One's identity is a constantly developing, deeply personal part of who they are that speaks to their individuality and the values that they hold. We can identify ourselves by a myriad of categories: gender, ethnicity, age, nationality, religion—the list goes on. When we identify ourselves in one of these categories, we add a layer of complexity to our character by internalizing expectations for the choices we make and who we become. Unfortunately, navigating our identity in today's world can entail consequences of discrimination and exclusion from certain aspects of society, further complexifying our internal understanding of who we can be and where we belong. For instance, what happens when someone identifies as a part of two distinct marginalized groups? These two identities don't have to conflict and instead, can serve as an empowering force in the journey to embrace who they are.
In this exhibit, we will look at both the struggles and empowerment for those who identify as Indigenous women by exploring the intersectionality between Indigenous culture and feminism. The goal of Indigenous feminism is to preserve Indigenous culture while bringing back the matriarchal systems that were replaced by patriarchal influences. Additionally, we want to bring attention to how these Indigenous women were able to take the unjust systems they were born into and transform them into something that celebrates every aspect of their identity. Also in this exhibit, we include further commentary from one of the featured poets, Jihan Gearon, who was kind enough to answer a few questions we had when we reached out to her. We asked her to elaborate on her personal journey to foster a connection between her Native and female identities.
I have strengthened/deepened/expanded that connection by putting in the work to unlearn the colonial, patriarchal, racist, capitalist systems we've been brainwashed/forced to adopt. -Jihan Gearon
The first part of this exhibit will examine how Indigenous girls, women, and two spirits are being taken away at higher rates than any other ethnicity. Besides these cases not being reported on since the population of Indigenous people make up a relatively small portion of the US, there are also complex jurisdictional issues and negative stereotypes which complexify these issues.
If the crime is committed off-reservation, the tribes of the Indigenous women and girls cannot be involved since it can only be state jurisdiction. However, it is usually up to federal jurisdiction if crimes occur on a reservation, meaning many cases are declined for prosecution. This leads to more reluctance in reporting crimes not only because it builds distrust between Indigenous tribes and law enforcement, but also because the victims know that reliving their trauma for the purpose of reporting it will ultimately result in no justice. The reason many of these cases do not receive prosecution or investigation is due to the negative stereotypes that victims must face, such as substance abuse or homelessness.
The song "Nobody Knows" by Iskwē brings attention to the disproportionate amount of missing and murdered Indigenous women. According to Iskwē, she got the idea after the murder of 15-year-old Tina Fontaine in Canada. Tina's murder led to the formation of the National Inquiry into Missing and Murdered Indigenous Women and Girls in Canada, which found that in Canada alone, there were over 4000 missing and murdered Indigenous women in three decades. That number is even higher in the US, with over 5000 open reports in 2016.
Lay me down now / Lay me to the ground / Lay me down now / Lay me down in the shade / I wont be afraid
The song begins with Iskwē powerfully repeating the phrase "lay me down," likely a direct reference to the murder of Tina Fontaine and the thousands of other missing and murdered Indigenous women. Iskwē continues by saying that she won't be afraid, implying that violence is an issue that Indigenous women face so often that it has become commonplace.
Nobody knows / Where we've been, or where we go
The next repeated lyrics speak to non-Indigenous people's lack of knowledge about the indigenous community, Indigenous history, and the struggles that many Indigenous people face. "Nobody knows" references how the violence that Indigenous women face is often ignored by the police and hidden from the public. In that sense, nobody knows the extent or number of crimes against Indigenous women. Even crimes that are reported are not given the same attention by the police or media when the victim is not white.
I won't let you look away anymore.
Iskwē ends the song with an important declaration. She intends to bring the disproportionate amount of missing and murdered Indigenous women to the forefront of the conversation and shed light on an issue that has been pushed aside for centuries.
European colonists forced their patriarchal views on Indigenous tribes, raping Indigenous women, taking them as slaves, and murdering them. The main goal of Indigenous feminism is to return to traditional teachings where Indigenous women were respected and often held positions of power.
Indigenous feminism... is about decolonizing. It’s about recognizing, naming, and discarding the worldview forced, reinforced, and enforced by this colonial experiment... and picking up the teachings and practices of our ancestors. -Jihan Gearon
Next, we selected “She is Woman” by Elizabeth Wymarra because we were intrigued by her impactful story which conveys her passion for justice and shows the subtle anger accumulated for generations because of how the government systems are designed to work against Indigenous women.
