The character Nanabush and the View of Oneself in Life
The character Nanabush is used in the play The Rez Sisters to bring out the idea of the view of oneself in life. Based on the idea that the play in written in the Canadian environment and ways of life, the play gives out a real complexity of the ideas and images that define human beings. For one to gain an identity, there are those experiences in life that happen and can be used to build up the self-image. Due to variations in the experiences, the identity might change with time portraying a different person from what the society perceived an individual. As these happen, people gain new values and images hence a change in culture. Nanabush is a good example of a character who goes by many faces which affect his lifestyle and culture.
Character's Cultural Significance
To illustrate the flexibility of culture, the author depicts Nanabush in various forms. At first, he appears to be a figure that is not readily available at all times. He appears as a figure that no longer exists but was present in the past culture. The presence of the character is forgotten, and the author is trying to restore it back using the women in the play. The recovery of the human figure reflects on the change and effect of moving forward in time by human beings. Highway brings out the recovery process of Nanabush in the form of a fascinating trickster story where he relates other characters with this character figure (Lina 263). The main concerns raised in line with culture is the ability to reflect back on the past occurrences while working on the difficulties of human memory. When the play is performed on stage, the character is present physically, but when linked to real life occurrences he is partially present to the characters. Highway tries to bring out the dividend sense of time which creates the difference between the present and the past practices in human life.
Identity and Cultural Collision
It is common that the way of life for human beings sometimes starts with dreams but with no efforts towards the achievement of the dreams. Reflecting on the past in the play shows how much people plan to make some performances in future. However, when the gap of time elapses and the present achievements are analyzed, not many can achieve their dream. The cultural significance brought out by the author is the failure to participate or selectively choosing of life based on the Canadian system. It is common that people spend time talking about success, but they are non-participants towards the achievement of the goals.
The Spiritual and Cultural Values
Secondly, the idea of cultural collision in line with spiritual and cultural values is well portrayed in the play. The character Nanabush is made to appear in different images to represent the somewhat combination of the white and Indian cultures. The author idealizes the world of spirits to be able to capture the native cultures that the Canadians practiced before the change brought by the whites. At some point, all those characters who can speak the native language can link with Nanabush in the play. The symbolic character is used to reflect on the connection of the aboriginal Canadians to their former cultures. There is the significance of specific characters relating to Nanabush in a spiritual link which shows that only those who have not dropped their cultures link with their traditions (Nothof 40). Westerners are at some point excluded in the communications with Nanabush.
Integration of Native and Non-Native Communities
Based on the settings, the author focuses on both the native and non-native Canadians who lived in Indian at the time of action. With Canada having changed into a white capitalist state, there are both positive and negative effects of the integration between both the native and non-native communities. In the play, an incidence of the Whiteman authority being overthrown in state and church is created. This incidence is a reflection of the tension that exists between the white and the Indian culture. At one point, this whole idea can be perceived as change and development where the white incorporates their advancements into the Indian society. On the other hand, this idea appears as loss of culture for the Indian where they agree to be driven by the white Americans.
Nanabush as a Spiritual Figure
Thirdly, at some point, the character Nanabush is made to pose as a spiritual figure. Tomson uses this identity to remind the readers and the Canadian residents of the spiritual component of life and human culture. While appearing to the women, the trickster figure is drawn out in the form of a white bird which is a symbol of hope. Later, he appears as a bingo master as a symbol of the fantasies that the women in the play and the human beings in whole make while living. At some other point in the play, Nanabush is made to appear as a blackbird with the significance of death. The reflection that is created is how the spiritual figure appears to different characters in various ways. The manner in which the interactions unfold shows the spiritual component in each.
Culturally Specific Spiritual Connections
In the play, there are culturally specific spiritual connections created between Nanabush and the characters. It is an indicator of the relationship between human beings and God who is perceived to be in the form of a spirit that guides the followers. Based on one's preservation of religious culture, the individuals have different notions of the existence of Nanabush. Some say that the spirit no longer existed since the coming of the white man while others still believe that he is present and among them. In most cases, people fail to involve their spiritual lives in their discussions about life happenings (Lina 268). However, spirituality survives as an integral part of the human life and defines one's identity. Without preservation of some of the religious beliefs, the basis of the Indian culture would not be present. Although the sisters have majored their lives with the white commercialized lifestyle, Nanabush follows them to wherever they go to act as a reminder of where they originated. A major lesson is depicted in that the emergence of the white religion culture did not equate to the loss of one's native beliefs.
Impact of Nanabush to the Play
With the illustration of Nanabush in different forms in the play, various concerns about culture arise. Tomson Highway's work is a good indicator of some of the activities that individuals should look into before venturing into technological advancements. Nanabush is used to situate the current human individual into the history and personal origin that one belongs. To start with it is essential to agree that the society is presently living in already colonized as well as a fast developing era. There are both negative and positive effects of the changes acquired, but it is upon the individuals to have a look at the guilt and superiority brought about by the changes (Nothof 50). It is upon the current nations to break down the negativities that are brought about by change and interaction of different cultures.
Similarly, the interactive concept of Nanabush and the characters places the modern man in a particular situation where a reflection on the past is done. It is essential for people to realize the weight associated with their cultures, family, and those that we relate with at the workplaces. Currently, every society is at the point of change to be able to keep up with the competitive world of innovations and business. However, the identities of human beings should not be lost in the change process as the sisters in the play. People should learn about the magical combinations of the past and the present to come up with something new that respects both the traditions and the future. Origin authenticities should be considered when making any change. Lastly, Nanabush is used for the storytelling purpose to educate, entertain, and heal the human soul.
Conclusion
Rez Sisters is a perfect reflection of the changes that have occurred since the origin of humankind. Everyone finds a fascinating thing about the future as compared to the current situations. However, it is the obligation of man to work towards change keeping in mind that not all changes are beneficial. In many ways, there is an overlapping portion of the traditions over the current adaptations.
Work cited
Nothof, Anne. "Cultural collision and magical transformation: the plays of Tomson Highway." Studies in Canadian Literature 20.2 (2015): 34-60.
Perkins, Lina. "Remembering the Trickster in Tomson Highway's The Rez Sisters." Modern Drama 45.2 (2013): 259-269.
