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Historically, Coast Salish female identity depended upon water. Waterways provided women with countless economic opportunities, fostered family ties, created plentiful food sources, and encouraged female autonomy. Even as female maritime practices changed drastically throughout the pre-colonial and colonial periods, Coast Salish women imagined new ways to maintain connections to water.

Tourism in Sámi homeland area, Sápmi, has increased rapidly over the past years. As its development accelerates, the various impacts of its expansion are visible at Sámi sacred sites called sieidi. The best-known sacred sites have become popular nature-travel destinations. As visits to sacred sites increases, the essence of their sacredness is under threat because of vandalism and erosion. Sacred sites are not only places of cultural and historical significance, but they hold a great importance regarding the cultural heritage of the Sámi and sacred generational connections with ancestors, and the identities within Sámi communities. For this reason, the identification and thus, protection of sacred sites is a topical and important issue.

This collaboratively written article explores the interrelated photographic strategies of Frances Benjamin Johnston, Carrie Mae Weems, Shan Goshorn, and Xaviera Simmons to interrogate the relationship among photographic archives, memory, and United States normal schools. In the decades following the US Civil War, the assimilation of indigenous peoples and African Americans in the image of Euro-Americans became national policy through boarding schools funded by government, religious, and private organizations. These institutions stripped attendees of their homes, customs, and languages while promising practical vocational training that would lead to secure economic entrance into dominant society. Analyzing Johnston’s well-known series made at Hampton Normal and Agricultural Institute (1899-1900) to examine the intersectional experience of Native and African American students, we argue that photography in this context was intertwined with processes of enforced cultural erasure and forgetting, in which bodily rhythms and knowledges became the target of violent re-inscription. In transhistorical revisitations of these archives, however, the contemporary artistic strategies of Simmons, Weems and Goshorn equally harness memory in embodied practices of remembering, where material revisitation and remaking serve as a method of recovering, processing, and transfiguring unfinished histories and intergenerational trauma.

The integration of indigenous knowledge into understanding disasters from natural hazards is hitherto hampered by the limited conceptualization of the process that shapes indigenous knowing. This study proposed a framework, structuring the processes that shape indigenous knowledge on disaster risk. Bearing that framework in mind, the evolution of disaster risk as understood by indigenous people was investigated based on the case floods in the Rwenzori. Data are collected using participatory ethnographic methods and analyzed through an inductive-analytical approach. Findings indicated indigenous knowledge framed along lived experiences, fostered by open knowledge production in the cultural institutions. This enabled rationalization of successive floods, over time, favoring a conceptualization of the context-specific processes through which flooding turns into disaster. This indigenous conceptualization not only exposes blind spots in the scientific evidence on context-specific processes of floods; it further illustrated how, through history, flood risk is a primary consequence of pressures that are sociopolitical and capitalist in nature. These pressures tend to undermine indigenous knowledge of flood risk specificities, favor watershed degradation, aggravate exposure, and hamper community-based investments that would enhance resilience. This exposition of distal pressures neglected by scientists highlights the indispensable role of indigenous perspectives in understanding context-specific disaster risk. Indigenous knowledge construction framework and its influencing factors in practice. [ABSTRACT FROM AUTHOR]

This essay uses the category of ts'íib to examine works by two author/artists from Chi Xot (San Juan Comalapa, Chimaltenango, Guatemala), Negma Coy and Edgar Calel. As seen in works by Maya intellectuals Irma Otzoy, Gaspar Pedro González, and Pedro Uc Be, ts'íib is an understanding of Maya artistic and cultural production that includes and exceeds the written word. As such, by considering these works as ts'íib, we argue that one finds that these authors reveal how writing in Latin script is simply another tool in relation to other textualities that all participate within the same space of enjoyment and learning. [ABSTRACT FROM AUTHOR]

