Listening at Indigenous Imaginations III
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| Image designed by Nigel Niix Butler |
Nine Nations held Indigenous Imaginations III in two parts. This is not a review of the Fashion Show held on Sat 9 August, 2025 -World Day of Indigenous Peoples.
Scarlet Ibis on the plantation
Body feeling tension still from the interactions at the workshop - 'women wearing sexy clothes are harassing men because men will feel uncomfortable around them' .
The unexpected reminders of the sickening culture of violence and legacies. But listening of course is part of the engagement with the men who think they women they abuse are responsible for the violence. Many know that clothes don't make a difference when people want to be violent.
Walk on to the UG campus, campus on a former plantation. Brilliant red spots on the open fields - scarlet ibis colours showing in afternoon sun.
I walk slowly.. not sure if scarlet ibis would have been here before the land was plantation. Flashes of red on the grass, and low in front of the sun.
Inhaling and exhaling, following the scarlet on the grass, nothing wrong if I miss a part of the fashion show.
I don't wear 'fashion' and I have no clue about 'judging' clothes or style.
Something this week though, about storytelling in Guyana and the need for alternative narratives to corruption and sanctions and elections and division. And a different story about clothes from the one earlier.
Pantanî - stories
Indigenous Imaginations III is themed "Pantanî - stories from my warashi". Pantanî is a Makushi word meaning stories.
The Georgetown Film Festival had their film festival from 7 to 9 August - Caribbean storytelling with film. Lisa B Thompson opened her exhibition "Guyana: Stories she told me" at Castellani House - storytelling with pottery. And now, Nine Nations sharing stories with fashion.
The story of Nine Nations , a grouping of mostly young creatives who have worked on creating spaces to share their art - is a compelling story in a country where organising is seen as threatening. The plantation legacy is there, as I hear of how the current masters intend to stifle freedom of expression and freedom of association. Listening though as the storyteller of the legacy of the plantation explains that there will be resistance.
Indigenous communities have given me and others to work with them on prevention of gender-based violence. And in doing the work, there is a need to imagine how cultural and creative practices can contribute to healing from the violence.
Mountain, forest, animals, spirit
The clothes are all beautiful. I imagine some of them as 'work clothes' especially the white shirt with the two snakes emerging over the shoulder, and the possibilities of a crotchet top ). Listening too to the stories shared by the designers..
Brain switches from listening to watching the collection of coloured geometric patterns on black background from Kawanaru which is based on an Arecuna legend. Kawanaru shares on their Facebook the legend about Maŕpak Yen (Bat Mountain).
Hearing about the black caiman and watching patterns on another line of clothing from Matapee. Wondering about which animals get painted on to clothes and which do not.
And wondering if I ever wear wanted to wear any of these (because they look 'nice'), how do I make sure I keep within a cultural context?
It is interesting how both black and white are used as backgrounds for the images and designs - painting, bead work, other work - related to the forest and animals.
Stories and connections
Another storyteller Audrey Robertson shared about the revenge on Kanaima which was set in a time of war amongst the different nations. I am a bit struck by the line ' thanks to the Christian missionaries who came to tame the Indians, we now have peace' and thinking of the Christians who have supported and endorsed other violence.
But such is the complexity of stories on the lands which were taken from Indigenous peoples, and which were used for plantations.
Poet Tonica Anthon recited a poem in the voice of Elder Tony James - a poem with powerful messages.
While Nine Nations may be a group of 'young' people, the connection with elders and the ancestors ran through the event.
A young painter Devon Simon from Rewa, worked on a painting depicting the story of the water lily. There is an invitation to continue collaboration on another painting - Pantanî which will be donated to the University of Guyana.
Imagining if everyone had their chance to collaborate in the design of Guyana in the same way.
Learning (again) after listening that healing work will have to include the connection with ancestors and spirit, with the environment and land, and ensuring opportunities for collaboration.
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Edited to reflect the programme for Indigenous Imaginations III (thanks Nigel Butler)
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