Transforming and Grappling with Concepts of Activism and Feminism with Indigenous Women Artists

Julie Nagam, York University and the Tensions and contradictions exist University of Manitoba, is situated in between the social locations of feminism multiple locations of community, race, class and activism among Indigenous women and identity. artists. A dialogue needs to be created to grapple with these concepts in an Abstract Indigenous context, one that would engage This essay reflects on the multiple relations with the relationship between Indigenous between the socially constructed terms of women and the cultural politics of their art activism, feminism and Indigenous artists practices and provide discourse surrounding and whether such reflections connect to a feminism and activism in the context of the larger discussion surrounding colonization, artistic practices of the original inhabitants of hegemonic western art practices and the Turtle Island. To that end, this essay reflects lack of female Indigenous artists in the on the complex relations between the mainstream art world. socially constructed terms of activism, Résumé feminism and Indigenous artists and Cet article est un réflexion sur les multiples whether such reflections connect to a larger relations entre les termes construits discussion surrounding colonization, socialement d'activisme, de féminisme et hegemonic western art practices and the d'artistes indigènes et si ce genre de lack of female Indigenous artists in the réflexions se relient à une plus grande mainstream art world. discussion sur la colonisation, les pratiques Indigenous struggles rooted in d'art occidentales hégémoniques et le decolonization and self-determination manque de femmes artistes indigènes dans historically have a distorted relationship to le monde d'art conventionnel. the terms activism and feminism and while Indigenous thinkers and scholars advocate for self-determination and decolonization, these terms are situated in different frameworks. Decolonization is an internal and external process, which allows the colonized to oppose or change the "conquest and control of [their] people's land and goods" (Loomba 2005, 8). Self-determination is rooted in Aboriginal peoples governing their own nations and the devolution of their social and political welfare. Grace Ouellette argues that, "the concepts of racism and Eurocentrism have not been adequately addressed by feminist writers analyzing the status of Indigenous women in the global community" (2002, 12) and her point is a valid one because until

www.msvu.ca/atlantis PR Atlantis 33.1, 2008 73 recently feminist writers did not deal with the colonial Canadian (or any) society by concepts of racism and colonization. providing individuals with tools to resist in However, in the last two decades, a whole local struggles. Devon Mihesuah's use of new generation of feminist theorists have the term activist and her argument that other focused on anti-racist, Indigenous and women who identify with feminist politics are women of color feminist issues and theory. activists rather than feminists, perpetuate As examples we can look to the work of distorted views of feminism (2003). This is Chandra Mohanty, Gloria Anzaldua, Lee an injustice to the feminist movement, Maracle, Joyce Green, Christine Welsh and including those feminist activists who are Shirley Bear. struggling to end all oppressions and who In the past and the present there are engaged in decolonizing practices. Yet have been numerous difficulties when women such as Ouellette and Mihesuah Indigenous people commit to feminist also support feminist issues, including the politics. This happens because there is a environment, land, childcare, education, disconnection in the understanding of health care and so on. Ouellette and feminism, caused when Indigenous people Mihesuah's writings focus on these assume that feminism does not take up concerns which are haunting Indigenous issues of Indigenous sovereignty, women in our present day realities of social self-determination and self-government. The dislocations and oppression. The struggle tension between Indigenous issues and for Indigenous women to find a location in feminism exists when people want to feminism is difficult because, as these separate these embodiment practices. As writers indicate, there are complications for Devon Mihesuah, an American Indigenous Indigenous people to identify themselves as scholar argues, not all Indigenous women feminist. However, as both writers argue, it reject "white" feminism and "when they is acceptable to be an activist but not an [Indigenous] identify themselves as advocate for feminism because they face 'feminists,' they often mean they are 'Native less criticism from other Indigenous people Activists,' concerned with more than female in naming themselves "activists" instead of marginalization. Indeed, they fight for "feminists." This is an extremely problematic fishing, land, water, and treaty rights and at stance as both terms were created out of a the same time, they have no desire to be Eurocentric framework and need to be called inferior by anyone because they are discussed further. This is a concern which women" (Mihesuah 2003, 162). The will be addressed later in this paper. concepts behind activism and the use of the The past works of Rosanna term as a vehicle to end oppression and Deerchild, an Indigenous writer, and Lita create social change is enabling people to Fontaine, an Indigenous artist, both deal bypass the politics of feminism. This is with "approaching feminism with a cultural highly problematic because it proposes that lens" (Deerchild 2003, 100). Fontaine feminists are not activists or that Indigenous defines herself and her work as "tribal first people who use and identify with feminism because first and foremost my Aboriginality are not really feminists at all; they are Native is important, but feminist because I have activists. The concept of activist in my work adopted some of their ideals" (Deerchild has been re-named "social change agent" (I 2003, 100) and she has borrowed the term use this term in order to find a different tribal feminism from the Paula Gunn Allen ideology that is not embedded in social from her book The Sacred Hoop that also constructions of the frontline radical activist) deals with feminist ideology through a and I developed it out of my understanding "cultural lens." Deerchild states, "Tribal that the role of an activist, feminist, social feminism argues that matriarchy gave way change agent and, I would add, artist, is to to patriarchy within our business, community transform dominant racist, sexist and and governing structures, and women lost