In her role as "the Piute Princess," both onstage and in local and national political theaters, Sarah Winnemucca would present herself as the first feminine leader of the diverse bands of the Northern Paiutes. Sarah Winnemucca's self-fashioning as a Paiute leader, language translator, military negotiator, political mediator, stage performer, literary author, and educator is well known, and yet she is rarely acknowledged for the extraordinary diversity of her different roles. Life among the Piutes: Their Wrongs and Claims (1883) is far more than simply an appeal for political recognition of and economic aid to the Northern Paiutes; the book legitimates Sarah Winnemucca's authority to speak both for her tribal community and to U.S. federal leaders. Yet in fabricating a "nation" from the scattered bands of the Northern Paiutes and in her own role as their hereditary leader, Sarah Winnemucca exemplifies a central problem of transnationalism and its study in the national period. By constituting her own community as a nation, which might negotiate with the U.S. government and military, she helps legitimate national values, including legal and property rights that would have devastating consequences for Indigenous people under the provisions of the Dawes Act (1887). [ABSTRACT FROM AUTHOR]

Much of design teaching, learning and research in Australia is determined by Eurocentric traditions and the ongoing colonial project. In this context Indigenous Peoples continue to experience erasure, silencing and appropriation of practices and knowledges. The Visual Communication Design Program, situated in the School of Design at the University of Technology Sydney (UTS), is committed to disrupting this trajectory. In this article we describe an immersive model that seeks to challenge the role of the design educator, creative practitioner and researcher on unceded Gadigal Lands in the city of Sydney, Australia. We reflect on the challenges of facilitating Visual Communication Design and Emergent Practices, for a third iteration as an online studio experience, during COVID-19 in the context of the climate crisis, bushfires and Black Lives Matter. This iteration is the result of four years of deep collaboration with local First Nation Elders, Indigenous scholars and practitioners. The research-focused studio for 180 final-year visual communication design students is led by Local Elders, cultural and research advisers with the support of studio leaders. The consideration of design-led research methods through a process that infuses Indigenous research principles builds on the longitudinal research into the role of the emplaced designer in Indigenous-led projects on Country. Our studio, titled ‘In Our Own Backyard’, provides students with strength-based design capabilities and understandings of the principles of the United Nations Declaration of Indigenous Peoples Rights (UNDRIP), Indigenous Cultural and Intellectual Property Rights (ICIP) and the Australian Indigenous Design Charter. As a studio experience, the aim is to create conditions which spark possibilities for re-orientation towards relational and respectful negotiation of difference, and the capacity to action Indigenous self-determination in complex practitioner scenarios. [ABSTRACT FROM AUTHOR]

This article explores loneliness as the affective life of settler colonialism through the work of queer Indigenous (Driftpile Cree) writer Billy-Ray Belcourt's two volumes of poetry This Wound Is a World and NDN Coping Mechanisms. In particular, the article focuses on how Belcourt draws on queer affect theory and critical race theory in the work of scholars such as Jose Muñoz, Leo Bersani, Lauren Berlant, Ann Cvetkovich, Saidiya Hartman and Christina Sharpe – as he explores the relation between sex and death, and between cruising cultures and the ongoing genocide of Indigenous peoples. It argues that Belcourt's innovative fusion of poetry and theory provides new genres for racialised understandings of loneliness and other structures of feeling. [ABSTRACT FROM AUTHOR]

This article examines the novel Monkey Beach (2000) by Haisla and Heiltsuk author Eden Robinson, framing it as a Young Adult narrative and taking into consideration its representation of gender, race, and "reconciliation/resurgence" in Indigenous Canadian communities. The ways in which gender intersects with the re-appropriation of cultural traditions and with the idea of an Indigenous resurgence are examined. The analysis focuses on Robinson's portrayal of gendered violence towards Indigenous women and on the intergenerational trauma caused by the residential schools system. The female lead character, Lisamarie Hill, exemplifies the figure of the empowered Indigenous woman, who manages to reconnect with her cultural history and traditions through the acceptance of her preternatural powers. [ABSTRACT FROM AUTHOR]

