Children’s songs familiar to those growing up in settler states in Global North countries, such as ‘The Farmer in the Dell’ or ‘Old MacDonald Had a Farm,’ clearly define the farmer as a man who ‘takes’ a wife, nurse, cow, dog, cat, mouse, cheese’ (in the former) and ‘has’ a farm, cows, chicks, and pigs (in the latter). In a catchy sing-song, these songs initiate children into colonized norms of agriculture as a relationship of dominance between the farmer – a man – and his family, animals, and land. These songs also establish farming as a solitary or individualized act. Thus, the songs are successful not only in championing hierarchies of gender, sexuality, and species but also in erasing the Indigenous cultural knowledge systems found world over in which the provisioning and cultivation of food is not an action of dominance but rather one of community, done in relationship with (rather than power over) human and more-thanhuman communities. Even as the modes of agriculture championed by agribusiness and prioritized by governments and NGOs in much agricultural development work rely on the adoption of ever-evolving technologies, these traditional colonial tropes of ‘the farmer’ continue to remain central to the project of capitalist agricultural maintenance and expansion.