Indigenous Narrative in Literature

Indigenous Narrative: Term and Concept

Term

The term “Indigenous Narrative” broadly refers to the diverse forms of storytelling, oral histories, and artistic expressions that originate from and reflect the worldviews of Indigenous peoples. These narratives can take many forms, including creation myths, traditional songs, personal histories, fiction, poetry, and visual arts. Indigenous narratives are critical tools for preserving cultural knowledge, transmitting values across generations, and expressing resistance to colonialism.

Concept

Indigenous narratives offer a unique lens through which to understand the world. These narratives often emphasize themes of interconnectedness with the natural world, respect for ancestors, and the importance of community. They may contain complex symbolism, metaphors, and storytelling techniques that differ from Western literary traditions. Indigenous narratives are not simply entertainment; they embody living histories, philosophies, and a profound connection to land and identity.

Indigenous Narrative: Theorists, Works and Arguments

Key Theorists

• Gerald Vizenor (Anishinaabe): Prominent figure in Indigenous literary studies. Works include:
  • Manifest Manners: Narratives on Postindian Survivance (1994): Introduces the concept of “survivance” – active resistance and creative presence in the face of colonial narratives.
  • Fugitive Poses: Native American Indian Scenes of Absence and Presence (1998): Explores how Indigenous stories reclaim space and counter colonial erasure.
• Thomas King (Cherokee): Celebrated novelist, essayist, and scholar. Works include:
  • The Truth About Stories: A Native Narrative (2003): Collection of lectures playfully weaving Indigenous oral tradition with literary analysis.
  • Green Grass, Running Water (1993): Novel that blends myth, history, and contemporary Indigenous experiences in non-linear, subversive ways.
• LeAnne Howe (Choctaw): Author and theorist. Works include:
  • Choctalking on Other Realities (2013): Examines the power of storytelling, tribalography (Indigenous ways of writing), and how Indigenous narratives work both within and against Western forms.

Foundational Works

• Traditional Indigenous Stories: The vast and diverse oral traditions of Indigenous peoples worldwide are the foundation of Indigenous narrative. Many have been transcribed and published, often through the work of Indigenous and non-Indigenous scholars.
• **N. Scott Momaday, The Way to Rainy Mountain (1968): ** A seminal work that blends Kiowa oral history, personal reflection, and poetic prose.
• Leslie Marmon Silko, Ceremony (1977): A powerful novel integrating Laguna Pueblo traditions and storytelling within a story of healing and resilience.

Central Arguments

• Decolonization of Knowledge: Indigenous narratives challenge Western dominance in knowledge production and assert the validity of Indigenous ways of knowing and storytelling.
• Power of Story in Identity and Resistance: Indigenous narratives can preserve cultural memory, transmit values, and act as tools for resistance against colonialism and cultural suppression.
• Distinctive Aesthetics: Indigenous narratives often have storytelling structures, symbolism, and perspectives that differ from Western literary traditions.
• Survivance and Adaptation: Indigenous narratives are not static but demonstrate resilience, adaptation, and innovation, reflecting the ongoing lived experiences of Indigenous communities.