This paper examines Arif Dirlik's work on the Asia-Pacific region's transformation into a "model region of globalization." Writing amidst the crisis of the Social Sciences, Dirlik analyzed how global capitalism's drive to simultaneously homogenize and fragment the world, a condition he termed "global modernity," had not only restructured the Asia-Pacific region so as to meet the demands of a new flexible mode of production, but also transformed knowledge production about the world, giving way to an endless splintering of knowledge that reinforced the logics of global capitalism and foreclosed any possibility for radical critique. Drawing on Asian American studies, Pacific Studies and Indigenous Studies, which emerged in the Asian-Pacific borderlands between social activism and the academy, Dirlik called attention to the local as the primary site of inquiry and advocated for radical scholarly and activist approaches grounded in a "critical localism" against the hegemony of global capitalism. This paper explores how Dirlik's work on the Asia-Pacific region generates the possibility for crafting what the anarchist sociologist Philippe Corcuff describes as "fragile epistemologies" of the plural social global. [ABSTRACT FROM AUTHOR]

Discrete monuments remain in the domain of the symbolic, land as mnemonic shifts to a more materialist commemorative praxis. This paper proposes a turn toward land as mnemonic of Black freedom struggle and place‐making. Reviewing the scholarship on memoryscapes, I show that the critical insights of Black ecologies and geographies scholarship has moved further than traditional scholarship and offers multiple openings for new monuments and commemorative practices in honor of Black life. Black socio‐ecologies scholarship centralizes the place‐based epistemologies, spatial histories, and experiences of Black communities and clarifies the form and function of land or plots as mnemonics of the Black freedom struggle, place‐making practices, and spatial epistemologies. Black plots are, therefore, ideal for orienting a new mode of Black commemoration. While much of the paper centers monuments to Black people, if Black commemoration is foregrounded in abolitionists thinking and practices, such memorialization must grapple with the histories of Indigenous dispossession and settler‐colonialism. The paper concludes with a consideration of what the argument for land as mnemonic of Black freedom struggle and place‐making might mean for future avenues of research. [ABSTRACT FROM AUTHOR]

The Anishinaabe people understand Ago'idiwin (treaty) is about relationships. The spirit and intent of treaty were about two nations culminating in a shared sense of humanity and dignity. One must understand the pipe ceremony and its seven sacred cardinal directions as demonstrated by whoever conducts the ceremony. These also represent seven sacred principles of Anishinaabe laws, nationhood and sovereignty. Aanikoobijiginan is the same word for great grandparents, and great grandchildren. To me this describes a process of tying the seven generations together through Sasquatch Earth Laws, sacred story. A story both new and old because it is connected to our origin stories. [ABSTRACT FROM AUTHOR]

The shift to massified higher education has resulted in surges in the recruitment of staff and students from more diverse backgrounds, without ensuring the necessary concomitant changes in institutional and pedagogical cultures. Providing a genuinely inclusive and 'safer' higher education experience in this context requires a paradigm shift in our approaches to learning and teaching in higher education. Creating safer spaces in classrooms is a necessary building block in the transformation and decolonisation of higher education cultures and the development of cultural competency for all staff and graduates. This paper outlines an approach to crafting safer spaces within the classroom, focusing on a case study of strategies for teaching and learning about race, racism and intersectionality employed by the authors in an undergraduate Indigenous Studies unit at an urban Australian university. [ABSTRACT FROM AUTHOR]

I demonstrate how the destruction of the land, water, and nonhuman beings of the Americas constitutes genocide according to Indigenous metaphysics and through analysis of the decimation of the American buffalo. In Genocide Studies, the destruction of nonhuman beings and nature is typically treated as a separate, but related type of phenomenon—ecocide, the destruction of nonhuman nature. In this article I follow in the footsteps of Native American and First Nations scholars to argue that ecocide and the genocide of Indigenous peoples are inextricably linked and are even constitutive of the same act. I argue that if justice is to be achieved for Indigenous peoples through the UN’s ability to prosecute genocide then the definition of genocide needs to, at minimum, include ecocide as a recognized act.

