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This multidisciplinary collection probes ways in which emerging and established scholars perceive and theorize decolonization and resistance in their own fields of work, from education to political and social studies, to psychology, medicine, and beyond

Ce survol de l'art contemporain indigène, qui connut un succès retentissant dès son ouverture en novembre 2019, a été prolongé jusqu'au 4 octobre au Musée des beaux-arts du Canada. Àbadakone permet de découvrir des œuvres de plus de 70 artistes qui revendiquent leur appartenance à quelque 40 nations, ethnies et tribus de 16 pays, dont le Canada. Traitant des thèmes de la continuité, de l'activation et de l'interdépendance, Àbadakone explore la créativité, les préoccupations et la vitalité qui marquent l'art indigène de presque tous les continents. L'exposition est organisée par les conservateurs du Musée des beaux-arts du Canada Greg A. Hill, Christine Lalonde et Rachelle Dickenson, conseillés par les commissaires Candice Hopkins, Ariel Smith et Carla Taunton, ainsi que par une équipe d'experts du monde entier. .

Art, performance, and spoken or now written text, all belong to the same register of cultural practice in the First Nations I am familiar with or belong to: ceremony. This ceremonial register takes place in a set of spaces created to enact cultural responsibilities to place, people and balance. Galleries and museums, as sites of cultural production and presentation, have the potential to nurture new ceremonies and new working methods.

Chinese Television and Soft Power Communication in Australia discusses China’s soft power communication approach and investigates information handling between China and its targeted audiences in the eyes of key influencers – intermediate elites (public diplomacy policy elites in particular) in China and Australia. It explores CGTN (with staff from several professional cultures) and conducts a systemic test of how successful/unsuccessful China’s soft power message projection is in terms of congruence between projected and received frames as a pivotal factor of its power status. The analysis is based on a case study of frames in the messaging on Chinese international TV about China’s Belt and Road Initiative and in the minds of Australian public diplomacy policy elites. The question raised is whether and how Australia is listening.

Indigenous and decolonizing perspectives on education have long persisted alongside colonial models of education, yet too often have been subsumed within the fields of multiculturalism, critical race theory, and progressive education. Timely and compelling, Indigenous and Decolonizing Studies in Education features research, theory, and dynamic foundational readings for educators and educational researchers who are looking for possibilities beyond the limits of liberal democratic schooling. Featuring original chapters by authors at the forefront of theorizing, practice, research, and activism, this volume helps define and imagine the exciting interstices between Indigenous and decolonizing studies and education. Each chapter forwards Indigenous principles - such as Land as literacy and water as life - that are grounded in place-specific efforts of creating Indigenous universities and schools, community organizing and social movements, trans and Two Spirit practices, refusals of state policies, and land-based and water-based pedagogies.--publisher's description.

There are clear challenges posed by rural and remote education in Australia. These challenges are caused both by physical and material factors, but more importantly epistemological divisions that have created a separation between Indigenous and non-Indigenous worlds. Video games have the potential to bridge this epistemological gap by explicating the differences between different knowledge systems and engaging students in exploring these differences. Crucially, these projects need to be co-constructed to ensure that not only the representations of Indigenous people surpass some dubious traditions, but that different epistemologies are adequately framed. There is an urgent need for research-informed game-based learning projects to begin to address the ‘epistemology gap’ and the challenges faced by all Australians.

Indigenous Art New Media and the Digital convenes leading scholars, curators, and artists from the Indigenous territories in Canada, the United States of America, Australia, and Aotearoa (New Zealand). It brings forth urgent conversations about resistance to colonial modernism, and highlights the historic and ongoing use of technology by Indigenous communities and artists as vehicles of resilience and cultural continuity. This issue ignites productive dialogue around the definitions of new and digital media art and practice-based work within the framework of Indigenous art and theory

Video games have become a global industry, and their history spans dozens of national industries where foreign imports compete with domestic productions, legitimate industry contends with piracy, and national identity faces the global marketplace. This volume describes video game history and culture across every continent, with essays covering areas as disparate and far-flung as Argentina and Thailand, Hungary and Indonesia, Iran and Ireland.

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.

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.

To the colonized, the term 'research' is conflated with European colonialism; the ways in which academic research has been implicated in the throes of imperialism remains a painful memory. This essential volume explores intersections of imperialism and research - specifically, the ways in which imperialism is embedded in disciplines of knowledge and tradition as 'regimes of truth.' Concepts such as 'discovery' and 'claiming' are discussed and an argument presented that the decolonization of research methods will help to reclaim control over indigenous ways of knowing and being. Now in its eagerly awaited third edition, this bestselling book includes a co-written introduction features contributions from indigenous scholars on the book's continued relevance to current research. It also features a chapter with twenty-five indigenous projects and a collection of poetry

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