This poem tells a compelling story of a woman staying true to herself despite being torn down by the racist and misogynistic environment surrounding her. This gives her a unique sense of power that deepens her understanding of humanity and her own identity, both personal and cultural.
She / is charged with a crime / accused of being imperfect. / As a woman, allegedly not societies image of beauty.
The metaphoric sentencing of an Indigenous woman who defends her innocence to a closeminded jury reflects how Indigenous women are often viewed as flawed and unimportant solely because of their race and gender.
"She / declares her innocence. / And gives herself permission not to be swayed by the guilty outcome."
The woman's repeated declarations of innocence are ignored by those surrounding her, silencing her voice. Despite the result, she recognizes that her understanding of herself cannot be altered by the views of others.
The soul that holds secrets to the universe. / Cultural mysteries that the earth is yet to fathom.
The immense knowledge that she carries within her identity as an Indigenous person helps her know her worth, allowing her to understand that the world will suffer a great loss without her. This shows the strength that comes from cultural preservation.
She stands naked in her strength. / & Vulnerable in her Love for herself.
The second poem we selected is “A Conspiracy of Ravens” by Jihan Gearon. We were interested in her connection to Indigenous feminism as a way to reclaim power that has been affected by the influence of the patriarchy on Diné culture and traditions. The poem itself offers an abstract yet powerful extension of a dream the author had which can be interpreted to represent the power that women had in the traditional matriarchal system of the Diné tribe. She revives the connection between her and her mother through their shared knowledge that their bond could withstand any obstacle, all while a group of ravens shower goods upon them.
When we asked about the impact she hopes to leave on other people who read this poem, she brought up the idea of gaining a deeper understanding that we tend to underestimate the power we hold.
I hope it sparks something in their soul, a little more energy towards an underlying knowing that we all are more than we think. -Jihan Gearon
Along with being a writer of empowering Indigenous feminist poetry, Gearon is also an activist and an artist. In her painting "Momushka" pictured below, Gearon credits her mother for how she "has always exemplified and taught us the strengths of our Tó’díchíinii Clan" (Gearon).
"I open my eyes and my mother is in front of me. Truly, she is I and I am she."
Similarly, the second poem seems to emphasize the intensity and significance of the connection Gearon has with her ancestors. Her realization that her culture is still preserved both around her and within her gives her a strong sense of identity and an understanding of the power she holds.
My mother lets go of my hand and walks away. We offer a fearless opening. The tornado comes toward us, between us, and away to the West.
There is a fascinating lack of orality between the mother and daughter in Gearon's poem. The two can communicate and understand one other's needs without the use of words due to their deep connection, one that revives the traditional system of a matriarchy. This matriarchal system used to be common within Indigenous tribes, but has since been mostly eliminated. The lack of any questioning or protest when one woman transfers power to another is a major goal of Indigenous feminism.
Hand in hand my mother and I walk back to our family.
A return to this tradition of matriarchal societies would be both the preservation of an important aspect to Indigenous society and a feminist success. It would allow women to have the power to lead without fear or oppression by those around them.
In many tribes, ravens are a symbol of positive change. In this poem, the ravens seem to represent the shift from the patriarchy to resistance.
"The ability to face our fears/chaos energy/the unknown/the powerful and scary (these all being natural things) and create from that darkness, is inherently, not solely, a woman's power." -Jihan Gearon
I THINK PATRIARCHY HAS LAYERED ITSELF OVER THIS PROPHECY BY INVOKING FEAR OF OUR FUTURE, WOMEN LEADERSHIP, AND CHANGE. IT KEEPS US RIGHT WHERE WE ARE, WHICH IS A PLACE OF BAD THINGS HAPPENING TO OUR PEOPLE AND THE WORLD, OF US LOSING OUR LANGUAGE AND CULTURE. - JIHAN GEARON
The works we have curated show a profound connection to the poets' culture and womanhood despite the disregard of the role of women in Indigenous communities and general society. The poets write about the historical marginalization of Indigenous people and women while advocating for a society in which traditional Indigenous values and beliefs can coexist with a modern definition of feminism. Throughout this project, we wanted to present a narrative that shows a progression from pieces that emphasized the struggles that Indigenous women face to pieces that demonstrate empowerment and strength that can emerge as a result. The authors used different mediums of art to express the intersectionality of their identities while fighting against cultural erasure.