Abstract
This article contributes to understanding multi-plexed Indigenous resistance through examining spatial tags. As symbolic, moving critiques, spatial tagging intervenes normative structures of settler colonialism and provides the space through which radical decolonial love can emerge. This discussion of the production of spatial glyphs has implications for new ways of thinking about the processes of solidarity building, social activism and the generation of new pedagogical practices of resistance. An analysis of Christi Belcourt’s walking with our sisters commemorative art installation (2013–2019) and the urban flash mob round dance at the intersection of Yonge and Dundas streets in downtown Toronto, reveals how spatial tagging formulates Indigenous acts of creative solidarity. This article contributes to an analysis of Indigenous resistance strategies through focusing on the interstitial passageways as generative sites of knowledge production and possibilities for new ways of being in the world.
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