the production; he asked, “Why should white writers, even well-intentioned ones, feel they had the right to tell his story? And why were we making entertainments out of the suffering of aboriginal women – when
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as something that had to be performed despite the violence portrayed. Even though people raised arguments about
Colleen Murphy not being a member of the Indigenous, Barker admits there is a struggle between ownership of one's own stories and trusting others to tell the stories. He ends by stating he
208:, for example, refused to watch the play because of its racist title, which she claimed was disrespectful not only to the character in the play, but to all Indigenous women. She also pointed out the all-white panel at the play's Q&A session, as well as the non-Indigenous cast of the production.
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Before the opening night of the production, as reflected by
University of Alberta's Women's and Gender Studies Professor and Cree activist Tracy Lee Bear, a group of ten Aboriginal people, including relatives of victims of the Robert Pickton murders, met with the playwright, director, and actors to
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originally written by
Governor General Award Winning playwright Colleen Murphy. Their version used mainly an all Indigenous cast with the exception of the Killer and Police Officer. Adding more elements of Indigenous culture through ceremony, song, and language to give a greater focus on drawing
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in
February 2016 was the first Canadian staging of the play since the Edmonton Theatre Network's staging. In response to the play's previous criticisms, director Micheline Chevrier restaged the violent scenes in an attempt to focus on the characters rather than the violence itself. Talkbacks were
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Moss closes with the following important and necessary questions for activist art: “"What is the role of art in promoting public awareness of injustices? What happens when the rights of the community to learn about violence butt against the rights of individual victims? How is pain represented
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asks, “Do non-aboriginal artists and authors (and journalists, for that matter) even with the best of intentions, have the right to tell aboriginal stories? Especially the most painful and hurtful ones?” Relatedly, there has been much controversy within
Indigenous audiences of Edmonton's
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out of it so you could hear the necessary”. Their production opted to separate the characters and the violence rather than having them interact and commit violence towards one another. She supports this decision by stating it is a way of making the violence more impressionistic.
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is critical of the play's decision to give voice to the Killer alongside the murdered Girl. She writes, “While Murphy gives a voice to the murdered women she also, rather less successfully and almost certainly unnecessarily, gives one to the killer too.”
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writes, “Essentially, the Dying Woman (as she’s called) is protractedly slaughtered throughout the play’s gruelling 90 minutes. How can an audience be expected to stomach this? One answer is that it can’t, and that’s partly the play’s point.”
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Jim Burke from the Montreal Gazette praises the director Micheline Chevrier for the “stylish and considered solution to the problem of depicting violence – especially such recent real-life violence – on the stage without exploiting it.”
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comments on the Montreal production as a “wake-up call about violence against women and particularly to violence against aboriginal women." Reneltta Arluk, an Indigenous actress who plays “Dying Woman” in Imago Theatre's production of
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As opposed to narratives that concentrate on the victimization of murdered Indigenous women, Murphy aimed to portray their voices, heroism, and resistance, along with their societal marginalization. The play's title,
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Murphy did not respond to concerns regarding cultural appropriation in her play, whereas artistic director Bradley Moss commented that he would no longer feel comfortable staging plays surrounding Indigenous issues.
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Indigenous theatre company Behind The Actors Mask Studio collaborated with Dreamcather's Studio 4 Film and Television and would form Sacred Roots Production preceding the performance of a revised version of
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Murphy's play alludes to British Columbia's Robert Pickton case after he was arrested in 2002 for the genetic and physical remains of 33 missing women (mostly Indigenous) on his pig farm. In particular,
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was first performed at Edmonton's Theatre Network from November 5 to 24 in 2013. The cast consisted of all non-Indigenous performers. The Edmonton production also emphasizes the physical violence of
40:. The play tells the stories of the fictionalized characters Dying Girl, Killer, Sister, and Police Officer in order to illuminate the Canadian issue of missing and murdered Indigenous women.
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play, mentioning how “several community members talked about personal and family experiences.” Audience members were also said to resonate with the pain shown in the performance.
234:, says the “epidemic of missing and murdered Indigenous women in this country continues to rise with no national action plan in place. As an Indigenous woman, this terrifies me.
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was inspired by the court trial's decision to not indict the 20 other murder charges related to Pickton, when he was only convicted for the deaths of 6 women.
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Other Indigenous activists raised their concerns about the play at the Edmonton Theatre Network's question and answer session with Murphy. Cree activist
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production that address what has been called, by the Montreal Gazette, “Murphy’s dramatic exploitation of the real suffering of Indigenous women."
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discusses similar ethical concerns in “The Forgotten,” a project that aimed to raise awareness of Missing and Murdered Women in Vancouver's
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when she urged non-Native writers to “stop stealing Native stories” so that Native writers could “tell their own stories” for themselves.”
