![]() ![]() Nagle recalls moving to New York in 2010 and asking artistic directors of theaters why they weren’t producing Native work. ![]() Non-Native storytellers are also exploring the history of white atrocities on Native Americans with Martin Scorsese’s “Killers of the Flower Moon” telling the story of the Reign of Terror in Oklahoma, and documentary-maker Ken Burns examining an animal central to the Great Plains with “The American Buffalo.” And we’ve just seen that flipped on its head,” Nagle said. It may have been about some Native people, but it was not written by Native people. Most Hollywood film studios had never produced any content actually written or produced by Natives. “The truth was most theaters had never produced a single play by a Native playwright. ![]() ( According to the Census, 9.7 million Americans claimed some Indigenous heritage in 2020, or 2.9% of the total U.S. In television or on stage, Native representation was virtually nonexistent. In 2020, the University of California, Los Angeles published a diversity report that examined media content from 2018-2019 and found Native representation to be between 0.3%–0.5% in film. “We stand on the shoulders of so many folks that came before us.” I hope it’s the beginning of an era,” says FastHorse, a member of the Sicangu Lakota Nation and a 2020 MacArthur Fellow. From “Reservation Dogs,” “Dark Winds” and “Rutherford Falls” on TV to “Prey” on the big screen and Larissa FastHorse becoming the first Indigenous female playwright on Broadway, barriers are being broken. Nagle’s 2018 play has landed in New York City at the prestigious Public Theater this winter and it’s just the latest in a flowering of Native storytelling. ![]()
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