The University of Manitoba campuses are located on original lands of Anishinaabeg, Cree, Ojibwe-Cree, Dakota, and Dene peoples, and on the National Homeland of the Red River Métis. More
The Salish Weave Teaching Collection is located at Simon Fraser University Library, Burnaby Campus. It features an Indigenous Reading Room designed and furnished with colours and chairs reflective of Indigenous teaching and Nature. The books in the collection on Indigenous knowledge are catalogued using the Brian Deer Classification system. This is also an excellent resource for Indigenous knowledge and pedagogy, "Decolonizing our Minds" and Indigenizing curriculum.
The Routledge Companion to Indigenous Art Histories in the United States and Canada
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Indigenous methodologies: characteristics, conversations, and contexts
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Handbook of Critical and Indigenous Methodologies
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The Handbook of Critical and Indigenous Methodologies is the only handbook to make connections regarding many of the perspectives of the "new" critical theorists and emerging indigenous methodologies. Built on the foundation of the landmark SAGE Handbook of Qualitative Research, the Handbook of Critical and Indigenous Methodologies extends beyond the investigation of qualitative inquiry itself to explore the indigenous and nonindigenous voices that inform research, policy, politics, and social justice. Editors Norman K. Denzin, Yvonna S. Lincoln, and Linda Tuhiwai Smith explore in depth some of the newer formulations of critical theories and many indigenous perspectives, and seek to make transparent the linkages between the two. Key Features * Contains global examples including South African, Hawaiian, Maori, Central African and Islamic ones. * Includes a "Who′s Who" of educators and researchers in critical methodologies. * Provides a comprehensive body of work that represents the state of the art for critical methodologies and indigenous discourses * Covers the history of critical and indigenous theory and how it came to inform and impact qualitative research * Offers an historical representation of critical theory, critical pedagogy, and indigenous discourse. * Explores critical theory and action theory, and their hybrid discourses: PAR, feminism, action research, social constructivism, ethnodrama, community action research, poetics. * Presents a candid conversation between indigenous and nonindigenous discourses. This Handbook serves as a guide to help Western researchers understand the new and reconfigured territories they might wish to explore.
Decolonizing Methodologies 20 Years On
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When Decolonizing Methodologies: Research and Indigenous Peoples ByLinda Tuhiwai Smith was first published it ignited a passion for researchchange that respected Indigenous peoples, knowledges and campaigned to reclaim indigenousways of knowing and being. At a time when Indigenous voices were marginalisedDecolonizing Methodologies advocatedan Indigenous viewpoint that represented the daily struggle to be heard and tofind a place in academia for Indigenous peoples. ProfessorSmith's ground-breaking text has been a key influence in highlighting thehistorical harms and barriers from Western research, as much as a handbook forthe everyday attempts to decolonize research from an Indigenous perspective. Twentyyears on this collection celebrates the positive, shifting ground anddemonstrates a breadth and depth of how Indigenous writers are shaping thepost-colonial research worlds today. Showcasing contributions from Indigenousfemale researchers this collection offers the much needed academic space todistinguish methodological approaches and overcome the novelty confines ofbeing marginal voices.
Cultural Memories and Imagined Futures
In the past decade, Jane Ash Poitras, a First Nations woman from northern Alberta, has emerged as one of the most important Canadian artists of her generation. Raised by a German widow who powdered her dark skin and tried to make her straight hair curl, Poitras did not begin to fully explore her indigenous roots until adulthood. Seeking out her extended family and participating in profound cultural experiences, she began to discover the side of herself that she was denied as a child. At the same time, she made a commitment to her art. With the opportunity to pursue a masters degree at Columbia University in New York, Poitras was at the centre of the North American contemporary art scene. Together, these dual influences shaped Poitras unique style, one that combines representational strategies of postmodern art - collage, layering, overpainting, incorporation of found objects - with a deep commitment to the politics and issues common to indigenous peoples. Cultural Memories and Imagined Futures situates Poitrass work in the national context of Canadian First Nations art during the late 1980s and early 1990s, the period when she began to receive wide recognition. It is the first book-length study to examine Poitrass career as a whole, recounting her development as an artist, participation in major exhibitions, and recognition as a significant Canadian and international artist. Along with detailed analyses of specific artworks, Pamela McCallum has also compiled the most extensive bibliography of writings on Poitras to date.