Peru’s national health program Programa de Salud Reproductiva y Planificación Familiar (PSRPF) aimed to uphold women’s reproductive rights and address the scarcity in maternity related services. Despite these objectives, during PSRPF’s implementation the respect for women’s rights were undermined with the forced sterilization of women predominantly of indigenous, poor, and rural backgrounds. This study considers the forced sterilization of indigenous women as a genocide. Making the case for genocide has not been done previously with this particular case. Using the normative markers of the Genocide Convention, this study categorically sets forced sterilization victims from the state-led-policy as victims of genocide, considering the effects the health malpractice had on victims’ reproductive rights and the prevention of births of future indigenous populations. In doing so, this study proves the genocidal intent from the state to destroy in whole or in part, an ethnic minority group.

Much of design teaching, learning and research in Australia is determined by Eurocentric traditions and the ongoing colonial project. In this context Indigenous Peoples continue to experience erasure, silencing and appropriation of practices and knowledges. The Visual Communication Design Program, situated in the School of Design at the University of Technology Sydney (UTS), is committed to disrupting this trajectory. In this article we describe an immersive model that seeks to challenge the role of the design educator, creative practitioner and researcher on unceded Gadigal Lands in the city of Sydney, Australia. We reflect on the challenges of facilitating Visual Communication Design and Emergent Practices, for a third iteration as an online studio experience, during COVID-19 in the context of the climate crisis, bushfires and Black Lives Matter. This iteration is the result of four years of deep collaboration with local First Nation Elders, Indigenous scholars and practitioners. The research-focused studio for 180 final-year visual communication design students is led by Local Elders, cultural and research advisers with the support of studio leaders. The consideration of design-led research methods through a process that infuses Indigenous research principles builds on the longitudinal research into the role of the emplaced designer in Indigenous-led projects on Country. Our studio, titled ‘In Our Own Backyard’, provides students with strength-based design capabilities and understandings of the principles of the United Nations Declaration of Indigenous Peoples Rights (UNDRIP), Indigenous Cultural and Intellectual Property Rights (ICIP) and the Australian Indigenous Design Charter. As a studio experience, the aim is to create conditions which spark possibilities for re-orientation towards relational and respectful negotiation of difference, and the capacity to action Indigenous self-determination in complex practitioner scenarios.

No abstract available.

At the start of Tommy Orange's There There, Cheyenne child Tony Loneman peers into his television screen and considers a playground taunt: "Why's your face look like that?" Confronted with his reflection, he discovers the "Drome"—the way fetal alcohol syndrome has contoured his body, "the way history lands on a face." The novel ends with another question from Tony: "Grandma, what are we?" With these pillared concerns—the "why" of nonnormative embodiment and the "what" of cultural identity—There There invites us to consider the ways that Indigeneity and disability are constitutive of one another. We argue that Orange (Cheyenne and Arapaho) explores how the disabled Native bodymind is always under the surveillance of the present colonial eye. We do so via close-readings of three of Tony's encounters in the novel: with himself, with an able-bodied, non-Native interlocutor who interrogates his cultural and bodymind alterity, and with his grandmother. Embodying the ancestral trauma renewed in these moments, Tony must not only live within a multi-generational temporality but must also (re)assemble his reality through constant encounters with non-Native interlocuters, moments that mimic and remind the reader of the original contact zones of American coloniality. In analyzing these moments, this article considers how disability and Indigeneity are, at once, in tension while also mutually constitutive of one another through three ongoing operations of the colonial project: the branding, transformation, and invasive reading of the bodymind. As settler colonialism continues to find its "specific, irreducible element" of territoriality not only on the geographical space of the Americas, but also on the individual bodymind, disability and Indigeneity, the corporeal and the ideological, the national and the personal, become metonymically connected and intimately imbricated.

