Oldal 291 [291]
INDIGENOUS HUMOR AND TRANSCULTURAL
IDENTITY SHIFTS AND MIX-UPS WITHIN THE
TIMEFRAME OF PAST, PRESENT AND FUTURE IN DREW
HAYDEN TAYLOR’S DRAMATIC WRITING
—t1o>
KRISZTINA KopDö!
ABSTRACT
The article examines Indigenous dramatic writing in which the multifaceted
aspects of transcultural identity are presented in mostly everyday situations,
with humor and irony being the common discursive strategies. The article
considers four plays by D. H. Taylor: The Bootlegger Blues (1991), The Baby Blues
(1999), Education is our Right (1990) and Toronto at Dreamer’s Rock (1990).
The concept of identity is a fluid term which outlines specific human features
and historical associations. Transcultural identity, however, is not only an in¬
depth exploration of cultural roots and heritage, but looks at the way in which
identities develop, move and shift between dominant and minority cultures.
All four plays are set in the present time; however, Taylor intricately links
the past, present and the future through symbolism that draws upon native
spirituality, humor, colonialism and the gothic. Taylor’s humor and overall
optimistic outlook provides an alternative solution for the main character(s).
These ensure the evolution of a brighter future for the main character and the
Native Peoples in general.
INTRODUCTION
“Culture” is a complex term that denotes a wide range of meanings. The term
raises many questions as to which attributes should be included when trying
to formulate some form of definition. In most cases, culture is viewed as
a form of entertainment, in other words, an activity that people seek in
their free time such as music, dance, theater, movies, books, handicrafts,
sports games, and so on. Culture is also associated with what is currently
fashionable or trendy, like high culture and low culture, which means culture
is continuously changing. “Culture is made and remade, like a vast city (always
under construction) in which artists and others renovate the buildings and
! Kodolányi János University.
+ 289 +