Indigenous Canon: Creating with Consensus

In this paper, I argue that Indigenous art, assuredly around the world, but for the purposes of this discussion particularly in the communities located today in what is known as the United States and Canada, originated from a well-spring of social protocols and priorities that differ drastically from the social priorities of artists claiming European and European-American descent. Because of these differences, I posit that the reasons for making art and the types of arts that were prioritized also differs extensively, especially prior to the colonization of the American and Canadian land-bases. For these reasons, I will advocate for a separate Indigenous art canon to be available for future generations, focusing on the development of Indigenous North American Art historically and through the contemporary moment, understanding that Native American and First Nations artists continue to draw upon their own community histories and visual influences to inform their creations today. I also question how we can accomplish this task in a manner that leans into important social priorities of Native people. While these priorities have yet to be fully identified, I will argue importantly that the tenet of consensus be upheld as scholars work to establish a new Indigenous artistic canon. In summation, my paper will advocate for the establishment of an Indigenous artistic canon and posit ways to build the foundation for such a canon through consensus building and shared efforts across Indigenous communities living in today’s United States and Canada.