By focusing on the representation of violence against Native American women in Craig Johnson’s "The Cold Dish" and the television show "Longmire," this article demonstrates how these cultural productions perpetuate settler-colonial power relations. Although Longmire is one of the more progressive shows thanks to its development of Native American characters and storylines, the settler-colonial status quo is affirmed in four main ways. Not only do the novel and TV show redeploy the racist stock characters of the Magical Indian and the White Savior, but the TV show especially also reiterates a version of the stereotypical Vanishing American narrative inherited from the Western genre. Furthermore, both cultural productions heavily pathologize the Cheyenne community, depriving them of agency. Finally, the novel and show both transform pain, suffering, and grief into transferable commodities. This allows them to disinvest the pain and tragedy suffered by the Native American characters in order to reinvest this tragic potential in white characters, which serves to reinforce the white characters’ heroism. The commodification of tragic potential and emphasis on its sentimentalization help obscure the settler-colonial origins and systemic perpetuation of violence against Native American women. In sum, this analysis shows that the deeply ingrained and normalized settler-colonial ideology inherent to representational strategies limit the progressive potential of even the most benevolent and well-meaning white cultural productions.

Franz Fanon poignantly argued that trauma is both an act and a memory of wounding that haunts subjects of violence. Addressing geographies of trauma, and the way that trauma is treated in the discipline of geography, is a matter of both theoretical and practical importance for critical human-environment scholars. However, discussions about uneven and ongoing geographies of trauma and violence – particularly in ways that enroll researchers themselves as agents within these landscapes – have been limited among political ecologists. When broached, these conversations are sometimes short-circuited by post-racial liberalism, whiteness or Eurocentricity, and academic respectability politics. This risks the continuance of logics that separate "researchers" from "communities" and lionize representational commitments to justice over material practices of transformation. In this article, we interrogate some of the theoretical and personal implications for political ecologists working with the legacies of dispossession, disruption, displacement and death. We draw on a wide collective of scholarship on haunting, hope, and geographies of trauma as well as our current work as geographers and educators. In the process, we build an argument for an approach that encourages unsettling, uncomfortable, and generative conversations about and beyond trauma. We end with three suggestions for engaging more substantively with the traumatic fallout that has long been at the center of political ecology.

This paper positions Open Educational Practices (OEP) as adding significant value to pandemic-era online learning. Much of online learning during Covid was characterised as being low quality, and an emphasis on providing care began to override the impact that reformed pedagogy could have in caring for students. Concepts of Indigenous Knowledge Authority, consent, collaboration, situated knowledge in communities of practice can help to frame how caring pedagogy and cognitive compassion can be cultivated. This paper shares the redevelopment and evaluation of a unit of learning called Cultural Capabilities amidst pandemic pedagogy rhetoric in which care for knowledge and online learning is discussed. The focus of this study was to refine the concept of care and compassion pedagogy whilst developing a sustainable model for caring for knowledge as higher education professionals. The learning design process and emergent outcomes of the evaluation for learning design are shared. Student feedback showed significant appreciation for the learning design, affective experiences of the deeper learning facilitated by OEP and relational learning. Australian Covid lockdowns allowed for new approaches to open engagement to practical care and compassionate practices for learning and knowledges. This paper argues that successful OEP can be cultivated with cognitive compassion as a focus instead of a panic-induced care narrative for more sustainable caring academic and professional capabilities as we continue to learn online.

In the last few years, scientists have discovered what indigenous communities have known for countless generations: that the emotional and physical lives of our ancestors will fundamentally affect our emotional and physical lives as well. Despite the increasingly evident effect that both trauma and/or gratitude can have on an individual (and by extension their offspring), there has been precious little research done on the effects of gratitude on future generations. This paper will seek to study the effect of gratitude as a deep spiritual practice that changes--not only those who practice it--but also the generations that follow. It will do so through the lenses of generational, psychological, and theological studies using the gratitude worldview and practices of the Ojibwa Native Americans as our entry point into the study of blood memory. It will also offer suggestions for church communities looking to reclaim gratitude as a spiritual practice in modern times drawing from the Church's institutional "blood memory.". [ABSTRACT FROM AUTHOR]

