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Chelsea May Vowel Where No Michif Has Gone Before: The Form and Function of Métis Futurisms by Chelsea May Vowel A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Faculty of Native Studies University of Alberta © Chelsea May Vowel, 2020 Abstract Indigenous futurisms, a term coined by Grace Dillon in 2003, and indebted to Afrofuturism, seeks to describe a movement of art, literature, games, and other forms of media that express Indigenous perspectives on the future, present, and past. This research outlines the scope of Métis futurisms as being a specific kind of Indigenous futurism, rooted in otipêyimisiw- itâpisiniwina, Métis worldviews. Using autoethnography and research-creation, I wrote four speculative fiction short stories set within the kinscapes of Métis from manitow-sâkihikan as a form of what Scott Lyons calls rhetorical sovereignty. Each story is an exercise in worldbuilding/prefiguration as a way of imagining otherwise, with the intent to kwêskîmonaw, change our own shapes and destinies as Métis people. ii Acknowledgements First, I have to thank Molly Swain for being so easy to convince to move back across the country to embark on this ridiculous adventure, for being the best officemate, roommate, podcast co-host, karaoke superstar, Land Trust co-founder, and all-around radical Métis schemer I could ask for. There is literally no way I would have finished this without her constant encouragement, endless tea, and anarchist shenanigans. She is okâwisiwâwa (their auntie) to my children in all the ways that matter. kinanâskomitin! Speaking of my children, the last of whom was born during my MA, much love to wâpacacâhkos, sâkowêw, Neve, Emily, Arlis, and Isidora. You are all, as sâkowêw loved shouting out last year, “beautiful and powerful!” To ninâpêm, Tomás, kinanâskomitin. I know I tell you all the time that none of what I’ve accomplished would have been possible without you, but I also know you don’t really believe it. tâpwêwin ôma, maybe nêhiyawêyâni kika-nisitohtên, but you’ll have to kiskinohamâkosi more nêhiyawêwin. Dolly Parton wrote a song for Whitney Houston to sing about how I feel about you. ninanâskomâw nikiskinwahamâkêm Dorothy Thunder, ever awesome wiya ôma! nisâ- sîpêyimik, and is truly one of the kindest, most generous people I have ever met. Can you believe I got to work with THE Marilyn Dumont as my supervisor? I’m still pinching myself. Pinch pinch pinch, it’s still not sinking in. Oh my gosh, she read my stories and so kindly sent me links to books about how to write better dialogue and construct believable scenes, assuring me I can still make these stories better later, and it was the most mortifying- slash-magnificent honour to have the chance to work with one of my literary heroes! ay-ay! ninanâskomâw Nancy Van Styvendale for helping me to sharpen up my theory throughout this process, and to my external, Daniel Heath-Justice, whose gifts of cream of Earl Grey tea and incredible knowledge of Indigenous literatures fueled so much of this work. I am also so indebted to all the Indigenous and Black scholars, artists, rad-folks I reference throughout this MA, and to so many more out there who have irrevocably and gloriously influenced my thinking. I hope my thesis reads like a love letter, because it really is. iii Table of Contents Abstract .......................................................................................................................................... ii Acknowledgements ...................................................................................................................... iii Introduction ................................................................................................................................... 1 Locating myself ........................................................................................................................... 3 Indigenous Futurisms to Métis Futurisms .................................................................................. 6 How I got here, hint: it wasn’t alone ........................................................................................ 11 Methodology ............................................................................................................................. 14 Buffalo Bird ................................................................................................................................. 17 Buffalo Bird analysis................................................................................................................... 70 Transformation ......................................................................................................................... 70 Revenge ..................................................................................................................................... 71 Michif Man .................................................................................................................................. 72 Michif Man analysis .................................................................................................................... 96 The Golden Age of comics ........................................................................................................ 97 Super people, not super man ..................................................................................................... 97 Breaking the academic fourth wall ........................................................................................... 98 Playing with tropes ................................................................................................................... 98 Dirty Wings................................................................................................................................ 101 Dirty Wings analysis ................................................................................................................. 105 Rejecting magical realism....................................................................................................... 105 Weirding .................................................................................................................................. 107 Insider, outsider positionality ................................................................................................. 108 Explaining the story ................................................................................................................ 111 âniskôhôcikan ............................................................................................................................ 113 Hint-fiction version ................................................................................................................. 113 Micro-fiction version .............................................................................................................. 114 Short story version .................................................................................................................. 115 âniskôhocikan analysis ............................................................................................................. 123 iv Very short fiction..................................................................................................................... 124 Conclusion ................................................................................................................................. 126 Bibliography .............................................................................................................................. 128 Appendix I: Waterscapes ......................................................................................................... 140 v Introduction I have written four stories that explore Métis existence and resistance through a lens of being Métis, or more specifically, being Métis from manitow-sâkihikan (Lac Ste. Anne).1 Utilizing creative philosophical fiction and research-creation, I ask questions about Métis presence in the past, the present, and the future, in ways that invite the reader to co-constitute potentialities with me. Each story is followed by an analysis, explaining the purpose of the story and the many sources of inspiration that helped me write. These stories are in chronological order, and each arose as an answer to a central research question. The first and longest story is called “Buffalo Bird.” It is a piece of historical speculative fiction set in the mid 19th century, before Canada violently colonized the Plains. The research question was: How could have the nêhiyaw-pwat, or “Iron Confederacy”, survived, and if it had, could it have successfully stopped Canadian expansion?2 It is an alternative history, setting the stage for us to imagine what the nêhiyaw-pwat could be like today if there had been no colonial interference. The second story, “Michif Man,” occurs during the mid 20th century. The research question for this story was: What would a Métis superhero do with their powers? This story is set during the end of the golden age of comic books, and focuses on encouraging Métis to think of how our “powers” or talents could manifest when wâhkôhtowin, or extended kinship, is our guiding principle. The third story, “Dirty Wings,” occurs in the hazy present, informed by Métis metaphysics, asserting Métis reality in a time when our otipêyimisiw-itâpisiniwina, Métis worldviews, are supposed to be fading away. Rather than being organized around a central research question, this
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