Abstract
The article analyses Canadian playwright Drew Hayden Taylor''s "Blues Quartet" of Indigenous comedies, The Bootlegger Blues, The Baby Blues, Buz''Gem Blues, and Berlin Blues, and discusses the issues of cultural particularity, versus universality of humour as a powerful, and indeed far-reaching, communication, as well as artistic, practice. In the context of contemporary Aboriginal theatre in both Canada and the US, humour appears to serve as a linguistic and situational foundation, upon which inter-cultural understanding is typically made possible, by adverting to cultural specificities and (potentially laughable) idiosyncrasies.