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Climate change has become the largest threat to cultural heritage in the twenty-first century. While it is known that the world's most vulnerable populations, including Indigenous peoples, will disproportionately face the effects of climate change, there is less knowledge of the wider cultural frameworks that influence Indigenous understandings of climate change. This article seeks to understand the local perceptions of natural and anthropogenic climate change and its impact on heritage among contemporary indigenous or originario peoples in small oases in the Atacama Desert of Chile's Tarapacá region. Theories from critical heritage studies are used to explore the impacts of both anthropogenic and natural climate change on what is understood as Indigenous heritage. The authors examine how these changes have intersected with national and regional socio-political events in the past century to impact contemporary Indigenous identities in the communities of Pica and Matilla. Semi-structured interviews and oral histories were discontinuously conducted between March 2016 and April 2018 and included lay Aymara and Quechua community members as well as the representatives of local organizations such as Neighbour Councils and Indigenous Development Areas (ADIs) in the communities. These accounts illustrate how recent climate change is being used as a rhetorical device to facilitate the revitalization and regeneration of local ethnicities in northern Chile today. Furthermore, the article demonstrates the value of originario knowledge in understanding the nuances of local cultural context and how essential it is in the implementation of environmental and heritage policies in the wider Chilean context. [ABSTRACT FROM AUTHOR]

This article details a national study of U.S. K–12 civics and government state-mandated standards, drawing specific attention to how Indigenous nationhood and sovereignty are represented. Utilizing QuantCrit methodologies informed by Tribal Critical Race Theory, this study makes visible colonial logics embedded within state civics and government standards that normalize the erasure of Indigenous nationhood, or that subtly and discursively erase Indigenous nationhood in other ways. Additional attention is also given to states that explicitly affirm contemporary Indigenous nationhood and sovereignty within the standards. By examining the ways state standards erase and/or affirm Indigenous nationhood and sovereignty, our hope is to support Indigenous and allied educators in their collective efforts to transform standards in their respective states to more responsibly reflect and support Indigenous nationhood and sovereignty. [ABSTRACT FROM AUTHOR]

In her poem "from turtle island to aotearoa", Anishinaabe writer Kateri Akiwenzie-Damm writes about travelling to the other side of the world and finding ways to connect. For my part, I have taken the "reverse" journey many times from Aotearoa to Turtle Island, and the poem has both nudged and nurtured my thinking about the promises and limits of Indigenous-Indigenous connections. In Indigenous Studies, we have made really important claims about the need to research our own people, and the limits of work conducted by outsiders. In this article, I reflect on the conundrum of being an Indigenous outsider in much of my current research project in which I, as a Māori scholar, engage the works of Māori writers alongside Indigenous writings from Australia, Fiji and Hawai'i. How does working in Indigenous Studies as a discipline shape my approach to researching others? Does being an Indigenous researcher give me a backstage pass? [ABSTRACT FROM AUTHOR]

The article offers author's response to Lorenzo Veracini's commentary 'Is settler colonial studies even useful?'. Topics discussed include author's views on settler colonial studies and American studies connected to Indigenous struggles; role of Native American and Indigenous Studies Association in the growth of Indigenous studies; and mentions Indigenous studies and settler colonial studies are connected.

The article presents authors response to the Lorenzo Veracini commentary "'Is Settler Colonial Studies Even Useful?'.". Topics discussed include author's views on Native American and Indigenous studies in relation to settler colonial studies; reference from the book Dispossession by Degrees and Firsting and Lasting by Jean M. O'Brien on settler colonialism; and explores colonial ideologies.

The article presents authors response on the Lorenzo Veracini commentary "Is Settler Colonial Studies Even Useful?'.". Topics discussed include author's views on Indigenous engagement with settler colonial studies and Indigenous resurgence; mentions problem with the Indigenous scholars and higher education such as lack of intellectual conversations; and also mentions Indigenous Studies and Indigenous thinking are interested in colonialism.

Studies concerning indigenous peoples in the Americas have grown notably in recent decades, though with diverse rhythms and featuring-specific conditions in different countries and regions. Within the framework of studies of the history of science that address the conditions of production and circulation of knowledge, in this paper, some characteristics of international links between researchers in this field are analyzed. I suggest that features such as overseas training, the use of foreign languages, publications in a second language, frequency and quality of contacts with foreign countries and international collaboration, are indicators that can provide insights into the extent of internationalization of this field. It is my hypothesis that there is not an internationalized field of indigenous studies as such, but rather regionally segmented circuits mostly defined by linguistic areas. The study covers, in a comparative manner, academics from countries such as Canada, the United States of America, Mexico, Argentina, Brazil, Colombia, Chile and Peru.

