TRANSINDIGENEITY: Between Local Specificities and Global Complexities
November 22, 2023
Organizing Team
Anna Maria Guasch (Universitat de Barcelona)
Nasheli Jímenez (Independent Researcher)
Chiara Sgaramella (Universitat Politècnica de València)
According to David Garneau (2020), Métis artist, curator, and critic, Indigenous art is an emerging category that extends and adapts First Nations Peoples’ ways of being and knowing to the contemporary moment and well beyond the sites of Indigenous territories of origin. Within this context, Indigenous peoples from around the world are increasingly seeking to establish connections in order to produce international networks and a collective consciousness. If, as jurist and Blackfoot First Nation elder Leroy Little Bear states, in Indigenous culture everything is under flux, then the concept of time is dynamic but without movement. This understanding of time evidences a complex form of relationality: visiting and revisiting, telling and re-telling, making and re-making, to the extent to which an Indigenous understanding of time makes it inseparable from bodies and places. In this regard, Chickasaw academic Chadwick Allen (2013) argues for a “trans-Indigenous” research programme within the field of Indigenous Studies that would allow for a site of enunciation embedded in the specificities of the local Indigenous while simultaneously grappling with the complexities of the global Indigenous.
Following this spirit of establishing a simultaneous interplay between the synchronic, the diachronic, and the transdisciplinary by recognizing the mobility and multiple interactions of Indigenous peoples, cultures, histories, and texts, we invite artists, theoreticians, and researchers to participate in the Research Seminar “Transindigeneity: Between Local Specificities and Global Complexities”. Some of the key questions we aim to address are: What forms of local specificities inform and/or travel from local contexts to the global stage? How can Indigenous artistic production address this migration between the local and the global? What configurations do Indigenous ways of being and knowing come into play in the global art scene today? And what points of tension are evidenced through this displacement from local Indigenous realities to global points of contact between different indigeneities worldwide?