Native American Drama Analysis

Historical Background (Critical Edition of Dramatic Literature)

Contemporary Native American drama, like the drama of other American minority groups, was born in the cultural revolution of the late 1960’s and early 1970’s as the success of the Civil Rights movement and the failure of the Vietnam War became apparent to most Americans. As the viewpoint of a single dominant racial group loosened its hold on the culture, the validity of other viewpoints was considered. Drama was a powerful tool in this cultural revolution. Black playwright Lorraine Hansberry’s A Raisin in the Sun (pr. 1959) gave Americans an unforgettable glimpse of the dignity and self-defined agency of an African American family. Frank Chin and other Asian American playwrights established a theater group that would educate the United States about issues such as the atrocities of Angel Island, the heroism of workers on the transcontinental railroad, and the unnecessary humiliation of the Japanese American internment camps.

The American Indian Theatre Ensemble, founded in 1972 and changed to the Native American Theatre Ensemble in 1973, took on the tremendous and exhilarating task of presenting, through drama, Native Americans in their own terms. The figure of the Indian in American literature, as in popular literature and culture of several centuries, was a misrepresentation, skewered between the misbegotten poles of the uncivilized “savage” and the romantic keeper of nature’s secrets. In a labor no less Herculean than that of African American dramatists, Native American playwrights tried to shake themselves free of centuries of stereotypes to create realistic characters conceived from their own personal experiences. The American Indian Theater Ensemble resolved not only to rectify the cultural image of the Native American but also to produce a body of drama intended primarily for the Indian community.

Native American Drama Hanay Geiogamah (Critical Edition of Dramatic Literature)

A key figure in the history of contemporary Native American drama is playwright Hanay Geiogamah . His work is well represented in two anthologies of Native American drama: Seventh Generation: An Anthology of Native American Plays (1999) and Stories of Our Way: An Anthology of American Indian Plays (1999). Of Kiowa and Delaware background, Geiogamah was active in the crucial founding years of the American Indian Theatre Ensemble, which produced his one-act play Body Indian (pr. 1972).

Body Indian is a difficult play and demonstrates the problems Native American playwrights face in creating a new, realistic drama based on contemporary Native American life. At first reading, the play seems to be about alcoholism (a disease that has disproportionately plagued Native Americans since early European settlers used alcohol as an item of trade), and its realism is intense and shocking. Bobby, in his thirties, is alcoholic; he has lost a leg in a drunken stupor on the railroad tracks. As the play begins, he arrives at his Indian “uncle’s” apartment with two of his aunts. The group gathered there has been drinking for some time, as have Bobby and his aunts. There is some socializing and more drinking. Then Bobby, who has hidden in his artificial leg some money he plans to use to enter a detoxification program, passes out. The group of friends and relatives move toward him, intent on finding some cash to restock the dwindling wine supply. Before the play ends, Bobby has been robbed a half dozen times; his money is gone, and his uncle is about to leave the...

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Native American Drama William S. Yellow Robe, Jr. (Critical Edition of Dramatic Literature)

Another influential and prolific playwright is William S. Yellow Robe, Jr. , an Assiniboine Sioux from the Fort Peck reservation in Montana. He has been associated with the Sante Fe Institute of American Indian Arts (IAIA), where he taught playwriting for three years beginning in 1993. The IAIA had been running a training program in indigenous theater for several years at the time Yellow Robe joined the faculty. Like Geiogamah, Yellow Robe employs a social realism in his plays that is tempered with the moderating influence of memory and tradition.

Yellow Robe’s The Independence of Eddie Rose (pr. 1991) depicts a few days in the life of a dysfunctional Native American family. Eddie, sixteen, is torn between a desire to flee the reservation and a need to protect his younger sister from the threat of sexual abuse from his mother’s current boyfriend. Help and guidance are provided by his aunt Thelma, who retains the healing ways of the community. Eddie, only a teenager himself, forces his mother to sign papers documenting her boyfriend’s sexual abuse and signing over custody of his sister to his aunt before he leaves home. Eddie’s vitality and instinctive turning to healing ways mark a turning away from an attitude of helpless victimization.