This article explores what decolonization can consist of—and be envisioned as—when we recognize how settler colonial governance, policies, industries, and structures have affected both Indigenous peoples and nonhuman relatives within their respective homelands. I assert that analyses of settler colonialism must address the environmental dislocations and degradations experienced by both humans and nonhumans.

Minnesotans love boats, and canoes are a particular favorite. The state has the highest per capita rate of recreational boat ownership in the nation, according to the Department of Natural Resources.[1] Consequently, the current exhibit, Why Canoes? Capacious Vessels and Indigenous Future of Minnesota's Peoples and Places, at the Northrop Gallery should find an interested audience. The exhibit reflects the desire of three Indigenous peoples—Dakota, Anishinaabe, and Micronesian—to revitalize their canoe-building traditions, and to pass them on to the next generation.

The article explores contemporary debates regarding the representation of Indigenous resistance in the field of settler colonial studies by putting the work of Australian theorist PatrickWolfe into conversation with the political allegories articulated in two contemporary Western films. Its first section, tracing what Wolfe called his "pharmacological indebtedness" to Gayatri Spivak, considers the methodological problems for settler colonial studies that have emerged fromWolfe's critique of the settler intellectual's representation of Indigenous resistance. The second section suggests an alternative direction for transnational settler colonial studies by undertaking a comparative reading of two films--Hell or High Water (2016) written by US settler filmmaker Taylor Sheridan, and Goldstone (2016) written and directed by IndigenousAustralian (Gamilaroi) director Ivan Sen. Both films collapse the detective genre with settler colonialism's most recognizable representational genre: the Western. In so doing, they articulate narratives about the ongoing crimes of settler colonialism that offer novel perspectives on the question of what is knowable--and by whom--under settler colonialism's structure of violence. [ABSTRACT FROM AUTHOR]

Indigenous healthcare models are intergenerational, holistic, culturally appropriate and tailored to the needs of individual communities. To ensure that students working in Indigenous communities can engage appropriately and respectfully, they may require additional support for that learning. This study explores the recommendations of Clinical Partners based on their reflections and experiences working with Indigenous communities to outline inclusions and resources for Indigenous curricula, and the development of a toolkit designed to support students on clinical placement. A 45-min focus group or online survey (for remote participants) was conducted with clinical partners (n = 14) across seven health disciplines. Data were analysed thematically. Academic clinical partners reflected at length on challenges and triumphs they had embedding Indigenous knowledge and having students engage with it. Clinical partners from practice highlighted the need to ensure students had opportunities to engage with and learn from Indigenous people. Exploring the recommendations of clinical partners, who currently work with students attending placement in Indigenous communities provided valuable insights into what additional support students may require. Further work involved reaching consensus on the draft WRAP (Working Respectfully with Aboriginal People) Toolkit inclusions in consultation with Indigenous Elders. [ABSTRACT FROM AUTHOR]

Indigenous audio media are experiencing a growing movement in the field of cultural media studies. One arguably linked to the global rise of indigenous reconciliation and political action in colonial nations such as Australia, United States, Canada and New Zealand. Indigenizing the national broadcast soundscape, Canadian Broadcast Corporation (CBC) original podcast Missing and Murdered: Finding Cleo weaves its way through the patriarchal reign of liberal pluralism and settler colonialism of Canadian society from wounded vibrations of assimilation, residential school, cultural genocide, the sixties scoop, sexual assault, death and life. Through a cultural sound studies and critical media analysis framework, this article positions Finding Cleo as an anti-colonial soundwork that details the story of one of the many families involved in the National Inquiry into Missing and Murdered Indigenous Women and Girls (MMIWG) as they search for the promise of truth to heal what we conceptualize as wounded vibrations. [ABSTRACT FROM AUTHOR]

