Share is performed with a wink and a nudge, allowing mainstream audiences access to
the larger theme of cultural subjectivity and bias, while leaving those without specific
historical and cultural knowledge on the outside of some of the subtler messages and
references. Just as Gomez Peña's romantic Mexican stereotype "El Mariachi Liberace"
creates an exaggerated caricature as a method of subverting mainstream stereotypes,6
Monkman's Share reveals the ridiculousness and subjectivity of colonial artists who
Monkman uses his hybrid, mixed-race identity to his advantage, demonstrating his
authority and power as cross-cultural navigator. Lisa Wolford writes that Gomez-Peña's
work is characterized by a type of artistic and political strategy that he describes as
travelling back in time in order to occupy the romantic landscapes and scenes that
became the source of manly noble Native stereotypes, Monkman claims them as his own
territory – a territory free of the borders of time and space, where he is the master of his
imperative to enact a mode of power that labours to invalidate, exclude, and extinguish
faggots, effeminacy, and queerly coated butchness."8 In the creation and performance of
Share, Monkman refutes the static and masculinized imagery of the Indian; his location in
the present/past allows him to speak from within but beyond the boundaries and confines
that have kept this image in the fixed past for over a century.
6 Wolford, Lisa "Guillermo Gomez-Peña: An Introduction" Theatre Topics. The Johns Hopkins University
Press. Volume 9, Number 1, March 1999, pp. 89-91. A further comparative examination of the Gomez- Peña and Monkman's work is an area of future research interest for me.