Yellow Robe has been an articulate spokesperson for Native American theater. Interviewed for the special “Ethnic Theater” issue of Melus by Roberta Uno, an Asian American...

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Native American Drama Other Modern Playwrights (Critical Edition of Dramatic Literature)

Like every form of minority drama, Native American drama has to fight against indifference and lack of knowledge on the part of some mainstream audiences. The playwright must be aware that he or she is also writing for audiences who may not be aware that Indians still exist. This creates a double burden of the need to educate as well as to create vibrant drama, a heavy load for any playwright to incorporate into a single play.

Roxy Gordon and Leanne Howe, both Choctaws, demonstrated in their Indian Radio Days (pr. 1993) just how light that burden could appear to be. The play is structured as a radio show, with the narrator interviewing a flotsam of characters involved in key historical events, pseudo-events, or the fabrication of the many stereotypes surrounding American indigenous citizens. The pace of the play is light and fast, and the tone is bracingly ironic, building as the stranger-than-fiction events of Native American history race by. Performances of the play gain spontaneity as bingo cards are distributed to the audience, who play periodically and listen to the “Rez” (reservation) gossip of a Bingo Lady.

Other representative playwrights include the three Miguel sisters, founders in 1975 of Spiderwoman Theater, whose drama has done much to reincarnate the figures and themes of traditional native legends, and Diane Glancey, whose The Woman Who Was a Red Deer Dressed for the Deer Dance (pr. 1995) explores the theme of intergenerational conflict and the transmission of traditional values. As more anthologies of contemporary Native American drama are published, the astounding variety and creativity of the contemporary scene become more apparent.

Native American Drama Reconstructing a Lost Drama (Critical Edition of Dramatic Literature)

If history is examined beyond the removal and displacement of native peoples, the outlines of a living culture in which dance and drama were an integral part of a way of life can be glimpsed. Hints of what this drama was like can be found in the records of anthropology and in a few extraordinary documents such as Black Elk Speaks: Being the Life Story of a Holy Man of the Oglala Sioux, an account of the Oglala Sioux Horse Dance performed in the 1870’s by the nonnative poet John G. Neihardt that was first published in 1932. The story of this performance was told to Neihardt by Black Elk, the young visionary who transformed a private vision-dream into a healing performance for his nation.

Neihardt’s book contains an account of both the vision that Black Elk had as a nine-year-old boy and an account of the performance event that was informed by this vision, an event that took place when the visionary was seventeen years old. Neihardt’s rendering of Black Elk’s account offers students of Native American drama a rare opportunity to study the connection between private vision and community performance. It also poses a challenge to the typical European understanding of what drama is: The portrait of a hero or heroine struggling against society and its conventions is a product of nineteenth and twentieth century forces of modernity, forces that have increasingly focused on the individual and have seemingly exiled the spirit world from creative performance.

To understand the Oglala Sioux performance of the Horse Dance as described in Neihardt’s account, it is important to imagine a dramatized version of Piers Plowman, the medieval poem in which the dream-vision of a young man helps him construct a way of healing for his people. Here the focus is not on the individual but on the communal; the imaginative act of the visionary becomes the treasured road that will redeem his people from annihilation.

Because the language used to describe theater performance is tied to the conventions of European drama, there are no categorical terms to describe the kind of performance Black Elk describes; “pageant” may be close to the reality of the enormous communal effort, one that took place outside in a space...

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Native American Drama Bibliography (Critical Edition of Dramatic Literature)

Black Elk, Nicholas, and John G. Neihardt. Black Elk Speaks: Being the Life Story of a Holy Man of the Oglala Sioux. 1932. Reprint. Lincoln: University of Nebraska Press, 2000. A key work for penetrating beyond the loss and erosion of Native American culture to recapture part of the mystery and power of the pageant-drama. Contains helpful illustrations.

Geiogamah, Hanay, and Jaye T. Darby, eds. Stories of Our Way: An Anthology of American Indian Plays. Los Angeles: University of California, Los Angeles American Indian Studies Center, 1999. Geiogamah has written an informative introduction for this anthology that outlines the...

(The entire section is 310 words.)