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Anishinaabe White Earth Ojibwe Gerald Vizenor in the 1990's repurposed an old legal term — "survivance" — to define a combination of survival and resistance of Native Peoples. Vizenor deployed the term in conjunction with a new phrase of his own making — "postindian"— to mount an assault on conventional discourse about Native Peoples. He proposed that the dominant discourse about Native Peoples is a discourse of domination. He attacked "Indian" as a rhetorical trope inextricably tied to subjugation, assimilation, and simulation, which he called "manifest manners." With these thoughts in mind, let us look at the project to decolonize Native Studies discourses and, by extension, discourses emanating beyond classrooms. I suggest four arguments every student in Native Studies must encounter if we are to continue to move away from manifest manners and toward survivance, struggle, resistance, and innovation. The arguments focus on "INDIAN", "TRIBE", "GENOCIDE", and "NATIVE RIGHTS / CIVIL RIGHTS".
Transmotion is a biannual, fully and permanently open-access journal inspired by the work of Gerald Vizenor. Transmotion will publish new scholarship focused on theoretical, experimental, postmodernist, and avant-garde writing produced by Native American and First Nations authors, as well as book reviews on relevant work in Indigenous Studies, and new creative work that seeks to push boundaries.
Creating an Osage Future: Art, Resistance, and Self-Representation, examines the ways Osage citizens—and particularly artists—engage with mainstream audiences in museums and other spaces in order to negotiate, manipulate, subvert, and sometimes sustain static notions of Indigeneity. This project interrogates some of the tactics Osage and other American Indian artists are using to imagine a stronger future, as well as the strategies mainstream museums are using to build and sustain more equitable and mutually beneficial relationships between their institutions and Indigenous communities. In addition to object-centered ethnographic research with contemporary Osage artists and Osage citizens and collections-based museum research at various museums, this dissertation is informed by three recent exhibitions featuring the work of Osage artists at the Denver Art Museum, the Field Museum of Natural History, and the Sam Noble Museum at the University of Oklahoma. Drawing on methodologies of humor, autoethnography, and collaborative knowledge-production, this project strives to disrupt the hierarchal structures within academia and museums, opening space for Indigenous and aesthetic knowledges. Although this research is grounded in an analysis of the Osage Nation, its focus on the intersection of art and self-determination contributes to imperative and timely interdisciplinary discussions about participatory research, decolonization, Indigenous knowledge production, and museum representations with which Indigenous communities across the globe are currently struggling.
The Anishinaabe novelist and postmodern cultural theorist Gerald Vizenor has a long-standing interest in France and French culture, which has come to the fore in his most recent work. This article examines the implications for his larger project, as revealed through the encounter between his Native American characters and a France depicted as an origin point of high modernist culture. By re-appropriating tropes and concepts from thinkers and artists such as Albert Camus, Marc Chagall and Edmond Jabés, in a narrative dominated by the figure of an Anishinaabe artist clearly modelled on George Morrison, Vizenor clearly attempts a revaluation of the category of the primitive so vital to modernist experimentation, reformulating it as “cosmoprimivitism”. In doing so, however, he also intervenes in contemporary debates around the exhibition of “arts premiers” in the Musée du Quai Branly, with results that problematically complicate any assessment of his attempt to unify the categories of the indigenous and the postmodern.
RSA Journal. Rivista di Studi Americani. Firenze Le Monnier (2012), pp. 47-62. ISSN 1592-4467 (Codice rivista: E149361), 2012
Led by William Apess, a Methodist preacher of mixed Pequot origins, the Wampanoag of Mashpee, on Cape Cod, rebelled against their encroaching neighbours, their indifferent state-appointed overseers, and their indolent Harvard-appointed missionary in 1833. Following a short and largely non-violent "revolt," and following negotiations held mostly through public discourse, the State of Massachusetts granted Mashpee a certain amount of political autonomy in 1834. Within the context of Jacksonian America and of the general devastation of indigenous societies at the time, this was a significant, if minor victory. The Wampanoag’s grievances had been not only political and economic, but also religious. Yet, as abundant as their complaints against the missionary Phineas Fish had been, the Massachusetts Legislature failed to address the issue in drafting its bill. Therefore, on top of trying to navigate the intricacies of autonomous governance, the first six years of the District of Mashpee’s existence were also marked by repeated attempts on a variety of fronts to get rid of the minister. This paper explores the several resourceful and non-violent methods through which the Wampanoag sought to remove the defiant clergyman. Only in 1840 were they able to finally banish him from their lands and from their cherished Meetinghouse.
Ethnohistory, 2009
Tenacious of their Lands is a focused micro-history of legal action and government formation in the Mashpee Wampanoag community of Cape Cod from 1834 to 1842. In March of 1834, the Massachusetts legislature incorporated Mashpee as an Indian district, establishing self-government by the people, ending direct guardianship by the state. The Act to Establish the District of Mashpee articulated the tribe’s rights to government, management of resources, and title to their land. However, the decision fell short of addressing equally pressing issues for the community: the right to appoint a minister of their choosing, access to the parsonage lands, and rightful control of the meetinghouse. A center for governance and worship, the meetinghouse represented the heart of contested space at Mashpee. Drawing on a longstanding history of political progress, strong advocacy, and community action, the newly formed district entered a period of coalescence and change. Decision-making by Mashpee leadership including the enactment of by-laws, litigation in the Massachusetts courts, and appeals to the legislature worked to strengthen the existing act and address outstanding issues for the community. Energized by a change in their legal status through an assertion of their own agency and the establishment of a Native-led government, the leadership at Mashpee undertook deliberate actions to fortify the community in the early district period.
Chapter 1, Theory, for the 2009 Dissertation. Full dissertation available at Proquest: http://dissexpress.umi.com/dxweb/results.html?QryTxt=&By=lewis&Title=grand+ronde&pubnum=
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