|Articles, Literary/Artistic Criticism, Media Archive, United States, Women on 2014-11-17 17:35Z by Steven|
Colleen Kim Daniher
School of Communication
Northwestern University, Evanston, Illinois
This article investigates the decolonial politics of the pose in the photographic and installation work of mixed-race Native Alaskan artist Erica Lord. Refiguring the pose as decolonial gesture, I argue that Lord’s poses can be understood as decolonial labor because of the ways in which they employ messy genealogies of colonial space and time in order to disrupt the linear unfolding of white settler colonial history. In the act of posing, Lord intervenes in a visual and historical archive that positions both Native and mixed race subjects—especially women—as particularly vulnerable subjects to the ongoing Western imperial project of assimilationist inclusion. Lord’s photographic poses enact a literal seizure of time that resists both the presumed past-ness of the Native American and the presumed futurity of the racially-ambiguous, mixed race woman. In so doing, she revises the temporal politics of both, critically calling into question “the proper” subject of memory.
And it is always exciting, then and now, to realize that you are not a person or a voice that stands alone […] There’s this quote that I repeat to myself all the time, I put it on the starter slide for just about every presentation I give, and I think about it often…
and when we speak we are afraid
our words will not be heard
but when we are silent we are still afraid
so it is better to speak
we were never
meant to survive
Audre Lorde from Litany for Survival
A woman, hair bleached blond and eyes rimmed with kohl, gazes directly into the camera. She is naked, save for a banana-lined skirt and piles of necklaces cascading down her bare breasts. Back arched, her hands wrapped around her exposed stomach, the woman’s feet are planted firmly on the ground, yet her long legged stance suggests the latent possibility of movement, of dance. We have seen this image, differently, before. Behind her, a double shadow, as if in flight, splays against the obvious studio backdrop. Moving between darkness and light, stillness and movement, presence and absence, the photograph conjures the ghost of Josephine Baker only to refract it, multiplying different trajectories of space and time both into the past and into the future.
The image is multimedia artist Erica Lord’s 2005 self-portrait, Danse Sauvage, and it features the artist in costume and in character as Baker. Lord is a self-identified mixed-race Native Alaskan of Athabascan (interior Alaska), Inupiat (North and Northwest Alaska), Finnish, Swedish, English, and Japanese descent. She has described the work as being “a direct response to the feeling of being seen as exotic,” explaining that she: “tried looking back in history, at other mixed women, or other Native women who sort of owned that power [of exoticism] […] The photograph sort of grew from this desire to emulate or embody that sort of force or power that she [Josephine Baker] had” (Shleyeva 2010). Although some might object to Lord’s proximate staging of North American Indigenous and Black diasporic histories, this essay seizes upon Lord’s identificatory “look back in history” in order to examine the ways in which such a gesture critically addresses the overlapping but sometimes fraught relationship between decolonizing and antiracist epistemological stances. Bonita Lawrence and Enakshi Dua have characterized this antagonism as an issue of historical memory: critical race and postcolonial theory systematically erases Aboriginal peoples and decolonization from the construction of knowledge about ‘race,’ racism, racial subjectivities, and antiracism…the exclusion of Aboriginal peoples from the project of antiracism erases them from history. (Lawrence and Dua 2005, 132)…
Read the entire article here.