Oka Apesvchi
Indigenous Feminism, Performance, and Protest
Bibliographic Data
| ID | 2707357 |
|---|---|
| Authors | Bethany Hughes (corresponding author) |
| Year | 2020 |
| Volume | 72 |
| Issue | 2 |
| Pages | 127-142 |
| Publication date | 2020-01-01 |
| Open Access | No |
| Type | BOOK |
| Venue | Theatre Journal (JOURNAL) |
| Journal identifiers | ISSN: 0192-2882 • E-ISSN: 1086-332X |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/tj.2020.0029 |
| OpenAlex | W3041422105 |
| Language | EN |
| Citations received | 3 |
Using Chahta words—hvpia, we all are; oka ohoyo, water woman; apesvchi, to guard and care for—this essay builds an Indigenous-centered analysis of protest performances about water. A song, a dance, and a play created by three different Indigenous women and performed within a few months of one another focus the essay's analysis on the Indigenous feminist concept of radical relationality. By highlighting the relationship between water and humans, the obligations that that relationship demands, and the active care required to fulfill those obligations, it shows how Indigenous protest performances are not against something, but for something—for the water, for the future
Aesthetics · Art · Dance · Feminism · Guard (computer science · Indigenous · Political science · Sociology · Visual arts · Computer Science · Gender Studies · Indigenous Health, Education, and Rights · Posthumanist Ethics and Activism · Theatre and Performance Studies · Ecology
| Unique citing works | 3 |
|---|---|
| Citations per year | 0,6 |
| Citation span | 2021 - 2022 (2) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 3 |