Mediums: 2-Spirit and Indigenous LGBTQ+ artists use all types of arts in order to create their art. Many choose to use to use tribal specific art mediums to encapsulate their Indigenous identity, queer specific art mediums like drag to move beyond Western gender constructs, or nonidentity specific art mediums like paint and photography. Understanding regional specific art, and the material history behind them is useful for identifying which art utilizes Indigenous specific artwork and understanding queer art history in performance, literature, etc. helps provide a basis in which mediums are queer-rooted. Morgensen's work under the quintessential reading tab and some of the readings in the annotated bibliography portion will highlight some examples of this.
Themes/Common Tropes:
3. Indigenization of Western art: This is done through a variety of ways such as creating Indigenous characters within existing franchises such as DC or Marvel, translations of popular movies as a means of language preservation (A New Hope, etc.).
4.Identiy expression, joy, and visibility: The complexities of intersecting identities go far beyond the western constructed terminology and methodology used to capture it. Queer and Indigenous identities are shown through art forms like drag, fashion, photography, and painting. This art is activism, and these artists are decolonizing the digital sphere through their claiming of space. Understanding the depth and context of identity before trying to study it helps prevent some subconsciously rooted western bias. It is further used to show positive and unwavering confidence in identity and taking of space.
5. Identity invisibility: On the flip side, many of these artists face hardship and unacceptance both from society as a whole and at times even their own tribes. Though much of this homophobia is rooted in white Settler colonialism, more specifically Christianity, it still left many of these artists struggling to find space within their own community. Furthermore, much of the construction and understanding of queer experience and politics is western constructed, including the terminology and labels and even the "coming-out" experience. In the annotated bibliography, there are a few readings that will show how Indigenous LGBTQ+ people's experience is defined as a "coming-in" and the language portion shows the complexity and lack of commonality on labels. These artists at times are caught in between two spaces that are not always designed for them, which is why they carve their own space in part by highlighting this unique space.
6. Humor, Humor, Humor: Even some of the heaviest aspects to study in Indigenous history have been used by tribal members, artists included. Through the nuance and type of joke may vary by experience and identity, expect to encounter a lot of humor and use it as a point to learn more. In other words, what's the punch behind the punchline?
7. Other political issues: This further highlights the need to understand the history of Indigenous activism and the intersecting issues many activists tackle such as working with communities of color, environmental activism, and reproductive rights.
8. Trauma: Whether it be struggles of mental health, racism, homophobia, substance abuse, or any other consequence of settler-colonialism, art is often used to express the struggles of the community and the roots of them.
9. Any other art: Just because an artist has these identities does not mean they are limited to art about their identities or struggles. They make the art they want just like the artists doing it as a means of activism or presence.
Based off of framework of Professor Scott Morgensen's Space Between Us with further evidence and explanation in the annotated bibliography portion.