Each Indigenous performance project aspires to identify and reaffirm Indigenous and traditional expressions, worldviews, and performance structures. Rather than adopting Western dramaturgical and performance expressions, each project seeks to identify and articulate a place-based performance on a group’s own terms. In many ways, the performers are activated as tradition bearers, bridging the two worlds that they inhabit, the contemporary and the traditional. In turn, their unique cultural expression and worldview is given expression, enriching personal and cultural identity and the dialogue of globalization. Each culture holds a unique perspective, and each voice on the earth must be heard.

By crossing boundaries, he explores and finds the means to tell the story of indigenous societies and cultures. He then transplants and transforms what he finds to serve as expressions of contemporary society.

—Sub Sahara Informer

Addis Ababa, Ethiopia

Like a modern-day Pied Piper, a singing man in a mock Roman helmet ran through the Cato Crest squatter settlement outside Durban, trailing hundreds of tiny children behind him. The 50-minute play, a traditional Zulu folk tale called Makhanda Mahlanu, espousing democracy, understanding, and tolerance, used mime, magic, percussion, music, humor, and audience participation to tell the story of an autocratic five-headed snake's search for the perfect wife. Wide-eyed children as young as two and three watched the performance in rapturous delight while grey-haired men and old, toothless women chuckled alongside their families.

—Sunday Times, Durban, South Africa

photos: Shelley Kjonstad

The characterization of legendary figures comes across as though in a dream. The imagery may not seem to make logical sense. Instead, the surreal atmosphere creates an emotional response, providing a primitive, inner understanding. This dream world allows the audience to bridge the gap between ancient and modern cultures. The dreamy quality of the production evokes a sense of eeriness and wonderment of the unknown.

—Fairbanks News-Miner, Alaska

Perhaps the most astonishing thing about 'Emandulo' is that is was devised and directed by an American, Thomas Riccio, on his first visit to South Africa. NAPAC is to be saluted for bringing someone of Riccio's caliber and commitment to South Africa. I recommend you drop your defenses and let yourself have an extraordinary experience.

—Natal Witness, South Africa

Inspired by an ancient Inupiat legend, Tom Riccio conceived and directed the drama after years of research. Qayaq: The Magical Man is a mesmerizing celebration of the richness of Alaska Native culture, an impressive achievement.

—Fairbanks News-Miner, Fairbanks, Alaska

The much anticipated and written-about season finale has come with a sensational play: 'Sardaana.' After two months of intensive preparation by the director Thomas Riccio and the actors of the Sakha National Theatre, the play opened to an appreciative audience. It raised laughter, caused surprise, and, in the end, left something in the viewer's soul. The most astonishing part was the plethora of connections and ties.

—Sakha Daily, Siberia

Puppetry in Kenya has flourished because it is non-threatening and has the uncanny ability to entertain and communicate simply and directly. Curiously, puppetry, or the animation of figures within a narrative context, was never developed into a performance tradition in Africa. Puppetry per se is not indigenous to Africa except for a few West African traditions, most notably the thousand year old “kotébe” from the Niger River area of Mali. The absence of puppetry from the otherwise vibrant and varied African performance traditions is most likely due to Africa’s use of totemic, fetish, and mnemonic figures which have been associated with witchcraft in a number of ethnic groups. Puppetry was originally introduced to Africa during the colonial era and then used sporadically, in combination with Theatre for Development activities, since the 1980s. However, the fact that puppets have no history or tradition in Africa is a part of its success. Because there are no preconceived notions, expectations, taboos or traditional contexts attached to puppet performance in Africa, puppets remain a novelty, neutral and free to define their own place, expression, and function.

—excerpt, Kenya’s Community Health Awareness Puppets, PAJ