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professor Laura Moss, in her article, “Is Canada Postcolonial? Re-asking through 'The Forgotten' Project,” while not writing about
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faced much criticism regarding its casting choices and its overall orchestration of the play's plot. Penny Farfan of
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held after each performance, and audiences paid for their tickets after the show on a “pay-what-you-decide” basis.
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344:""Theatre should be difficult": Colleen Murphy on her award-winning play Pig Girl | CBC Books | CBC Radio"
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568:"'Pig Girl' - a Play About #MMIW Portrayed by Akwesasne Mohawk Women - Indian Country Media Network"
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Power in My Blood: Corporeal Sovereignty through the Praxis of an Indigenous Eroticanalysis
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for all we knew, a woman could be being tortured in a barn outside Edmonton right now?”
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A Quebec-based company that focuses on women's stories and plays, the
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United Nations Declaration on the Rights of Indigenous Peoples Act
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Indigenous Responses to Edmonton Theatre Network’s production
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National Inquiry into Missing and Murdered Indigenous Women
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Keith Barker, a MĂ©tis playwright and actor, read the play
516:"Pig Girl: On race, voice, respect and artistic freedom"
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Richard Cardinal: Cry from a Diary of a MĂ©tis Child
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Governor General's Award for English-language drama
2140:Index of articles related to Indigenous Canadians
404:"Canadian Theatre Encyclopedia - Murphy, Colleen"
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32:surrounding the murders of Indigenous women by
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321:"Pig Girl (print) - Playwrights Canada Press"
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115:, displaying staged rape, murder and abuse.
2176:Violence against Indigenous women in Canada
2018:Portrayals of the residential school system
592:"Keith Barker – A Response | Imago Theatre"
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933:Goodnight Desdemona (Good Morning Juliet)
271:by a non-Indigenous artist. Moss writes:
167:Edmonton Theatre Network's production of
68:Set in the barn of the pig farm, each of
1708:Violence against WetĘĽsuwetĘĽen protesters
660:. University of Alberta. pp. 1–273.
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2181:Plays about Indigenous people in Canada
1304:Sexual Misconduct of the Middle Classes
1292:Kamloopa: An Indigenous Matriarch Story
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28:that draws upon the events of the 2007
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434:"Pig Girl by Colleen Murphy (review)"
302:Missing and Murdered Indigenous Women
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1369:Violence and discrimination against
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1457:First Nations nutrition experiments
1327:As You Like It: A Radical Retelling
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2117:The Unnatural and Accidental Women
992:Three in the Back, Two in the Head
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1878:An Act to amend the Criminal Code
1214:Age of Minority: Three Solo Plays
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1737:Death of Regis Korchinski-Paquet
1316:The Piano Teacher: A Healing Key
402:Encyclopedia, Canadian Theatre.
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572:indiancountrymedianetwork.com
541:"ABOUT IMAGO | Imago Theatre"
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1371:Indigenous peoples in Canada
432:Farfan, Penny (2016-10-20).
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1992:Old-growth logging protests
615:Gardner, Lyn (2015-01-13).
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1759:Judge David William Ramsay
911:The Other Side of the Dark
721:"Playing Dead in Pig Girl"
697:"Pig Girl | Imago Theatre"
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1636:Winnipeg serial killings
1395:Gradual Civilization Act
1204:Fault Lines: Three Plays
960:A Short History of Night
838:Billy Bishop Goes to War
651:Bear, Tracy Lee (2016).
297:Highway of Tears murders
163:Edmonton Theatre Network
104:Edmonton Theatre Network
50:Governor General's Award
1997:Trans Mountain pipeline
1720:Gustafsen Lake standoff
1194:It Is Solved by Walking
408:www.canadiantheatre.com
243:Sacred Roots Production
136:Sacred Roots Production
1972:Caledonia land dispute
1826:Women's Memorial March
1586:Healthcare inequality
1474:High Arctic relocation
1270:Other Side of the Game
1256:Botticelli in the Fire
292:Cultural appropriation
159:believes in the play.
16:Play by Colleen Murphy
1671:Jean Virginia Sampare
1656:Tammy Lamondin-Gagnon
1153:Where the Blood Mixes
981:The Ends of the Earth
276:Lenore Keeshig-Tobias
2052:Missing and Murdered
1612:Missing and Murdered
1452:Forced sterilization
970:Fronteras Americanas
966:Guillermo Verdecchia
748:Moss, Laura (2012).