74 Atlantis 33.1, 2008 PR www.msvu.ca/atlantis their status and their leadership roles" (Allen Deerchild are attempting to do, then there 1986, 101). This kind of thinking is what can be coalition building, and many complicates past understandings of Aboriginal people can find a place within the feminism and the effects colonization have feminist movement, feminist art and its had on Indigenous women's gender roles accompanying theoretical body of within their own communities. It is knowledge. courageous of Fontaine and Deerchild to Fontaine's most recent work, The demand a redefinition of past constructions Sacred Feminine, deals with various issues of white/middle-class feminism and at the and complexities related to the beauty of the same time they ask for a re-examination of body and its gendered experiences. She Indigenous women's role in their own has combined ideas of land, body, beauty communities and Canadian society in and energy into a marvelous piece of general. Fontaine argues that it is not only artwork. At the same there is a sense of Euro-Canadian society that needs interplay that exists which relates to the idea re-examining; she "began to discover that of the feminine. This work begins to grapple these 'isms' also exist in Aboriginal societies with the existing tensions between and traditions" (Deerchild 2003, 100). An art/beauty and the embodiment knowledge example of such an encounter in Aboriginal of being an Aboriginal woman. Fontaine society would be the experience of women's states, "The one thing about The Sacred place around the drum. Feminine was to honour my own femininity Fontaine has created artwork that within myself and to bring out the beauty in brings to light the very issue of a woman's our culture" (Manitoban Online 93.22). This place around the drum. One of her earlier kind of honour needs to be at the forefront pieces of artwork, The Women's Drum, has of feminist movements and embraced by four images of the upper female torso in the Aboriginal peoples who know women form four directions, surrounded by a large drum the backbone of their communities, nations in the center. At each corner of the drum and families. Therefore, the struggle to there are feathers and stones sitting in each resist dominant ideologies of the feminine direction. The creation of this project was stems from western education and intended to challenge some of the gender colonization. This is where art is not created divisions in her community and in Aboriginal just for aesthetic or avant-garde purposes; it ways of doing. Fontaine states that she has social and political context for Aboriginal began to "confront what she sees as people. This does not mean a total rejection patriarchy that has seeped into these of avant-garde or aesthetic practices for long-held beliefs, ceremonies and gender Aboriginal artists, since there are artists who roles" (Deerchild 2003, 100). This is a focus on these forms of expression. significant shift in thinking for Aboriginal However, there are different implications for women about a contentious issue, with Aboriginal artists because their artwork is many Aboriginal theorists arguing that always locked into a political position or Aboriginal men's struggle for a better place stance because of the historical implications in Canadian society is similar to that of of a white settler colony. As Fontaine states, Aboriginal women. However, it is important "I always felt like I was battling the system. to note the imbalance of power within For me, there wasn't very much Aboriginal Aboriginal communities for women as a art. I had to fight my way and talk myself result of colonization. Therefore, it is crucial and talk to the people. It was almost like I to re-evaluate how and why this imbalance had to prove to myself and the faculty that exists and, instead of separating themselves [Aboriginal] art was just as valid as whatever from feminism, Fontaine and Deerchild are I was studying" (Manitoban Online 93.22). demanding redefinition. If more Indigenous The constant struggle to affirm Indigenous women can find power in what Fontaine and art as a fine art and its importance proves

