Indigenous littoral curation: a viable framework for collaborative and dialogic curatorial practice

This dissertation explores what I currently term “Indigenous Littoral Curation”. Littoral artists and scholars acknowledge littoral sites, the shorelines where the water meets the land, as a metaphor for dialogical and socially engaged artistic strategies that create meaningful change. This is applicable in naming how certain First Nations, Métis, and Inuit curators strive to contribute to Indigenous communities and nations by centering collaborative process and dialogue. These processes mirror Indigenous research methodologies, which are grounded in Indigenous Knowledge Systems and lived experiences, and are reminiscent of littoral art practice and paracuratorial practices. In this dissertation I create space to contemplate, critique and name the actions of curators who prioritize Indigenous Knowledge Systems, open-ended dialogue and collaboration when working with artists, communities, and art organizations. To do so, I consider scholarship about Indigenous Knowledge Systems and research methodologies, and how they apply or contribute to curatorial practice. This involves engaging in dialogues with other curators and scholars, and centering the sharing of personal narratives and first-hand accounts of their practices. Teachings provided by Michif knowledge keeper and language carrier, Verna DeMontigny infuses this dissertation with Michif language and land-based knowledge systems that advocate affinity with the natural and human worlds. Organized formal and informal kitchen table talk gatherings and beading sessions have created sites for open-ended dialogues and self-reflection, which led to naming and igniting curatorial strategies to help keep or bring Indigenous hearts home. As well, this allowed for a reflective inquiry into my specific kinship and community ties, and the ways they impact and direct my curatorial practice. In addition to relying on Indigenous Knowledge Systems and methodologies, I look to art and curatorial studies advocating reciprocity, relationality, self-critique and interrogation. This approach includes a consideration of littoral art and paracuratorial practices which prioritize holding participants socially accountable through collaborations between artists, various communities and agencies. I investigate, write and employ from a Michif paradigm, which requires placing myself along the washagay, or shoreline. I believe it is here we are able to hear our ancestors whisper in our ears, mobilize the present, and dream the future.

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