The Voice of Subalterns in George Ryga's The Ecstasy of Rita Joe: Subaltern Literature Relations in Canadian Indigenous Play
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Postcolonial studies have become one of the most critical academic theories in modern paradigms of philosophy, history, politics, humanities. South Asian studies, Middle East studies, African studies, Caribbean Studies, and Oceanian and Canadian studies are the major socio-geographic realms in the postcolonial studies. Since the last two decades of the 20th century, postcolonial literature opened a new challenging dimension of its applicability in the western modern literal critiques with the concept of subalternity. The subaltern concept increased its momentum as one of the most important subdivisions of postcolonial theory which can be applied in the literal works of either colonial discourses or postcolonial literal disciplines. The literary significance of Canadian indigenous literature in general, especially Canadian indigenous play, has not been drawn much attention not only from the circle of academic study but also from general audience even in Canada until the 1967's centennial independence celebration. The work of George Ryga – The Ecstasy of Rita Joe, which was first staged in November, 1967 in Vancouver Playhouse, ignited the strong catalyst in the conscience of the Canadian dominant Anglo-Frenchruling communities to realize the issues of social justice and inequality of Canadian indigenous people. Ever since, the various aspects of indigenous issues of Canadian First Nations, such as brutal colonial policies, indigenous identities, social justice, racial inequality, female discrimination, and so on, became the mainstream of contemporary themes of Canadian plays. The study pays more attention to the legacy of white dominant colonialism and postcolonial literal critical prospective on Canadian Indigenous subaltern woman in the theatrical play of Canadian Indigenous literature. It also highlights how George Ryga as an immigrant subaltern enacted the sufferings of the indigenous subaltern community. Finally, it provides the analytical and textual evidences for the voice of the subalterns in relation to the representing voice for the subaltern group.
Abstract
Postcolonial studies have become one of the most critical academic theories in modern paradigms of philosophy, history, politics, humanities. South Asian studies, Middle East studies, African studies, Caribbean Studies, and Oceanian and Canadian studies are the major socio-geographic realms in the postcolonial studies. Since the last two decades of the 20th century, postcolonial literature opened a new challenging dimension of its applicability in the western modern literal critiques with the concept of subalternity. The subaltern concept increased its momentum as one of the most important subdivisions of postcolonial theory which can be applied in the literal works of either colonial discourses or postcolonial literal disciplines. The literary significance of Canadian indigenous literature in general, especially Canadian indigenous play, has not been drawn much attention not only from the circle of academic study but also from general audience even in Canada until the 1967's centennial independence celebration. The work of George Ryga – The Ecstasy of Rita Joe, which was first staged in November, 1967 in Vancouver Playhouse, ignited the strong catalyst in the conscience of the Canadian dominant Anglo-Frenchruling communities to realize the issues of social justice and inequality of Canadian indigenous people. Ever since, the various aspects of indigenous issues of Canadian First Nations, such as brutal colonial policies, indigenous identities, social justice, racial inequality, female discrimination, and so on, became the mainstream of contemporary themes of Canadian plays. The study pays more attention to the legacy of white dominant colonialism and postcolonial literal critical prospective on Canadian Indigenous subaltern woman in the theatrical play of Canadian Indigenous literature. It also highlights how George Ryga as an immigrant subaltern enacted the sufferings of the indigenous subaltern community. Finally, it provides the analytical and textual evidences for the voice of the subalterns in relation to the representing voice for the subaltern group.
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