ᐅᐢᑫᐢᑫᐧᐤ ᐸᓯᑯᐃᐧᐣ
Oskeskwew Pasikowin
New Woman Standing
A Play in One Act
by
Northern Thunderbird
Copyright © 2016
Lance D. Morrison
Toronto, ON
Note
This play is a work of fiction. However, many of the situations and stories are taken from real events and real people.
This work may be triggering to many people, particularly Indigenous people and those directly affected by the Resident School System in Canada.
Please practice self care while working with this text.
Sâkihiwêwin.
Cast of Characters
Freda Smoke (Older): A Cree woman in her 50s.
Freda Smoke (Young): A 10-year-old Cree child.
Lorna Greyeyes: An 8-year-old Cree child.
Priest: A wooden cut-out
Nun: A wooden cut-out
Reporter: Television News Anchor (Audio only)
Murray Sinclair: TRC Commissioner (Image only)
Marie Wilson: TRC Commissioner (Image only)
Wilton Littlechild: TRC Commissioner (Image only)
Scene / Time
Mid-1960s Saint Peter Damian Indian Residential School
2008-10 Regina, Saskatchewan
Set Design
The back wall of the set consists of five large windows. These will act as projectors during various scenes.
The main stage will have three areas:
- Stage left will have a long table that extends into the wings of the theatre
- Centre stage will have two basic metal framed beds with basic bed dressings
- Stage right will have two elementary school desks
Additional sets:
- A living room set, consisting of an older couch, end table, coffee table and television. The room will be a mess of empty beer and alcohol bottles, disposable food containers and wrappers around the tables and floor. This set will be on a platform with wheels to allow the room be brought on and off stage with ease.
- One table with two chairs
Scene 1
SETTING: We are in the SMOKE living room, which reflects the dilapidation of the character’s life: empty beer and alcohol bottles, takeout food garbage and other mess is strewn about.
AT RISE: Lights come up through the back windows. We see the sun setting into dusk.
A loud crashing sound is heard followed a woman’s drunken laugh.
Lights come up on living room. FREDA SMOKE is between the couch and the coffee table. She is intoxicated and laughing at herself while struggling to get herself onto the couch. She holds a beer in her hand as she finally settles into the couch, still laughing.
FREDA: Shit! Ever dumb. (laughs)
(She lays her head back and slowly dozes off. The beer bottle drops from her grasp as she falls asleep and drops on the floor.)
(Blackout)
(End of scene)
Scene 2
SETTING: The dining room at Saint Peter Damian Indian Residential School. The table is long and continues into the wings of the stage. The light through the windows suggests sunset – it’s dinner time.
AT RISE: FREDA sits alone at the end of the table. She is eating from a small bowl which only has mush in it.
The wooden NUN is wheeled in and her arm raises to point towards the end of the table. FREDA looks towards the NUN and we see LORNA enter, carrying her own small bowl and spoon. She looks in the direction of the NUNS pointed finger and takes a seat next to FREDA. The NUN is wheeled off.
LORNA: Lorna nitisiyihkâson.
FREDA: (Looks around for the NUN)
Akayasimo! Speak English! Don’t speak Indian – they’ll hit you or stick pins in your tongue.
LORNA: Sorry. I forgot. My … My name is Lorna.
FREDA: I’m Freda. You new here? I’ve not seen you, anyways.
LORNA: Yeah. I got here last night. I don’t like it. I want to go home.
FREDA: That’s what I said three years ago. I got to go home last year in the summer, but that’s it. Where is home for you?
LORNA: I’m from Broken Engine reserve. I don’t think it’s far from here but I don’t really know – they drove real fast and we stopped to pick up other Indian kids while we came.
FREDA: BROKEN ENGE!! I been there! I went up there three years ago, juss before I’d came here. Ever nice, that place. Beautiful lake, wha.
LORNA: Yeah. It’s good. We don’t live in town, us. Nimosôm and nôhkom (Pauses and looks around, scared) … Grandpa and grandma have a cabin in the bush. That’s where we live. Kinda over the lake and up a ways.
FREDA: Ohhhhhh I miss the bush! I’m from the Friendship River rez. Nice there to, yeah, but no lake. Ho-leh, barely even a river anymore anyways. But hooooooooooo … lotsa bush up there.
