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"Native Studies Keywords explores selected concepts in Native studies and the words commonly used to describe them, words whose meanings have been insufficiently examined. This edited volume focuses on the following eight concepts : sovereignty, land, indigeneity, nation, blood, tradition, colonialism, and indigenous knowledge. Each section includes three or four essays and provides definitions, meanings, and significance to the concept, lending a historical, social, and political context. Take sovereignty, for example. The word has served as the battle cry for social justice in Indian Country. But what is the meaning of sovereignty? Native peoples with diverse political beliefs all might say they support sovereignty-without understanding fully the meaning and implications packed in the word. The field of Native studies is filled with many such words whose meanings are presumed, rather than articulated or debated. Consequently, the foundational terms within Native studies always have multiple and conflicting meanings. These terms carry the colonial baggage that has accrued from centuries of contested words. Native Studies Keywords is a genealogical project that looks at the history of words that claim to have no history. It is the first book to examine the foundational concepts of Native American studies, offering multiple perspectives and opening a critical new conversation"--Résumé du site web de l'éditeur

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.

Catalogue d'exposition. Du 14 janvier au 25 février 2012 à Art Mûr (Montréal. Titre : Baliser le territoire : Manifestation d’art contemporain autochtone / A Stake in the Ground: Contemporary Native Art Manifestation. Commissaire : Nadia Myre Sonny Assu, Jason Baerg, Carl Beam, Rebecca Belmore, Kevin Lee Burton, Hannah Claus, Bonnie Devine, Raymond Dupuis, Edgar Heap of Birds, Vanessa Dion Fletcher, Nicholas Galanin, Greg Hill, Robert Houle, Maria Hupfield, Rita Letendre, Glenna Matoush, Alan Michelson, Nadia Myre, Marianne Nicolson, Michael Patten, Arthur Renwick, Sonia Robertson, Greg Staats, Tania Willard, Will Wils

As a teenager during my first internship at the Los Angeles County Museum of Art, a diversity initiative for inner-city youth, the education curator enthusiastically asked, “Who here would like to be an art historian!?” Like all the other Black and Brown inner-city kids, I laughed inside. My response was not due to a lack of art appreciation; I grew up in a family of refugees who were all self-taught artists back home in El Salvador, who taught me to draw before I learned to read. Nor was my response rooted in apathy for creative expression, for I was involved in art and theater from my elementary through my high school years. Art was such a natural part of my life that the idea of studying it seemed wasteful to me. The truth was, the internship was one of two jobs I was working to financially help my family and pay for my first year of community college. Hidden even deeper, though, I believed the museum world was not my world. I was a guanaca (the appellative given to people from El Salvador) whose family fled war and remained invisible in mainstream US Latinx history and culture. I was also from the hood—in my case Compton, California, a city made notorious by gangsta rap and police brutality. I believed that people like me guarded the art on the museum walls, cleaned the floors and bathrooms for visitors, and served the food at the high-priced café. People who looked like me, who came from where I did, did not determine what art could be, nor could we afford to buy it. We certainly did not write the history of art, for if we had, we would see ourselves represented on the walls.

L’article part de la notion wendat d’ohtehra’ pour développer une approche de l’art contemporain autochtone comme processus de « ré-ensauvagement » à l’œuvre, entre autres, chez les artistes Kent Monkman (Cri-Irlandais) et Caroline Monnet (Anishinaabe-Française). L’auteur, en s’appuyant sur les théoriciens Deborah Doxtator (Kanien’kehá:ka), Georges Emery Sioui (Wendat) et Taiaiake Alfred (Kanien’kehá:ka) propose également une analyse de l’autochtonie en Amérique du Nord comme un fait glocal d’Américité.

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.

On parle beaucoup au Québec, comme dans le reste du Canada, de réconciliation avec les Premières Nations. Mais pour qu'un rapprochement fécond puisse avoir lieu, qu'une nouvelle ère, égalitaire et respectueuse, s'ouvre, le cadre constitutionnel canadien ne peut à lui seul en définir les règles. Toute entente devra aussi tenir compte des traditions autochtones. C'est dans ce contexte que le livre de Leanne Simpson trouve toute sa pertinence. L'auteure s'y demande comment redonner force, consistance et valeur à un héritage politique, juridique et culturel mis à mal par le processus colonial. D'une façon aussi concrète que tonique et audacieuse, elle y explore la langue, les mythes, les coutumes et les expériences de sa culture ancestrale afin de recouvrer et révéler cette manière singulière et originale d'être au monde trop longtemps méprisée. Si l'entreprise est inspirante pour toute communauté issue des Premières Nations, elle l'est également pour quiconque s'intéresse aux contradictions de la modernité occidentale. -- [Renaud-Bray]

In this deeply engaging account, Michelle H. Raheja offers the first book-length study of the Indigenous actors, directors, and spectators who helped shape Hollywood's representation of Indigenous peoples. Since the era of silent films, Hollywood movies and visual culture generally have provided the primary representational field on which Indigenous images have been displayed to non-Native audiences. These films have been highly influential in shaping perceptions of Indigenous peoples as, for example, a dying race or as inherently unable or unwilling to adapt to change. However, films with Ind

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

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.

