Despite a recent increase in productivity amongst Indigenous playwrights in Canada, most critical and academic attention has been devoted to the work of male dramatists. This is seemingly due to the expediency with which such renowned writers/dramatists as Cree playwright Tomson Highway and Ojibwa writer Drew Hayden Taylor achieved fame. Grounded in a historical, socio-cultural consideration of Indigenous women's theatrical production and reception and addressing this critical gap in the literature pertaining to Indigenous theatre in North America, the book focuses specifically on plays by Indigenous women written and produced in the socio-cultural milieux of twentieth and twenty-first century Canada. Closely analyzing dramatic texts by Monique Mojica (Kuna/Rappahannock), Marie Clements (Cree/Métis), and Yvette Nolan (Algonquin/Irish), my book explores representations of gendered colonialist violence in order to determine the varying ways in which these representations are employed subversively and informatively by Indigenous women. These plays provide an avenue for individual and potential cultural healing by deconstructing some of the harmful ideological work performed by colonial misrepresentations of Indigeneity, demonstrating the strength and persistence of Indigenous women, and thereby offering a rupturing space in which decolonial futurisms can be envisioned. The female playwrights who are the focus of my book counter colonial and occasionally postcolonial representations of gendered and racialized violence by emphasizing female resistance, collective coalition, and survival. Engaging with both literary and performance theory, including (though not limited to) the work of Jo-Ann Episkenew (Métis), Allison Hargreaves, Barbara Godard, Ric Knowles, Susan Bennett, Janice Acoose (Salteaux), and Monique Mojica herself, my book argues that dramatic texts and performances deploy a decolonizing aesthetic that can redefine dramatic/literary and, ultimately, socio-cultural, political space for resistant and decolonial ends. Informed by Indigenous and feminist poststructuralist and postcolonial theoretical perspectives that address the production and dissemination of racialized and gendered regimes of representation, including the work of Sherene Razack, Quo Li Driskill (Cherokee), Sara Ahmed, Emma Pérez, Chela Sandoval, Gayatri Spivak, and Chandra Talpade Mohanty, my text suggests that colonialist misrepresentations of Indigenous women have served to perpetuate demeaning stereotypes, justifying devaluation of and violence against Indigenous women.