Tomson Highway is a playwright of Dry Lips Oughta Move to Kaspukasing. The play is based on the real life of Highway as he was born as a full-blood Cree, lived in a Native community that takes place in Wasaychigan Hill, and registered as a member of the Barren Lands First Nation (“Biography”). Native people have their own culture and beliefs; unique language and mythology. Most of his plays use Cree and Ojib language and show the issue of the women power in the community. As the period changes, the Canadian government tries to implement a new system to ensure that native people can cope and adapt with the world that keeps changing. The government tries to assimilate Christianity and Western culture by forcing the kids to go to the residential schools. They are not allowed to speak their own language, Cree, and stay with their parents so that they have less time spend on having a normal family life. As one of the ways to preserve Native cultures and beliefs, Highway uses the play as a medium to express their hardship in facing social challenges by the government. Tomson Highway explain the uniqueness of Cree language, the value of women in Native community and how the government’s strategy on modernizing Native people leads to the destruction of Native cultures.
Highway uses Cree and Ojib language in Dry Lips Oughta Move to Kaspukasing because they are very similar and the fictional reserve of Wasaychigan Hill has a mixture of both Cree and Ojibway residents (Highway 11). In the article by Susanne Methot, Highway mentions that Cree language is different from English in three ways; “the humour, the workings of the spirit world, the Cree language has no gender” (para 12). Language and culture are two things that relate with each oth...
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...people really gives scars and impacts on him.
Dry Lips Oughta Move to Kapuskasing is the second play written by Tomson Highway that tells us about Native people who lives in Wasaychigan Hill after The Rev Sisters. Highway uses play as a medium to explain to the readers that Native people has their own culture that needs to be preserved and the impact that has occurred after the colonization by Western culture. According to CBC website, the Canadian government assume that aboriginal culture was unable to cope with the rapidly modernization which lead them to take action on helping them but everything goes wrong when the government prevent them to have normal family life. Tomson Highway receives two awards; Dora Mavor Moore Award and Floyd S. Chalmers Award for the play Dry Lips Oughta Move to Kapuskasing because he manages to convey about the life of Native people.
In the essay “Newfoundland, If You Please”, the author, Diane Mooney takes the reader on a linguistic journey around Newfoundland. Written informally, the essay serves as a commentary on the various accents found in Newfoundland. Mooney wrote the essay to address potential questions a visitor might have concerning the various accents.
The three main characters, Elijah, Xavier and Niska are losing their culture gradually throughout the novel. The Europeans tries to obliterate the Cree culture by setting up residential schools, which are schools that First Nations attend to learn the European culture and forget their own. All of the three main characters, Elijah, Xavier and Niska go through the residential school. At the school, children are not allowed to speak in their own tongue or they will be punished. As Niska describes, “When I was caught speaking my tongue, they'd for...
Shostak, out of all the women in the tribe had made close connections with a fifty year old woman with the name of Nisa. The woman, Nisa, is what the book is about. The book is written in Nisa’s point of view of her life experiences while growing up in that type of society. Nisa’s willingness to speak in the interviews about her childhood and her life gave Shostak a solid basis on what to write her book on. Nisa’s life was filled with tragedies. She had gone through certain situations where Nisa loses two of her children as infants and two as adults. She had also lost her husband soon after the birth of one of their children. According to Shostak, “None of the women had experiences as much tragedy as Nisa…” (Shostak, 351).
The poem communicates that the tourists do not recognise the deaths of many Aboriginals, and this may be symbolic for colonialism. At the same time, the poem also depicts the highway as a killer, referring to it as a ‘petulant beast.’
We see scenes where Mae is happily conversing with her mother in both English and Wampanoag in the car as they pass through a town of Wampanoag named streets. This visual imagery urges the viewer to wonder how these familiar representations of Indian words and sayings work to hide how the indigenous people live in modern times. With the lack of presence of local Native peoples in the forms of mass media, people have started to believe the myth of the disappearance of the Native peoples in places such as New England. The film also briefly gestures, through interviews, that people have started to dismiss Indians as being long gone from the world, and that non-Natives see them as “invisible people” in order to justify the Euroamerican absorption of indigenous regions. The film encourages us to understand that, even with the impact of history, Native peoples still live here, and that they are still connected to their native land, that their homeland is one of the most important relationships. Jessie explains, “I lost my land rights” Translated into Wampanoag is “I fall down onto the ground,” because “For Wampanoag people to lose one’s land, is to fall off your
The play focusses on three generations of Women, Nan Dear, Gladys and Dolly and where they felt as though they belonged. Nan Dear knew where she belonged and that was the humpy in the flats with her daughter and granddaughter. Nan Dear knows that she won't be accepted into white society just because she is an Aboriginal and those of a different colour or foreign country weren't accepted. Gladys and Dolly both wanted to be accepted into white society, they wanted to feel as though they belonged there.
I will compare the sisters background briefly to show their temperament before coming to Canada. I will discuss how choices made shaped both the sisters initial success and failure to Upper Canada. Finally, I will compare the differences in the sisters attitudes and how it is reflected in both their books.
