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When Rivers Were Trails is a 2D adventure game wherein The Oregon Trail meets Where the Water Tastes Like Wine through an Indigenous lens. The game depicts a myriad of cultures during the player’s journey from Minnesota to California amidst the impact of land allotment in the 1890s. Initiated by the Indian Land Tenure Foundation, the game was developed in collaboration with the Games for Entertainment and Learning Lab at Michigan State University thanks to support from the San Manuel Band of Mission Indians and the many Indigenous creatives who contributed design, art, music, and writing. Uniquely, When Rivers Were Trails is a sovereign game, meaning that it was directed and informed by Indigenous creatives who maintained the role of final decisions during development. Merging design research and close reading methods, this study sets out to describe the game’s design, development process in regards to the game writing, and the resulting themes which emerged as a result of engaging Indigenous writers in self-determined representations.

"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."

What could a history of game studies be from the perspective of a queer Chickasaw feminist scholar? Should this be a disciplining manifesto, a polemical call to arms for radical transformation, a survey of the existing scholarship that has thus far framed games ludologically as fun, as sportsmanship, as design, or as epic struggles for political power where the player rather ominously wins or dies? I’m a bit of an interloper as a recent arrival from Indigenous studies to video-game studies, a field that represents both the end of history and the ahistoricity of pop-culturally–oriented archives that are presentist at best, and at worst, complicit with an industry derived from settler militaristic technologies and platforms and compelled by niche markets to innovate faster and faster to saturate more and more households at the structural level of occupation. And then there is the problem of what the history of game studies has been: Greco-Roman, European, cis white male, heterosexual, orientalist, algorithmic, and code driven with the techno-optimism of Silicon Valley alongside Jane McGonigal’s fundamental belief that games have and will save the world once they unite the collective brain power of all the gamers and bend them to a single task—and if not all that, then peak 1980s geekery with a hint of liberal multiculturalism thrown in, if Ernest Cline’s Ready Player One is anything to go by. It is as if the history of game studies has only ever been an imperial read-only memory to be mined, played, and spatialized within the conscriptions of conquistador archives already known and yet to be discovered.

Have you ever wanted to know which games to use in your classroom, library, or afterschool program, or even at home? Which games can help teach preschoolers, K-12, college students, or adults? What can you use for science, literature, or critical thinking skills? This book explores 100 different games and how educators have used the games to teach - what worked and didn't work and their tips and techniques. The list of 100 goes from A to Z Safari to Zoombinis, and includes popular games like Fortnite, Call of Duty: Modern Warfare, and Minecraft, as well as PC, mobile, VR, AR, card and board games.

"Afterlives of Indigenous Archives offers a compelling critique of Western archives and their use in the development of “digital humanities.” The essays collected here present the work of an international and interdisciplinary group of indigenous scholars; researchers in the field of indigenous studies and early American studies; and librarians, curators, activists, and storytellers. The contributors examine various digital projects and outline their relevance to the lives and interests of tribal people and communities, along with the transformative power that access to online materials affords. The authors aim to empower native people to re-envision the Western archive as a site of community-based practices for cultural preservation, one that can offer indigenous perspectives and new technological applications for the imaginative reconstruction of the tribal past, the repatriation of the tribal memories, and a powerful vision for an indigenous future."

James Brady was a mid twentieth-century Indigenous political organiser, trapper, prospector, writer, and intellectual. He was also a prolific photographer. This article considers the significance and aesthetics of Brady’s photographic archive through the lens of Indigenous visual sovereignty. Brady was Métis - one of Canada’s three recognised Indigenous peoples along with First Nations and Inuit. The Métis engaged in two conflicts with the Canadian state and negotiated the entry of a province into confederation. For a significant period of history, they lived outside Canadian infrastructures, whether the system of First Nations’ reserves created in the post-treaty era or Euro-Canadian settlements. Particularly vulnerable to land loss and displacement, the Métis were in desperate condition when Brady first began travelling with his camera. Brady’s photographs document the political rebirth of Métis people and the resilience and persistence of Métis communities in northern Alberta and Saskatchewan. They bear photographic witness to the lived experience of sovereignty rooted to place and continue to resonate with his subjects and their descendants