LORNA: So, you been here three years? Ho-leeeeeeh. I don’t want to be here that long. I already want to go home. This place is scary. Ever mean, those nuns, wha?
FREDA: They are. Juss don’t tell them that. (laughs). But, I’m smart me. I know how to make sure I don’t get in trouble.
LORNA: I don’t want to get in trouble. Can you teach me too?
FREDA: Neeeeeeeeeh (pushes LORNA on the shoulder, playfully). Of course. You’re my new friend… and you’re from Broken Enge – you’re probably my cuzzint. I’ll protect you. I’ll always make sure you’re safe.
(The girls grab each other in a side hug)
(Blackout)
(End of scene)
Scene 3
SETTING: The girl’s dormitory at Saint Peter Damian Indian Residential School. There are two beds center stage; plain, simple, and modest. White sheets with grey wool blankets on top, one simple pillow on each bed.
AT RISE: The full moon shines through the window. Stage lights slowly rise, but only to a bare dim – it’s nighttime and everyone should be sleeping. FREDA and LORNA are both awake, lying in bed, looking at each other and talking. We enter in the middle of their conversation.
FREDA: Me, the Indian Agent eventually found me. My kôhkom tried to hide us; ever smart, her. She didn’t want us coming to the school, so whenever the Indian Agent came around, she would take us and hide us. I remember she told me once, her, she tells me she even hid me in the floor! Ever weird! Juss threw me and Leroy in the floor, juss like that. But she hid us good – that’s why I only come here three years ago when I was 9, not when I was 6 like I shoulda.
But that one time, he found me, that Indian Agent. He wasn’t suppose to be there that day, but he was. Boy, was kôhkom ever scared. She juss grabbed me and Leroy and run into the bush when she seen his car. But me, I fell and tried to catch up. I couldn’t run as fast into the bush, so they kept going and I lost them. I didn’t know what to do, me. So I thought I should try to climb in a tree and hide there. That was stupid of me, it was my own fault. What kind of Indian tries to hide in a birch tree in October! Ever dumb!
Anyway, he found me pretty easy, that guy. And he took me away. I heard him getting mad at kôhkom, because he knew she was hiding Leroy, but she juss lied to him, my kôhkom. She said “I don’t have no grandson.”
So I think he’s still there with her. I’ve not seen him here anyway. That’s good.
LORNA: Why didn’t your kôhkom want you to come here? My mom and dad said I should come here. When the Indian Agent come around and told them about the school, they said it would be good for me.
FREDA: All my grandparents came to this same school. Mom and dad too. They don’t like it. They say it has bad spirits live here.
LORNA: (Visibly scared) Like… real bad?
FREDA: No. Don’t worry. Not in a bad way. Juss… some of the Nuns and some of the Preese can be real mean. But if you behave and listen to them, most of them juss leave you alone. And Sister Sharon is real nice.
LORNA: Well, Sister Jude was ever mean. The one that brought me into the dining room last month when we first met, you and me. She’s the one that cut off my hair and made me have a hot bath in water that smelled all funny. Juss rough, her.
I don’t know why mom and dad sent me here. I miss them so much. Why would they want me to come here with such mean people?
FREDA: Don’t worry. I told you, if you juss listen to them, they’re not so bad. And keep away from Sister Jude! Neeeeeeeeh. (Laughing). Anyways, like I told you. I’m here. I’ll protect you. I’ll always make sure you’re safe.
(Blackout)
(End of scene)
Scene 4
SETTING: A classroom at Saint Peter Damian Indian Residential School. There are two desks stage right. FREDA and LORNA each occupy one.
AT RISE: The sunlight in the windows suggest midday. The lights rise on the classroom as FREDA and LORNA are both working at their desks.
LORNA: (Under her breath, swearing) Kiskânak!!
FREDA: (Looks around, quickly) Shhhh! I told you, don’t speak Cree. You’ll get it.
(Projection on wall above windows: “Children were forbidden to speak their native language in the schools. The goal of the Residential School system was to “Kill the Indian in the child””)
LORNA: That’s stupid. Sister Jude speaks her bad English and speaks her French sometimes too. Why can’t we speak Cree?
FREDA: I don’t know why. We juss can’t.
LORNA: Stupid.
FREDA: I know. But juss make sure she don’t hear you.