The last line of first paragraph explained how the writer use sentence structure to form tone that would reflect Métis voice. Tone is reflected by diction, and without it would be like body without bone. He used words that consider as slangs and shortcut words that most Native American use and pronounce. Such as “hisself” (pg. 93) for “himself”, “an” (101) for “and”, “dah” (pg. 101) for “the”, “hees” (pg. 107) for “his” and so on. These word made Métis voice of determination, strength, pride, stubborn, respect more convincing to readers and accept as their identity. One of quote example is when we read about “You know dah big fight at Batoche? Dah one we fight with Anglais?” (pg. 92), this show also shows how pride they are having big fight at the Batoche. Writer also used the word “Anglais” (pg. 92), which makes majority Canadian readers immediately understand that it is a French word for “English”. As for the Métis, this is most important, their language which they calls it “Mitchif” was originated from French and Cree. This was made when the Métis mixed French and Cree language together. Another addition example would be “he ssen him to Angleterre to get hees edjication” (pg. 106), when it talk about “Jimmy” or James
In the 1964 play Dutchman by Amiri Baraka, formally known as Le Roi Jones, an enigma of themes and racial conflicts are blatantly exemplified within the short duration of the play. Baraka attacks the issue of racial stereotype symbolically through the relationship of the play’s only subjects, Lula and Clay. Baraka uses theatricality and dynamic characters as a metaphor to portray an honest representation of racist stereotypes in America through both physical and psychological acts of discrimination. Dutchman shows Clay, an innocent African-American man enraged after he is tormented by the representation of an insane, illogical and explicit ideal of white supremacy known as Lula. Their encounter turns from sexual to lethal as the two along with others are all confined inside of one urban subway cart. Baraka uses character traits, symbolism and metaphor to exhibit the legacy of racial tension in America.
Indian Boarding Schools were a huge and un-noticed issues in the United States during the 19th and 20th century. And the author uses allusion in the poem to bring back what the Native American children experienced during this time in history. The “Turtle Mountains” is a key reference to allusion for this story. It tells the reader exactly where this poem is taking place, at the Chippewa Indian Reservation in North Dakota, the home land of the tribe members. Allusion is also used in the second line when the speaker says, “Boxcars stumbling north in dreams” (2). Boxcars are a North American railroad car that placed a huge significance in the Native Americans Lives. As the speaker says in the poem, “The rails, old lacerations that we love, shoot parallel across the face” (4-5). The rails that the Boxcars traveled on cut parallel through the Native Americans homeland. They say that the rail road track shoots right across the “face” which allude to the face being mother nature. Because in their culture it is very important to respect mother nature. And the rails cut right across her face making a “laceration”, or in other words a scar. The “face” of mother nature is also the authors use of
The characters are torn between who they are and who they need to be. Racial passing further perpetrates discrimination within American society, especially within the black community. Mr. Ryder’s actions further perpetrates the notion of race as a social and cultural construction. Mr. Ryder does not want to be accepted as black and he must live up to his principle through disassociation with the black culture. Mr. Ryder’s hope for a better future meant erasing his “blackness” and identify with his “whiteness”. Eliza’s narration of her slave life awaken his moral conscious. The path Mr. Ryder wishes to obtain is unrealistic in a post-American society because he cannot erase his past. In a post reconstruction era it was vital to connect in a time of instability. Mr. Ryder’s re-telling of Eliza’s story is connecting their fragmented family. Mr. Ryder’s acknowledgement Eliza, despite knowing the fact that he must go against his principles, he proposes that individuals must unite as a family if they want to promote change. Chesnutt short story proposes that black Americans need to unite in the struggle to end racial and social
When a native author Greg Sams said that the reservations are just “red ghettos”, the author David disagree with that. He thinks there must be something else beyond that point. After his grandfather died, he somehow changed his mind. Because he could not think anything e...
MacDougall, Brenda. One of the Family: Metis Culture in Nineteenth-Century Northwestern Saskatchewan. Vancouver: University of British Columbia Press, 2010.
Paton is able to convey the idea of racial injustice and tension thoroughly throughout the novel as he writes about the tragedy of “Christian reconciliation” of the races in the face of almost unforgivable sin in which the whites treat the blacks unjustly and in return the blacks create chaos leaving both sides uneasy with one another. The whites push the natives down because they do no want to pay or educate them, for they fear “ a better-paid labor will also read more, think more, ask more, and will not be conten...
The actions of the characters also add to the effect of the detail presented by Berendt. The people of Savannah are far from the proverbial "norm." They are a strange yet interesting group. Savannah is a very tranquil town that loves visitors as much as it loves parties; but it hates invaders. Many people have tried to come to Savannah and industrialize the city, or make it corporate in one way or another. They have always been immediately, though still politely, turned away. Even the driving in Savannah is kept tranquil. In fact, the citizens of Savannah have no choice about this. Traffic is not allowed in the squares that populate the town. Drivers have no choice but to go around. "So traffic is obliged to flow at a leisurely rate, " says Miss Harty. "The squares are our little oases of tranquillity"