Paper Short Abstract:

The Indigenous body, more specifically- my Indigenous body, is a contentious site of colonial imposition. My DNA carries within it the markings of starvation, trauma, and grief that have been imposed upon my ancestors for generations. Through creation I reclaim autonomy through my vessel in the forging of new realities and renewal of cultural teachings. From the perspective of an Indigenous artist, I explore the intertwined and inseparable nature of the body and the work, and position creation as an important methodology in the production of both knowledge and sovereignty.

Paper Abstract:

The Indigenous body, more specifically- my Indigenous body, is a contentious site of colonial imposition. My DNA carries within it the markings of starvation, trauma, and grief that have been imposed upon my ancestors for generations. Through creation I reclaim autonomy through my vessel in the forging of new realities and renewal of cultural teachings. This paper explores the intertwined and inseparable nature of the body and the work from the perspective of an Indigenous artist, and positions creation as an effective methodology in the production of both knowledge and sovereignty.

Creating grounds me, binding me tightly to a rich tradition of Indigenous artistry. I feel it in my hands, which look more and more like my mom’s every day. I see it in old family photographs, featuring my great-grandfather cocooned in soft buckskin and floral beadwork. I develop a relationship with the material through action and deepen my understanding of its physicality and its histories. Artmaking is relational, and as I bead, paint, tangle, weave, and knot; I am caring for and honoring kinships with the past, present, and future. It’s only through Indigenous bodies and souls that our truths can stand in the face of dominant western narratives that hide our resilience and silence our survivors.