(Wooden NUN wheels in beside them)
LORNA: HEY! How come YOU can speak English an’ French, but we can’t speak Cree?
FREDA: (Grabs LORNA by the arm and tugs it) Shhhhhhhhhhh. I’m trying to protect you.
(Wooden NUN raises arm with open palm)
LORNA: KISKANAK!!
(Blackout)
(Sound of three slaps and LORNA screaming)
(End of scene)
Scene 5
SETTING: The girl’s dormitory at Saint Peter Damian Indian Residential School.
AT RISE: Moonlight through the windows. The girls, once again are chatting while others are asleep.
(The girls are giggling)
FREDA: Calm dooooooown!
LORNA: I seen you! You’re always looking at him, you. (Singing) Freda has a boyfriend.
(Makes kissing faces and hugging motions)
FREDA: Shut up, you. Juss stupid, you. (Hiding her own laughter). Besides I seen you looking at that Redcrow boy all the time.
LORNA: Who? George?! Ever sick. Besides… He’s too old for me, anyway. He’s almost 13, that one. I’m only ten, me. YOU. You should be his girlfriend.
FREDA: No wayyyyy. He’s too dumb for me. Sure, he talks nice, but he’s ever stupid in math.
LORNA: Who cares about math class when you’re snagging? Eyyyyyyyyy.
FREDA: Calm down. Anyway. What about you? Have you even kissed a boy yet? You’re almost 11 now, no boyfriends?
LORNA: (Noticeably shut down. Turns away from FREDA) No. No I haven’t.
FREDA: Come on! Not even one boy?
LORNA: NO! I said no. I don’t want to talk about this no more.
FREDA: (Reaches out her arm) Lorna. What’s wrong? Are you mad at me?
LORNA: No. I’m … I’m juss tired. I want to go to sleep. Ka wihmeyotipiskisin. Goodnight.
FREDA: Lorna, look at me. I don’t want you mad at me. If something is wrong, tell me. I want to make sure you’re safe.
LORNA: Ka wihmeyotipiskisin!
(Blackout)
(Sound LORNA crying)
(Lights up to a light dim to see the wooden PREIST standing beside LORNA’s bed)
(Blackout)
(End of scene)
Scene 6
SETTING: The dining room at Saint Peter Damian Indian Residential School.
AT RISE: The light through the window suggests morning, sunrise. FREDA is eating her breakfast. LORNA is sitting beside her but doesn’t have any food in front of her.
FREDA: Why aren’t you eating? I haven’t seen you eat in three days.
LORNA: They told me I can’t eat right now.
FREDA: What? That’s stupid. Here have some of mine. I’ll share.
(Offers LORNA a spoonful of mush)
LORNA: No. I can’t. They said I’m part of some espear’ment.
(Projection on wall above windows: “Many Residential Schools were used as laboratories for studying human dietary requirements and the effects of dietary interventions on malnourished children. This nutritional testing was sanctioned by Indian Affairs.”)
FREDA: They can’t espear’ment on kids. That’s stupid. Here. Have some. Michi. Kita.
LORNA: No! Don’t. (Pushes FREDA away and looks around nervously). The Preese, he told me I’m not allowed. I don’t want to get in any more trouble.
FREDA: “More trouble”? What do you mean “more trouble”?
LORNA: Nothing. It’s fine. Really. It’s only a few days, and besides, they give me medicines to take instead of food. He said they do the same thing as food, him.
FREDA: Only food does the same thing as food. And this (pushes at her bowl), this isn’t even food anyway. Oh, I can’t wait to get home and eat some atihkowiyâs. I miss caribou stew.
LORNA: With warm bannock!
(Both girls smile)
Okay stop it. I’m getting hungry.
FREDA: Look at you. Ever skinny. You’ve never been this skinny in the year that you’ve been here. Please. Eat mine. I won’t tell.
LORNA: It doesn’t matter if you tell or not … they’re always looking, them. You know that.
FREDA: I know. I juss want to make sure you’re okay.
LORNA: You’re my best friend. I’ll always be okay with you protecting me.
FREDA: Ke Sakihitin.
LORNA: I love you too.
(Blackout. Projected words remain)
(Projector with words out)
(End of scene)
Scene 7
SETTING: The girl’s dormitory at Saint Peter Damian Indian Residential School.
AT RISE: The girls are getting settled into bed; fluffing pillows and tucking themselves in.
