Indigenous Futurisms

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Indigenous Futurisms
A still from "Biidaaban: First Light," a virtual reality experience by Anishinaabe filmmaker Lisa Jackson.
Decade of origin	2000s-Present
Coined by	Grace Dillon
Key motifs	Decolonization, technology, Indigenous knowledge, alternative futures
Key colours	Varies by culture
Key values	Self-determination, cultural resilience, sovereignty, connection to land
Related aesthetics	Afrofuturism Cyberpunk Retrofuturism Solarpunk
Related media	Walking the Clouds anthology, Biidaaban: First Light

Indigenous Futurisms is a movement encompassing various media forms—literature, visual art, comics, video games, and more—that conveys Indigenous perspectives of the future, past, and present within the context of science fiction and related genres. These perspectives may incorporate Indigenous knowledge systems, oral histories, historical and contemporary political issues, and diverse cultural viewpoints.

Indigenous Futurisms aims to challenge dominant narratives and create spaces for Indigenous voices and perspectives in futuristic and speculative contexts. It explores themes such as decolonization, technology, identity, and the relationship between humans and the natural world. By incorporating Indigenous knowledge and traditions, Indigenous Futurisms addresses alternative visions of the future that challenge Western-centric perspectives and promote cultural continuity and resilience.

The term "Indigenous Futurisms" is pluralized to acknowledge the multiplicity of Indigenous communities worldwide and their unique cultural expressions. Grace Dillon, who coined the term, emphasizes that the plural form recognizes the distinct and diverse nature of Indigenous cultures, which are not a monolith. This pluralization also reflects the political and legal struggles of Indigenous peoples, as exemplified by the inclusion of the "s" in the United Nations Declaration on the Rights of Indigenous Peoples.

History

The development of Indigenous Futurisms began in the latter part of the 20th century, with Indigenous artists and writers exploring science fiction and alternative representations of Indigenous experiences across various timelines. Grace Dillon, in her 2012 anthology Walking the Clouds: An Anthology of Indigenous Science Fiction, theorized that science fiction could serve as a tool for decolonization.

Techniques such as slipstream, worldbuilding, and the adaptation of anthropological First Contact narratives are used by Indigenous communities to create their own representations and alternative narratives about their identities and potential futures. Indigenous Futurists challenge the exclusion of Indigenous people from contemporary society and redefine the concept of advanced technology. This critique addresses the digital divide, highlighting both the deliberate exclusion of Indigenous populations from media technologies and the portrayal of them as outside of modernity.

The proliferation of personal computers and the internet following the "Digital Revolution" provided opportunities for Indigenous people to create and disseminate their own self-representations. Visual art has been a major component of this movement, serving to communicate perspectives and influence values. It has been an early medium for Indigenous Futurism. This movement has influenced Chicana art, providing a platform to address past, present, and future realities, and offering alternative visual interpretations of events.

The work depicts the transmission of culture from ancestors to the present. Grace Dillon also facilitated the Imagining Indigenous Futurisms Science Fiction Contest. Jenny L. Davis, a Chickasaw scholar, emphasized the importance of Indigenous language futurisms, arguing that Indigenous languages are essential for articulating and understanding Indigenous concepts of time.

Visual Arts

The CyberPowWow website, launched by Skawennati (Mohawk) between 1997 and 2004, served as an early platform for Indigenous digital artwork, preceding her TimeTraveller™ Machinima series. Indigenous Futurism artwork frequently incorporates iconography and symbolism derived from Indigenous oral histories. Artists often adapt existing cultural elements and terminologies into their work. Bunky Echo-Hawk's artwork, "If Yoda was Indian," presents an alternative interpretation of the Star Wars character. Kristina Baudemann's analysis of Indigenous Futurisms in North American Indigenous Art highlights the integration of science fiction into Indigenous artistic expression, emphasizing themes of resilience and sustainability.

Ryan Singer (Navajo Nation) utilizes acrylic painting and silk-screen printing in his work. His two paintings featuring Princess Leia from Star Wars, "Hopi Princess Leia" (2009) and "Hopi Princess Leia II" (2010), address George Lucas's appropriation of Hopi cultural elements. In these works, Leia is depicted wearing Hopi attire and hairstyle, and holding a firearm, confronting the viewer's gaze. Baudemann interprets these paintings as a commentary on the colonial gaze and its impact on Indigenous identity. She notes that Singer's portrayal of Leia protecting her pueblo homes serves to reframe these dwellings as living spaces, rather than objects of external observation or appropriation. The artist’s choice of Leia is tied to the character’s protectiveness of her home in the Star Wars narrative.

Philosophy

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Literature

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Criticism

The concept of Indigenous Futurisms has faced a mixed reception among Indigenous Brazilian musicians. While some see it as a valuable tool for cultural expression and decolonization, others express concerns about its applicability and relevance to their communities.

A key point of contention is the emphasis on the future. Many Indigenous artists prioritize cultural preservation and connection to the past and present over future-oriented perspectives. For example, Indigenous rapper Kunumi MC views the concept of the future as a Western construct and emphasizes the importance of preserving Indigenous culture and living in the present while remembering the past. He argues that the term "Indigenous Futurisms" does not accurately reflect the perspectives of Indigenous people living in traditional communities.

Media

Literature

• "Walking the Clouds: An Anthology of Indigenous Science Fiction" (edited by Grace Dillon, 2012)
• "The Only Good Indians" (Stephen Graham Jones, 2020)
• "Trail of Lightning" (Rebecca Roanhorse, 2018)
• "Elatsoe" (Darcie Little Badger, 2020)

Film

• "Biidaaban: First Light" (Lisa Jackson, 2016)

Video Games

• "Never Alone (Kisima Ingitchuna)" (Upper One Games, 2014)

Artists

• A Tribe Called Red (Musicians)
• Barry Ace (Odawa) (Multimedia Artist)
• KC Adams (Cree/Ojibway) (Multimedia Artist)
• Loren Aragon (Acoma Pueblo) (Fashion Designer)
• Jason Baerg (Métis) (Multimedia Artist)
• Roy Boney, Jr. (Cherokee Nation) (Animator, Illustrator, Comic Artist, Painter)
• Bunky Echo-Hawk (Yakama/Pawnee) (Multimedia Artist)
• Rosalie Favell (Métis) (Digital Artist)
• Jason Garcia (Santa Clara Pueblo) (Ceramic Artist, Painter, Printmaker)
• Jeffrey Gibson (Mississippi Choctaw/Cherokee) (Painter, Sculptor)
• Danis Goulet (Métis/Cree) (Filmmaker, Screenwriter)
• Nicholas Galanin (Tlingit/Unangax̂) (Musician, Multidisciplinary Artist)
• Stephen Graham Jones (Blackfeet) (Author)
• Darcie Little Badger (Lipan Apache) (Author)
• Jamie Okuma (Luiseño/Shoshone-Bannock) (Beadwork Artist, Fashion Designer)
• Virgil Ortiz (Cochiti) (Ceramic Sculptor, Designer)
• Wendy Ponca (Osage) (Fashion Designer, Textile Artist)
• Wendy Red Star (Apsáalooke) (Installation Artist, Photographer)
• Ryan Singer (Diné) (Painter)
• Skawennati (Mohawk) (Multimedia Artist)
• Snotty Nose Rez Kids (Haisla) (Hip Hop Musicians)
• Loretta Todd (Cree/Métis) (Filmmaker)
• Will Wilson (Navajo) (Photographer)

Gallery

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