www.msvu.ca/atlantis PR Atlantis 33.1, 2008 75 that there is little room for Indigenous Cutschall's artwork grounds women artists. As a result of trying to feminism in the current social political balance the relational power between concerns of Indigenous people. She genders, Aboriginal women's relationship to continues to raise the issue of intellectual feminism and activism becomes property and the rights to cultural knowledge complicated. However, this does not as an Indigenous artist. As Cutschall stated diminish the importance of underscoring that in an interview, "I think of myself as a social there are few female Indigenous artists who activist instead of a political activist. I think are recognized or discussed in art history or that is the position I have always taken with the mainstream art world. my work. I am not trying to beat politics into Artist Colleen Cutschall considers people's head. Unless I can change those herself and her work rooted in feminism, politics, I'm not going to speak about them activism and tribalism. She describes her often. What I try to do is change it through work and her life philosophies as being built the content of my work" (Cutschall interview on these theories, which for her includes 2005). Cutschall's artwork includes: dies Indigenous knowledge. As Jackson Rushing again; Spirit Warriors; Sister Wolf in Her states, Cutschall "is a teacher, writer, Moon; and House Made of Stars. She states lecturer, and activist. Furthermore, like so that sometimes creating artwork can be many artists working today - Native or extremely frustrating because of the otherwise - her modes of production are struggle to define herself as an Indigenous flexible and situational...and is often highly woman with intellectual rights within a vast conscious of, if not driven by, a variety of amount of cultural knowledge. Part of her textual fields, including aesthetics, forward political stance within feminism is anthropology, feminism, the natural what makes her art interesting and sciences, and the politics of cultural identity challenges the Eurocentric norms of the (Rushing 1999, 103). Cutschall empathizes mainstream art world. with the myriad concerns facing Indigenous Cutschall's strong feminist stance, women who commit themselves to feminist however, is not shared by all Indigenous politics. However, her artwork is based on artists, such as Margaret Dumas and Cathy the above principles and ideologies, Mattes. Both of these women have been furthering my argument that Indigenous engaged in an internal struggle with the women artists can subscribe to some type western model of feminism and activism. of political movement within feminism. At the They both face complications when they same time, though, Cutschall appreciates themselves as Indigenous women identify the complexities in making that decision. with feminism and activism. As Dumas She states that, "feminism has been built states, "I have some feminist viewpoints but into my work pretty much all along…and let I am not totally feminist because we me say I don't know where I wouldn't be a [Indigenous people] see the importance of feminist" (Cutschall interview 2005). having a balance, each man and woman Cutschall makes a strong statement, as do have a role" (Dumas interview 2005). other Indigenous artists, writers and Dumas discusses here the potential loss of activists, such as Bear, Brant and Maracle. this balance and why she can accept only These women encourage the dialogue to some feminist views. Therefore, we must take place within Indigenous circles, ask what needs to shift in order to convince sparking a bush fire in critical thinking Dumas to have a stronger commitment to around the concept of feminism. Therefore, the feminist discourse? Is there a moment in Indigenous women can continue to ask for time that will trigger a change in Dumas's re-definition of feminism that is rooted in thought process as there was in I Am decolonizing, Indigenous knowledge and Woman, by Lee Maracle? In this book lifestyle. Maracle spins a story of remorse and regret

76 Atlantis 33.1, 2008 PR www.msvu.ca/atlantis in a speech she addressed to a mass of scholars is trying to decolonize and change women which included Indigenous women, these kinds of Eurocentric attitudes. It is the and stated, "that it mattered not that I was a values and beliefs of feminism that require a woman" (Maracle 1988, 15), but rather a transformation in people's minds. When a person trying to create change. It was not woman like Mattes states that, "I contribute until after the early 1980s that Maracle to feminism. I don't feel a connection and I found strength and power in being a woman do not embody myself in feminist theory and committing to feminism. How did because of where it comes from. I think it is feminism appeal to Maracle and not to a lot better than anything else we have, but Dumas or Mattes twenty-five years later? my work is to challenge it" (Mattes interview Both Dumas and Mattes have grasped the 2005), she is making a strong argument layered politics and nuances within about her relationship to feminism. The colonization and are very aware that there major issue facing feminism in the twenty- are imbalances in Indigenous circles. first century is its foundational inception by Dumas stated that she is frustrated with western white middle-class women, who Indigenous politics being spearheaded directly benefited from it, when the rest of primarily by men and noted that it is frowned women, whether they were Indigenous, upon for women to enter the political arena. poor, disabled, queer, or women of color, However, the larger issue at hand is that often did not. There has to be a vital shift in Indigenous men do not walk in balance with this kind of thinking, while still bearing in rest of Canadian society and are struggling mind that feminism was a starting point or with, and connected to, concerns equivalent the beginning of a process to end to those of Indigenous women. Perhaps, if oppression for all people. If one can we continue to write, speak and act on this visualize feminism in this way, then the issue and if we continue to push this agenda process of taking ownership over the in feminist struggles, theory, and art, then movement can begin, whether it is to be this imbalance will be addressed, thus critical of it or rejecting it all together. As allowing for more Indigenous people to Beth Brant argues, commit to Indigenous issues within feminism. And I think it's time we realize that This imbalance that Indigenous feminism is not just about white people face is rooted in colonization and the women, it is about all of us. Writers Eurocentric framing of gender relationships. like Lee Maracle, Betty Bell, Kate A major issue Cathy Mattes has with Shanley, argue for feminism that feminism is based on a story about a strong encompasses sovereignty, children, woman in her family who thought "I never Earth, class, sexuality, and all the had much need for feminists because I am a varied and exciting aspects that strong woman and when it really matters, in make community possible. We are my family, the women make the decisions, changing the face of feminism. It is not the men. Feminists from the outside no longer a middle-class, white were to look at my family. They would see movement for acknowledgement the men in control" (Mattes interview 2005). and better pay - it is about uranium As Mattes describes her problems with in our drinking water, fetal alcohol feminism, her viewpoint lacks the ability to syndrome, family violence, a life for see feminists as strong women who have the generations to come. We are existing strengths that enable them to writing about this in passionate and survive poverty, abuse and racism. poetic language. (Brant 1994, 39) However, Mattes's statement speaks to the colonial attitudes that were embedded in the This is a courageous statement feminist. The current generation of feminist because Brant and the other Indigenous