Indians Playing Indian
Explores how American Indian artists have responded to the pervasive misunderstanding of indigenous peoples as cultural minorities in the United States and Canada Contemporary indigenous peoples in North America confront a unique predicament. While they are reclaiming their historic status as sovereign nations, mainstream popular culture continues to depict them as cultural minorities similar to other ethnic Americans. These depictions of indigenous peoples as "Native Americans" complete the broader narrative of America as a refuge to the world's immigrants and a home to contemporary multicultural democracies, such as the United States and Canada. But they fundamentally misrepresent indigenous peoples, whose American history has been not of immigration but of colonization. Monika Siebert's Indians Playing Indian first identifies this phenomenon as multicultural misrecognition, explains its sources in North American colonial history and in the political mandates of multiculturalism, and describes its consequences for contemporary indigenous cultural production. It then explores the responses of indigenous artists who take advantage of the ongoing popular interest in Native American culture and art while offering narratives of the political histories of their nations in order to resist multicultural incorporation. Each chapter of Indians Playing Indian showcases a different medium of contemporary indigenous art--museum exhibition, cinema, digital fine art, sculpture, multimedia installation, and literary fiction--and explores specific rhetorical strategies artists deploy to forestall multicultural misrecognition and recover political meanings of indigeneity. The sites and artists discussed include the National Museum of the American Indian in Washington, DC; filmmakers at Inuit Isuma Productions; digital artists/photographers Dugan Aguilar, Pamela Shields, and Hulleah Tsinhnahjinnie; sculptor Jimmie Durham; and novelist LeAnne Howe.
Performance Studies in Canada
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Since its inception as an institutionalized discipline in the United States during the 1980s, performance studies has focused on the interdisciplinary analysis of a broad spectrum of cultural behaviours including theatre, dance, folklore, popular entertainments, performance art, protests, cultural rituals, and the performance of self in everyday life. Performance Studies in Canada brings together a diverse group of scholars to explore the national emergence of performance studies as a field in Canada. To date, no systematic attempts has been made to consider how this methodology is being taught, applied, and rethought in Canadian contexts, and Canadian performance studies scholarship remains largely unacknowledged within international discussions about the discipline. This collection fills this gap by identifying multiple origins of performance studies scholarship in the country and highlighting significant works of performance theory and history that are rooted in Canadian culture. Essays illustrate how specific institutional conditions and cultural investments - Indigenous, francophone, multicultural, and more - produce alternative articulations of "performance" and reveal national identity as a performative construct. A state-of-the-art work on the state of the field, Performance Studies in Canada foregrounds national and global performance knowledge to invigorate the discipline around the world.
Aesthetics of Repair
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Decolonize me = Décolonisez-moi
SakKijâjuk
Holding Ground
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Holding Ground: Nuit Blanche and Other Ruptures investigates international methodologies in curatorial practice from Canada, France, England, Aotearoa New Zealand, the United States, and many more countries. It unearths the connections and historical moments that draw public exhibitions and public art together and the differences that set them apart. This book is grounded in ongoing international exchanges and draws on the breadth of artistic and curatorial work in the field. This volume brings forward as many voices as possible to reflect on their experiences with Nuit Blanche and public art, creating a diversity of perspectives on this evolving event/festival/exhibition/happening. While the aim is to present the history of Nuit Blanche through the lens of its different urban incarnations, the volume also seeks to capture its decolonial and BIPOC energies alongside its more radical and utopian aspirations. This collection of essays, therefore, emphasizes the political changes that are reflected in the curatorial programming of recent Nuit Blanche exhibitions, with a new generation of curators and artists who have created ruptures and disruptions by proposing new models of public art with engagements that simultaneously question, decentre, and expand experiences of the city.
Perception
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Tired of reading negative and disparaging remarks directed at Indigenous people of Winnipeg in the press and social media, artist KC Adams created a photo series that presented another perspective. Called "Perception Photo Series," it confronted common stereotypes of First Nation, Inuit and Métis people to illustrate a more contemporary truthful story. First appearing on billboards, in storefronts, in bus shelters, and projected onto Winnipeg's downtown buildings, Adams's stunning photographs now appear in the book, Perception: A Photo Series. Meant to challenge the culture of apathy and willful ignorance about Indigenous issues, Adams hopes to unite readers in the fight against prejudice of all kinds. Perception is one title in The Debwe Series.
