bug is a solo performance and artistic ceremony that highlights the ongoing effects of colonialism and intergenerational trauma experienced by Indigenous women, as well as a testimony to the women's resilience and strength. The Girl traces her life from surviving the foster care system to her struggles with addictions. She fights, hoping to break the cycle in order to give her daughter a different life than the one she had. The Mother sits in Alcoholics Anonymous meetings, recounting memories of the daughter that was taken from her, and the struggles of living on the streets in Northern Ontario. They are both followed by Manidoons, a physical manifestation of the trauma and addictions that crawl across generations. bug reveals the hard truths that many Indigenous women face as they carve out a space to survive in contemporary Canada, while holding on to so much hope.
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Yolanda Bonnell (She/Her) is a Queer 2-Spirit Ojibwe/South Asian performer, playwright and poet from Fort William First Nation in Thunder Bay, Ontario (Superior Robinson Treaty Territory). She is now based in Tkar?n:to. Yolanda's Dora-nominated solo show bug had its world premiere at the Luminato Festival in 2018, followed by a national tour and a remount at Theatre Passe Muraille in February 2020. She was also a part of Factory Theatre's The Foundry, a creation program for new career writers, where her play, Scanner continues to be developed towards production. Yolanda was also invited to be part of the Banff Playwrights Lab with her piece, White Girls in Moccasins, which is now in development at Buddies in Bad Times Theatre. She and co-writer Natasha Greenblatt, were named "Stage Artists to Watch" by NOW Magazine for their show The Election, which premiered in October of 2019.
bug is a solo performance and artistic ceremony that highlights the ongoing effects of colonialism and intergenerational trauma experienced by Indigenous women, as well as a testimony to the women's resilience and strength. The Girl traces her life from surviving the foster care system to her struggles with addictions. She fights, hoping to break the cycle in order to give her daughter a different life than the one she had. The Mother sits in Alcoholics Anonymous meetings, recounting memories of the daughter that was taken from her, and the struggles of living on the streets in Northern Ontario. They are both followed by Manidoons, a physical manifestation of the trauma and addictions that crawl across generations. bug reveals the hard truths that many Indigenous women face as they carve out a space to survive in contemporary Canada, while holding on to so much hope.
Drum beat
Ancestors move through time and presence themselves
Conjuring our story
The ancestors dance -- a tree grows and dies and grows and dies and continues to cycle
An elder speaks:
What you don't understand is
Where it came from
You don't understand why
The root
That grew into a tree of poison and self-loathing
What you don't understand is
How difficult it is to navigate the branches
When everyone wants to cut down the tree
The tree is sick
What you don't understand
Is that the tree is sick
The poison cycled so much
It became embedded
Into our bark
Sickness was planted in us
And we
We are trying to get well
Everything is heavier
Harder
What you don't understand
Is that trauma
Set us up to fail
Like the policies
That failed
What you don't understand is
How resilient we are
What you don't understand is
How important it is that we live
Keep living
Despite the poison of trauma that runs in our veins
The tree may be sick
But our ancestors are lush green leaves
That continue to give us life
THE GIRL is born in this cycle and speaks from within it
She is here because of the strength of her ancestors
Breath.
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