Carter, Jill. “Chocolate Woman Visions an Organic Dramaturgy: Blocking Notation for the Indigenous Soul”. Canadian Women Studies 26.3/4 (2008): 169.
Carter, Jill and Erika A. Iserhoff. “Negotiating Tensions betwixt Presence and Absence amidst Big Sadness: Cultural Reclamation, Reinvention, and Costume Design”. Canadian Theatre Review 152(2012): 5-12.
Carter, Jill. “Towards Locating the Alchemy of Convergence in the Native Theatre Classroom”. Canadian Theatre Review 149(2012): 82-84.
Carter, Jill. Repairing the Web: Spiderwoman’s Children Staging the New Human Being. Diss. University of Toronto, 2012.
Jill Carter (Anishinaabe/Ashkenazi) is a Toronto-based theatre practitioner and Assistant Professor with the Centre for Drama, Theatre and Performance Studies; the Transitional Year Programme; and the Aboriginal Studies Program at the University of Toronto.
She is a graduate of the the Graduate Centre for Study of Drama at the University of Toronto, where she completed her Ph.D. in 2010. Her dissertation is focussed upon the Spiderwoman Process of Storyweaving, its development withing Spiderwoman Theater and its evolution in the works of Monique Mojica and Murielle Borst.
Jill’s research and praxis base themselves in the mechanics of story creation (devising and dramaturgy), the processes of delivery (performance on the stage and on the page), and the mechanics of affect. Most recently, her research efforts have been concentrated upon
- Indigenous Knowledge Systems & contemporary performance
- the poetics of decolonization: narrative structures and survivance
- Indigenous interventions on the “canon”
- pedagogy as ceremonial performance: the decolonization of the lecture hall
- Indigenous Cultural Patrimony and New Media
- the “inanimate” performer /performing objects
- (re)claiming space
- theatre and education
She has worked with Turtle Gals Performance Ensemble (Assistant Dramaturg and Performer) and directed the remount of Monique Mojica’s “Chocolate Woman Dreams the Milky Way. More recently, she directed developmental workshops of Omuskego Cree Water Stories (by Candace Brunette and Erika Iserhoff) and Sideshow Freaks and Circus Injuns (by LeAnne Howe and Monique Mojica). Autumn 2014, she directed the Canadian Premiere of Gloria Miguel’s Something Old, Something New, Something Borrowed, Something Blue at Native Earth Performing Arts’ Aki Studio.
In 2009, Jill was awarded the Robert Lawrence Prize by the Canadian Association for Theatre Research (CATR) for her paper “Shaking the Paluwala Tree: Fashioning Internal Gathering Houses and Re-fashioning the Spaces of Popular Entertainment through Contemporary Investigations into Native Performance Culture (NpC),” which she presented at the Congress of the Humanities and Social Sciences. In 2011, she received the Alumni Dissertation Award for her doctoral work. And her work has been published in Alt. Theatre: Cultural Diversity and the Stage, The Canadian Theatre Review, Canadian Woman Studies/Les Cahiers de la Femme and several scholarly anthologies.
To complement her scholarly work and artistic praxis, Jill currently serves on the Editorial Board of Alt. Theatre: Cultural Diversity and the Stage, the Executive Board of the Indigenous Performing Arts Alliance (IPAA), the Executive Board of the Canadian Association for Theatre Research (CATR), and the Committee of First Story Toronto at Native Canadian Centre of Toronto. She still performs when she can, studies clown and bouffant, eats fire for fun, and enjoys guiding Indigenous history tours in the GTA.