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Published by SITE Santa Fe on occasion of the inaugural SITElines Biennial, 'Unsettled Landscapes'. Unsettled Landscapes was curated by Janet Dees, Irene Hofmann, Candice Hopkins, and Lucía Sanromán. The exhibition, featuring 47 artists from 14 countries, looks at the urgencies, political conditions and historical narratives that inform the work of contemporary artists across the Americas--from Nunavut to Tierra del Fuego. Through three themes--landscape, territory, and trade--this exhibition expresses the interconnections among representations of the land, movement across the land, and economies and resources derived from the land."--Résumé de l'éditeur

The goal of this research is to examine Aboriginal feature film production in Canada, specifically within the genre of drama. This report documents the rise of Indigenous cinema worldwide and examines Canada's public funding landscape including funding allocations to Aboriginal feature film production from Canada's public funders of film over a five-year period from 2007 to 2012. This report also examines the barriers to feature film production for Aboriginal content creators in Canada, and suggests areas of opportunity that can be targeted in order to boost production in this sector. Aboriginal film production is a relatively young sector, with scarce research existing on the industry. To address this gap in the available information on the sector, the researchers expanded the scope of the study beyond public funding agencies in Canada to include data from public funding agencies in Australia and New Zealand. Aboriginal feature film production in Canada is situated within a global Indigenous cinema context. Australia and New Zealand, in particular, are two pillars of global Indigenous film that offer a realistic point from which to compare Canada's progress. As a result, data from Australia and New Zealand are included in the study, as well as one model in the United States.

Aboriginal Territories in Cyberspace (AbTeC) is a research network of artists, academics and technologists centrally concerned with Indigenous representation in, and production of, digital media (AbTeC, 2008). AbTeC investigates and identifies ways for Indigenous peoples to tell our stories via networked technologies, and in so doing, strengthen our communities while proactively participating in shaping cyberspace. We are based at Concordia University, in Montreal, Quebec.

This collection of essays provides a historical and contemporary context for Indigenous new media arts practice in Canada. The writers are established artists, scholars, and curators who cover thematic concepts and underlying approaches to new media from a distinctly Indigenous perspective. Through discourse and narrative analysis, the writers discuss a number of topics ranging from how Indigenous worldviews inform unique approaches to new media arts practice to their own work and specific contemporary works. Contributors include: Archer Pechawis, Jackson 2Bears, Jason Edward Lewis, Steven Foster, Candice Hopkins, and Cheryl L'Hirondelle.

ouble Desire challenges the tendency by critics to perpetuate an aesthetic apartheid between Indigenous and Western art. The double desire explored in this book is that of the divided but also amplified attractions that occur between cultural traditions in places where both indigenous and colonial legacies are strong. The result, it is argued, produces imaginative transcultural practices that resist the assimilation or acculturation of Indigenous perspectives into the dominant Western...

À l’heure où les artistes visuels autochtones (Premières Nations, Inuits et Métis) se détachent de la « politique de l’identité », les artistes allochtones (d’ascendance européenne) font de plus en plus souvent référence dans leurs oeuvres à des questions en lien avec l’autochtonie. Cet article examine certaines de ces questions en établissant trois dialogues entre le travail d’un artiste autochtone et d’un artiste allochtone vivant au Québec : l’exploitation industrielle des territoires autochtones dans le Nord du Québec, par l’Algonquine Nadia Myre et l’artiste d’origine suisse Thomas Kneubühler ; les nouvelles attitudes et comportements générés par la société d’hyperconsommation, par l’artiste laich-kwil-tach Sonny Assu et le collectif BGL ; les relations entre Autochtones et colons durant le régime colonial français, chez l’artiste innue Sonia Robertson et l’artiste montréalaise Cynthia Girard. Bien que l’autochtonie, à travers ces trois dialogues, apparaisse comme une question partagée par les artistes actuels autochtones et allochtones, à aucun moment il n’est possible d’établir une équivalence entre les uns et les autres. Alors que chez les artistes allochtones l’autochtonie est traitée comme un motif secondaire, passant parfois inaperçue aux yeux des critiques d’art, elle constitue toujours le thème central des artistes autochtones chez qui elle s’ancre dans le destin, souvent tragique, de leur communauté.

In the late 1990s and 2000s, a number of calls were made by scholars to “internationalize” or “dewesternize” the field of media and communication studies. I argue that these approaches have indirectly silenced a much longer disciplinary history outside “the West” that has not only produced empirical knowledge but has also actively challenged Western epistemologies. This article seeks to reinscribe the epistemological and historical foundations of media and communication studies in Africa. By framing the research of African media and communication scholars within the changing nature of knowledge production, shifting power relations between African nations, and the evolving role of African universities, I demonstrate how academic knowledge production is frequently driven and constrained by particular dominant social, political, and economic interests.

The Modernity/Coloniality/Decoloniality (MCD) research program is a collective project associated with Latin America. In addition to a critique of Eurocentric “colonial modernity,” the project highlights non-Eurocentric forms of knowing and being in the world. It also aims to foster alternative or decolonial thinking emerging from the lived colonial experiences of those situated “outside” Europe. This last is what MCD proponents claim differentiates it from postcolonial critiques of modernity with their emphasis on deconstruction. This review provides a brief but critical overview of the MCD project's parameters and claims. It makes a cautionary call to those tempted by “alternatives to modernity,” who might want to uncritically adopt alternative decolonial thinking. It concludes with a call for a closer and critical engagement with Latin American decolonial ideas and those they contest.

