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Storytelling lights the path
of the ancestors for all to see

Our  Origin  Story

Breaking Barriers by Creating Networks of Support

It was mid 2015, when the idea for IPP was born at the Western Arts Alliance Conference.   I had been working at an organization serving Native artists, where I had come to understand that no matter how much money was granted to these exceptional artists, it would be almost impossible for them to thrive in the performing arts industry.  Cotemporary Indigenous artists face real barriers to entry.  It's not uncommon for them to hear things like  " you are not Native enough" to perform as Indigenous artists,  however conversely, many venues will not book Indigenous artists because they are "too cultural."  I've been told by venues that contemporary Indigenous artists are "too complicated" to book, this is code for your artists do not check a box, we find this challenging. 


However, as I stood watching the exceptional Indigenous artists at the Indigenous Aritsts Symposium at WAA, I knew that these artists culd have a real chance of breaking into the industry if they had someone who could advocate on their behalf, someone backed by a network of venues and partners working together to bring about social change- a cross-country family of support.  This would become what is now Indigenous Performance Productions. 

Six months later, we had five clients under my previous production co., Walrus Arts Management, an LLC. I soon transitioned to a non-profit, so I could expand our artists services.  Soon after, I expanded further to a production and tour management company so we could invite more Indigenous performing artists to partner through our production projects and touring operations.

Today, we stand as a mulit-faceted organization with an international roster of Indigenous contemporary artists providing consistent outreach, 30-50 shows a year for our artists at high-profile venues with five all Indigenous touring productions.  We have made an difference in the lives in our artists, their communities, and the communites we serve alongside our cross-country community family of support.  However, our family is never complete.  We are a global village in the making.

                                                                                                                             -Andre Bouchard, Founder

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Indigenous Performance Productions was created with the mission to produce, promote, present, manage and advance education around Indigenous performing arts and artists.


Indigenous Performance Productions was founded on the vision to create equity and opportunity for Indigenous performing artists by providing opportunity to amplify stories through live performances.

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How We do It 

We are  a booking and production agency. Yes, that is what we do.  But how we do it is through connecting communities through enduring relationships and mutually beneficial partnerships.  We are able to represent a full roster of Indigenous artists and create nationally touring producutions because we have an expansive networks of universites, community centers, funders and individual donars whom believe in our mission and vision and have dedicated themselves to uplfting Indigenous voices alongside us.  They are not just venues or non-profit organizations or donars,  they are our partners and allies.

Together, we showcase both experienced and known Indigenous artists as well as exceptional emerging Indigenous talent. We also unite Indigenous artists from around the world through all Indigenous cast nationally touring productions centered on issues of importance to Indigenous people.   It is through our family of supporters, both big and small,  that we have the capacity and honor to do what we do.  

Nework of Support Venues

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Network of Support

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Meet The Founder

Andre Bouchard and his Dog Merlin

Kootenai/Ojibwe/Pend d'Oreille/Salish descent

Andre Bouchard (of Kootenai/Ojibwe/Pend d’Oreille/Salish descent) is an internationally recognized agent, producer and consultant who was born and raised on the Flathead Reservation in western Montana the son a CSKT enrolled father and a white mother.   As a person with a background in both Native and non-native worlds Andre aspires to serve as an inter-cultural activist, working to build bridges and reverse the invisibility that serves to marginalize Native people in the US. 

Meet The Board


brooke smiley

American Indian Wa-zha-zhe (Osage) 

Rooting in risk and love, brooke enlivens public art experiences as both diplomacy and education. She re-centers public spaces and who they serve by guiding creative processes with Native and non-Native communities, National Parks, and institutions worldwide. She uplifts the complexity of Contemporary Native Identity across generations through the collaborative creation of embodied earth markers and multisensory dance performances to re-map our worlds. 


DeLesslin "Roo" George Warren

Catawba Indian Nation

DeLesslin “Roo” George-Warren is a queer artist, researcher, and organizer from Catawba Indian Nation whose work ranges from performance to installation art to community education to food sovereignty to language revitalization. Since 2017 he has been the Special Projects Coordinator for the Catawba Cultural Preservation Project where he facilitates the Catawba Language Project, several food sovereignty initiatives, and other community education projects. 


Linley B. Logan

Onondowaga (People of the Great Hill) aka Seneca

Linley is a multi-disciplinary contemporary visual art, Indigenous arts consultant, cultural arts program manager, and contemporary Indigenous arts curator whose artistic foundation is rooted in his traditional Onondowga (Seneca) culture.  Linley is an award-winning artist and is currently a Nia Tero Native Fellowship award recipient, 2020-21. He has over 35-year history of exhibiting his work internationally, co-curating contemporary Indigenous international gatherings, and serving as a lecturer and grant panelist for Indigenous, non-profit and government organizations. Linley has served on numerous state, regional and local arts boards and committees. He currently serves as Washington State Arts Commissioner.


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Stephen Qacung Blanchett

Son of a strong Yup’ik Inuit mother who brought him up in an extremely traditional life; and a strong African-American father who taught him to be proud of his black heritage