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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 indepth 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 +
