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Forge Project
About
PlaceSpaceTeamOrganizationVisitContact
Programs
UpcomingPast
Projects
JournalContributor GuidelinesConveningsLand RemediationLand Research
Fellowship
FellowsAboutHow to Apply
Collection
AboutBrowseArtistsLending Program
Resources
NewsVideosToolkit
Support
Build Native FuturesFundraising ValuesGratitudeDonate

Forging is a digital-first journal for critically imagining Native futures. Its editors and contributors are deeply committed to changing the way we study and interpret Indigenous survivance in the face of settler colonialism, with a focus on engaging, highlighting, and learning from Native voices.

Essay, Cohort 2025

Wearing Culture: Rotuman Tofua

Dorell Ben

Dec 12, 2025

For Rotumans in diaspora, as with many Oceanic peoples, wearing traditional cultural dress is a way to maintain connections to their island identities. In this essay, Dorell Ben traces the journey of the tofua, from its beginnings as attire only worn by chiefs and royalty to the ways modern Rotuman weavers are trying to keep the tradition alive.

Feature, Cohort 2025

ʻI Speak for the Forest, for the Rivers, for the Ancestors Who Keep Conversing Through the Mambe’: Aimema Úai paints Murui-Muina continuity

Angélica Cuevas-Guarnizo

Nov 26, 2025

Artist and mambeólogo Aimema Úai (La Chorrera, Colombian Amazon) transforms the maloka—the ceremonial house and spiritual center of the Murui-Muina people—into a place of continuity and resistance.

Collecting, Essay

Exoticization, or the Facade of Representation

Durante Blais-Billie

Jun 17, 2025

Art historian Durante Blais-Billie reflects on her time in collecting institutions to dissect violent colonial methodologies and discuss tactics for Indigenous agency.

Archive

Essay, Cohort 2025Wearing Culture: Rotuman TofuaDec 12, 2025Feature, Cohort 2025ʻI Speak for the Forest, for the Rivers, for the Ancestors Who Keep Conversing Through the Mambe’: Aimema Úai paints Murui-Muina continuityNov 26, 2025Collecting, EssayExoticization, or the Facade of RepresentationJun 17, 2025Collecting, CriticismThe Museum as Stage in ʻAntíkoni’May 5, 2025Collecting, EssayGluhá máni: Collecting to hold, not to keepApr 18, 2025Collecting, EssayOn Being NosyApr 9, 2025Collecting, FeatureThe Seed-Saving Movement Is Bigger Than BanksMar 14, 2025Governance, ConversationThe Politics of Naming Within Kayanręhstì·yu·Dec 18, 2024Governance, EssayReclaiming Birth SovereigntyNov 14, 2024Governance, Q&A‘Our way of life doesn't mean anything to them’: A Q&A on cultural resistance in Gayogo̱hó:nǫ’ NationOct 23, 2024Correction*, Essayevery pattern needs a passageMay 30, 2024Connectivity, Essay‘We Connect Whole Families’May 6, 2024Connectivity, Art HistoryGagizhibaajiwan, or Living With ParadoxApr 30, 2024Connectivity, AnalysisMaintaining Diné K'é OnlineApr 23, 2024Connectivity, EssayReimagining Native MotherhoodApr 15, 2024Connectivity, Design CriticismThe Impermanent Beauty of Cree DesignApr 5, 2024Language, ConversationSpeaking With Your Cat: An Artist and Researcher Talk Artificial Intelligence, Community, and Cultural ExpressionJan 26, 2024Language, Analysispiyêsiwak wâhkôhtowin/thunderbird’s kinshipJan 18, 2024Language, HistoryRadical Indigenous Contemporaneity in ʻKe Aloha O Ka Haku’Jan 8, 2024Language, Art History(Un)seen: Rotuman Fạ’iDec 27, 2023Language, EssayAsking for Permission/Listening for ConsentDec 18, 2023Knowing, EssayPostmodernism Is Not PermissionOct 18, 2023Knowing, Q&A‘Clay. . . Lets You Leave Your Mark Exactly How You Put It Down’: An Interview With Raven HalfmoonSep 30, 2023Knowing, FeatureFinding HomeSep 28, 2023Seed, Feature‘A Love Song to Ohlone Culture’Jun 23, 2023Seed, How-toHow to Make a Goathead SoftJun 23, 2023Seed, Q&AQ&A With Lucy GrignonJun 23, 2023Seed, Nonfiction essayPlanting Tobacco While the Ancestors LaughJun 23, 2023Seed, Photo essaySeeds, Bodies & Territory in Cerro QuilishJun 23, 2023

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