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Le présent document est un rapport sur la série de consultations tenues en 2007 avec des artistes, des administrateurs des arts, des aînés, des jeunes et d’autres membres de la communauté autochtone. Cette série de consultations a eu lieu dans le cadre de l’initiative de recherche sur les arts autochtones, mise sur pied dans le but de planifier et d’entreprendre les travaux de recherche nécessaires pour appuyer et orienter le plan d’action sur les arts autochtones du Conseil des arts du Canada.

"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

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

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

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.

Documentaire du Wapikoni Mobile. Responsable de la radio de Wemotaci, le musicien atikamekw, Patrick Boivin, rencontre le sage Charles Coocoo. Un très beau film sur l'importance pour les autochtones de s'approprier les médias contemporains afin de faire entendre la voix de leur de peuple.

Catalogue d'exposition. This exhibition includes art from artists who live in all parts of Saskatchewan, from Wood Mountain in the south to Turner Lake in the north. From youth to elder, the artists mentor others to ensure the ongoing vitality of traditional arts in the province

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