Spiderwoman Theater

Company Bio

In 1976, three sisters, Muriel Miguel, Gloria Miguel, and Lisa Mayo and a diverse group of women formed Spiderwoman Theater ensemble in response to the feminist movement in the 1970’s. These women were Native American, Latina, black, and white. Soon, the founding members drifted away and the remaining sisters were left with Spiderwoman Theater. The name Spiderwoman comes from the story weaving Hopi Goddess who taught her people to leave mistakes in their weaving in order that her spirit may come and go. Their mission is to, "present exceptional theatre performance and to offer theater training and education rooted in an urban Indigenous performance practice. We entertain and challenge our audiences and create an environment where the Indigenous, women’s and arts communities can come together to examine and discuss their cultural, social and political concerns" (Spiderwoman Website, 2017). Their plays are strong in storytelling and story weaving, an essential tradition in Native American culture and what it means to be “City Indians”. In their productions, they work with issues such as racism, gender norms and stereotypes. The background for all of their play is a backdrop of a quilt that is handmade. Right now, they are taking donations of cloth to create their next show, Women in Violence II. Their plays also incorporate a video and a soundtrack from their Uncle Joe's powwows and meetings.

Lisa Mayo, or Ola Na Dili (her Kuna name) was born from “The first daughter to come from the stars” because she is the oldest. She studied under Uta Hagen. Because she was “ethnic” she struggled to find work since she “stuck out”. Gloria Miguel studied at Oberlin college and works in film and television while also remaining active onstage. Muriel Miguel is the youngest. She studied under Alwin Nikolais at the Henry Street Playhouse and comes from Open Theater. She also struggled because she was typecast and “too fat”.

Highlighted Play: Winnetou's Snake Oil Show from Wigwam City

The play starts with video clips from the Miguels' uncle Joe’s old Powwows from the 1970’s. When the lights come up, Wild Eye Sam (Hortensia Colorado) meets with Gunther (Lisa Mayo), who is German. A bear (Gloria Miguel) enters and Gunther kills the bear with shooting it, hammering it, and stabbing it. Klekepatra (GM) sees the bear and recognizes it as the one that she and Winnetou (Muriel Miguel) have been looking for. Klekepatra becomes blood brothers with Gunther for killing the bear and to seal it, they smoke from a peace pipe and do a wild ceremonial dance. The dance transforms the scene into three witches (HC, LM, GM) concocting a potion. The women then transform into Indian Princesses. Princess Pussy Willow (LM) acts as the host and introduces the three other princesses: Princess Mother Moon Face (HC), Princess Ethel Christian Christianson (MM), and Princess Minnie Hall Runner (GM). The Princesses perform magic and horse tricks for the audience. At the end, they pitch a “Yataholy Indian Snake Oil”, that is a cure-all potion. The play transforms when a movie comes on and demons (LM, GM, HC) recount stories of their fathers. Winnetou and Gunther enter as the demons exit, and Gunther explains “Indians” to Winnetou (a Native American). Hordes of Indians (HC and GM) enter and surround Winnetou and Gunther, where they torture Winnetou and threaten to kill his family. Gunther fights one of the Hordes (GM). As they fight, the scene abruptly changes. The women play themselves and speak of their own personal identities and memories of their families. The scene turns to Ethel Christian Christianson who reveals that she used to be Irish, but she bought Yataholay Indian Snake Oil at the Plastic Pow Wow, and it turned her into a “real Indian”. The other Princesses come back onstage and bring an audience member with them. They give the participant “Indian Heritage”. After he or she picks their new tribe and name, the women return to playing themselves and discuss the struggles they have faced as Mexican actors playing Native American parts becoming sell outs of their own heritage. The play returns to Winnetou dying, and Gunther just lets him die. Once he is dead, the women picks up their roles as themselves again and leave the play by paying homage to their heritage and culture.

How this play can be used: Winnetou's Snake Oil Show from Wigwam City was written specifically for Native Americans as it pokes fun at how white culture views Native American heritage, although it would be useful for non-Native Americans to watch to teach how harmful stereotypes can be. The play would also be useful for young adults and older.

Sample activity

Have your group make a list of common stereotypes they have heard about their identity and culture. These could be slurs, assumptions, quotes, or anything that they feel that people have or could have said to them.

Go around the group and share what people wrote down. See if there were any similarities among the group members. It might be useful to compile the list. Discuss why things are hurtful and let people from the group share any stories if they have any to share.

Have the group make another list of ways they describe themselves. This list could also include characteristics that they like about themselves, personal stories of their family and friends, and beliefs that they hold true. Once everyone is finished, go around the room again and share the lists.

After the group is done unpacking both lists, have them artistically create something that is inspired from both lists. Below are a few options that relate to the play.

• Using a 5x5 box outline, have each box represent something about themselves, whether it is something about their identity or a stereotype that they are reclaiming. Each box should be different from each other but also connect in some way. Words can be used as well to convey any message that they want to get across. When they are finished, it should look like a quilt.
• Create a spoken word or slam poem based off of a story or saying from one of their lists. While this line should be the base of the poem, both lists should be incorporated evenly.
• Devise a short scene 3-5 minutes. This can either be a monologue or a scene with 1-2 other people.

Have the group share what they created and discuss the differences and similarities found amongst everyone's piece.

Discussion questions

Why do you think Spiderwoman Theater believed it was important to add the videos of the Powwows and how do you think you might feel if you watched this alongside the play?

What are your thoughts on the metaphor of the Hopi goddess' spirit being part of the story? Where do you feel her spirit the most in the play?

What did you think of Native Americans selling culture in the story?

Why do you think people assume that there is a Native American royalty?

