In the Rhythm of Cree Samba: transculturality and decolonization in Tomson Highway´s Theatre
Bibliographic record
Abstract
The voice that comes from Indigenous artists, writers and activists in the Americas, in artistic works which can be related to Mary Louise Pratt’s concept of autoethnographic expression (1992), inevitably engages with discourses constructed about them in order to reconstruct or deconstruct colonial narratives. However, some artists seem to go beyond the discussion of a colonizing voice versus a response from the colonized, since they engage with practices that include Indigenous knowledge in a global perspective. This is the case of Cree Canadian artist Tomson Highway. He creates a transcultural and transnational work that challenges territorial and genre conventions in a kind of practice that can be related to what Diana Taylor (2007) denominates hemispheric performance. Highway is an artist and a cultural agent that participates in the exchange of knowledge between cultures and in the continuation of Cree/Ojibway storytelling. His openness to artists and critics from many different countries, as well as the experience of travelling abroad as a musician in his cabaret shows, underline the value of his plays as a means of cross-cultural dialogue which creates knowledge. In this article, I demonstrate that Highway’s shows in cabaret style employ transcultural phenomena and explore how his experiences in Brazil and his knowledge of Brazilian music have been integrated into his theatrical production. I propose a poetics of tricksterism as Highway’s strategy to engage with the world in a global perspective and at the same time reinforce Indigenous cultural and spiritual traditions
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.001 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".