The Awakening of Indigenous Art: A Métis Collective’s Bold Vision
There’s a quote attributed to Métis leader Louis Riel that has always stuck with me: ‘My people will sleep for 100 years, but when they wake, it will be the artists who give them their spirit back.’ It’s a powerful statement, one that feels eerily prophetic in today’s cultural landscape. Personally, I think what makes this quote so resonant is its acknowledgment of art as a force of revival—not just for Indigenous communities, but for humanity as a whole. And yet, what many people don’t realize is how this revival is happening right now, in spaces like the theatre community, where collectives like That’s All! are quietly but boldly reshaping the narrative.
A New Wave of Indigenous Theatre
When I first heard about That’s All! Collective, a Métis-led production company based in Saskatoon, I was struck by their mission. Their recent debut at the 2026 Fringe Festival with the play Happier & Healthier is more than just a theatrical production—it’s a statement. Written and directed by Liam Scramstad, the play follows an elderly grandfather with dementia as he prepares for a visit from his grandchildren. On the surface, it’s a relatable, universal story. But what this really suggests is that Indigenous art doesn’t always need to be explicitly political to be profoundly impactful. It can be personal, intimate, and still carry the weight of cultural reclamation.
What makes this particularly fascinating is how the collective itself is structured. Instead of a traditional hierarchical model, That’s All! operates with a decentralized approach, echoing Métis governance traditions. As Liam Johnston explained, ‘Nobody inherently answers to anybody directly in the collective, we all answer to each other.’ This isn’t just an organizational choice—it’s a cultural one. It reflects a deeper understanding of community and collaboration, something that’s often missing in mainstream theatre. If you take a step back and think about it, this model isn’t just about making art; it’s about rebuilding a way of life.
The Theatre as a Space for Reconciliation
One thing that immediately stands out is the collective’s focus on reconciliation and relationship-building. Ethan Gallays noted that the theatre community is ‘woke’ in the best sense of the word—aware, engaged, and committed to amplifying Indigenous voices. But what many people misunderstand about this ‘wokeness’ is that it’s not just about virtue signaling; it’s about creating tangible opportunities for Indigenous artists. That’s All! isn’t just producing shows; they’re creating jobs, mentorships, and a platform for their colleagues.
From my perspective, this is where the real work of reconciliation happens—not in grand gestures, but in the day-to-day acts of inclusion and empowerment. As Scramstad put it, ‘We don’t just want to create our own jobs, but we want to make work for our colleagues as well.’ This raises a deeper question: What would the arts landscape look like if more collectives adopted this mindset?
A Legacy Built on Trailblazers
It’s impossible to talk about That’s All! without acknowledging the giants on whose shoulders they stand. Métis theatre in Saskatchewan has a rich history, dating back to the 1930s, but it wasn’t until the 1970s that Indigenous performers began breaking into mainstream theatres. The founding of the first Indigenous community-based theatre group in 1976 in Ile-à-la-Crosse was a watershed moment. Today, organizations like the Gordon Tootoosis Nikaniwin Theatre (GTNT) continue to pave the way, producing three shows each season and serving as a launching pad for artists like those in That’s All!.
A detail that I find especially interesting is how the collective views GTNT not as competition, but as inspiration. ‘We’re thankful for the people who trailblazed and laid the groundwork for us,’ Scramstad said. This attitude of gratitude and collaboration is rare in competitive industries, and it speaks volumes about the collective’s values.
The Future of Indigenous Art
Looking ahead, That’s All! shows no signs of slowing down. With plans to produce a show for Live Five’s 2027 season and potentially expand into a residency program, they’re positioning themselves as a hub for emerging Indigenous artists. But what’s most exciting, in my opinion, is their vision for the future. As Gallays aptly put it, ‘When we are supporting artists, we are supporting rebuilding a people’s culture.’
This isn’t just about theatre; it’s about cultural survival and resurgence. If you take a step back and think about it, art has always been a tool for preservation—a way to encode history, values, and identity into something tangible. That’s All! understands this, and their work is a testament to the enduring power of creativity.
Final Thoughts
As I reflect on the work of That’s All! Collective, I’m reminded of Riel’s words about artists giving their people their spirit back. What this collective is doing goes beyond theatre; it’s a cultural awakening. Personally, I think their success lies not just in their talent, but in their commitment to community, collaboration, and tradition.
In a world where Indigenous voices are still fighting to be heard, That’s All! is a beacon of hope—a reminder that art can be both personal and political, intimate and universal. And as they continue to bring Indigenous art ‘more to the forefront,’ I can’t help but feel optimistic about the future. Because if there’s one thing history has taught us, it’s that when artists lead, societies follow.
