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Michelle Browder’s “The Mothers of Gynecology” remembers Black women who endured surgeries without anesthesia, or consent.

"This edited collection focuses on "unsettling" Northwest Coast art studies, bringing forward voices that uphold Indigenous priorities, engage with past and ongoing effects of settler colonialism, and advocate for practices for more accountable scholarship. Featuring authors with a variety of perspectives, backgrounds, and methodologies, Unsettling Art Histories offers new insights for the field of Northwest Coast art studies. Key themes include discussions of cultural heritage protections and long-standing defenses of natural resources and territory; re-centering women and the critical role they play in transmitting cultural knowledge across generations through materials, techniques, and creations; reflecting on the decolonization work being undertaken in museums; and examining how artworks function beyond previous scholarly framings as living documents carrying information critical to today's inquiries. Re-examining previous scholarship and questioning current institutional practices by prioritizing information gathered in Native communities, the essays in this volume exemplify various methods of "unsettling" and demonstrate how new methods of research have reshaped scholarship and museum practices."

Quand les conditions requises pour le dialogue ne sont pas réunies, il est difficile d’expliquer à une femme blanche : " écoute, nous ne voulons pas qu’on nous impose des de critères féministes hégémoniques " . Cela étant, je reconnais et j’apprécie tout ce que j’ai appris sur les différents courants féministes. Car grâce à eux, je me reconnais comme sujette épistémique et je peux me penser à partir du corps et de l’espace où je vis. Ou encore tisser des idées féministes. C’est ainsi que la construction consciente de mon identité féministe communautaire se renforce et en même temps, nous contribuons au mouvement féministe dans le monde. Par exemple, l’une des étapes que nous devons franchir passe par la langue : nommer dans nos propres langues, qui auront été libérées, les catégories et les concepts que nous élaborons pour analyser l’oppression subie par notre peuple dans l’histoire et notre libération en tant que femmes indigènes, autochtones, paysannes, rurales, ou villageoises. Francesca Gargallo est une écrivaine et féministe autonome italo-mexicaine. Licenciée en philosophie de la Sapienza de Rome et docteure en Études Latinoaméricaines de l’UNAM mexicaine, cette spécialiste de l’histoire des idées féministes, prenant acte de l’échec de l’utopie socialiste, propose de chercher des alternatives à partir d’un féminisme clairement antiraciste, qui fasse la critique de l’ eurocentrisme. Elle s’intéresse au concept de colonialisme interne de Pablo González Casanova, ou de Silvia Rivera Cusicanqui. Le livre dont nous traduisons deux extraits, Feminismos desde Abya Yala. Ideas y proposiciones de las mujeres de 607 pueblos en NuestraAmérica, a été publié en 2012 aux éditions Desde abajo.

This chapter unpacks the tension between secular, modern values and conservative, Islamic interpretations within the Indonesian middle class by taking the consumption of Turkish popular cultural products as a case. The chapter explicates the social responses towards the first Turkish television drama aired on terrestrial, private television in Indonesia: The Magnificent Century (Muhtesṃem Yüzyıl/Abad Kejayaan). This chapter understands the reproduction of secular and conservative Islamic values, while in contestation, as a response to broader global, market-capitalist developments. It finds that in response to audience criticism regarding the “un-Islamic” portrayal of the epoch in the drama—specifically the depiction of women as concubines—television stations enlisted the services of Muslim clerics to correct or justify the representation of historical facts. This reveals that market-driven self-censorship has opened up ways for Muslim clerics to influence television content. As such, the chapter argues that market-capitalist forces discursively use Islamic authority as a way to legitimise the halal consumption of Turkish drama among Indonesian Muslim audience at the expense of programme diversity.

This chapter examines the intersection of popular culture and populism in Turkey by focusing on the TV show Payitaht Abdulhamid. Our motivation to analyze the recent TV series Payitaht Abdulhamid stems from our interest in the instrumental mobilization of popular culture for the Turkish government’s dual desire to both establish cultural hegemony and consolidate its populist style of government. Our analysis reveals that television, especially in the Global South, still plays a central role in governments’ desire to reconstruct history and establish cultural hegemony. This is particularly important as Turkey is going through a crisis of hegemony since the public is completely divided in its support for the government. Within the context of this hegemonic crisis, televised popular culture is vital, perhaps more than ever. Specifically, the show reduces a complicated history into easily understandable dichotomies and projects them on to contemporary politics in order to consolidate support for the government. Through televised popular culture, the government mobilizes history for purposes of cultural hegemony and populist politics flavored with nationalist, Islamist, and anti-Western motifs. Ultimately, the TV show presents yet another moment for understanding the mediated nature of 21st-century politics outside Western contexts.

La nation huronne-wendat de Wendake (Lorette, Québec) a maintenu sa culture et son identité pendant des siècles, souvent en dépit de, et en résistance contre les pressions occasionnées par la présence missionnaire et les politiques coloniales. Cette survivance est tributaire de savoirs, de valeurs et de coutumes transmis de génération en génération. Cet article explore l'art de la communauté wendat et ses éléments constitutifs : la fabrication d'objets, la tradition orale, l'engagement actif des membres de la collectivité dans les pratiques traditionnelles, ainsi que l'adaptation des pratiques ancestrales aux préoccupations actuelles. Il montre comment la production artistique wendat, dans sa force expressive, contribue à la continuité et cohésion sociale de la nation wendat.

