Dance Me Outside maintains stereotypes

Page 18

REVIEW

The man that some Indians love to hate, W.P. Kinsella, has hit the big screen, Kinsella's novel, Dance Me Outside, premiered in a movie format on March 10 in Edmonton.

Directed by Bruce McDonald and produced by Norman Jewison, the flick takes its viewers to a (fictitious) Indian reserve in Ontario called Kidabanesee.

In the 10 or 12 books Kinsella has authored, the locations used are Alberta's Hobbema reserve. What's more, in many instances, the true family names of some of its residents are used. And that, to many, has been adversely received because of the fact Kinsella is prone to poking fun at the subjects he often type-casts in a negative fashion when he writes.

In an Edmonton Journal review of the film, writer Marc Horton quotes the film's director as saying, "Most people have a picture of drunk and depressed contemporary Indian life, but there's a whole other side that people have no idea about..."

After reviewing the film however, one can't help but note that it is rife with all sorts of of innuendoes that this "different" portrayal or depiction of Indian and the reserve is not really any different from that demonstrated in so many other films that have gone before.

There is hardly a scene throughout the entire 87-minute run of this flick which does not set apart Indians and their home-land as drinking, cheating, poverty-stricken, pool-playing, fist-fighting and racist people who have nothing better to do than tear about in old beat-up clunkers.

On top of all this, there's the theft of a new automobile belonging to Robert McVey (Kevin Hicks,) the white lawyer-husband of one of the reserve's daughters, Illianna (Lisa LaCroix.)

Admittedly, the film does present the humor that is usually pervasive in Indian country, an element so often neglected by other producers. But, at the same time, the film appears to have failed in that it - again - regurgitates the incessant stereotype and negative imagery of Indians.

Don't writers, directors, and producers know, or suspect, that this is a generality that no longer holds true? Oh sure, there are still the exceptions - the exceptions one can find within any cultural group.

Conversely, there are progressive reserves and Indians. Many have new vehicles. There are nice homes which are well-furnished and clean, and there are socially and morally adjusted residents. So, who's really out of synch here?

A film can affect its audience; it can have a positive slant and be dramatic and/or humorous.

If the producers and directors truly wish to offer some thing different from the usual fare; never mind just the humor that is often missing, why don't they also incorporate elements that have something positive to project about the social and cultural fabric of Indian country? That would certainly be a good start.

Where are the rodeos, powwows, round dances, tea dances, ball games, hockey games, schools with teachers and teacher-aides, churches, health clinics, talent contests, band meetings, etc. etc.?

If they sincerely wish to depict reality, it's not all that difficult to do. Meantime, Indian country will keep on the lookout for flicks which more accurately represent their people and communities.