10/08/2024

Daylighting the Island End River through community-based art

Haŋ, My name is Erin Genia. I am a multi-disciplinary artist and organizer, and a Dakota tribal member of the Sisseton-Wahpeton Oyate. I am a current artist in residence for Green Roots with the large-scale climate mitigation initiative Island End River Flood Resilience Project in Chelsea, Massachusetts. Through my work over the past year, I have been reflecting on the role of artist in an initiative of this scope, and how can art be collectively utilized to locate outlets and methods for community voices to be heard. Through community-based art, I seek to express the significance of Indigenous environmentalism to climate justice in the context of this ongoing large-scale climate mitigation project. I have been working on a public, community-based artwork around the theme of “Daylighting” that honors the spirit of the Island End River. The river itself, its non-human inhabitants, and generations of people living near the river have suffered from environmental destruction from industry and a societal approach to the river that views it as a receptacle for waste, and a resource to be exploited. How can daylighting be an act of decolonization? How can we address climate change issues without repeating patterns of behavior that created ecosystemic damage in the first place? 


Winnissimet and the Island End River Project

The Island End River is a tidal tributary of the Mystic River. It joins at a place called Winnissimet by the Indigenous peoples of the area: Massachusett, Pawtucket, Nipmuc, Wampanoag and others. It was almost completed filled in to make way for industry and the cities of Everett and Chelsea. Most of the river flowage now lies underground seeping through an aging system of culverts. The historic path of the river extends through low-lying areas that were once extensive tidal flats and salt marshes. Just like the marshes of nearby Boston, the tidelands were dammed and filled to support development in the late 19th century. Winnissimet has been the subject of many years of hazardous substance remediation and natural resource restoration efforts due to generations of pollution and mistreatment of the river and land. The surrounding area is heavily developed, largely consisting of impervious surfaces and inadequate stormwater infrastructure. As a result of the fact that the river was buried and re-routed, the entire area that makes up where it used to be – at least 500 acres - floods terribly during king tides and is considered to be a ground-zero site for sea-level rise caused by climate change. 

 

The area is home to critical infrastructure including the New England Produce Center, the regional FBI headquarters, fuel storage for Logan Airport, Massachusetts General Hospital, Chelsea High School and much more. To protect this infrastructure from the incoming waters, the Island End River Flood Resilience Project will consist of a seawall, a pump station, and approximately 50,000 square feet of “nature-based solutions” along the riverfront, including wetland and public access improvements.

Inspiration for community-based art work: Daylighting

Daylighting is a term used in environmental management to describe when a river or creek is returned to the surface from and underground, culverted state. The Island End River has been mostly covered up, but in 2021 part of the river was daylighted. The stream has been opened up and is now flowing freely through the area, located near the corner of 2nd Street and Market, in between the commuter rail line and an Amazon warehouse. The restored channel has been sculpted to be 80 feet long and about 15 feet deep.

One of the engineers on the project, Jack Kornyak said, “It’s impossible to bring back what was down there in the past, but what we’re doing is presenting a new vision and restore it to some semblance of what it was. We want to build it for people and for water species. This is going to make a difference down there because it radically altars the City’s landscape there and I think you’ll see more change there in the years to come.”

I am inspired by the concept of Daylighting: how can we take things, whether they are rivers, ideas, or histories, that have been covered up or forgotten, and bringing them to the surface? This term also has reference in human rights work, meaning when incidents happen out of sight, or in the dark, human rights abuses are more likely to occur. If there is light, or attention, shining upon the incidents, abusers will be less likely to commit those abuses. This is particularly relevant in considering the riverine area as recognized place of environmental racism.

There are many connections between the concepts and practices of daylighting that can benefit people. In the case of the river itself, daylighting can address flooding concerns, provide habitat for wildlife, and bring some justice to the life of the river and the lives along its path.

Towards Indigenous Environmentalism

As a Dakota artist engaging with Western environmentalism, I believe that the methodologies of decolonization –which deconstructs systems imposed by settler colonialism that oppress Black, Brown, and Indigenous peoples – must be understood and implemented. I have also found that the Dakota constructs of relationality (mitakuye oyasin) time (7th generations), and the reality that “water is life,” (mni wiconi) are largely absent from conversations because our peoples are not in the room where decisions about land use are made. The philosophies surrounding stewardship of the land, carried and practiced by Indigenous peoples of this place have been hidden and obscured through dispossession, genocide, assimilation, occupation and expropriation. Decolonization can teach everyone about our shared experiences of colonialism (which is in its 400th year in Chelsea) and how it has impacted the river, contributed to climate change and created widespread ecological disasters and emergencies for Black, Brown and Indigenous peoples. 