Discursos sobre “raza” y nación en Colombia, 1880-1930 constituye un aporte a la investigación sobre la formación de la nación en Colombia durante los siglos xix al xx. El libro es producto de la investigación de tesis de maestría del autor y se centra en mostrar cómo las elites del país concibieron y, en específico, aplicaron con la legislación y otros recursos políticos y culturales, formas de poder y hegemonía mediante las cuales establecieron su dominio a partir del control social, la higienización -“depuración racial o blanqueamiento de la raza”- y el señalamiento a los grupos que resistieron esas formas arbitrarias de poder desde arriba. La estructura del libro está dividida en una introducción, cuatro capítulos, las conclusiones, la bibliografía y una corta semblanza del autor. El primer capítulo es un análisis metodológico de la “alteridad”, a partir de la perspectiva poscolonial y decolonial; siguiendo a autores de renombre en ese campo, trata de demostrar – lamentablemente de modo uniforme– el carácter cruel y violento del proceso de europeización y de sus valores “irracionales” más recurrentes. Los capítulos del dos al cinco se dedican a sustentar la postura metodológica con un material de fuentes y de análisis sobre el racismo colombiano en los siglos xix y xx.

While sharing fundamental similarities with other colonial and post-colonial experiences, Latin America has a unique history of having been the proving ground for early Spanish and Portuguese imperial projects, of having experienced a relatively long duration of – but also historically early end to – these projects, and of negotiating a particular and complex trajectory of internal and external post-colonial relations. What can the study of this distinct colonial and post-colonial experience contribute to a broader program of postcolonial sociology? Conversely, what can a revitalized postcolonial sociology contribute to the study of Latin America? This article develops provisional answers to these questions by reviewing major currents in South and North American scholarship on the Latin American colonial and post-colonial experience. Some of this scholarship self-consciously identifies with broader movements in postcolonial studies; but much of it – both historical and contemporary – does not. By bringing together diverse strands of thought, this article sheds new light on what postcolonialism means in the Latin American context, while using the comparative leverage that this set of often overlooked cases provides to contribute to a new program of postcolonial sociology.

In this paper I offer a brief overview of the academic debates about post-colonial theories and the concept of coloniality, seeking to map out their Latin American translations, especially from the perspective of feminist theories in relation to the coloniality of gender. By emphasizing an intersectional approach to understand the gendered character of coloniality, decolonial feminists are seeking innovative ways of articulating new epistemologies or “saberes propios”. However, in these debates little attention has been given to the issue of the travels and translations of decolonial feminisms in Latin America. In focusing on the vexed issue of translation, I want to explore some of the challenges Latin American decolonial feminists are facing today.

What does it mean to be white? This remains the question at large in the continued effort to examine how white racial identity is constructed and how systems of white privilege operate in everyday life. White Out brings together the original work of leading scholars across the disciplines of sociology, philosophy, history, and anthropology to give readers an important and cutting-edge study of ""whiteness""

The written curatorial statement from the organizing committee of the 11th Havana Biennial arrived via email the same day that we were preparing a dossier for the Romanian magazine IDEA. As we put together a brief history of “Decolonial Aesthetics” meetings and some portions of the “Decolonial Manifesto,” we discussed the need to bring to the biennial some of the critical and creative processes emanating from the decolonial collective. Previous editions of the biennial were overcharged with doses of “postmodernity,” marginal notes on the “postcolonial” condition, and celebrations of the “altermodern” (with its postproduction and relational dimensions). These were present in the curatorial practices, as well as in several of the presentations at the Theoretical Forum during the 2006 and 2009 editions. As we kept reading through the Biennial‘s curatorial statement, its content promoted a heated discussion among us where the idea of presenting a panel on decolonial aestheSis at the Havana Biennial became seen as not only relevant, but also, and above all, necessary.

Sakahàn' celebrates a growing international commitment to the collection, study and exhibition of indigenous art. Featuring more than 75 artists from around the world, this remarkable project places indigenous art squarely at the centre of contemporary art produced today.

Game Studies is a rapidly growing area of contemporary scholarship, yet volumes in the area have tended to focus on more general issues. With Playing with the Past, game studies is taken to the next level by offering a specific and detailed analysis of one area of digital game play -- the representation of history. The collection focuses on the ways in which gamers engage with, play with, recreate, subvert, reverse and direct the historical past, and what effect this has on the ways in which we go about constructing the present or imagining a future. What can World War Two strategy games teach us about the reality of this complex and multifaceted period? Do the possibilities of playing with the past change the way we understand history? If we embody a colonialist's perspective to conquer 'primitive' tribes in Colonization, does this privilege a distinct way of viewing history as benevolent intervention over imperialist expansion? The fusion of these two fields allows the editors to pose new questions about the ways in which gamers interact with their game worlds. Drawing these threads together, the collection concludes by asking whether digital games - which represent history or historical change - alter the way we, today, understand history itself.

Article sur les machinimas de l'artiste Skawennati (Kanien'kehá:ka) et du travail du laboratoire d'ABTEC (Aboriginal Territories on cyberspace) à l'Université Concordia.

The conceptualization of decolonial aesthetics is fairly recent, however its points of departure — the epistemic shifts that have been challenging coloniality in the artistic and cultural practices of the Global South — are as old as the colonial system. The defiance of colonialism in Vodou dance and rituals, which in Haiti ultimately led to the first successful enslaved people’s revolution, is a splendid case in point.