[MUSIC] Indigenous art and culture is as varied, complex, rich, and vibrant as the people themselves. This lesson celebrates that diversity and examines how Indigenous artists are challenging mainstream understandings of First Nations, Métis and Inuit expressions in art. As well, Indigenous expressions of pop culture in art have been spaces of decolonial struggle, and showcase the ways in which Indigenous people seek to Indigenize, rename and reclaim histories, cultures and language. The 1491s are a group of Indigenous comics who use sketch comedy to comment on social and political issues going on in Indian Country. Utilizing a wry wit and often dark satirical humour, these Native Americans have pushed the boundaries of stereotypical understandings of Indigenous culture. Their performances exaggerate and poke fun at the one-dimensional, romanticized and cliched representations of Indigenous people. The 1491s are just one excellent example of how current Indigenous writers, artists and performers are infusing their contemporary artistic visions into popular mainstream. Indigenous people continue to thrive and flourish despite colonial attempts to appropriate, assimilate and colonize. From technology to theatre, this lesson demonstrates that Indigenous writers, artists, musicians, playwrights and designers are taking back control of their images and stories, and doing so in powerful, transformative, and brilliant ways. [I’m an Indian Too by the 1491s] Across North America, all Indigenous societies participated in various artistic traditions and created culturally distinct works of art. The extensive trading networks allowed artists to explore new and innovative materials. For thousands of years on North America, there were vast highways of trade and commerce that linked communities, and enabled intertribal and intratribal trade. For instance, these well-established networks of trade have routes carrying items like Coast Salish shell beads and dried fish from the coast and into the Prairies. These trade networks also helped to maintain political alliances while fulfilling material needs and wants. Sometimes, these material wants included items for artistic endeavours. Artists would utilize the materials and technologies as they became accessible and readily available. For example, trading systems allowed inland artists to access novel paint colours made from shells on the coast. In fact, dentalium shells from the Pacific Northwest and catlinite from Minnesota were traded widely all throughout the Plains for more than 2,000 years. Geographical location, breadth of trading networks, and the distinct worldviews of each nation influenced the type of art that flourished in any given area. For example, settled communities like the Iroquoian or Northwest Coast peoples, had clan systems that facilitated permanent villages. Unlike many of the Plains Indigenous peoples, these settled communities did not have housing structures that were easily transportable. The large longhouses were permanent structures and consequently could have substantial, permanently installed monumental structures and carvings. Migratory cultures of the Nehiyawak and other Plains cultures, of course, did create art as well. Often, art was functional, small and easily portable. Items like personal adornments, clothing, weapons and tools were decorated and infused with cultural meanings. For instance, decorated footwear in the form of moccasins or boots known mukluks had very specific designs connected to each family or tribal group. The beadwork, quillwork or embroidery could indicate the person's spirit, their spiritual colours, the clan they belong to or any creatures that may have spiritual significance to them. From the gorgeous bentwood cedar boxes of the Haida, or the intricately woven Baleen baskets of the Inupiaq, Indigenous art could be as practically functional, as they were spiritual and ceremonial. [MUSIC]
