From “the Old Stories” to the New
It all begins with story. The opening moments of Wicoun introduce teen siblings Khoskalaka (Kenny Ramos) and Áya (9A) as they battle to complete highschool whereas concurrently elevating a houseful of rambunctious siblings and cousins on the Rose Bud Reservation. The affliction of dependancy 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 unique comedian guide by which a brain-eating toxin referred to as “meth-icine” creates a brand new breed of zombies who terrorize the countryside. Rather than consuming brains, these distinctive zombies persuade their victims to strive meth-icine, which after all creates extra zombies. As a drive of fine within the comedian guide, Khoskalaka creates a “slow talking” Elder Superhero (Rosetta Badhand-Walker) who fends off a zombie invasion by boring the “twitchy” attackers into submission and/or by providing them house baked cookies. Heartbreaking, sure, but in addition hilarious.
Soon thereafter, Áya, who presents as feminine however lives in what FastHorse describes as “a true two spirit place often called non-binary,” finds themselves in want of an actual Lakota superhero. As Áya walks alone on an remoted highway, three nefarious characters seem. Up to no good, they wish to go to one of many kids protected in Áya and Khoskalak’s house. Described in FastHorse’s colourful diction as “rez necks,” these menacing guests include two of Native characters and one “white guy.” Distracted by Áya’s courageous diversion, the white man turns his aggression towards Áya, threatening sexual assault. Perhaps impressed by Khoskalaka’s comedian guide, Áya accidently and surprisingly summons Woohitike (Victoria Picotte-SolarBear). Roughly translated from Lakota as “Bravery,” Woohitike seems from the dimensionless sacred area costumed in conventional Lakota costume however with Marvel-esque design touches, together with a Fantastic Four-style embroidered belt buckle centering her deerskin gown. Using her tremendous power, Woohitike rapidly 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 sturdy sufficient to guard their household, Áya should first totally settle for their very own gender id.
More 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 highway journey throughout the state to Rapid City to hunt knowledge from a comic book retailer proprietor named Marcus (Brandon J. Sazue Sr.). When they attain the foothills of Paha Sapa, a superfast superhero named Wówačhaŋtognake (Gina Project Celebrity Mallory) 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 old stories.” As mentioned earlier within the play, the outdated tales include narrative from the elders that everybody used to know, however which have sadly been forgotten by many. To transition right into a Lakota superhero sturdy sufficient to guard their household, Áya should first totally settle for their very own gender id. Khoskalaka coaches, “It’s the old way. Be you. All of you. No more fighting with who you are.” FastHorse’s stage instructions successfully describe the transformation witnessed onstage: “Áya makes a grand dramatic gesture to shed the female expression of themself and transitions before our eyes to a trans man, with a little flair that holds their female power too.” In this majestic and magical flash, Áya transforms into Ahí, and a fourth mighty Lakota superhero is born.
FastHorse intersperses her epic story of turning into with a sequence of poetic interludes that poignantly categorical touchstones of the up to date Indigenous id. Presumably taken from her fieldwork interviews, these statements supply a number of responses, each in English and Lakota, to the next prompts:
“I feel powerful when…”
“Things I want to change: …”
“My superpower is…”
Delivered as a refrain of voices by the performing ensemble, the handfuls of responses embody empowering statements resembling “I feel powerful when my hair is in a braid,” “things I want to change: colorism,” and “my superpower is being a caretaker.”