Kathryn Sears – Decolonizing
Methodologies – 1.18.2017
Linda
Tuhiwai Smith’s Decolonizing
Methodologies is an imperative book for any graduate student interested in
a self-awareness in their work. The
latter half of the book, specifically, offer scenario after scenario of progressive
forms of research methodologies and approaches.
She writes, in the introduction, that these chapters are “not to be read
as a ‘how to’ manual but as a series of accounts and guidelines which map a
wide range of research-related issues.”[1] So, rather than presenting the readers with
exactly how to pursue research in indigenous communities and beyond, Smith
presents paramount solutions oriented accounts of critical approaches to
research. This is important because the
notion of presenting an encompassing ‘how to’ manual for indigenous research
is, in the sheer description of itself, absurd.
This would totalize and generalize indigenous peoples, which is the
exact opposite objective of this book.
Perhaps the
most poignant moment in Smith’s introduction, which I will focus on for the
remainder of this post, is when she writes, “To assume in advance that people
will not be interested in, or will not understand, the deeper issues is
arrogant. The challenge always is to
demystify, to decolonize.”[2] Decolonization will not happen quickly and
will not be easy, however, the assumption that people do not care enough about
the importance of decolonization is more detrimental to the work of
decolonization. It is important to
continue to fighting the structures that continue to hold up colonization. This notion reminds me of Audre Lorde’s
speech The Master’s Tools Will Never
Dismantle the Master’s House in the sense that Smith works to present and
promote a new kind of methodological structure that will do the work of
decolonization that has been unsuccessful so far within the structures of colonization. Earlier, when she writes that “sharing
knowledge is a long-term commitment,” Smith acknowledges both the past failures
and the future possibilities of the work of decolonization.[3]
I have enjoyed
reading Smith’s book immensely on both personal and professional levels. It has reignited my desire and commitment to
work of decolonization and revision of power.
These are important and necessary tasks.
Regarding my own studies, this book has offered an interesting
alternative to the historiographies and methodologies that are at work within
in my research as an art historian.
Simply by identifying as a feminist in art history, I have been forced—delightfully—to
reconsider what implications are associated with the foundations of the ‘great’
artist or work of art. In doing so, I
have found a much deeper appreciation for art history and for the various
subjects that I study. However, my most
prominent struggle has consistently been avoid the ease and simplicity of
slipping back into the canonical dialogues that privilege the genius of art and
disregard the social aspects in the making of, the influence of, and the
importance of art and art history. Smith’s
book has opened up new avenues for me to approach my projects.
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