Beating Around the Nanabush
Beating Around the Nanabush
An Analysis of Tomson Highway’s
Most Enigmatic Character
This essay endeavors to explain the role of Nanabush, who appears in both of The Rez Sisters and Dry Lips Oughta Move to Kapuskasing, while asserting that Nanabush is actually the principle focus of the playwright, although he or she often only stars in limited scenes. Nanabush is a mysterious character, radically different from many other spiritual figures. In the native tongue, Nanabush is not ascribed a gender. He or she is principally described as a trickster, not necessarily harmless but neither ill intentioned. He or she can shape shift, assume people’s appearance, and deviate moods as quickly and effortlessly as the situation calls for. At times Nanabush is peaceful, others vicious, still others graceful, romantic, and aggrieved. He or she covers entire gambits of emotion and yet always remains silently inscrutable. This essay acknowledges that Nanabush’s roles in the plays are multi-faceted, but asserts that the primary reasons behind Highway’s emphasis on the character derives from Nanabush’s role as a symbol, plot motivator, and an audience director. Nanabush should perhaps first be viewed in a symbolic context. As described in Highway’s introduction to the character, Nanabush represents the Native spirit. It is of no small importance that Nanabush is listed as the first character in the casting list of Dry Lips. A major theme in both of these plays is the rejuvenation of the native spirit, which is manifested in the constantly shifting shape of Nanabush. Yet to say that Nanabush embodies only a single symbol is another oversimplification. During the scene in which Simon Starblanket shoots himself when distracted by a vision of Nanabush, the play shifts to Zachary who screams a diatribe against whatever God is in power. On the stage’s upper level we see Nanabush perched on a toilet. In this symbolic action, the astute observer can understand that the native
An Analysis of Tomson Highway’s
Most Enigmatic Character
This essay endeavors to explain the role of Nanabush, who appears in both of The Rez Sisters and Dry Lips Oughta Move to Kapuskasing, while asserting that Nanabush is actually the principle focus of the playwright, although he or she often only stars in limited scenes. Nanabush is a mysterious character, radically different from many other spiritual figures. In the native tongue, Nanabush is not ascribed a gender. He or she is principally described as a trickster, not necessarily harmless but neither ill intentioned. He or she can shape shift, assume people’s appearance, and deviate moods as quickly and effortlessly as the situation calls for. At times Nanabush is peaceful, others vicious, still others graceful, romantic, and aggrieved. He or she covers entire gambits of emotion and yet always remains silently inscrutable. This essay acknowledges that Nanabush’s roles in the plays are multi-faceted, but asserts that the primary reasons behind Highway’s emphasis on the character derives from Nanabush’s role as a symbol, plot motivator, and an audience director. Nanabush should perhaps first be viewed in a symbolic context. As described in Highway’s introduction to the character, Nanabush represents the Native spirit. It is of no small importance that Nanabush is listed as the first character in the casting list of Dry Lips. A major theme in both of these plays is the rejuvenation of the native spirit, which is manifested in the constantly shifting shape of Nanabush. Yet to say that Nanabush embodies only a single symbol is another oversimplification. During the scene in which Simon Starblanket shoots himself when distracted by a vision of Nanabush, the play shifts to Zachary who screams a diatribe against whatever God is in power. On the stage’s upper level we see Nanabush perched on a toilet. In this symbolic action, the astute observer can understand that the native
Cited: Highway, Tomson. Dry Lips Oughta Move to Kapuskasing. Saskatoon: Fifth House, 1989. Print Highway, Tomson. The Rez Sisters. Calgary: Fifth House, 1988. Print.