Le modernisme en art est souvent considéré comme un développement spécifiquement occidental. Robert Houle, l'artiste, écrivain et commissaire d'exposition d'origine Saulteaux, a cependant toujours soutenu que sa propre pratique est moderniste et qu'elle suit une filiation esthétique autochtone. Cet article s'intéresse particulièrement à une œuvre produite par Houle en 1994, Premises for Self Rule, dans laquelle l'artiste a juxtaposé des textes de législation coloniale à des panneaux peints en monochrome et des cartes postales trouvées en archives. Il propose qu'à travers cette stratégie de rapprochement, l'artiste fusionne la tradition de la peinture de parflèche à l'esthétique moderniste, remettant ainsi en lumière la négociation interculturelle, l'amnésie coloniale, ainsi que les écarts qui séparent les épistémologies et traditions artistiques des peuples autochtones et allochtones

Les porte-bébés et les paniers d'écorce autochtones sont, en tant que réceptacles, conçus pour porter et tenir. Outre cette fonction, ils sont aussi détenteurs d'histoires, de mémoire, et de liens familiaux. Créés individuellement et ornementés avec soin, ces objets constituent une sorte de portrait des femmes qui les ont produits, ainsi que des générations qui ont hérité des pratiques et des motifs servant à les fabriquer. En élargissant la définition de la notion de portrait de famille, cet article considère deux objets provenant de Bear Island, en Ontario. Le premier est un porte-bébé ayant appartenu à Madeline Katt Theriault, et le deuxième est un panier d'écorce vraisemblablement créé parson arrière-grand-mère Angele Katt. Par leur parenté, ces réceptacles englobent une histoire multigénérationnelle qui s'étend de l'arrière-grand-mère à son arrière-petite-fille

Established in 2004, Maori Television has had a major impact on the New Zealand broadcasting landscape. But over the past year or so, the politics of Maori Television have been brought to the foreground of public consciousness, with other media outlets tracking Maori Television's search for a new CEO, allegations of editorial intervention and arguments over news reporting approaches to Te Kohanga Reo National Trust.Based on a Marsden Grant and three years of interviews with key stakeholders – staff, the Board, other media, politicians, funders and viewers – this is a deep account of Maori Television in its first ten years. Jo Smith argues that today's arguments must be understood within a broader context shaped by non-Maori interests. Can a Maori broadcaster follow both tikanga and the Broadcasting Standards Authority? Is it simply telling the news in Maori, or broadcasting the news with a Maori perspective? How can it support te reo Maori at the same time as appeal to all New Zealand? How does it function as the voice of its Maori stakeholders?Offering five frameworks to address the challenges of a Maori organisation working within a wider non-Maori context, this is a solidly researched examination of Maori Television's unique contribution to the media cultures of Aotearoa New Zealand.

This remarkable volume, many years in the making, records and scrutinizes definitions of Northwest Coast Native art and its boundaries. A work of critical historiography, it makes accessible for the first time in one place a broad selection of more than 250 years of writing on Northwest Coast "art." Organized thematically, its excerpted texts are from both published and unpublished sources, some not previously available in English. They cover such complex topics as the clash between oral and written knowledge, transcultural entanglement, the influence of surrealist thinking, and the long history of the deployment of Northwest Coast Native art for nationalist purposes. The selections are preceded by thought-provoking introductions that give historical context to the diverse intellectual traditions that have influenced, stimulated, and opposed each othe

The notion of “self” and “other” and its representation in artwork and literature is an important theme in current cultural sciences as well as in our everyday life in contemporary Western societies. Moreover, the concept of “self” and “other” and its imaginary dichotomy is gaining more and more political impact in a world of resurfacing ideology-ridden conflicts. The essays deal with Jewish reality in contemporary Germany and its reflection in movies from the special point of view of cultural sciences, political sciences, and religious studies. This anthology presents challengingly new insights into topics rarely covered, such as youth culture or humor, and finally discusses the images of Jewish life as realities still to be constructed.

This article begins with an analysis of the problems of ‘physical repatriation’, as I review the case of the return of a First Nations mask to its community of origin. First Nations struggle to fit their concepts of ownership into western ones, where objects are viewed as alienable. As an alternative, the art of John Powell and Marianne Nicolson depicts a ‘figurative repatriation’ that does not rely on either the courts or museums to recognize legal or moral ownership. I argue that these contemporary artworks are social agents, which bring First Nations cultural objects home by staking out territory within museums. These ‘artist warriors’ forcibly recover (both literally and metaphorically) First Nations objects on display in foreign settings and reinscribe meaning at the level of the personal and the communal. They make objectified assertions of native identity that reclaim the right to self-definition. Moreover, these claims are made all the more powerful through their conscious location within an oppositional discourse framed by the Canadian western art world.