Artistic Process

Co-writer and co-director Rosalind Williams has been gathering and archiving stories, teachings, and language from Splatsin Elders since the 1970’s and is respected as the cultural historian of Splatsin First Nation. The creation of Tuwitames was driven by her desire to find ways to get the community in general, and youth in particular, to learn traditional teachings, practices and language which, because of shifts in cultural practice and lifestyle, are no longer known by most people.  Rosalind felt that the embodied learning that takes place in theatre and storytelling of this kind would be the best mode to create a sense of connection for participants and audience members to the land, which provides everything we need and reawaken the traditional practices that best keep this connection alive. 

The intention was that “Tuwitames” would also bring to light the collective pain and despair felt by the Splatsin people from the 60’s/70’s “Scoop”, when indigenous children were taken away from their families of origin - still felt 40 years later and now silently transferred to Splatsin youth, often without any real understanding by the youth of what they are inheriting. 

Based on our previous collaborations, Rosalind requested that Cathy Stubington (Runaway Moon Theatre) and James Fagan Tait (Vancouver-based director) work with her to bring Tuwitames to light. Rosalind brought to the table many stories and histories, which the three collaborators sculpted into a play designed for the cultural yard of Splatsin Tsm7aksaltn and the people who would be performing it. She also brought to the script many songs in Secwepemtsin, which were developed in order to help teach the language.

In 2019, Splatsin Tsm7aksaltn produced a play (for which Runaway Moon served as production /design consultant) written by Rosalind Williams and directed by James Fagan Tait, called Swati7 ra Skwast (What is your name?), the next in this ongoing legacy of community plays.

Participation & Impact

As always, our extensive outreach and invitation was that “Everyone is Welcome” and indeed, everyone is needed. The 53 cast members were from the Splatsin and Enderby and from other Secwepemc bands of Neskonlith and Adams Lake. Many others helped make costumes, masks, cultural items, and props. For many it was a first experience with acting and putting on a play. 

Some reflections from participants and audience: 

Many expressed thanks for the opportunity to learn and talk about the experiences. From across the cultural divide people were happy to talk about and identify differences. Elders were thankful to talk with their own youth about concerns. Visiting artist and singing coach Renae Morisseau expressed amazement to be in a room with so many wise women. 

Tuwitames was a coming together of people from three Secwepemc bands who don’t usually mingle. Some expressed how even within the community people don’t often work together so positively. One participant was really looking forward to going out to find more theatre experience. A father and son bonded through being in the play together. Young people found their place in the community. A non-native actor, in her sixties, said that this was light-years from her experience, and that going to school (from elementary through to Master’s) didn’t prepare her for this understanding of local history and people. Many said that the education system falls short in relevant curriculum.

Many people learned stories and history from their own community that they’d never heard before. From outside of the band community, the play helped deconstruct preconceptions and long-held assumptions. In spite of the experiences, it was appreciated that the First Nations people could accept outsiders into the project. It was recognized that this was not the “white people” imposing the story. Audience members approached actors at intermission, after the show, and even in town, expressing an appreciation of the welcome, and an apology for ignorance of what had happened. 

By all accounts Tuwitames was an unmeasurable success. People came from the neighbouring settler communities, Splatsin band, other Secwepemc communities, and from farther afield (Ottawa, Vancouver) to see the show. We were told over and over by audience members that they were moved to laughter and to tears. Many said they laughed till they cried, then cried all the way through the intermission and the second act. The material and the way in which it was presented clearly had a profound effect. In some cases, this was because people had not previously been aware of how the children were taken away here. While one person said that she did not want to come because it was bringing up something that was in the past, others who came said that they now understood why this event in the past is part of the present. A cast member told us that people hugged her at the intermission, apologized, and thanked her for playing the role that she played.