There Always Has Been an Alternate Story.

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Bibliographic Details
Title:	There Always Has Been an Alternate Story.
Authors:	Kremer, Jürgen Werner
Source:	ReVision. Winter2026, Vol. 35 Issue 1, p11-17. 7p.
Subjects:	Decolonization, Traditional knowledge, Colonies, Reductionism, Capitalism, Artists, Ecosystems, Enlightenment
Abstract:	The article critically examines the legacy of the Western Enlightenment, highlighting how its rejection of Indigenous relational worldviews led to a normative dissociation—a separation from ecological, spiritual, and communal interconnectedness—that underpins modernity and coloniality. This dissociation facilitated the rise of reductionist science, capitalist and neoliberal systems, and a pervasive desire to control uncertainty, resulting in environmental destruction, cultural erasure, and systemic violence including genocides. It contrasts this with Indigenous paradigms of “dancing with uncertainty,” which emphasize grounded hope through nurturing relationships with land, community, and spiritual realms. The article also discusses Kent Monkman’s diptych Mistikôsiwak (“Wooden Boat People”), which artistically reclaims Indigenous presence and visionary sovereignty by subverting colonial narratives and inviting a remembrance that challenges linear Eurocentric history. Ultimately, it argues that justice and healing require exiting the dominant Enlightenment story to embrace Indigenous relationality and decolonial practices. [Extracted from the article]
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Database:	Psychology and Behavioral Sciences Collection

Description
Abstract:	The article critically examines the legacy of the Western Enlightenment, highlighting how its rejection of Indigenous relational worldviews led to a normative dissociation—a separation from ecological, spiritual, and communal interconnectedness—that underpins modernity and coloniality. This dissociation facilitated the rise of reductionist science, capitalist and neoliberal systems, and a pervasive desire to control uncertainty, resulting in environmental destruction, cultural erasure, and systemic violence including genocides. It contrasts this with Indigenous paradigms of “dancing with uncertainty,” which emphasize grounded hope through nurturing relationships with land, community, and spiritual realms. The article also discusses Kent Monkman’s diptych Mistikôsiwak (“Wooden Boat People”), which artistically reclaims Indigenous presence and visionary sovereignty by subverting colonial narratives and inviting a remembrance that challenges linear Eurocentric history. Ultimately, it argues that justice and healing require exiting the dominant Enlightenment story to embrace Indigenous relationality and decolonial practices. [Extracted from the article]
ISSN:	02756935