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Ways of knowing against colonialism In the 1990s, the North American Free Trade Agreement (NAFTA), the Violence Against Women Act (VAWA), and US and Canadian boarding/residential schools practices led to an increase in cases of missing and murdered Indigenous women from the US-Mexico border, Guatemala, Canada, and the United States. Indigenous artists aiming to recontextualize these state-sponsored instances of violence created works grappling with time, ancestry, and relationality. Lilian Mengesha interprets the works of these artists within a decolonial context through an aesthetic frame she calls critical dreaming. Using methods from performance studies, gender studies, and Indigenous studies, Critical Dreaming considers artists as expert world makers. Mengesha examines selected works by Lara Kramer, Regina José Galindo, Rebecca Belmore, Monique Mojica, LeAnne Howe, and Sky Hopinka, demonstrating how each materializes alternative modes of experiencing time, making kin, and communing with land. Mengesha argues that critical dreaming is a performance that advances material and embodied practices of survival, both individual and collective, to challenge colonial and nationalist discourses invested in a teleology of disappeared people, history, and land. Her writing provides valuable insight into the intergenerational effects of settler colonialism on Indigenous communities throughout the Americas, looking at how artists build worlds anew through Indigenous ways of knowing and making inspired from the past and repurposed for the present. Critical Dreaming offers a resonant framework for understanding Indigenous embodied ways of knowing that work against colonial attempts to discredit or disappear forms of imagination, relationality, and resistance connecting disparate Indigenous communities. This powerful book urges readers to recognize how Indigenous artists contribute to ongoing struggles against multiple forms of colonialism.
Ways of knowing against colonialism
In the 1990s, the North American Free Trade Agreement (NAFTA), the Violence Against Women Act (VAWA), and US and Canadian boarding/residential schools practices led to an increase in cases of missing and murdered Indigenous women from the US-Mexico border, Guatemala, Canada, and the United States. Indigenous artists aiming to recontextualize these state-sponsored instances of violence created works grappling with time, ancestry, and relationality. Lilian Mengesha interprets the works of these artists within a decolonial context through an aesthetic frame she calls critical dreaming.
Using methods from performance studies, gender studies, and Indigenous studies, Critical Dreaming considers artists as expert world makers. Mengesha examines selected works by Lara Kramer, Regina José Galindo, Rebecca Belmore, Monique Mojica, LeAnne Howe, and Sky Hopinka, demonstrating how each materializes alternative modes of experiencing time, making kin, and communing with land.
Mengesha argues that critical dreaming is a performance that advances material and embodied practices of survival, both individual and collective, to challenge colonial and nationalist discourses invested in a teleology of disappeared people, history, and land. Her writing provides valuable insight into the intergenerational effects of settler colonialism on Indigenous communities throughout the Americas, looking at how artists build worlds anew through Indigenous ways of knowing and making inspired from the past and repurposed for the present.
Critical Dreaming offers a resonant framework for understanding Indigenous embodied ways of knowing that work against colonial attempts to discredit or disappear forms of imagination, relationality, and resistance connecting disparate Indigenous communities. This powerful book urges readers to recognize how Indigenous artists contribute to ongoing struggles against multiple forms of colonialism.