of agency that maintains the colonial power structure.12 In occupying the performance art
space, Monkman demonstrates that he is aware of the limitations of speaking solely
through the language of colonialism. Through performance, Monkman is able not only to
reimagine, but to relive colonization with the roles of colonized and colonizer reversed.
He is able to utilize the physical, namely his skin colour, voice, mannerisms and
physique, to corporeally demonstrate his occupation of the hybrid and his use of this
fragmented identity as a site of cultural power. Muñoz writes that "identity practices
such as queerness and hybridity are not a priori sites of contestation but, instead, spaces
of productivity where identity's fragmentary nature is accepted."13 Monkman not only
embraces hybridity, he effectively demonstrates its many uses for renegotiating colonial
power structures in the here and now. His performance shows that there is a space where
time, space, gender, and race can be embodied as a whole. Here, he is free to adapt the
storytelling and myth-making traditions of both European and Native cultures to create a
space for himself, and Native gay and transgendered sexuality, in both the historical past
Humour, Irony, and the Trickster Character
Humour and irony are used heavily to bring audiences into the ruse of Share's
performance and to challenge the mock-innocence of the original diarists and painters
who expressed pity and childlike fascination for the Indigenous people with one hand,
while exploiting them with the other. The hegemonic power relationship that exists in
12 Bhabha, 1994. Muñoz also discusses Bhabha's concept of mimicry as a complex, "double articulation," disavowing as it affirms the dominant power structure (1999:78).
13 Muñoz, 1999:79. Muñoz affirms my contention of hybridity as a site of power for cross-cultural/cross- gender identity politics.