This article explores how game jams, a rapid collaborative game production format, can work to support the revitalisation of Indigenous self-narratives in the context of Sámi culture. The study focuses on the Sami Game Jam, an event designed and carried out in the Northern Finish Sámi community in Utsjoki, in February 2018. Using an ethnographic method including participatory observation, video interviews with Sámi participants, and textual video game analysis, the study first discusses the event design, and how the creation of Sámi themes and priorities created constraints for game design. The variety of themes selected for the jam reflects the diversity of concerns present in contemporary Sámi society, and the need to reflect them in media. Secondly, we address the process of collaborative game development to explore current Sámi experience in a dialogic, open-ended way. Finally, we discuss the games created during the game jam, and how their design translate Sámi themes into playable artefacts. Based on the findings, we conclude how game jamming as a cultural practice can be appropriated for the purpose of sustaining intangible cultural heritage. [ABSTRACT FROM AUTHOR]

Our special issue provides a first-of-its kind attempt to examine environmental injustices in the occupied West Bank through interdisciplinary perspectives, pointing to the broader settler colonial and neoliberal contexts within which they occur and to their more-than-human implications. Specifically, we seek to understand what environmental justice—a movement originating from, and rooted in, the United States—means in the context of Palestine/Israel. Moving beyond the settler-native dialectic, we draw attention to the more-than-human flows that occur in the region—which include water, air, waste, cement, trees, donkeys, watermelons, and insects—to consider the dynamic, and often gradational, meanings of frontier, enclosure, and Indigeneity in the West Bank, challenging the all-too-binary assumptions at the core of settler colonialism. Against the backdrop of the settler colonial project of territorial dispossession and elimination, we illuminate the infrastructural connections and disruptions among lives and matter in the West Bank, interpreting these through the lens of environmental justice. We finally ask what forms of ecological decolonization might emerge from this landscape of accumulating waste, concrete, and ruin. Such alternative visions that move beyond the single axis of settler-native enable the emergence of more nuanced, and even hopeful, ecological imaginaries that focus on sumud, dignity, and recognition. [ABSTRACT FROM AUTHOR]

University disciplines are grappling with how best to incorporate Indigenous content and frameworks for practice into their teaching to better prepare graduates to work with Indigenous communities. Yet the pedagogical approaches that can best engage students in Indigenous Studies as a field of critical study are still being debated. This article has two aims. The first is to consider how an uncomfortable reflexivity may provide an alternative theoretical and methodological approach to preparing university students for future work. This reflexive approach is an alternative to frameworks such as transformative learning. The second aim is to consider Nakata's cultural interface as a teaching tool that may open discussion around how professionals embody the disciplinary histories that govern their work. To do so, I present the writing of a pre-service teacher undertaking a professional experience placement and her engagement with the cultural interface to make sense of her experiences within the classroom. The cultural interface is used to analyse both the engagements between teachers and students, as well as presented as an analytical framework that can be taught to students to prepare them to engage in complex and contested Indigenous spaces. [ABSTRACT FROM AUTHOR]

In Essex County, in Secret Path (his collaboration with Gord Downie), in Roughneck, and in his creation of the indigenous Canadian superhero Equinox for Justice League United: Canada, Jeff Lemire highlights a vision of the Canadian ‘north’ as transformative space. In Lemire’s hands, ‘the north’ is where Chanie Wenjack’s historical reality (Secret Path), Derek and Beth Ouelette’s personal demons (Roughneck), and Miiyahbin Marten’s life as an ordinary indigenous teen in Moose Factory, Ontario (Justice League United Volume 1: Justice League Canada) all undergo a transformation which speaks to shifting perceptions of identity, responsibility, and belonging in Canada. The north becomes a site where Lemire (and Lemire’s readers) directly confront how even a deliberate act of intended reconciliation between settler-colonial and indigenous peoples can effectively colonize the space in which it occurs. All three works, in different ways, deploy rhetorical strategies to minimize the ‘collateral damage’ that is probably unavoidable, and even perhaps necessary, in the articulation of the kind of anticolonial dialogue toward which Lemire’s work is oriented.