In our community conversations and art workshops we have been asking: How can we honor the agency of the river and Earth by honoring the self-determination of Indigenous peoples? What does it mean to ethically engage with Indigenous peoples’ sciences, arts and cultures of this and other areas, as we look towards adapting to the climate change that is already here? How can we learn to NOT repeat the patterns imposed by colonialism that have led us down a path that threatens the survival of all Earth’s inhabitants? How can we shift our relationship with the ecosystem that supports us on a large scale, moving from extraction towards stewardship, to embed these practices into economic, social, cultural and political systems? We must keep asking these questions.

Cultural Emergency Response Vest

 

 

Text written for catalog for the exhibition, "Personal Structures," European Cultural Center, 2024 Venice Biennale:

Cultural Emergency Response Vest is an artifact of the body of work developed by artist and cultural organizer, Erin Genia during her tenure as an artist-in-residence for the City of Boston. Working within the city’s Office of Emergency Management during the Covid-19 pandemic, the artist incorporated her knowledge and experiences as a Sisseton-Wahpeton Dakota person and multidisciplinary artist, community organizer and educator to create Cultural Emergency Response - a framework that advocates for a major shift in collective approaches to solving the most pressing crises of our time through a decolonial lens. By creatively repurposing the methods and materials of disaster management to deal with their root cultural causes, the interconnected and existential issues of climate change, institutional racism, economic inequality, ecological collapse, global pandemic, wars, colonialism, Indigenous peoples’ dispossession—and so many others— can be addressed.

 


In all sectors of society, the evidence that we are in a state of cultural emergency is mounting, and people are demanding and organizing for change. Cultural Emergency Response recognizes that current political, economic, and social approaches to solving these crises fall short, and even perpetuate them because the underlying cultural causative factors are ignored.


How do we change culture? We can begin by understanding its origins. The philosophies and ideologies based upon Western European imperialism—rooted in the Roman empire – have spread across the globe through colonization and neoliberal capitalism, leaving a legacy of harm that has placed communities across the world in various states of chaos, conflict, misery and ecological degradation. These ideologies, which have come into dominance through force and assimilation, are profoundly misaligned with the natural world, and therefore the basis of all life. Cultural Emergency Response implicates these deeply embedded cultural norms that continue to mutate and expand, unabated, contributing to crises that threaten not only the lives and livelihoods of people across a multiplicity of divides, but also the future survival of our species and the web of life on Earth. Cultural Emergency Response offers critical approaches that strategize to remedy them at every level, from the personal to the societal, through a long-overdue structural process of re-alignment with Earth systems.

Merging her Dakota traditions with her work with the Office of Emergency Management, the artist created the fully beaded Cultural Emergency Response Vest, which took three years to complete. The piece acts as a focal point for communicating about the multi-faceted project, Cultural Emergency Response, to expresses a message of hope. The project also consists of community conversations organized by the artist, called “Confronting Colonial Myths in Boston's Public Space,” and a cultural emergency kit giveaway to people nominated by their community as “cultural emergency first responders.” The project also spawned a public art piece, articles, a book project, a pedagogical framework, web presence on the City of Boston website site, a zine, a flag, and various other artworks.

2/05/2021

Boston Art Review: Dislodging the Cultural Infrastructure of Indigenous Peoples' Dispossession

 

With its vibrant cover, fascinating artists, and timely articles, reading the latest issue of BAR issue 06, “Timestamp” is a great way to get through the quarantine winter doldrums (especially when joined by non-human friends).

I’m excited to present my critical piece, “Dislodging the Cultural Infrastructure of Indigenous Peoples' Dispossession,” which is an article and timeline featuring my take on some important happenings over the past year in from my lens as a Dakota artist and cultural worker, and an artist in residence for the City of Boston. 

 

I’m honored to have worked with many amazing artists this year that are mentioned in the timeline, including Elizabeth James-Perry (Aquinnah Wampanoag), Robert Peters (Masphee Wampanoag) and Lily Manycolors (mixed Choctaw); as well as the organizations, Urbano Project, Mayor’s Office of Arts and Culture, New England Foundation for the Arts Public Art Team, and Metropolitan Area Planning Council; and have been influenced by the work of the Boston Art Commission, United American Indians of New England and Radical Imagination for Racial Justice.

You can order your copy of the Boston Art Review Issue 06 here.