University of Kansas
The making-visible onscreen of women’s experiences has been a central concern of Indigenous digital media. Likewise, recent Indigenous rights movements have called attention to how the cultural disjuncture of women’s bodies and environment perpetuates settler-colonial violence. Where these two energies meet, an array of activist media reaffirms that relationship—Elle-Máijá Tailfeathers’ short video “Bloodland” (2011), the first #MMIW crowdmaps (2013), and the #AmINext photo campaign (2014) among them. Taking hold of digital platforms that facilitate new modes of expression, Indigenous game designers and artists have used animation to explore the computational relation between digital bodies and places, articulating the processes of Indigenous women’s embodied sovereignty.