450:10.1353/tj.2016.0084
188:Paula Simons of the
1967:Burnt Church Crisis
1794:Moose Hide campaign
1666:Helen Betty Osborne
1565:Criminal sentencing
1539:Structural violence
1386:Settler colonialism
944:Amigo's Blue Guitar
928:Ann-Marie MacDonald
766:10.3138/topia.27.47
701:www.imagotheatre.ca
596:www.imagotheatre.ca
545:www.imagotheatre.ca
86:Robert Pickton Case
44:was awarded both a
1977:Clayoquot protests
1570:Mass incarceration
1543:and discrimination
1287:Kim Senklip Harvey
150:Critical reception
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1937:Yukon Land Claims
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1479:RCMP dog killings
1401:Numbered Treaties
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1299:Hannah Moscovitch
869:Criminals in Love
849:Quiet in the Land
269:Downtown Eastside
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2045:Highway of Tears
2002:UnistĘĽotĘĽen Camp
1959:Water protection
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1686:Lisa Marie Young
1676:Loretta Saunders
1641:Immaculate Basil
1624:Highway of Tears
1616:Indigenous Women
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1413:Role of the RCMP
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1252:Jordan Tannahill
1210:Jordan Tannahill
1184:If We Were Birds
1133:The December Man
1123:I Still Love You
1069:The Harps of God
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865:George F. Walker
859:White Biting Dog
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1090:Einstein's Gift
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855:Judith Thompson
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2031:Finding Dawn
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1784:History wars
1661:Serena McKay
1550:Birth alerts
1507:Potlatch ban
1443: /
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1170:Robert Chafe
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1109:John Mighton
1100:
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1079:Unity (1918)
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1018:Djanet Sears
1011:
1002:The Monument
1001:
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729:. Retrieved
727:. 2016-01-26
724:
715:
704:. Retrieved
700:
691:
680:. Retrieved
678:. 2016-01-29
675:
666:
653:
632:. Retrieved
621:The Guardian
620:
610:
599:. Retrieved
595:
586:
575:. Retrieved
571:
548:. Retrieved
544:
535:
524:. Retrieved
522:. 2013-11-17
519:
490:. Retrieved
486:
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411:. Retrieved
407:
383:. Retrieved
381:. 2016-01-22
378:
351:. Retrieved
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30:Pickton case
20:
19:
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2096:Secret Path
1919:land claims
1835:Commissions
1582:Foster care
1502:Pass system
1497:Stereotypes
1023:Harlem Duet
206:Tanya Kappo
99:Productions
36:pig farmer
2161:2013 plays
2155:Categories
2103:This River
1987:Oka Crisis
1915:Indigenous
1436:gravesites
1407:Indian Act
1378:Background
1246:Indian Arm
1174:Afterimage
1075:Kevin Kerr
731:2017-03-23
706:2017-03-21
682:2017-03-21
634:2017-03-21
601:2017-03-23
577:2017-03-21
550:2017-03-21
526:2017-03-21
492:2017-03-21
413:2017-03-21
385:2017-03-21
353:2017-03-21
348:www.cbc.ca
308:References
1942:Land Back
1772:Responses
1220:David Yee
1143:Bone Cage
1113:Half Life
833:John Gray
760:: 47–65.
629:0261-3077
466:164698127
458:1086-332X
265:Pig Girl,
81:Allusions
2066:Pig Girl
1530:Specific
1423:Genocide
1235:Pig Girl
1008:Ian Ross
487:CBC News
286:See also
249:Pig Girl
236:Pig Girl
232:Pig Girl
227:CBC News
195:Pig Girl
169:Pig Girl
156:Pig Girl
143:Pig Girl
129:Pig Girl
113:Pig Girl
109:Pig Girl
93:Pig Girl
70:Pig Girl
63:Pig Girl
42:Pig Girl
21:Pig Girl
1905:Related
1854:Holiday
1779:AmINext
1730:Inquiry
1012:fareWel
1907:topics
1532:issues
1489:Racism
1329:(2023)
1319:(2022)
1307:(2021)
1295:(2020)
1272:(2019)
1262:(2018)
1248:(2017)
1238:(2016)
1226:(2015)
1216:(2014)
1206:(2013)
1196:(2012)
1186:(2011)
1176:(2010)
1155:(2009)
1145:(2008)
1135:(2007)
1125:(2006)
1115:(2005)
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1071:(2001)
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1038:(1999)
1026:(1998)
1014:(1997)
1004:(1996)
994:(1995)
984:(1994)
972:(1993)
962:(1992)
946:(1991)
936:(1990)
913:(1989)
903:(1988)
891:(1987)
889:Prague
881:(1986)
871:(1985)
861:(1984)
851:(1983)
841:(1982)
829:(1981)
627:
464:
456:
48:and a
2110:Taken
2011:Media
1956:
1917:
1870:Legal
1844:IRSSA
1698:
1614:
1541:
1280:2020s
1163:2010s
1046:2000s
921:1990s
814:1980s
754:Topia
725:_EDGE
658:(PDF)
462:S2CID
2023:list
1713:2020
1441:list
1258:and
958:and
625:ISSN
454:ISSN
1954:and
879:Doc
762:doi
446:doi
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