Ishmael Hope (Tlingit) writes about why we need to support Native playwrights.

Actor and former Naa Kahidi Theatre ensemble member Allan Hayton(Gwich’in) reflects on the history of the company and how theatre can be used as a tool for community building and healing.

Playwright Lucas Rowley (Inupiaq) reflects on navigating expectations of Western theatre while also balancing his Inupiaq traditions and community responsibilities.

Vera Starbard (Tlingit/Dena’ina) introduces the series on Alaskan theatre through the lens of Alaska Native performance and storytelling.

Robert Goodwin and Mary Kathryn Nagle discuss decolonizing Western theatre, linear narrative structures, the historic silencing of underrepresented voices, Shakespeare, and more.

Holly Derr discusses the dramaturgical implications of playwright Mary Kathryn Nagle changing one of her characters to a woman in her newest play Manahatta, which premiered at Oregon Shakespeare Festival in March 2018.

Off the Rails, which was produced at OSF in October, shows how Native plays can include depictions or descriptions of Native history as an element of lived experience, not as the entirety of the play’s purpose.

HowlRound announces the four selected convening proposals for the HowlRound Challenge, a new initiative to incubate ideas and seed action to make a better theatre and a better world.

Canadian playwright Colleen Murphy writes about the importance of including Indigenous characters in plays and Indigenous artists in the process of making them.

Ambassador Cynthia P. Schneider, who attended the AsiaTOPA Performance Festival in Australia, reflects how as the United States devalues diversity and imposes restrictions on immigration, Australia recognizes the value of its relationship with its Asian neighbors, and of its own diverse population.

In this installment, Choreographer Carlos Rivera talks about indigenous theatre in Quebec, highlighting the work of Yves Sioui Durand and Catherine Juntas of Les Productions Ondinnok.

Ryan Leeds interviews Ty Defoe about winning the Jonathan Larson Grant, his show Crane: On Earth, In Sky, and how his identity influences his work.

Madeline Sayet reflects on her ancestor Sachem Mahomet Weyonomon, and advocates supporting Native stories and theatremakers.

In the first installment of this new series, a collaboration with Canada’s SpiderWebShow, Yvette Nolan ponders the porous boundary between the United States and Canada, and the importance of theatrical communication in difficult political times.

Dramaturg Deanie Vallone talks with playwright Larissa FastHorse about The Thanksgiving Play, writing a play with all white characters, and the obligation artists and institutions have to their area’s Indigenous community.

Kicking off #IdentityWeek, Playwright Larissa FastHorse discusses workshopping her play What Would Crazy Horse Do? at Santa Clara University, and advocates the playwright’s voice in casting choices. 

Playwright Jaisey Bates urges us to include Native communities and artists in the work to combat climate change and in the work we put on stage.

Amy Schwabauer on Death of a Man by Jairo Cuesta in Akron, Ohio.

Playwright Sharmon Hilfinger discusses how she developed Artic Requiem: The Story of Kivalina with composer Joan McMillen.