Abstract: Beading is an important pathway for Indigenous peoples to restore, revitalize, and reclaim ancestral practices and community connections destroyed by colonization. As a decolonial practice, beadwork mobilizes Indigenous knowledge transmission and is intrinsically tied to the emotional, spiritual, and physical well-being of Indigenous peoples. Research colleagues and friends Justine Woods and Presley Mills met at the first Beading Circle hosted at Toronto Metropolitan University in the winter of 2019. Gathered around a table, the first teaching Woods shared with the group was to only bead while in a positive and calm mindset as the beads take in our energy and, with each stitch, become embedded with our intentions. Using beadworking as a method of inquiry, Woods and Mills hosted three beading circles in the fall of 2021 with four collaborators from the beadwork community to consider the ways beading is a therapeutic and decolonial practice. Through exploratory discussion, the group answered questions such as: Amidst ongoing settler colonialism, how can beadwork restore and repair your relationship to community, identity and ancestral lands? How does beading impact you emotionally? How does practicing beadwork contribute to individual and collective efforts of decolonization? In this chapter, Woods and Mills discuss how beadwork fosters a common thread within community, the power of beadwork as a conduit of decolonial space, and beadwork’s relationship to Fashion and how beading was medicine during the Covid-19 pandemic.



Abstract: How can we get insights into early Soviet cinema screenings for indigenous audiences in the Siberian taiga at the end of the 1920s? Preserved by the Grodekov Khabarovsk Regional Museum (Russia), the recently published diaries of Alexandra Putintseva, a cultural worker posted at the ‘Far Eastern red yurt’ from 1929 to 1932, are a valuable source to investigate the issue. Putintseva’s diaries provide a wealth of information on movie screenings within these particular Soviet institutions, as well as their reception by indigenous audiences. They show that, far from the common colonial stereotype, indigenous audience was not astonished or frightened in front of the cinematic spectacle or apparatus. Furthermore, they also offer essential information on the immediate context within which these screenings took place, an issue of equal importance in understanding what cinema as a social practice meant for indigenous audiences. Performed in a multifunctional building aiming to radically change (‘modernise’) indigenous (‘traditional’) way of life, cinema was classified as political enlightenment work. As a result, for the indigenous audience, watching films was intimately intertwined with the new Bolshevik society and its modernising endeavour. Ultimately, the diaries illustrate what I have termed ‘cinema-coming’ (when the expected audience does not go to the cinema, cinema ‘comes’ to the audience), in which film exhibition was closely linked to state ideology and the formation of modern citizens.