Cole Alvis (she/her) is a Turtle Mountain Michif (Métis) artist based in Tkarón:to with Chippewa, Irish & English ancestors. She is one of the leaders of lemonTree creations, manidoons collective, and AdHoc Assembly, and is on the board of the Dancers Of Damelahamid. Previously, Cole performed in Louis Riel (Canadian Opera Company & National Arts Centre), directed the Dora-nominated bug by Yolanda Bonnell (manidoons collective & Luminato), Lilies by Michel Marc Bouchard (lemonTree creations, Why Not Theatre & Buddies in Bad Times Theatre) and, alongside co-director Michael Greyeyes, was Dora-nominated for the Indigenous opera double bill Two Odysseys: Pimooteewin / Gállábártnit (Signal Theatre, National Sami Theatre Beaivváš & Soundstreams). This spring, she directed a digital presentation of Toka by Indrit Kasapi (lemonTree creations & Theatre Passe Muraille), and alongside Samantha Brown, co-directed White Girls In Moccasins by Yolanda Bonnell (manidoons collective & Buddies In Bad Times Theatre). This fall she directs Salt Baby by Falen Johnson (Theatre Aquarius).”

Colin (Bourke) Wolf is a Métis (MNA) performer, theatre maker, and activist from the North-East of Moh’kins’tsis (Calgary), AB on Treaty 7 Territory. Colin, and many of his family, are Metis Nation of Alberta Citizens. Wolf has relational ties to the Metis communities in Northern Alberta including Lac Labiche, Donatville, and Fort Chipewyan. His Aunties are cycle breakers leading our reconnection to our language, culture, and histories. Metis ID # 007676, Metis families Wolf has relational ties to: Bourque/Bourke, Paquete, Decoine, Chalifoux, Cardinale, and Ladouceur. Wolf graduated with a BFA in Performance from the University of Lethbridge in 2014, and then spent the next 5 years making theatre all over the prairies with dear friends, trusted colleagues, and complicated colonial institutions. His theatre work has focused on the development of new, Indigenous, and politically activated theatre. Wolf co-founded Thumbs Up Good Work Theatre Collective with his sister Caleigh Crow in 2013 when they recognized a gap for independent, Indigenous, and working class artists. After cutting his teeth in TYA, on regional stages, and in Indie theatre in the prairies Wolf felt the call of the North and moved to Whitehorse in October 2019 to serve as the Artistic Director at Gwaandak Theatre Society on the Territory of the Kwanlin Dün First Nation and Ta’an Kwäch’än Council. Colin currently sits on the Indigenous Arts Knowledge Exchange Working Group, The Playwrights Guild of Canada BIPOC Editorial Committee, and has sat on peer juries for numerous arts funders, awards, and selection committees.

Damion Alexander LeClair is a Métis, Two Spirit multi-disciplinary artist and actor who currently resides on the unceded territory of the xʷməθkʷəy̓əm, Sḵwx̱wú7mesh and Sel̓íl̓witulh nations. Damion is currently in their final year at Studio 58. Damion has toured extensively across Canada in multiple TYA productions vitalizing their strength in psychical comedy and theatre. Damion will be featured in Studio 58’s 57th season in Blue Stockings, A Chorus Line and an adaptation of The Kitchen by Ami Gladstone. Damion will also be on tour with Axis Theatre in the Fall of 2022 playing Sqeweqs in Th’owxiya The Hungry Feast Dish by Joseph A. Dandurand. Damion has a strong passion and determination in decolonizing modern theatre stereotypes, tropes and practices. Damion would also like to thank Native Earth Performing Arts for this amazing opportunity to develop their play further and delve deeper into their Métis family ancestry.

Danica Charlie is a mixed Nuu-chah-nulth/settler & queer actor, and 2021 graduate from the Canadian College of Performing Arts.

Since graduating, she has endeavoured to learn more about herself through Indigenous storytelling.

They are a 2022-2023 participant of Native Earth Performing Arts’ Animikiig Creators Unit, Intrepid Theatre’s Indigenous Artist Program, and Puente Theatre’s WorkPlay Residency.

Danica also works collaboratively with all-queer collective Extended Space Theatre as an actor/writer/co-collaborator.

When she is not writing, you can catch her performing on the west coast.
Recent credits include: Miskozi in White Girls in Moccasins (the frank theatre), Mary Jane in The Incredible Adventures of Mary Jane Mosquito (Kaleidoscope Theatre), Imogen in Cymbeline (GVSF), as well as two staged readings with Indigenous Theorist Kim Senklip Harvey.
You’ll find her on stage again in the fall with Axis Theatre touring across BC as Sasq’ets in Th’owxiya: The Hungry Feast Dish.

When she has time, Danica likes to cuddle with her cat Lily.

Currently a Co Artistic Director of Western Edge Theatre in Nanaimo. I am a descendant of the Kwawkwawkw people up north if Van Isle, I have been dedicating myself to the performance arts from the young age of 13 and have been passionate ever since. A writer/director by nature, I do dabble with every other aspect of the arts and hope to continue to do so way into the future.

Deneh’Cho Thompson (he/they) is a director, actor and playwright and displaced and dispossessed member of the Pehdzeh ki Nation. His artistic practice focuses on new play development, acting credits include the world premieres of Fruitcake by Heather Morrison with production dramaturgy by Lenore Claire Harrem, Iron Peggy, by Marie Clements, REDPATCH, by Sean Oliver Harris and Raes Calvert, and Thanks for Giving, by Kevin Loring. This summer Deneh’Cho directed Drew Hayden Taylor’s Cottagers and Indians at the Blyth Festival.

As Assistant Professor at the University of Saskatchewan Deneh’Cho oversees the wîcêhtowin Theatre Program, one of few Indigenous theatre programs at a Canadian university. Deneh’Cho’s research focuses on the development, naming, and centring of Indigenous pedagogies, new play development, and modes of collaboration while centering the values of reciprocity, respect and reflexivity. Deneh’Cho is also engaged in the (re)storying of personal family archives focusing on healing, resilience, and Indigenous storywork as a pathway towards the creation of new works of theatre.

The IndigiBabes are a Toronto based burlesque collective made up of Indigenous artists, activists and aunties interested in empowering themselves and their communities, by challenging the dominate culture narratives of Indigenous 2 Spirit, Trans and Cis Women.

Through performances, community outreach, and shared knowledge, IndigiBabes Burlesque’s vision is to create safer spaces for Indigenous people to celebrate each other and participate in ceremony. The Indigibabes are about reclaiming Indigenous sexuality, sensuality, gender expression and storytelling through the art of Burlesque.