Remapping Relations: Contract Riders, Care, and Indigenous Performance

Abstract

Abstract:

Drawing on Indigenous feminist theories of futurity and care, interviews with Indigenous theatre artists, and a case study on decolonial acts of relational care refused, this article explores how carework in theatre production contracts reveals the labor of Indigenous artists to sustain and expand their communities. It explores the informal challenges Larissa FastHorse issues to producing companies, the contract riders about casting and consultation used by Mary Kathryn Nagle, an accountability rider Madeline Sayet created for the national tour of her solo show, and the conflict between Emily Johnson and her one-time commissioning organization Peak Performances.