Skip to main content

Indigenous Critique

As Indigenous Peoples' Month draws to a close, I want to put this out there, because the struggle for indigenous peoples' rights will continue long after October: Indigenous Critique.
The seed of indigenous critique or kritikang katutubo was planted in my head by J. Neil, in a conversation we had some years ago. We were talking about epics! Since then I've been on the look out for it, and I'm still learning to attend to it. Luckily, I have great traveling companions on the learning curve of anthropology and policy, like Eizel.
Hopefully friends and colleagues will embrace this, take it with them on their missions, and make it their own. And if the way I've written it is flawed (surely the work has its flaws), then I hope friends will be friends and share their thoughts on how this work could be made better -- more importantly, how this could be made to serve indigenous purposes better.
So what is Indigenous Critique?
"Indigenous critique... is constituted by knowledge, practice, history, action, and participation. As a vital part of today’s indigenous movements, indigenous critique builds ‘pragmatically on older experiences of resistance and cultural survival’ (Clifford, 2013:17)."
"While conventional views might accept the rightness of law and take state dominance as a given, indigenous critique reveals and simultaneously questions the reproduction of minoritisation by instruments of the state."
"... Like indigenous knowledge systems and practices, indigenous critique is born out of generations of experience. It does not exist in a vacuum. Rather, it is produced in a network – not in isolation – and connects communities to one another. It travels with information and news and is archived in dialogues and consultations. It is contemporary knowledge with a traceable history.
"Yet, it is not given the same attention, value, and systematic study as IKSP. Or, if it is studied at all, it becomes repackaged and delivered as academic critique."
The paper is/was an attempt to identify and amplify the registers of indigenous critique. The paper is full of indigenous voices and it's truly an honor that the indigenous leaders I quote took co-authorship under a group identity. I have to say though that I think any academic project of amplifying indigenous voices will be insufficient by nature. The language of academe is not the best language for communicating ideas or for engaging communities. What we must listen to or create space for are indigenous peoples speaking for themselves. And yet, here is an academic attempt anyway. My fervent hope is that the idea will take on a life of its own outside of academe, in the hands of the right people.
End of "speech." Bow.

Comments

Popular posts from this blog

This will probably be the only Tagalog post on this blog ever

So this is what my writing looks like in Tagalog... A synopsis written with high school teachers in mind, translated from English by Karlo Altomonte, for a play directed by Karlo Altomonte, staged by Open Space Productions. A play by Paul Dumol featuring Ferdie Balanag, Jojo Lamaria, Mel Sabado, Roman OrdoƱa, Joenas Galinato, Syrel Amazona, Ana Degollacion, Eunice Caburao, Candice Degollacion, Wow Pidlaoan, Joel Genove, Shunjen, Jun Balitan, Rhoda FIangrayan, Jaja Lamaria, Charlene David, Hanna Camiring. The play premiers on August 23, at 6:30pm, in the Bulwagang Juan Luna, U.P. Baguio. ANG PAGLILITIS NI MANG SERAPIO Isang dula ni Paul Dumol Sino si Serapio? Bakit siya nililitis? Ano'ng paki-alam natin? Sa unang limang minuto pa lang ng paglilitis ay tatambad na sa atin ang krimen ni Mang Serapio. Ang pagkakasala niya ay pag-aaruga ng bata. Oo, ang pag-aaruga ng bata ay isang krimen. Unti-unting magkakaroon ng liwanag ang akusasyong ito sa pag-usad ng kwento. Si Serapio ay is...

Lola of Maipon

It's all too easy to fall asleep under the blanket of everyday life and to smother dreams with the mundane things I surround myself with. But once in a while, along comes a sparkling vision that jolts me out of my daily sleep and reminds me of the existence of convictions and worlds so different from my own. "Our beloved LOLA of Guinubatan, Maipon, Albay is the last true messenger of God. So, let us follow her holy teachings so that we will gain TRUE SALVATION without sufferings and without death." In another story I, the intrepid heroine, the adventurer seduced by mysteries, the pilgrim in search of truth, would follow them back to Guinubatan from Session Road, thirsting to see and hear their Lola for myself. However, it's all too easy -- much safer! -- to fall back asleep under the blanket of everyday life, and to smother dreams with the mundane things I surround myself with. Then along comes 9 a.m., and really, it's time to down the dregs of coffee at the bott...

Palengkera: my route

This is the path my footsteps trace almost automatically when I go to the market. I start at the foot of the hill where the flower stalls are lined up. I squeeze through jeeps and cars waiting bumper-to-bumper for the traffic to ease forward inch-by-inch. I stop for rosal, not in the flower stalls where wreaths are prepared for funerals and celebrations, but with the manangs who set up their flower stands on the road, just beside the exit of the Marbay parking building. Then I walk across from the rosal manangs to my meat suki, where I buy pork or beef. From there I go deeper into the meat section and take the slippery, perpetually wet steps down to the seafood and chicken section. Here I have a suki for chicken. But all she sells is magnolia chicken. Today I came across a woman who was selling freshly butchered and dressed broiler chickens. She caught my attention when she called out, “Bagong katay po ito. Hindi galing sa freezer!” Next time, I will buy my chicken from her. I don’t ha...