"Art for a New Understanding, an exhibition from Crystal Bridges Museum of American Art that opened in October 2018, seeks to radically expand and reposition the narrative of American art since 1950 by charting a history of the development of contemporary Indigenous art from the United States and Canada, beginning when artists moved from more regionally-based conversations and practices to national and international contemporary art contexts. This accompanying book documents and expands on the histories and themes of this exciting exhibition. This fully illustrated volume includes essays by art historians and historians and reflections by the artists included in the collection. Also included are key contemporary writings--from the 1950s onward--by artists, scholars, and critics, investigating the themes of transculturalism and pan-Indian identity, traditional practices conducted in radically new ways, displacement, forced migration, shadow histories, the role of personal mythologies as a means to reimagine the future, and much more. As both a survey of the development of Indigenous art from the 1950s to the present and a consideration of Native artists within contemporary art more broadly, Art for a New Understanding expands the definition of American art and sets the tone for future considerations of the subject. It is an essential publication for any institution or individual with an interest in contemporary Native American art, and an invaluable resource in ongoing scholarly considerations of the American contemporary art landscape at large."

Whose Land Is It Anyway? A Manual for Decolonization provides a variety of Indigenous perspectives on the history of colonialism, current Indigenous activism and resistance, and outlines the path forward to reconciliation. This audio version features renowned Indigenous writers Taiaiake Alfred, Glen Coulthard, Russell Diabo, Beverly Jacobs, Melina Laboucan-Massimo, Kanahus Manuel, Jeffrey McNeil-Seymour, Pamela Palmater, Shiri Pasternak, Nicole Schabus, Senator Murray Sinclair, and Sharon Venne. The late Arthur Manuel’s writings are read by his grandson, Mahekan Anderson.

"Although the fields of media studies and digital humanities are both well established, their overlaps have not been examined in depth. This comprehensive collection fills that gap, giving students, scholars, and media studies practitioners a cutting-edge guide to understanding the array of methodologies and projects operating at the intersection of digital humanities, computing, and culture. Topics covered include: networks; interfaces; media and culture at scale; procedures, programming, code; memory, digitization, and new media; and hacking, queering, and bending."--Provided by publisher

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

Les années 1990 sont une décennie cruciale pour l'avancement et le positionnement de l'art et de l'autonomie autochtones dans les récits dominants des états ayant subi la colonisation. Cet article reprend l'exposé des faits de cette période avec des détails fort nécessaires. Pensé comme une historiographie, il propose d'explorer chronologiquement comment les conservateurs et les artistes autochtones, et leurs alliés, ont répondu et réagi à des moments clés des mesures coloniales et les interventions qu'ellesontsuscitéesdu point de vue politique, artistique, muséologique et du commissariat d'expositions. À la lumière du 150e anniversaire de la Confédération canadienne, et quinze ans après la présentation de la communication originale au colloque, Mondialisation et postcolonialisme: Définitions de la culture visuelle v, du Musée d'art contemporain de Montréal, il reste urgent de faire une analyse critique des préoccupations contemporaines plus vastes, relatives à la mise en contexte et à la réconciliation de l'histoire de l'art autochtone sous-représentée.

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

As bell hooks points out in “Aesthetic Inheritances: History Worked by Hand,” writing an inclusive art history is no easy task. Until very recently, Aboriginal women have been written out of Canadian art history, or rather art history has been written around us. How do we write ourselves in? It falls far beyond simple insertion; the erasures are far too deep. Insertion presumes a simple forgetfulness, an oversight, a neglecting of the obvious. Insertion assumes a presence. It implies a shared mode of history, a common belonging to a collective archive, and an agreed-upon understanding of what it means to be an artist. Beyond the important considerations of race, gender, culture, and social class, our distinct legal status in Canada must be acknowledged. This was particularly true for women artists working between 1880 and 1970. For much of the time period under consideration, First Nations communities lived under a profoundly restrictive regime of colonial power. Relationships between First Nations people and the Canadian state have been defined by the Indian Act, a piece of legislation enacted in 1876 and surviving, through many amendments and revisions, until the present time.

Résumé livre : The Cultural Work of Photography in Canada is an in-depth study on the use of photographic imagery in Canada from the late nineteenth century to the present. This volume of fourteen essays provides a thought-provoking discussion of the role photography has played in representing Canadian identities. In essays that draw on a diversity of photographic forms, from the snapshot and advertising image to works of photographic art, contributors present a variety of critical approaches to photography studies, examining themes ranging from photography's part in the formation of the geographic imaginary to Aboriginal self-identity and notions of citizenship. The volume explores the work of photographs as tools of self and collective expression while rejecting any claim to a definitive, singular t... Source: Publisher