LORNA: I hate when we have to take those baths in that stinky water.
(Projection on wall above windows: “Many Residential School survivors spoke about being put in scalding hot baths with chlorine. They were told to “scrub the Indian off” of them.”)
FREDA: Ever gross, yeah? It’s too hot too.
LORNA: It doesn’t even do anything, wha! Look at me (puts her leg out of the blankets). Two years here – two years of those smelly baths – and I still look Indian.
FREDA: A real “redskin”, you. Ho-leeeeh.
LORNA: I’m always gonna be a redskin, me. They can’t change me.
FREDA: Especially with me looking after you, yeah?
LORNA: (Throws her pillow at FREDA) I can look after myself now … you juss help a little bit when I first came here.
FREDA: Eyyyyyy. I’ve been taking care of you since day one. And I always will, li’l cuzzint.
(Blackout. Projected words remain)
(Projector with words out)
(End of scene)
Scene 8
SETTING: The girl’s dormitory at Saint Peter Damian Indian Residential School.
AT RISE: Lights rise just on LORNA and her bed. Right beside her is the wooden PREIST. His hand extends, signalling her to come with him.
(Blackout)
(Sound of LORNA crying)
(End of scene)
Scene 9
SETTING: A classroom at Saint Peter Damian Indian Residential School.
AT RISE: The girls are working on classwork at their desks. LORNA looks around the room, suddenly confused.
FREDA: What are you looking at?
LORNA: Where is Jack? He wasn’t in class yesterday either.
FREDA: (Looks around the room) I don’t know. I seen him the other day on the swings with the other two, but not since.
LORNA: Probably sick. It’s getting cold out again.
(Projection on wall above windows: “More than 30 students are recorded to have died while running away from residential schools. Most succumbed to exposure.”)
FREDA: Yeah. He must juss be sick. He’ll be here tomorrow.
(Both girls go back to their class work.)
(Blackout)
(Sound of train going along tracks)
(End of scene)
Scene 10
SETTING: The girl’s dormitory at Saint Peter Damian Indian Residential School.
AT RISE: The girls are both in their beds. FREDA is sleeping still, but LORNA is restless.
FREDA: Hey. What’s wrong?
LORNA: I can’t sleep. I don’t feel right. I’m scared.
FREDA: You’ll be fine. I’m here.
LORNA: I had a bad dream. I was dreaming of a snake. My nôhkom says that’s a bad omen for Cree women. I’m really scared, Freda.
FREDA: Don’t believe that Indian stuff, Lorna. You’re going to be fine. Remember, I’m here. I’ll protect you. I’ll always make sure you’re safe. (FREDA reaches out her hand and LORNA takes it)
(Blackout)
(End of scene)
Scene 11
SETTING: The girl’s dormitory at Saint Peter Damian Indian Residential School.
AT RISE: Lights come up only on LORNA. The wooden PRIEST is beside her bed, hand out.
(Blackout)
LORNA: NO! Please! Namoya. MAHTI!!! STOOOOOOOOOOOOOP!
(Sound of repeated slaps)
(Projection behind windows: Bolts of electricity while electric buzzing sounds play.)
(Projection on wall above windows: “In some schools, children would be punished in what was a metal-framed chair with a wooden seat and back. After being buckled into the chair, an electric current from a hand-cranked generator was run into their bodies.”)
(Sound of a heartbeat, slowly becoming slower and fainter)
(Projection on wall above windows adds: “Some children didn’t survive this punishment.”)
(Sound of heartbeat eventually stops. After a 5 second pause, a faint drum beat starts and gradually grows louder. Once at full tempo, an off-stage singer begins singing an Honour Song or Travelling Song, to honour the death of LORNA. This song continues through scenes 12, 13 and 14.)
(Sunrise begins in the windows, and light shines on FREDA, who is just waking up. She looks for LORNA who is not in her bed.)
(Blackout)
(End of scene)
Scene 12
SETTING: The dining room at Saint Peter Damian Indian Residential School.
AT RISE: Lights come up and FREDA is alone at the table. She looks around for her friend.
(Blackout)
(End of scene)
Scene 13
SETTING: A classroom at Saint Peter Damian Indian Residential School.
AT RISE: Lights come up and FREDA is at her desk, while the desk that belongs to LORNA is empty. FREDA looks around for her friend.
