Transnational Perspectives on Feminism and Art, 1960-1985
Jen Kennedy, Trista Mallory, Angelique Szymanek, Jen Kennedy, Trista E. Mallory, Angelique Szymanek
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226 pages
English
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Transnational Perspectives on Feminism and Art, 1960-1985
Jen Kennedy, Trista Mallory, Angelique Szymanek, Jen Kennedy, Trista E. Mallory, Angelique Szymanek
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About This Book
Transnational Perspecives on Feminism and Art, 1960â1985 is a collection of essential essays that bring transnational feminist praxis into conversation with histories of feminist art in the 1960s, 1970s, and early 1980s.
The artistic practices and processes examined within these pages all centre on gender and sexual politics as they variously intersect with race, class, sovereignty, Indigeneity, citizenship, and migration at particular historical moments and within specific geopolitical contexts. The book's central premise is that reconsidering this period from transnational feminist perspectives will enable new thinking about the critical commonalities and differences across heterogeneous and geographically dispersed practices that have contributed to the complex and multifaceted relationship between feminism and art today.
The book will be of interest to scholars working in art history, cultural studies, visual culture, material culture, and gender studies.
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In a 1968 exhibition organised by Citadel Hill National Historic Site in Halifax, Nova Scotia, Dr Margaret Johnson, a member of Eskasoni First Nation, displayed a hand-stitched ribbon skirt as part of an installation featuring cultural dress associated with the province's diverse heritage. The 1856 Stone Fort, first established in 1749 as a strategically positioned British military post, was built overlooking the city in defence of advancing threats from foreign incursions from the Atlantic Ocean and inland from the Mi'kmaq. It is not precisely known if Johnson was commissioned by the Historic Site to make and display this ceremonial dress for this particular exhibition; however, it was accessioned into the permanent collection at Citadel Hill, and was later acquired by the Nova Scotia Museum in 1982. Johnson's ribbon skirt is a form of ceremonial regalia worn by Indigenous women from across Turtle Island that represents matriarchal knowledges regarding femininity, fertility, and equality. Ribbon skirts crafted from manufactured textiles have been made by Indigenous women since the nineteenth century, commonly replacing ceremonial dress previously constructed from animal hide following the extinction of some species, such as buffalo, and the increased availability of cloth. This transition to the use of manufactured cloth in ceremonial regalia coincides with a shift towards aggressive nationalist assimilation policies during the nineteenth century in Canada. The display of Johnson's ribbon skirt at Citadel Hill followed her participation as a basketmaker at three exhibitions celebrating Canada's centennial anniversary in 1967. As an exhibitor, Johnson's status as an Indigenous woman and Elder factored significantly within each exhibition, and her creative productions were purposeful articulations of a matriarchal worldview within a mainstream heteropatriarchal forum.
The exhibitions in which Johnson displayed her work followed a series of Government of Canada inquiries held during the 1960s, a period of intense cultural and social change, situating the artist within a larger sphere of government-driven nationalist objectives. The first two of these inquiries, the Royal Commission on Biculturalism and Bilingualism (1963) and the Hawthorn Report (1966â1967), focused on the state of diverse peoples, reinforcing the idea of Canadian identity within a framework of French and English settler-culture, which consequently added to the further marginalisation of immigrants and Indigenous peoples. A second set of inquiries, the White Paper (1969) and the Royal Commission on the Status of Women (1970), reasserted assimilation processes that sought to fold Indigenous culture into the mainstream, ultimately casting aside any notion of Indigenous matriarchal worldviews. Together, the series of inquiries and the centennial celebrations fostered a form of neo-nationalism, contributing to conflicts within an expanding multicultural society.
Close analysis of Johnson's regalia as material culture and her participation in the centennial celebrations through the lenses of Native Feminist Theories reveals how tension between matriarchal worldviews and heteropatriarchal ideologies fostered momentum for further legal and political action by Indigenous women. Native Feminist Theorists, such as Renya Ramirez, Chandra Talpade Mohanty, Eve Tuck, Karyn Recollet, Leanne Simpson, and Leilani Sabzalian, to name only a few, have developed a consciousness of Native feminism through disciplinary lenses such as Feminism, Curriculum Studies, English, and Sociology, complicating our understandings of Indigeneity and gender rights over the past two decades. For the most part, it has been realised that Indigenous women have been mobilised by the challenges with which they are confronted, and are empowered by their Native feminism to navigate the dominant environments in which they live.1 As noted by Eve Tuck and Karyn Recollet, âHeteropatriarchy works to place men at the top of many power structures, but it also works to strictly define what counts as âmanâ and what counts as âwomanââ.2 As such, an existing dominant worldview denies any existence of an alternative cosmology, especially one that situates women as integral and equal members of society, as is the case in Indigenous societies.