Catalogue d'exposition publié à l'occasion de l'exposition tenue au Plug In Institute of Contemporary Art, Urban Shaman Contemporary Aboriginal Art, et Winnipeg Art Gallery, du 22 janvier au 8 mai 2011. Now is the moment to reconfigure our notions of time to reveal alternative ways of thinking and being for the future. In Close Encounters: The Next 500 Years Indigenous artists imagine the future within the context of present experiences and past histories. By radically reconsidering encounter narratives between native and non-native people, Indigenous prophecies, possible utopias and apocalypses, this exhibition proposes intriguing possibilities for the next 500 years. "We all in different measure have carved out the future," observes Hopi photographer and filmmaker, Victor Masayesva, in his book Husk of Time. "We are all clairvoyants, soothsayers, prophets, knowingly assuming our predictions. Close Encounters brings together over 30 Indigenous artists from across Canada, the United States, South America, Europe, Australia and New Zealand, including newly commissioned work from Rebecca Belmore, Faye HeavyShield, Kent Monkman, and Edward Poitras. Jimmie Durham's sculptural work A Pole to Mark the Centre of the World (at Winnipeg) will be an ongoing critique of widely held ideas surrounding space and location, while James Luna's poignant installation The Spirits of Virtue and Evil Await my Ascension, addresses issues of ritual and the passing of time. Close Encounters showcases artists and artworks that collectively invent provocative futures from a diversity of perspectives and practices. With its myriad histories, trajectories, tensions, collisions, and self-image(s), the city of Winnipeg offers an intriguing juxtaposition for these artistic mediations. Close Encounters: The Next 500 Years presents international Indigenous perspectives in a city that in many ways also epitomizes the future of Aboriginal people in Canada. Works in multiple venues throughout the city will serve as catalysts to invent different ways of thinking, acting, and being in the world of our shared future. At this pivotal moment in time, Close Encounters invites engagement with the speculative, the prophetic, and the unknown

Catalogue d'exposition avec des textes de Ryan Rice; Jason Baerg; Lori Blondeau; Martin Loft; Cathy Mattes; Nadia Myre; Ariel Lightningchild Smith.

Eight artists from across Canada create works identify varying forms of nationhood that either serve or detract from the concept of a national accord. Each artist explores the idea of ₃anthem₄ through a wide-angle lens, broadening the national discourse to include not only colonial histories, but also distinctive and multicultural liberties that take various forms: treaties, blood, languages, sexual orientation, faith, and oral traditions. The dynamic range of art works exhibited contribute to a more inclusive national narrative and expose and accept the diverse forms of nationalism that exist across the country.

Catalogue d'exposition avec des textes de Ryan Rice, Françoise Charron, Emily Falvey et Hilda Nicholae.

"Art of the Northwest Coast is a comprehensive survey of the Native arts of the Pacific Northwest Coast, spanning the region from Puget Sound to Alaska, and proceeding from prehistoric times to the present. Incorporating the region's social history with the observations of anthropologists, historians of art, and Native peoples, this rich, vibrant book reveals how a complex web of factors informed these groups' varied responses to the changes and challenges brought about by contact with Europeans."-

« Tantôt présents ou documents figurés, tantôt considérés comme de la monnaie, les wampums sont des colliers de perles fabriquées de coquillages marins qui étaient utilisés par les Indiens du Nord-Est de l'Amérique et les Européens. Si des milliers de wampums sont cités dans les archives coloniales, peu d'entre eux sont parvenus jusqu'à nous et la tradition de leur échange a depuis longtemps cessé d'être pratiquée. Les wampums du Musée de la civilisation de Québec ont été acquis à la fin du XIXe siècle dans un contexte particulier où collectionneurs et numismates s'arrachaient les objets amérindiens et où ceux-ci, pour diverses raisons, acceptaient de s'en départir. Cette collection n'avait jamais été étudiée, ni par les historiens, ni par les ethnologues ou par les muséologues. Par un raisonnement critique, en avançant toujours avec prudence et sans jamais céder à la simplification, Jonathan C. Lainey soulève les difficultés et les problèmes reliés à leur étude et à leur interprétation. Il reconstitue méticuleusement les différentes étapes de la vie des objets, leur muséification et le sens qu'on peut leur donner aujourd'hui. Plus qu'une simple étude sur les wampums, cet ouvrage a le mérite de porter un regard sur certaines réalités historiques relatives à la culture matérielle d'un groupe amérindien de la région de Québec, les Hurons de Lorette. Ce sont le rapport à l'Autre, les processus d'appropriation et les transferts culturels qui sont abordés par l'étude de la transformation de l'usage des wampums, devenus aujourd'hui objets de musée. Reposant sur une ethnographie et une iconographie riches et détaillées, ce livre constitue une contribution importante aux études ethnohistoriques et aux études amérindiennes de l'Amérique du Nord-Est. »-- Résumé de l'éditeur.