Confluencia entre cultura nativa y blanca en el teatro nativo-americano contemporáneoGrandma y Grandpa (1984) de Hanay Geiogamah

  1. López Pérez, Sidoní 1
  1. 1 Universidad Internacional de La Rioja
    info

    Universidad Internacional de La Rioja

    Logroño, España

    ROR https://ror.org/029gnnp81

Revista:
Odisea: Revista de estudios ingleses

ISSN: 1578-3820

Any de publicació: 2019

Número: 20

Pàgines: 91-104

Tipus: Article

DOI: 10.25115/ODISEA.V0I20.3416 DIALNET GOOGLE SCHOLAR lock_openAccés obert editor

Altres publicacions en: Odisea: Revista de estudios ingleses

Resum

This essays focuses on Grandma and Grandpa (1984), two theater plays by the Native playwright, Hanay Geiogamah, in order to reflect how indigenous characters often experience a confrontation between Native and white culture that they try to reconcile. On the one hand, it is important for them to preserve their Native traditions and identity; on the other hand, they are also aware of the necessity of adapting themselves to the changes and customs imposed by modern Western society, whilst achieving a union between the two cultures that allows them to ensure their cultural and existential survival through contemporary Native theater.

Referències bibliogràfiques

  • ALLEN, P. G. 1992. The Sacred Hoop: Recovering the Feminine in American Indian Traditions: with a New Preface. Boston, Massachusetts: Beacon Press.
  • ARKEKETA, A. 1999. “Hokti”. Stories of Our Way: An Anthology of American Indian Plays. Ed. H. Geiogamah and J. T. Darby. Los Angeles: UCLA American Indian Studies Center. 441-496.
  • CHARLES, M. 1971. “Yanowis”. The Indian Historian, 4 (3), 46-51.
  • COLORADO, E. & COLORADO, H. 1996. “1992: Blood Speaks”. Contemporary Plays by Women of Color. Ed. K. E. Perkins and R. Uno. New York: Routledge. 79-89.
  • DÄWES, B. 2007. Native North American Theater in a Global Age: Sites of Identity Construction and Transdifference. Heidelberg: Winter.
  • FIXICO, D. L. 2003. The American Indian Mind in a Linear World. New York: Routledge.
  • GEIOGAMAH, H. 1980. New Native American Drama: Three Plays. Norman: Norman University Press.
  • GEIOGAMAH, H. 1999. “Coon Cons Coyote”. Stories of Our Way: An Anthology of American Indian Plays. Ed. H. Geiogamah and J. T. Darby. Los Angeles: UCLA American Indian Studies Center. 127-154.
  • GEIOGAMAH, H. 1999. “Grandma”. Stories of Our Way: An Anthology of American Indian Plays. Ed. H. Geiogamah and J. T. Darby. Los Angeles: UCLA American Indian Studies Center. 315-331.
  • GEIOGAMAH, H. 1999. “Grandpa”. Stories of Our Way: An Anthology of American Indian Plays. Ed. H. Geiogamah and J. T. Darby. Los Angeles: UCLA American Indian Studies Center. 333-38
  • GLANCY, D. 1997. War Cries: Plays by Diane Glancy. Duluth, MN: Holy Cow! Press.
  • GLANCY, D. 2002. American Gypsy: Six Native American Plays. Norman: University of Oklahoma Press.
  • HOWE, LA. & GORDON, R. 1999. “Indian Radio Days”. Seventh Generation: An Anthology of Native American Plays. Ed. M. G. D’Aponte. New York: Theatre Communications Group. 101-148.
  • KAHN, C., REINSCHMIDT, K., TEUFEL-SHONE, N., ORÉ DE BOEHM, CH., HENSON, M. & ATTAKAI, A. 2016. “American Indian Elders' Resilience: Sources of Strength for Building a Healthy Future for Youth”. American Indian and Alaska Native Mental Health Research, 23 (3), 117-33. DOI: 10.5820/aian.2303.2016.117.
  • KING, B. 2006. Evening at the Warbonnet and Other Plays. Los Angeles: UCLA American Indian Studies Center.
  • KNEUBUHL, V. N. 2002. Hawai’i Nei: Island Plays. Honolulu: University of Hawai’i Press.
  • LINCOLN, K. 1993. Indi'n Humor: Bicultural Play in Native America. New York: Oxford University Press.
  • LÓPEZ PÉREZ, S. & BENALI TAOUIS, H. 2016. “Native American Theater: A Concise History”. Miscelánea: A Journal of English and American Studies, 54, 93-111.
  • LÓPEZ PÉREZ, S. 2019. “A Concise Overview of Native American Written Literature: Early Beginnings to 1968”. International Journal of Languages, Literature and Linguistics, 5 (3), 176-185.
  • LUKENS, M., ED. 2009. Grandchildren of the Buffalo Soldiers and Other Untold Stories. Five Plays by William S. Yellow Robe, Jr. Los Angeles: UCLA American Indian Studies Center.
  • PINAZZI, A. 2000. “The Theater of Hanay Geiogamah”. American Indian Theater in Performance: A Reader. Ed. H. Geiogamah & J. T. Darby. Los Angeles: UCLA American Indian Studies Center. 175-194.
  • SHORTY, R. & KEAMS, G. 1972. “Na Haaz Zan”. Unpublished manuscript. New York Public Library, Lincoln Center for the Performing Arts.
  • SPIDERWOMAN THEATER. 1999. “Power Pipes”. Seventh Generation: An Anthology of Native American Plays. Ed. M. G. D’Aponte. New York: Theatre Communications Group. 149-200.
  • SPIDERWOMAN THEATER. 1999. “Reverb-ber-ber-rations”. Staging Coyote’s Dream: An Anthology of First Nations Drama in English Vol. I. Ed. M. Mojica and R. Knowles. Toronto: Playwrights Canada Press. 97-132.
  • SPIDERWOMAN THEATER. 1999. “Sun Moon and Feather”. Stories of Our Way: An Anthology of American Indian Plays. Ed. H. Geiogamah and J. T. Darby. Los Angeles: UCLA American Indian Studies Center. 297-309.
  • TWO-RIVERS, E. D. 2001. Briefcase Warriors: Stories for the Stage. Norman: University of Oklahoma Press.
  • VASSAR, A. P. 2002. Hanay Geiogamah, Kiowa-Delaware playwright: A critical biography. PhD. Diss. University of Arkansas.
  • WEXLER, L. 2009. “The Importance of Identity, Culture and History for Indigenous Youth Wellness”. The Journal of the History of Childhood and Youth, 2 (2), 267-276. DOI: 10.1353/hcy.0.0055
  • YELLOW ROBE, W. S. JR. 2000. Where the Pavement Ends: Five Native American Plays. Norman: University of Oklahoma Press.
Fuente de los datos: Dialnet