Global Aboriginal/Indigenous Horror
DUE TO MULTIPLE REQUESTS THE SUBMISSION DEADLINE HAS BEEN EXTENDED.
This is a call for chapter proposals to be included in an edited volume on Aboriginal/Indigenous Horror largely produced by Indigenous artists, directors, and writers. Aboriginal Horror, or Horror that relies on the experience and artistic production of Indigenous peoples span from North and South America, Australia, New Zealand, and beyond, including Indigenous groups whose migration and diaspora within other countries offer new perspectives. Aboriginal/Indigenous Horror as a cultural and aesthetic lens intersects with horror realism and the fantastic, myth and metaphysics or ways of knowing and being, and traverses various media—e.g., music, performance, visual arts, film or literature. As a reimagining of the Global Horror that David Punter implies in 2018, with the increased prevalence of Aboriginal Horror in global mass media, a careful examination of theory and reception outside the domain of (post)coloniality provides a unique understanding of the constituent parts of this movement.
The proposed volume is an heuristic exploration of Aboriginal/Indigenous Horror trends around the world that offers a culturally aware critique of theoretical approaches to “global” Aboriginal Horror. By navigating various global and regional complexities of Horror theory and genre, the volume traces this emergent trend and its impact on mainstream Horror theory, iconography, and aesthetics.
The edition equally examines recent developments related to vogues in horror that impact theoretical approaches to Aboriginal Horror, including reception and context. Although we want to hear from all voices, we are particularly interested in contributions from scholars of Indigenous, Aboriginal, or Native descent.
Chapters (6,000-8,000 words) may examine Indigenous Horror from a variety of culturally specific perspectives with an emphasis on some of the following topics, including but not limited to:
- Global/Local (‘G/local’)
- Popular trends like Global Horror and ‘Global Fear’
- Global Black Horror and Global Indigenous Horror
- Indignity, the postcolonial, and the theoretical relationship between Gothic and Horror genres
- Horror at the intersection of Indigenous futurism and Afrofuturism
- Monster anthropology and ethnographic objectification
- Indigenizing Horror iconography in theory vs. Indigenizing culture
- Horror theory as meme
- The relation between theory, paratext, and reception
- Diaspora of aesthetics
- Politics of time and synchronisms
- Monstrosity and different ontological realities
- Culturally specific theories
- Ways of knowing
- Country, land, place, space, topographies, and constellations
- Comparative analysis of different forms of Indigenous Horror—e.g., Inuit Horror and Métis Horror
- Posthumanism and Indigenous metaphysics
- ‘Deep logic’ and various Aboriginal/Indigenous metaphysics
Several major publishers have shown interest in the project. Abstracts of 300 to 500 words are due August 1, 2021, along with a short bio and an affiliation. Accepted chapters will be due February 1, 2022. Please send any enquiries about this CFP to Dr. Naomi Simone Borwein (nborwein at uwo.ca).