Indigenous Perspectives

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A student researcher on the Juneau Icefield navigates between crevasses on the Llewellyn Glacier in northern British Columbia, Canada. Lingít Aaní, Tlingit traditional lands is a large but sparsely populated nation in this part of Alaska. Icefields are expanses of glacial ice flowing in multiple directions. Image by Allen Pope, NSIDC (CC BY 2.0).

Future Rivers of the Anthropocene

One meaning of the word Tlingit is “people of the tides.” Immediately, this identification with tides introduces a palpable experience of the aquatic as well as a keen sense of place. It is a universal truth that the human animal has co-evolved over millennia with water or the lack of it, developing nuanced, sophisticated and intimate water knowledges. However, there is little in the anthropological or geographical record that showcases contemporary Indigenous societies upholding customary laws concerning their relationship with water, and more precisely how this dictates their philosophy of place…

Illustration of Nokomis (Grandmother) appearing over a fire.Image courtesy of Nedahness Greene.

On Madweyaashkaa: Waves Can Be Heard with Moira Villiard

In February 2021, artist Moira Villiard debuted her installation, Madweyaashkaa: Waves Can Be Heard as the fourth installment of the Illuminate the Lock series at the closed Upper St. Anthony Lock and Dam in Minneapolis, Minnesota. On three chilly February evenings, 2,500 people walked through the snow on top of Upper St. Anthony Lock and Dam to watch what Villiard calls an “animated video collage” projected on the 49-by-400-foot concrete walls of the no-longer-functioning lock.

Garry Sibosado, Aalingoon (Rainbow Serpent), 2018, ochre pigment on engraved pearl shell, detail. Courtesy the artist.

Desert River Sea is a Vibrant, Compelling Tour of the Kimberley

For the past century, the curator has been the deciding factor in what is shown by museums and galleries, reassuring audiences of the importance of what they are seeing. While acknowledging other commercial and audience drivers, the centrality of curatorial decision-making has been sacrosanct.

But when the curatorial team from the Art Gallery of Western Australia embarked on an epic quest to document the art of the Kimberley region in the state’s north west, they abandoned this idea of a single authorial voice in favor of a new model of partnership and exchange.