Ceremonial Dress and Traditional Teachings as Matriarchal Knowledgeways
Dr Margaret âGrannyâ Johnson's skirt as material culture reflects âthe hardships, the struggles, the triumphs, the growth, and humourâ of its maker (Fig. 1.1).5 To museum visitors, âDr Grannyâ was a storyteller, a talented artist, and a leader, who continues to be recognised for her contributions to the Mi'kmaw nation. Above all, she is celebrated for her role in âkeeping the Mi'kmaw culture alive by passing on traditions such as language, prayer, dance, song, and Waltesâ, an ancient game of numbers.6 Moreover, she is remembered as an Elder, who passed on the teachings of her Elders and the women from whom she would have learned as she made her ribbon skirt. Few details exist about the making and circulation of Dr Johnson's ribbon skirt. It is not known, for example, whether she wore the skirt for ceremony before it was installed at Citadel Hill, or if she made it specifically for display as part of the exhibition.7 Through her method of making, selection of ribbons, the practice of hand-stitching, and sharing of teachings, Johnson embedded Mi'kmaw matriarchal knowledges through the object, its fibres, and its circulation. The spirit of these knowledges connects her to other women in her community, across Mi'kma'ki and across Turtle Island.
Johnson's regalia is part of a cultural legacy and embodies matriarchal Mi'kmaw spirituality and femininity. Before ribbon skirts were made of cloth, and prior to the decimation of the buffalo as well as the introduction of manufactured textiles in the Midwest, ceremonial dress was made from animal hides that were fleshed and tanned, a process that separated fat and fur from skin. Through the making and wearing of ceremonial dress from tanned hide, which was sometimes embellished with shells, feathers, quills, and wampum beads, women connected their spirits to Mother Earth, paying homage to Creator through dance. As part of ceremony, dancers wore regalia that included a fringed edge along the bottom of the skirt that, when worn by a dancer, rubbed along the grass and stimulated regrowth.8 Spiritual and traditional knowledges have been passed on from grandmother to mother to daughter and shared between community members through ceremonial dressmaking and wearing, nurturing the vital connections between Indigenous women and matriarchal knowledges. Some of the central teachings of women's regalia and, in particular, ribbon skirts, focus on women's vitality and the importance of biological and reproductive roles.9 For example, the skirt's A-line design, which extends from a woman's waist to the area above the ground, shares the same contours and values as a teepee. Both the skirt and the teepee are viewed as spiritual and emphasise the sacredness of the space within their frames.10 Customarily, skirts are worn âduring sweats, fasts, full moon ceremonies, first menstruation rituals, and the coming of age that celebrates women's fertility and the transitions to adulthoodâ.11 These fundamental values and practices are sustained through traditional teachings and offer guidance and insight to makers as they continue to make skirts for ceremony.
Citation styles for Transnational Perspectives on Feminism and Art, 1960-1985
APA 6 Citation
[author missing]. (2021). Transnational Perspectives on Feminism and Art, 1960-1985 (1st ed.). Taylor and Francis. Retrieved from https://www.perlego.com/book/2510727/transnational-perspectives-on-feminism-and-art-19601985-pdf (Original work published 2021)
Chicago Citation
[author missing]. (2021) 2021. Transnational Perspectives on Feminism and Art, 1960-1985. 1st ed. Taylor and Francis. https://www.perlego.com/book/2510727/transnational-perspectives-on-feminism-and-art-19601985-pdf.
Harvard Citation
[author missing] (2021) Transnational Perspectives on Feminism and Art, 1960-1985. 1st edn. Taylor and Francis. Available at: https://www.perlego.com/book/2510727/transnational-perspectives-on-feminism-and-art-19601985-pdf (Accessed: 15 October 2022).
MLA 7 Citation
[author missing]. Transnational Perspectives on Feminism and Art, 1960-1985. 1st ed. Taylor and Francis, 2021. Web. 15 Oct. 2022.