Academia remains an unwelcoming space for Indigenous scholars. What space it does cede to Indigenous knowledge is dictated and narrowly defined. As W?SÁNE? scholar Jack Horne asserts, when negotiating space for alternative knowledges, the academic world remains jealous, competitive, and territorial; ?In response to the question of how I, a W?SÁNE? artist and scholar, use embodied W?SÁNE? knowledge in my artistic and academic work, this book advocates for a move away from standard social sciences theories, methodologies and paradigms while forcefully insisting on a W?SÁNE? paradigm.? To accomplish this constructive goal, Horne argues, ?requires a negotiation of embodied W?SÁNE? knowledge, performance studies theory, and western eurocentric social sciences paradigms.? Written through beautiful storytelling practices with this goal in mind, TOL, NEW? SEN T?E SO?: I KNOW THE ROAD is thus part-history, part- contemporary critique. Horne weaves personal and academic research, letters, and even fragments from his plays, to create a compelling challenge to outmoded academic structure, one that embraces and tools historically suppressed W?SÁNE? ways of knowing. Not only does Horne?s writing confront white supremacy and anti- Indigenous racism in academia, it offers material alternatives to status quo, white-centric pedagogy. With its focus on W?SÁNE? history and knowledge practices, this book offers a praxis of Indigenous knowledge and performance study theory that manifests in a unique and deeply valuable pedagogic project.
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