الفهرس | Only 14 pages are availabe for public view |
Abstract This thesis is an attempt to examine dramatic syncretism, within the realm of post-colonialism, as a mode of indigenous identity representation by a number of native playwrights. The playwrights under scrutiny use syncretism differently to refute claims of purity, authenticity and essentialism imposed on the indigenes by the hemogenic colonizer. Employing syncretism entails blending the western dramatic canon with indigenous dramaturgical techniques to build a greater view of how indigenous identity is restructuring and reclaiming a new status of development and change in the post-colonial era. The plays analyzed are Derek Walcott’s Dream on Monkey Mountain (1967), Ola Rotimi’s The Gods Are Not To Blame (1971), Tomson Highway’s The Rez Sisters (1986), Diane Glancy’s American Gypsy (2002), Jack Davis’s The Dreamers (1982), and Hone Kouka’s Nga Tangata Toa (The Warrior People) (1994). The study concludes that syncretism, with its dialogic capability, is an effective decolonizing tool that allows a true representation of the indigene that is flexible, adaptable, and resistant. Key Words: Syncretism, Syncretic Drama, Indigenous and Aboriginal Drama, Authenticity, Indigeneity. |