Indigenous Narrative: Key Principals

1. Oral Tradition: Many Indigenous cultures have a strong tradition of passing down knowledge, stories, and cultural values orally from generation to generation. These narratives often involve storytelling as a central means of preserving cultural heritage. One literary reference that exemplifies this principle is “The Walum Olum,” a creation narrative of the Lenape people, which was originally transmitted orally before being transcribed.
2. Interconnectedness: Indigenous narratives frequently emphasize the interconnectedness of all living beings and the environment. This interconnectedness is often portrayed through stories that highlight the relationships between humans, animals, plants, and the land. An example of this can be found in Leslie Marmon Silko’s novel “Ceremony,” where the protagonist Tayo learns about the interconnectedness of all things through his interactions with nature and traditional ceremonies.
3. Spirituality: Many Indigenous narratives incorporate spiritual elements, reflecting the belief systems and cosmologies of Indigenous cultures. These narratives often explore themes such as the relationship between the physical and spiritual worlds, the significance of ceremonies and rituals, and the connections between humans and higher powers or deities. Sherman Alexie’s “The Lone Ranger and Tonto Fistfight in Heaven” contains stories that blend realism with spiritual elements, depicting the complex intersection of modern Native American life and traditional beliefs.
4. Respect for the Land: Indigenous narratives frequently emphasize the importance of respecting and caring for the natural world. These narratives often depict humans as stewards of the land, emphasizing the need for harmony and balance in the relationship between humans and nature. Louise Erdrich’s novel “Tracks” portrays the Anishinaabe people’s deep connection to the land and their efforts to protect it from exploitation and destruction.
5. Community and Collective Identity: Indigenous narratives often highlight the importance of community and collective identity. These narratives often center around the experiences of Indigenous communities, exploring themes such as family ties, communal responsibility, and the preservation of cultural traditions. Thomas King’s “Green Grass, Running Water” weaves together multiple narratives to portray the interconnected lives of the characters and the importance of community in shaping individual identities.

These principles and literary references offer insight into the rich and diverse storytelling traditions of Indigenous cultures, highlighting the values, beliefs, and perspectives that inform Indigenous narratives.

Indigenous Narrative: How to Use in Literary Critiques

1. Identify the Work’s Context:
   • Is the author Indigenous? If not, how does the work engage with Indigenous themes or characters?
   • Explore the history and cultural context relevant to the work. Be cautious of applying generalizing assumptions to specific Indigenous groups.
2. Analyze Narrative Elements:
   • Structure: Is the narrative linear or cyclical? Does it reflect Indigenous oral traditions?
   • Symbolism and Metaphor: What symbols are used, and how do they relate to Indigenous cultural knowledge and worldviews?
   • Character Archetypes: Are there characters that resonate with traditional Indigenous figures (trickster figures, elders, etc.)?
3. Consider Indigenous Theoretical Concepts:
   • Survivance: Does the work reflect themes of resilience, resistance, and creative adaptation in the face of colonialism?
   • Oral Tradition: Are storytelling techniques reminiscent of oral traditions (e.g., repetition, digressions, non-linearity)?
   • Connection to Land: How is the relationship between people and the natural world portrayed?
4. Respect Cultural Specificity:
   • Do your research! Understand the specific cultural context of the Indigenous group represented (if applicable).
   • Avoid imposing generalizations or pan-Indigenous interpretations.
   • Acknowledge your position as a reader and how it may differ from the intended audience of an Indigenous work.

**Case Study: Leslie Marmon Silko’s Ceremony **

• Context: Silko is Laguna Pueblo, and the novel draws heavily on Laguna traditions and creation myths.
• Narrative Elements: The structure is fragmented and cyclical, mirroring Pueblo storytelling and a worldview of time as spiraling rather than linear.
• Indigenous Concepts: Themes of healing, restoration, and reconnection to land and community reflect ideas of survivance within a post-colonial context.
• Respectful Approach: A critique shouldn’t try to definitively “decode” Laguna symbolism, but instead, appreciate its complexity and the cultural knowledge embedded within the work.

Important Things to Remember

• Indigenous Narrative is not monolithic: There are diverse approaches and traditions within Indigenous storytelling.
• Center Indigenous voices: Seek out scholarship and critiques by Indigenous scholars for deeper insights.
• Ethical engagement: Your analysis should show sensitivity to the cultural context and avoid appropriative interpretations.

