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Native American artists were invited to participate and engage in a discussion on representation, erasure, and accountability in US theatre broadly to address the systemic pattern of silencing Native voices.
While this pattern spans decades, HERE Arts Center hosted this public town hall in response to multiple requests from a collective of thirty-seven Native artists and cultural workers for a public, community conversation with two New York City theatre companies, which were previously ignored. These artists asked for transparency and harm reduction measures regarding a planned production titled with a Native racial slur. Unfortunately, receiving this kind of (non)response is not new for the Native American community. This event, hosted by HERE at the collective's request, was Native-led and provided Native artists with a platform to openly discuss and advocate for structural change.
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Tonight I was present at the Native Theatre Community Town Hall. I am in awe of all of the beautiful words that were shared by so many artists from the community. I, unfortunately, did not build up the courage to speak but I want to share what I am kicking myself for not having said.
Siyo, Dagwadoa usdi adayahi. My name is Zach Longstreet and in full transparency, I am a member of the production staff of the Atlantic Theater. However, I am not present as a staff member but as an independent person sharing your concerns and passions, and my words are not those of the Atlantic Theater.
I want to speak to the theme of what I want to see if the future for this community. I moved to New York in 2008. During that first year, in response and attempted recompense to Bloody, Bloody - which had already transferred - Maria Goyanes fought for the funding of a Native Theater Initiative at The Public. As an 18 year old who worked 2 jobs while at school, I was not able to attend but I wrote down the names of the playwrights so I could make sure i didn’t miss their next show. With the following year’s recession, NTI lost funding and did not have another season. I didn’t know at the time that it might have been my only chance to see works by William Yellow Robe and Rhiana Yazzie on a NY stage.
Having worked in the producing department at The Public, I can tell you that a constant conversation is how to keep Theater responsive to the current moment. And that is the future that I want to see for us. No offense, but I Can Not see “Thanksgiving Play” for a 3rd time before NYC finally produces another play by this certified fucking genius! As so many have already said here, there is so much good work out here that is ready to be produced and so many artists ready to be supported.
As a survivor of sibling suicide, I want to see plays like “What Would Crazy Horse Do?” As a child who sought to comfort his aunties facing abuse, I want to see shows like “Sovereignty” and “Silver of a Silver Moon”. I want to see a play pulling inspiration from Rebecca Nagle’s reporting on Supreme Court ICWA cases. I want to see plays by Tara and Maddie and everyone here. I want to be a production manager and producer for Native designers and directors and a supportive manager to Native technicians.
In response to this question, so what do we do? I’d like to propose we attempt to pick up where others left off. And in the spirit of forgiving the “oopsies” but not forgetting, instead of allowing one organization to hold responsibility, establish an independent Native Theater Initiative and demand that each member of the Off Broadway League contribute funding for, at minimum, 1 reading by Native artists, as well as active participation in attending the full Initiative. It is a small start but it would be a chance to both establish self sustainability and sovereignty from the colonially led entities while also requiring them to hold each other accountable for their participation in the growth of these artists and artisans. I would be so ready to participate in that movement if others are as well.