by Zena Cumpston
The following recipe for “Decolonial salad” is grounded in my own battles and experiences working as an Aboriginal woman in colonial institutions.
Although this recipe is written in a raw and slightly facetious tone that may be hard for some to swallow, it is important to have spaces where we don’t need to filter our critiques to protect non-Indigenous people’s feelings. The reality is, if we don’t name the violences of settler colonialism and Western/white supremacy, then it will not be possible for us to interrupt them. In order to write this poem, I gave myself permission to fully embody my frustrations and speak without filters, while recognizing this is just one part of me speaking.
This recipe emerged after listening to the audiobook of Hospicing Modernity: Facing Humanities Wrongs and the Implications for Social Activism by Vanessa Machado de Oliveira. The book has helped me to understand that I am not a “bad apple,” and that the institutional narratives that pathologize and deficit-theorize Indigenous peoples want us to believe that the harm we experience is our fault, rather than the result of a colonial system. These narratives are crafted to uphold settler innocence, and secure settler futurities. But these narratives are not easy to interrupt and unlearn. As Hospicing Modernity reminds us, there are no shortcuts. We will need to go through all the shi*t that has been accumulated over the past several hundred years of colonial violence in order to metabolise it, compost it, and use that compost to prepare the ground for something different to grow.
I am fire-hardened, just as our women’s powerful, regenerative digging sticks are put through fire to stop them from breaking. I have what I need to grow all that is necessary to be healthy and to continue to thrive. The fire was difficult to go through, but without the fire, I would not have this extra strength that will carry me through the rest of my life.
Having been through the fire myself, I offer this poem as a reminder to other Indigenous people that colonial institutions do not define us. In fact, these institutions were created to discipline and disappear us. But the poem also contains a reminder that we are not immune from getting sucked into the colonial mindset, and even weaponizing it against each other. This is exactly what the colonial system wants – it incentivizes us to serve its destructive agenda, including by destroying each other, while settlers can claim their hands are clean. I include some questions at the end that can support Indigenous people to digest the poem.
I also offer this poem as an invitation for white settlers to stop trying to transcend colonialism without giving anything up, and without composting their own shit. As the GTDF Collective says, “No shit, no starter.” Although Indigenous peoples are diverse and we have multiple different perspectives on reconciliation, this poem can give you a glimpse into some of the deep frustrations that can arise when we perpetually encounter the window-dressing commitments that sustain colonial business as usual. The poem offers you a chance to assess your own capacity to take in critical feedback – and thus, to see what your compost pile really looks like. As you read the poem, I invite you to consider that, until you are ready to do your own composting work, your lofty promises about commitments to reconciliation and decolonization will likely ring hollow, perpetually recreating the same “decolonial salad” that is making us all sick – including you. I offer some debriefing questions at the end that can support settlers to digest the poem as well.
Decolonial saladIngredients
claims to innocence (fresh)
superior knowledge (stale)
reams of data (bulk buy)
extractivism (pure)
capitalism (unadulterated)
expert knowledge (single source – blind bake until nothing can penetrate)
white fragility (bulk buy, always combine with expert knowledge)
compliant browns and blacks (steeped in mediocrity)
reparations (frozen, do not thaw)
Method
Recipe notes
Control the narrative. Make a Reconciliation Action Plan, elevate it, and wave it about threateningly if the natives become restless. Flip it on a 45 record (or a streaming audio site for the younger folks) so you can dance to it and forget how you benefit from genocide.
Ensure that self-determination stays well out of reach. Maintain the status quo to honour the legacy of your recent ancestors, those people you came from who did all these bad things that have nothing to do with you or the daily violence and disenfranchisement happening right now. Do not acknowledge or dissect your own systemic advantages or ask who has paid the price so that you can enjoy them, carefree. Never consider you are part of the problem. Never consider you are part of the solution.
Above all else never, ever hand over any real power, or land.
Bio: Zena Cumpston is a Barkandji woman with family and ancestral connection to Wilcannia, Broken Hill and Menindee in western New South Wales. She currently lives in Melbourne on the unceded lands of the Wurundjeri people with her partner and two young boys. Zena is passionate about truth-telling and undertaking projects that directly benefit Aboriginal community. Zena is a writer and also works as a curator, consultant, researcher and artist. In 2020 Zena produced a popular free e-booklet exploring Indigenous plant use that has been used widely by schools and community groups. In 2021 she curated the exhibition Emu Sky for the Ian Potter Museum of Art, exploring Aboriginal knowledge and bringing together over 30 Aboriginal community members, sharing their stories, research, knowledge and art works. She also spent 2021 writing for the Australian State of the Environment Report across several chapters. In 2022 her co-authored book Plants; past, present future was published by Thames and Hudson as part of the First Knowledges series. Zena recently began exploring translating her research work into visual art and her linocut/collage prints and weaving are featured in the exhibition ngaratya (together), beginning in Melbourne in May 2023 and touring nationally. Her artwork and writing will also feature as part of the Soils exhibition at the TarraWarra Museum of Art in 2023.
Debriefing questionsQuestions for Indigenous people
Questions for settlers