Indigenous researchers are knowledge seekers who work to progress Indigenous ways of being, knowing and doing in a modern and constantly evolving context. This book describes a research paradigm shared by Indigenous scholars in Canada and Australia, and demonstrates how this paradigm can be put into practice. Relationships don’t just shape Indigenous reality, they are our reality. Indigenous researchers develop relationships with ideas in order to achieve enlightenment in the ceremony that is Indigenous research. Indigenous research is the ceremony of maintaining accountability to these relationships. For researchers to be accountable to all our relations, we must make careful choices in our selection of topics, methods of data collection, forms of analysis and finally in the way we present information

Our goal in this article is to remind readers what is unsettling about decolonization. Decolonization brings about the repatriation of Indigenous land and life; it is not a metaphor for other things we want to do to improve our societies and schools. The easy adoption of decolonizing discourse by educational advocacy and scholarship, evidenced by the increasing number of calls to “decolonize our schools,” or use “decolonizing methods,” or, “decolonize student thinking”, turns decolonization into a metaphor. As important as their goals may be, social justice, critical methodologies, or approaches that decenter settler perspectives have objectives that may be incommensurable with decolonization. Because settler colonialism is built upon an entangled triad structure of settler-native-slave, the decolonial desires of white, non-white, immigrant, postcolonial, and oppressed people, can similarly be entangled in resettlement, reoccupation, and reinhabitation that actually further settler colonialism. The metaphorization of decolonization makes possible a set of evasions, or “settler moves to innocence”, that problematically attempt to reconcile settler guilt and complicity, and rescue settler futurity. In this article, we analyze multiple settler moves towards innocence in order to forward “an ethic of incommensurability” that recognizes what is distinct and what is sovereign for project(s) of decolonization in relation to human and civil rights based social justice projects. We also point to unsettling themes within transnational/Third World decolonizations, abolition, and critical space-place pedagogies, which challenge the coalescence of social justice endeavors, making room for more meaningful potential alliances

Told-to narratives, or collaboratively produced texts by Aboriginal storytellers and (usually) non-Aboriginal writers, often confound traditional literary understandings of voice and authorship. In this innovative exploration, these unique narratives are not romanticized as unmediated translations of oral documents, nor are they dismissed as corruptions of original works. Rather, the approach emphasizes the interpenetration of authorship and collaboration. Discussing a wide range of told-to narratives, including ethnography, recorded (auto)biography, testimonial life narrative, documentary, myth, legend, and song, Sophie McCall explores the multifaceted implications of the choices that editors, translators, narrators, and filmmakers make as they channel these narratives into new forms. Focused on the 1990s, when debates over voice and representation were particularly explosive, this comprehensive study examines collaboratively produced texts in conjunction with key political events that have shaped the struggle for Aboriginal rights in Canada. Emphasizing the scope rather than the limits of the told-to narrative, McCall considers how Aboriginal voices have been represented in a range of forums such as public inquiries, commissioners’ reports, and land claims court cases. A captivating inquiry, First Person Plural offers a vital, interdisciplinary discussion of how told-to narratives contribute to larger debates about Indigenous voice and literary and political sovereignty. This innovative, interdisciplinary study will be of interest to students and scholars of Indigenous studies, textualized oral narrative, literary studies, and Canadian cultural studies

This book seeks to clarify postcolonial Indigenous thought beginning at the new millennium. It represents the voices of the first generation of global Indigenous scholars and converges those voices, their analyses, and their dreams of a decolonized world.

Transference, Tradition, Technology explores Canadian Aboriginal new media and references the work of artists within a political, cultural and aesthetic milieu. The book constructs a Native art history relating to these disciplines, one that is grounded in the philosophical and cosmological foundations of Aboriginal concepts of community and identity within the rigour of contemporary arts discourse. Approachable in nature but scholarly in content, this book is the first of its kind. A text book for students and teachers of Canadian Aboriginal history and visual and media art, and a source for writers, scholars and historians, Transference, Tradition, Technology is co-produced with the Art Gallery of Hamilton, Hamilton; and Indigenous Media Arts Group, Vancouver.

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.

This article is a portal into the rapidly expanding historiography of modern Brazil. It highlights the major nodes of discussion and debate among historians of Brazil over the last two decades, and describes how these debates have been shaped by broader shifts in the historical profession. Two themes frame this survey of the new historiographical trends for postcolonial Brazil. One is the impact of the linguistic or cultural turn on that historiography. Slower to have an impact in the Brazilian historiography were the writings of the Subaltern Studies scholars and postcolonial theorists.

An exhibition at Mexico City's Museo Jumex argues that from 1960 and '85, artists across Latin America created a "decolonial" cultural history. However, the use of the term is largely unclear.

Stemming from Grosfoguel’s decolonial discourse, and particularly his enquiry on how to steer away from the alternative between Eurocentric universalism and third world fundamentalism in the production of knowledge, this article aims to respond to this query in relation to the field of the art produced by Latin American women artists in the past four decades. It does so by investigating the decolonial approach advanced by third world feminism (particularly scholar Chandra Talpade Mohanty) and by rescuing it from—what I reckon to be—a methodological impasse. It proposes to resolve such an issue by reclaiming transnational feminism as a way out from what I see as a fundamentalist and essentialist tactic. Following from a theoretically and methodological introduction, this essay analyzes the practice of Cuban-born artist Marta María Pérez Bravo, specifically looking at the photographic series Para Concebir (1985–1986); it proposes a decolonial reading of her work, which merges third world feminism’s nation-based approach with a transnational outlook, hence giving justice to the migration of goods, ideas, and people that Ella Shohat sees as deeply characterizing the contemporary cultural background. Finally, this article claims that Pérez Bravo’s oeuvre offers the visual articulation of a decolonial strategy, concurrently combining global with local concerns.