Dry Lips Oughta Move to Kapuskasing. CTE photo. Tomson Highway. Tragi- comedy drama in two acts by Tomson Highway, first produced in. Nominee, Governor General’s Literary Award for Drama Dry Lips Oughta Move to Kapuskasing tells another story of the mythical Wasaychigan Hill Indian. This article reconsiders the place of hockey within Tomson Highway’s play Dry Lips Oughta Move to Kapuskasing, ultimately arguing that the re-evaluative.

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Wailing is a wordless cry taken up by the community, and adopted by the female hockey players to mark their own participation in the disruption—a kind of concretizing of the abstract sound of wailing.

Trickster also often configured as Coyote has a key role within indigenous drama, as Mojica and Ric Knowles explain in the introduction to their anthology of Native drama in Canada: Lists with This Book. At the end of the play, you are left with neither a pessimistic nor an optimistic feeling. He in effect uses the language and aesthetic forms of the colonizers to tell the story of his own people.

I hate that half the time the only female roles are to wear absolutely nothing. This moment of communal wailing underlines the potential of wailing to express, or give voice to, the inexpressible.

Dry Lips Oughta Move To Kapuskasing by Tomson Highway

The brutal violence of the play’s most explicit incident had me reeling numbly for a while – but then I saw that there is much subtle brutality to be found throughout the play. On an extra-textual level, the play resists colonial power through its use and abuse of European theatrical conventions, a disruption that speaks to the potentially adaptive nature of culture.


But prepare to be exhausted when you’re through. First Nations hockey players, then, act as a challenge to lingering colonial ideologies.

Looking at the play, however, it is clear that oighta is linked to disruption of the colonial status quo, particularly in the ever-shifting, defamiliarizing figure of Nanabush.

A Historical Interpretation of Lacrosse and Hockey. There is the audience.

Dry Lips Oughta Move to Kapuskasing by Tomson Highway

Short, deep, comic, depressing, thought provoking. Mike Chaulk Concordia University. The scene that follows is one of domestic or private conflict between Big Joey and Zachary over their wives and their disparate community projects: The male characters are almost exclusively self-obsessed, even those who claim falsely to be progressing towards the goals of their wives.

The audience must feel discomfort while the characters of Pierre, Zachary, and Spooky look and point at them from the bleachers as if the audience is challenging the structures of society. Humour here and elsewhere in the play relieves the tension caused by violent conflict; it kapusksaing the audience to laugh omve than mourn, and there is the sense that laughter is a more productive place than sorrow.

However, as a testament to the difficulty of such a merger, Dickie Bird breaks down, caught between two opposing sacred symbols: Read on the advise of a CBC personality see ads do work I loved the use of soundscapes and the ending.

Theatrical Oyghta and Post-Colonial Drama. Goodreads helps you keep track of books you want to read.

Dry Lips Oughta Move to Kapuskasing – Wikipedia

Trickster also often configured as Coyote has a key role within indigenous drama, as Mojica and Ric Knowles explain in the introduction to their anthology of Native drama in Canada:. Linda Hutcheon and Marion Richmond. In fact, an unofficial requirement for women playing on the Wasy Wailerettes team is their biological status as mothers or mothers-to-be: Email your submission to: Since then a number of Aboriginal players such as Jordan Tootoo, Gino Odjick, and Jonathan Cheechoo have made enormous contributions to the sport by opening spaces for future Aboriginal athletes.


The men on the Rez see this encroachment of women as another assault on their identity, and the play touches on what aboriginal identity means. The hockey program emanating from the television offers a foreshadowing backdrop that pitches these characters and drj fictional community of Wasaychigan Hill into a kapus,asing Canadian context that will not only be familiar for many non-Native Canadian audiences but may also provoke feelings of national affiliation.

Linda Hutcheon and Marion Richmond. Zachary wants to start a bakery, Big Joey a radio station. With his pregnant girlfriend, the granddaughter of a medicine woman, he intends to visit South Dakota, the site of Native suppression, to celebrate the kapuskxsing of Native culture by dancing with the Sioux.

However, the fact that membership on the team is contingent on either being pregnant or having had children renders female empowerment dependent on female fertility and biology. Highway sees this need to reconsider as the only way forward, both for colonizers and colonized: Big Joey broadcasts over his approved radio station, and Zachary appears with a pie, suggesting that he also is moving forward with his plans for a bakery, first articulated at the beginning of the play; but neither of these initiatives have clear ends.

While it provides a lot to talk about, I don’t think I’ll be going with it.