(Blackout)
(End of scene)
Scene 14
SETTING: The girl’s dormitory at Saint Peter Damian Indian Residential School.
AT RISE: Lights come up and FREDA is sitting on her bed, looking the bed that belongs to LORNA. The bed has been stripped, leaving only a mattress and frame.
(Honour Song or Travelling Song singer stops. After four more beats, the drumming stops as well. In the silence, FREDA begins to hum the Honour Song or Travelling Song.)
(Blackout. Humming continues.)
(End of scene)
Scene 15
SETTING: In the SMOKE living room.
AT RISE: FREDA is still passed out, as she was in the opening scene. She begins to stir as dusk sets in through the window.
FREDA: (Hums a final push-up of the Honour or Travelling Song.)
(Muttering) I’ll protect you. I’ll always make sure you’re safe.
(FREDA stirs awake. She looks at her empty hand to see her beer is gone. She looks at various empties on the table until she finds one that has some remaining, and drinks it. She leans back on the couch and searches for the remote. Locating it, she turns on the TV.)
Reporter: (Audio only) This afternoon, Prime Minister Stephen Harper announced the three Commissioners of the Truth and Reconciliation Commission. Justice Murray Sinclair, Marie Wilson, and Chief Wilton Littlechild will lead the panel with Sinclair acting as Chair. (As the names of SINCLAIR, WILSON, and LITTLECHILD are named, their image appears in the windows.) The Truth and Reconciliation Commission is a component of the Indian Residential Schools Settlement Agreement. The Commission will document the truth of survivors, families, communities, and anyone personally affected by the Indian Residential Schools experience.
FREDA: (Sits up, suddenly sobered) Shit.
(Blackout. Images of SINCLAIR, WILSON, and LITTLECHILD remain.)
(End of scene)
Scene 16
SETTING: A simple table at Front Centre Stage, with one chair behind it.
AT RISE: Images of SINCLAIR, WILSON, and LITTLECHILD remain. FREDA is sitting in the chair, facing the audience.
FREDA: My name is Freda Smoke. From 1962 – 1969 I attended Saint Peter Damian Indian Residential School. I want to share my story, but I also want to share the story of my friend Lorna Greyeyes, who is no longer here. She was killed at Saint Peter Damian.
(Blackout)
(End of scene)
Scene 17
SETTING: The SMOKE living room.
AT RISE: FREDA is seated on the couch, looking at the mess that still surrounds her.
FREDA: Fuck this shit. (She reaches for the garbage can and starts clearing the table in one arm swoop. While still sitting, she clears garbage from the tables and floor as the lights fade.)
(Blackout)
(End of scene)
Scene 18
SETTING: The stage is clear of all sets and props.
AT RISE: FREDA stands Front Center Stage, alone. This is the first time her character is seen to be standing in the play. Stoic, yet relaxed and smiling.
(Projection above windows: ᐅᐢᑫᐢᑫᐧᐤ ᐸᓯᑯᐃᐧᐣ )
(Projection above windows adds: Oskeskwew Pasikowin)
(Projection above windows adds: New Woman Standing)
(Sun begins to rise in the windows to reveal both young FREDA and LORNA, standing in them, smiling. As the sun continues to rise, the entire back wall is raised, revealing a beautiful sunlight across the stage as the two young girls remain. They walk up to join older FREDA.)
(Blackout)
(End of play)
Backstory
I originally wrote this play as an assignment in late-2016; we were assigned to write an essay on Residential Schools, but I wanted to approach this area through storytelling, and this story came to me. My professor encouraged me to enter it in The President’s and LA&PS Creative Writing Awards, a York University wide writing competition, in January 2017 where it later was successful in winning the First Prize in the Stage-play category.
The judges had this to say: “Framed by scenes of demoralization and ultimate recovery, New Woman Standing dramatizes, in a series of stark episodes, the oppression, cruelty and abuse endemic to Canada’s Residential School system. The courageous alliance of two young Cree girls, in mutual protection and comfort, is not enough to save the life of the younger one, condemning the survivor to grow up in despair. Vividly and simply imagined, fuelled by outrage and affirmation, New Woman Standing combines colloquial Aboriginal English with fragments of forbidden Cree, and confidently employs the resources of theatre to make a powerful statement.”
