Questing Indigenous Identity in the Academic Industrial Complex

Excerpt from a critical analysis essay of article “American Indian Identity and Intellectualism: the quest for a new Red Pedagogy” ...The reactions some have of not understanding a painting because it doesn’t “look like” an American Indian painted it, falls into essentialism identity theory because either, the artist or the artwork is not fitting into their Whitestream vision of authentic Native America. The opposite scenario also occurs when I give visual clues to the viewer of cultural content and the responses are; they can’t relate to it because it is “too Indian,” statements of “you are limiting your audience” and asking the question “why are you dwelling in the past?” These comments come from a postmodernist theory on identity where Grande writes “empiricist notions of knowable and absolute determiners of origin and authenticity dissolve and along with them essentialist constructions of identity. In short, it asserts the ‘postmodern condition’ as one in which grand narratives of legitimization are no longer credible.” (Grande 350) So I’ve found myself in reaction to a postmodernist critique of my artwork, feeling the need to return to an essentialist description and use of imagery, or vice-versa, but now I understand that what I am doing is far beyond either of these narrow Eurocentric gazes, including Marxist Critical Theory Grande also includes as identity theory. Witnessing the ease in which Whitestream thinking travels back and forth between dominant identity theories is frustrating and seems to be used to invalidate my subjective, personal experience, which reflects a larger consciousness of indigenous experiences and contemporary survival stories. I have identified this as utilizing Eurocentric intellectual methods of continued oppression upon students who are constructing identities that threaten to unveil dark histories of violent imperial colonialism. ...In concluding thoughts....Beginning to unfold what it truly means to transcend colonialism at an individual basis can be very difficult and must emanate into daily practices. I have attained part of this process by identifying my art practice as personal ceremony and a format to manifest vision, healing, and ancestral memory; so the symbols and visceral memories of annual indigenous ceremonies (the neuro-decolonizers) become a constant source for the writing, creating and image making. I still have a long way to go on my indigenous pathway to freedom of understanding my families struggle, soul wounds, survival and re-emergence of culture, but thanks to authors mentioned in this essay, I have had help identifying my own American Indian intellectualism and the value that has in these institutions of higher academia.

Excerpt from Reflective Esssay #1 for Tribal Critical Race Theory.

In thinking about these ideas of decolonization, indigenization, and reclaiming indigenous cultural identity I was happily surprised to read about my father’s freedom of religion case referred to in the reading. I reminisced about my child hood growing up during the decade of this case, Al Smith vs. Oregon (1980’s). It only makes sense for my own critical thinking process to reflect upon the context of how Deloria Jr. was discussing this in regards to the larger viewpoint of the first amendment and Indian Religious Freedom Act. Growing up, I remember listening to my dad talk about this case to students and the public and I also recall when he would get threatening phone call’s from other Native American Church members living in states where they were already protected under the law, pleading with him to drop the case. Being an aboriginal of Oregon, my father as many Natives didn’t have any protection at the time in most states and his participation in ceremony and taking peyote medicine was illegal. I was a little girl and remember going with our family and friends to Washington D.C. and visited the inside of the Supreme Court, I had the choice to stay 3 minutes, or the duration of the trial, I chose to stay for 3 minutes. My other childhood memories are songs, smells, and prayers from teepee meetings, sweat lodges, and sun dances. I am proud that I was able to grow up freely smelling, living and praying this way thanks to my father’s incorrigible warrior’ Ness! This trial shook Indian Country, U.S Freedom of Religion Law, and shaped my life and understanding of what indigenous people must fight for to be free like white people and how complicated it is to be Native and what protection by the U.S. government’s policies really extends to. I learned the trials and tribulations our ancestors diligently and relentlessly fought for so that our S? aaMaks (relations) and I can go to ceremony and sing songs on our sacred homelands. I remind myself in writing this to never take for granted the wisdom and strength of my people, I have grown up as a bridge between two world-views, paradigms and this continues to shape my identity and educational experiences. This case and writings of Vine Deloria Jr. are important influences for the next indigenous generations creative voices that continuously evolve our vibrant, brilliant cultures. We speak in so many different voices, I aim to speak through color, form and paint, and writing like this aids my continued visual expression.

A Witness to the MFA in Indigenous Arts Conference, Evergreen State College.

This September I was invited to witness and participate in the first conference about creating the MFA in Indigenous Arts program at Evergreen State College. I am sharing some of the Visions, Missions and Goals. The Vision of the MFA in Indigenous Arts Program is to provide an arts education that is grounded in indigenous cultural values, protocols, practices and forms of knowledge. The Mission directed by the Longhouse Education and Cultural Center, is to provide a graduate level, degree-granting program that advanced the field of Indigenous Arts by providing cultural arts leaders with education and training. Some of the Goals are to > develop innovative, student-centered approaches to Indigenous Arts practice within a culturally-affirming educational setting. > Increase the number of indigenous scholars researching, writing and presenting about indigenous arts and cultures within academia and the field at large. > To provide a curriculum that establishes professional development opportunities for students, including curating, exhibiting, grants, public art, networking, business training. > To provide opportunities for indigenous artists to assert their unique voice in the international art world by engaging current scholarship in art theory and criticism, as well as exhibiting. > To foster indigenous artistic and cultural exchange! > To strengthen the relationships among The Evergreen State College, tribes in the U.S., Native communities and indigenous peoples along the Pacific Rim.