This meditation on the poetics of re-worlding follows the threads of Spiderwoman Theater’s Storyweaving practice back to its Guna and Rappahannock sources to illuminate its history, mechanics, and development for coming generations.

The Spiderwoman Theatre, the longest-running Indigenous theatre company in North America has heralded the revolutionary methodology of Storyweaving for generations of Indigenous artists. Storyweaving is a distinct methodology that governs the dramaturgical structure and performed transmission of the company’s plays on the contemporary stage. The practice of Storyweaving predates written history. It has been (and remains) specific to tribal storytellers across the continent.

The reclamation, then, of this aesthetic legacy by contemporary Indigenous storytellers is a crucial act of recovery. Jill Carter, an Anishinaabe-Ashkenazi theatre-worker and scholar, examines the process and development of Storyweaving. She studies how Storyweaving imagines and architects a functional framework that is being adopted and adapted by artists from myriad nations to create works (on the page and stage) that facilitate the healing, transformation, and survivance of their communities. Between the Layers pays respects to the teachers and visionaries that moulded this practice and encourages future generations to continue its legacy, while making a much-needed contribution to the study of Indigenous theatre and performance.

In its painstaking documentation of the Storyweaving artform, Between the Layers refuses the devaluation, erasure, and suppression of Indigenous culture, while contributing to the dissemination and celebration of Indigenous Knowledge Systems.