Annotated Plays

Persistence of Memory is about the three sisters understanding their heritage through the memories that they have created over the years. Woven throughout the play are video clips of statements from past Spiderwoman artists and previous plays such as Women in Violence and Winnetou's Snake Oil Show from Wigwam City. The play starts out with the three women trying to remember a memory, but it is long forgotten. To remember, the women recount good memories and bad memories. The women then describe what their happy place looks like and what's inside. Muriel remembers her birth and how the doctors treated her family as savages. Lisa sings the song, Persistence of Memory that is about singing for the next generation. Gloria then discuses the burden she feels for her family, while Lisa recalls the painful stereotypes she endured as a child. The three women come together to joke and poke fun how in the theatre business they struggled because of their weight. The women then introduce their family, or the next generation to come. They sing Persistence of Memory another time, each starting at a different time. The three women grapple with what they did or did not understand before and if they understand now. At the very end of the play, the memory is clear that they are trying to remember their heritage and ancestry. They end the play with all three women singing Persistence of Memory.

How this play can be used: This play can be used for teaching heritage and history to young adults. While this can be for all races, this play is geared specifically towards Native American young adults to remind them of the generations that came before them. This play is also useful for preserving the entire history of Native American tribes and nations and teaching the harmful effects of erasure of Native American culture.

Sun, Moon, and Feather tells the sister’s story of growing up with each other and how their relationship grew through laughter, fights, and hard times. The play starts with a tape recording, called the poverty tape, where they remember not having enough money for anything and growing up poor. Then, a video shows their uncle and father’s old Native American Powwows with their relatives where they are dressed in their traditional clothing. When the tape and video stops, the play starts with the three sisters as children, where they are playing make believe. There is a power dynamic between the sisters where jealousy and authority wages gaps between the three. As they transition to when they are young adults, the three women reflect on loneliness and sexuality. Gloria leaves to go off on her own, and when she returns, her sisters welcome her graciously back in, showing that their bond never breaks. While Gloria breaks down because of her failures, Muriel also opens up about her sexuality as a lesbian. The play then transforms into a tea party where the Lisa and Muriel start fighting again, escalating to physically attacking each other. The two women stop abruptly when their father (played by Muriel) come home drunk, turning their attention to stopping him from fighting and jumping out of a window. The sisters come back together, hand in hand and start sensing danger for each other. When they start questioning things, the sisters begin attacking each other and threaten to leave once again. Muriel separates from the sisters as Lisa and Gloria sing to the audience a song called, “Indian Love Call”. At the final transition, the three sisters reunite at their mother’s funeral where they cope with death and family legacy. As the generation before them passes on, the Miguel sisters continue to remember their Native American legacy as they make their own as the new grandmothers of the family.

How this play can be used: This play is useful to explain family relationships and ancestry to young adults. Like Persistence of Memory, although this play is specifically written for Native American culture, the universal themes that are woven throughout the play like sisterhood and poverty makes the play accessible for people of all races.

Additional Resources

Spiderwoman Theater web page

Performance of Winnetou's Snake Oil Show from Wigwam City

Performance of Sun Moon and Feather

Bibliography

Armstrong, A. E., Johnson, K. L., & Wortman, W. A. (2009). Performing worlds into being. Oxford, OH: Miami University Press.

Geiogamah, H. & Darby, J. T. (2010). American Indians performing arts: Critical directions. Los Angeles, CA: UCLA American Indian Studies Center.

Greeley, L. (2015). Ritual and Spirituality. In J. M Clum (Ed.), Fearless femininity by women in American theatre, 1910’s-2010s (pp. 229-284). Amherst, NY: Cambria Press.

Gussow, M. (1982, March 11). Theater: Spiderwoman puts on ‘three sisters’. New York Times.Retrieved from: http://www.nytimes.com/1982/03/11/theater/theater-spiderwoman-puts-on-three-sisters.html

Hemispheric Institute Digital Library Video. (2017). Complete list of works by spiderwoman theatre. Retrieved from: http://www.nytimes.com/1982/03/11/theater/theater-spiderwoman-puts-on-three-sisters.html

Jones, A. (2013, June 28). Native american woman: Playwrights archive: Spiderwoman theatrer. Special Collections & Archives: Miami University Libraries. Retrieved from: http://spec.lib.miamioh.edu/home/native-american-women-playwrights-archive-spiderwoman-theater/

Koehler, R. (1990, November 12). An indian message that carries a punch line: Stage: Spiderwoman theatre celebrates its native american heritage with stories and comedy that counter stereotypes. Los Angeles Times. Retrieved from: http://articles.latimes.com/1990-11-12/entertainment/ca-3380_1_native-american-women

Mayo, L., Miguel, G., Miguel, M., & Colorado, H. (2008). Winnetou’s Snake Oil Show from Wigwam City. In S.A. Huston-Findley, & R. Howard (Eds.), Footpaths & Bridges (pp. 269-287). Ann Arbor, MI: The University of Michigan Press.

Miguel, M. (2013). Hot ‘n’ Soft. In J. O’Hara (Ed.), Two-Spirit Acts (pp. 9-31). Toronto, CA: Playwrights Canada Press.

Native American Tribes of New York. (2015). American indians in new york. Retrieved from: http://www.native-languages.org/york.htm

Quigley, D. (2016). Silenced. American Indian Quarterly, 40(4), 364-378.

Spiderwoman Theater (1981) Sun, Moon, and Feather. In H. Geiogamah, & J. T. Darby (Eds.), Stories of Our Way: An Anthology of American Indian Plays (pp. 287-314). Oakland, CA: Regents of the University of California.

Wilmer, S. E. (Ed.). (1992). Native american performance and representation. Retrieved from https://ebookcentral.proquest.com

Web page compiled by Lauren Bidwell (2017)