The reclamation of identity is an ideology that is widely present in Tomson Highway’s Dry Lips Oughta Move to Kapuskasing. Through a cross-cultural approach delivered through the merging influences of both Native and Western perspectives, the notion of the reclamation of identity is portrayed through hockey, religion, as well as shifting gender roles. Jessica Langston and Mike Chaulk’s “Revolution Night in Canada: Hockey and Theatre in Tomson Highway’s Dry Lips Oughta Move to Kapuskasing”, provides insight on the ideology of cultural hybridity in terms of enforcing the understanding of the significance of hockey, theatre, gender as well as sexuality in the play. Similar to Langston and Chaulk’s perspective, Susan Billingham’s “The Configurations
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Cultural hybridity is presented in conjunction with the notion of healing as it is provided by theatre through hockey, and this notion is apparent as “The (re)appropriation of hockey by the women of Wasaychigan Hill … acts as a metaphor for the adoption and adaptation of non-Native theatre traditions by First Nations peoples” (Langston and Chaulk 177). The reclamation of identity is prominent throughout the play and both Billingham’s as well as Langston and Chaulk’s articles allow for a further understanding of the text. Langston and Chaulk promote the idea in which “Highway argues that such theatre, like the women’s hockey league, is capable of stoking pride, community, reform, and the reclamation of tradition, and not only for Canada’s First Nations, but for colonized peoples around the world” (183). These perspectives are parallel to my critical viewpoint of the play as I believe that Highway strongly stresses the importance of cultural hybridity as it serves to establish a better understanding of the resurgence of traditions, cultures, and the reclamation of
Cultural hybridity is presented in conjunction with the notion of healing as it is provided by theatre through hockey, and this notion is apparent as “The (re)appropriation of hockey by the women of Wasaychigan Hill … acts as a metaphor for the adoption and adaptation of non-Native theatre traditions by First Nations peoples” (Langston and Chaulk 177). The reclamation of identity is prominent throughout the play and both Billingham’s as well as Langston and Chaulk’s articles allow for a further understanding of the text. Langston and Chaulk promote the idea in which “Highway argues that such theatre, like the women’s hockey league, is capable of stoking pride, community, reform, and the reclamation of tradition, and not only for Canada’s First Nations, but for colonized peoples around the world” (183). These perspectives are parallel to my critical viewpoint of the play as I believe that Highway strongly stresses the importance of cultural hybridity as it serves to establish a better understanding of the resurgence of traditions, cultures, and the reclamation of