Indigenous Narrative: Criticism Against It

1. Authenticity and Representation: Some critics argue that Indigenous narratives, particularly those written or interpreted by non-Indigenous authors, may not accurately represent Indigenous cultures, beliefs, and experiences. This criticism highlights concerns about cultural appropriation and the potential for misrepresentation or stereotyping.
2. Stereotyping and Essentialism: Indigenous narratives have sometimes been criticized for perpetuating stereotypes or essentializing Indigenous identities, reducing diverse cultures and experiences to simplistic or monolithic portrayals. This criticism emphasizes the need for nuanced and multifaceted representations of Indigenous peoples and communities.
3. Marginalization and Erasure: Indigenous narratives have historically been marginalized within mainstream literary and academic circles, leading to a lack of visibility and recognition for Indigenous authors and stories. Critics argue that this marginalization contributes to the erasure of Indigenous voices and perspectives from the broader cultural landscape.
4. Colonial Influences: Some critics argue that Indigenous narratives have been shaped and influenced by colonial processes, including the imposition of Western literary forms, languages, and aesthetics. This criticism highlights the ongoing impact of colonialism on Indigenous storytelling traditions and the need to decolonize literary representations.
5. Commercialization and Exploitation: Indigenous narratives, particularly those that achieve commercial success, have been criticized for their potential to be commodified and exploited for profit by non-Indigenous individuals or institutions. This criticism raises concerns about cultural appropriation, intellectual property rights, and the ethical responsibilities of authors and publishers.
6. Interpretation and Ownership: Indigenous narratives often involve complex oral traditions and cultural protocols that may not easily translate into written form. Critics argue that the interpretation and dissemination of Indigenous stories by non-Indigenous individuals or institutions can raise questions of ownership, authority, and accountability.
7. Political Instrumentalization: Indigenous narratives have sometimes been co-opted or instrumentalized for political purposes, either by Indigenous activists seeking to advance specific agendas or by non-Indigenous actors seeking to tokenize or instrumentalize Indigenous voices for their own ends. This criticism underscores the need for Indigenous narratives to be treated with respect and integrity, rather than being exploited for political gain.

Indigenous Narrative: Key Terms

Key Term	Definition
Oral Tradition	Transmission of cultural knowledge through spoken word across generations.
Interconnectedness	Belief in the mutual dependence of all living beings and the environment.
Spirituality	Cultural beliefs and practices connecting individuals with the spiritual realm.
Land Stewardship	Responsible management and care for the land, emphasizing sustainability.
Sovereignty	Inherent authority and self-governance rights of Indigenous peoples.
Ceremony	Rituals with cultural, spiritual, and communal significance.
Ancestral Knowledge	Wisdom passed down from ancestors, including cultural and ecological insights.
Cultural Revitalization	Efforts to preserve and reclaim Indigenous languages, traditions, and arts.
Indigenous Resilience	Capacity to endure and adapt in the face of historical trauma and oppression.
Land-Based Learning	Education through direct engagement with the land, emphasizing traditional knowledge.

Indigenous Narrative: Suggested Readings

1. Battiste, Marie, and James (Sa’ke’j) Youngblood Henderson. Protecting Indigenous Knowledge and Heritage: A Global Challenge. Purich Publishing Ltd., 2000.
2. Coulthard, Glen Sean. Red Skin, White Masks: Rejecting the Colonial Politics of Recognition. University of Minnesota Press, 2014.
3. Green, Joyce, editor. Indigena: Contemporary Native Perspectives. Wilfrid Laurier University Press, 1992.
4. King, Thomas, Cheryl Calver, and Helen Hoy, editors. The Native Critics Collective: An Anthology of Critical Essays. Theytus Books, 2003.
5. Lyons, Scott Richard. X-Marks: Native Signatures of Assent. University of Minnesota Press, 2010.
6. Momaday, N. Scott. The Man Made of Words: Essays, Stories, Passages. St. Martin’s Griffin, 1998.
7. Simpson, Leanne Betasamosake. As We Have Always Done: Indigenous Freedom through Radical Resistance. University of Minnesota Press, 2017.
8. Tuck, Eve, and K. Wayne Yang. “Decolonization is Not a Metaphor.” Decolonization: Indigeneity, Education & Society, vol. 1, no. 1, 2012, pp. 1-40.
9. Vizenor, Gerald, editor. Narrative Chance: Postmodern Discourse on Native American Indian Literatures. University of New Mexico Press, 1989.
10. Womack, Craig S. Red on Red: Native American Literary Separatism. University of Minnesota Press, 1999.