From “the Previous Tales” to the New

All of it begins with story. The opening moments of Wicoun introduce teen siblings Khoskalaka (Kenny Ramos) and Áya (9A) as they wrestle to complete highschool whereas concurrently elevating a houseful of rambunctious siblings and cousins on the Rose Bud Reservation. The affliction of habit apparently prevents the adults within the household from correctly caring for the kids. To entertain and educate the younger ones of their cost, the studious Khoskalaka writes an authentic comedian ebook through which a brain-eating toxin referred to as “meth-icine” creates a brand new breed of zombies who terrorize the countryside. Reasonably than consuming brains, these distinctive zombies persuade their victims to attempt meth-icine, which after all creates extra zombies. As a pressure of excellent within the comedian ebook, Khoskalaka creates a “gradual speaking” Elder Superhero (Rosetta Badhand-Walker) who fends off a zombie invasion by boring the “twitchy” attackers into submission and/or by providing them dwelling baked cookies. Heartbreaking, sure, but in addition hilarious.

Quickly thereafter, Áya, who presents as feminine however lives in what FastHorse describes as “a real two spirit place typically referred to as non-binary,” finds themselves in want of an actual Lakota superhero. As Áya walks alone on an remoted street, three nefarious characters seem. As much as no good, they need to go to one of many kids protected in Áya and Khoskalak’s dwelling. Described in FastHorse’s colourful diction as “rez necks,” these menacing guests encompass two of Native characters and one “white man.” Distracted by Áya’s courageous diversion, the white man turns his aggression towards Áya, threatening sexual assault. Maybe impressed by Khoskalaka’s comedian ebook, Áya accidently and surprisingly summons Wówačhaŋtognake (Gina Mission Celeb Mallory). Roughly translated from Lakota as “Bravery,” Wówačhaŋtognake seems from the dimensionless sacred area costumed in conventional Lakota costume however with Marvel-esque design touches, together with a Implausible 4-style embroidered belt buckle centering her deerskin gown. Utilizing her tremendous power, Wówačhaŋtognake shortly subdues the rez necks after which instantly devotes herself to serving to Áya uncover their true function in life.

To transition right into a Lakota superhero robust sufficient to guard their household, Áya should first totally settle for their very own gender identification.

Extra Lakota superheroes quickly be part of the hunt. First comes the shapeshifter Wówačhiŋtȟanka (Christopher Alexander Piña), which roughly interprets from Lakota as “Perseverance.” With two superheroes now in tow, the teenagers embark on a street journey throughout the state to Speedy Metropolis to hunt knowledge from a comic book retailer proprietor named Marcus (Brandon J. Sazue Sr.). Once they attain the foothills of Paha Sapa, a superfast superhero named Wóohitike (Victoria Picotte-SunBear) joins the group. Wóohitike means “Generosity” in Lakota.

After a number of issues, Áya ultimately discovers that the true energy to guard their household resides in embracing “the outdated tales.” As mentioned earlier within the play, the outdated tales encompass narrative from the elders that everybody used to know, however which have sadly been forgotten by many. To transition right into a Lakota superhero robust sufficient to guard their household, Áya should first totally settle for their very own gender identification. Khoskalaka coaches, “It’s the outdated approach. Be you. All of you. No extra preventing with who you’re.” FastHorse’s stage instructions successfully describe the transformation witnessed onstage: “Áya makes a grand dramatic gesture to shed the feminine expression of themself and transitions earlier than our eyes to a trans man, with a little bit aptitude that holds their feminine energy too.” On this majestic and magical flash, Áya transforms into Ahí, and a fourth mighty Lakota superhero is born.

FastHorse intersperses her epic story of changing into with a collection of poetic interludes that poignantly categorical touchstones of the up to date Indigenous identification. Presumably taken from her fieldwork interviews, these statements supply a number of responses, each in English and Lakota, to the next prompts:

“I really feel highly effective when…”

“Issues I need to change: …”

“My superpower is…”

Delivered as a refrain of voices by the appearing ensemble, the handfuls of responses embrace empowering statements reminiscent of “I really feel highly effective when my hair is in a braid,” “issues I need to change: colorism,” and “my superpower is being a caretaker.”