www.msvu.ca/atlantis PR Atlantis 33.1, 2008 77 writers are taking ownership of various exercised in their art and practice, placing aspects of feminism and creating a space them in strategic attitudinal situations, unlike that belongs to Indigenous women. our impoverished ancestors who were Continued learning in and contribution of heavily controlled by legislation. ideas and thoughts from Indigenous women Contemporary aboriginal artists can make to the feminist movement could result in choices and they are essential in the others joining or envisioning the positive articulation of aboriginal people's aspects with a critical lens. This state of consciousness of self-determination" feminist justice depends on people working (Rushing 1999, 92). This kind of artistic together with similar outcomes in mind in practice and process cannot be compared order to fight oppressive systems and the to other non-Indigenous artists. This is not colonial machine, which is affecting intended to discredit work by people of color Indigenous people in communities all over or artwork that expresses oppression; the world. These oppressive regimes and however, Indigenous art holds a different politically right-wing thinking elites benefit kind of responsibility. from our divisions and have been dividing The artists discussed throughout and conquering our Turtle Island since it this paper understand the importance of was "discovered." pedagogy and how this affects peoples' The Indigenous artist's struggle in ability to become enrolled in the educational the mainstream art world, as Mattes argues, and creative process, which can provide "is about culture not for different cultures" people with tools to resist, making (Mattes interview 2005). Indigenous artists communities stronger. Additionally, they work in two worlds, always being aware of understand first hand the different barriers the social, economic, political and cultural that people face when trying to access ties to Indigenous traditions, situations and certain sectors of our society and the communities. The huge responsibility of importance of conducting artwork that is dealing with these issues is what makes community-based, participatory and creative Indigenous art exciting and transforms it into because the knowledge generated from socially engaged art. As stated by Agard, an these areas aids in the struggle to Indigenous artist is not focused solely on the self-determination, decolonization and individual but is strongly connected to stronger communities. By working through community. The huge sense of concepts of activism and feminism, these responsibility does not lie on the backs of artists contribute to the social context, most artists because they are working within intergenerational impact and community the mainstream community, and have little input of their families, communities and connection to Indigenous issues. Artists nations. These Indigenous women artists such as Cutchall, Fontaine, Dumas, are setting trends and inspiring young artists Deerchild and Mattes deal with the "political" like myself. I hope they continue on that and the "social" because that is their lived difficult journey. experience, which has impact on their families, communities, nations and References themselves. Therefore there is no choice. Agard, Nadema. "Art As a Vehicle for This is similar for male Indigenous artists, Empowerment," Voices of Color Art and which complicates gendered relationships. Society in the Americas, Phoebe Farris- As Gerald McMaster states in a discussion Dufrene, ed. New Jersey: Humanities Press, about Indigenous artists Robert Houle and 1997. Rebecca Belmore (and I would add is equally relevant to the artists discussed Allen, Paula Gunn. The Sacred Hoop: throughout the paper), "Each of these artists Recovering the Feminine in American asserts a kind of sovereignty, which is Indian. Boston: Beacon Press, 1986.

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