. . . . . . . . . . . . . . . . . . . "Larissa FastHorse"@en . . . . . "50490916"^^ . . . . . . . . . . . . . "1087754176"^^ . "16280"^^ . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Larissa FastHorse is a Native American (Sicangu Lakota) playwright and choreographer based in Santa Monica, California. FastHorse grew up in South Dakota, where she began her career as a ballet dancer and choreographer but was forced into an early retirement after ten years of dancing due to an injury. Returning to an early interest in writing, she became involved in Native American drama, especially the Native American film community. Later she began writing and directing her own plays, several of which are published through Samuel French (a Concord Theatricals Company) and Dramatic Publishing. With playwright and performer Ty Defoe, FastHorse co-founded Indigenous Direction, a \"consulting firm that helps organizations and individuals who want to create accurate work by, for and with Indi"@en . . . . . . . "Larissa FastHorse is a Native American (Sicangu Lakota) playwright and choreographer based in Santa Monica, California. FastHorse grew up in South Dakota, where she began her career as a ballet dancer and choreographer but was forced into an early retirement after ten years of dancing due to an injury. Returning to an early interest in writing, she became involved in Native American drama, especially the Native American film community. Later she began writing and directing her own plays, several of which are published through Samuel French (a Concord Theatricals Company) and Dramatic Publishing. With playwright and performer Ty Defoe, FastHorse co-founded Indigenous Direction, a \"consulting firm that helps organizations and individuals who want to create accurate work by, for and with Indigenous peoples.\" Indigenous Direction's clients include the Guthrie Theater. FastHorse is a past vice chair of the Theatre Communications Group, a service organization for professional non-profit American theatre."@en . . . . . . . . . . .