Abstract: In this dissertation I consider how listening to music produced by Indigenous peoples might convince settler listeners to surrender settler states of mind. I focus on the elements of settler colonialism that are exemplified in and challenged by the experiences of listening to music produced by Indigenous peoples. I focus on these aesthetic encounters as a way of exposing the everyday presence and power of settler states of mind and, more importantly, exploring how settlers might go about rebuilding states of mind through these moments of aesthetic surrender that are spurred by embodied experiences of sound. My project builds on the work of writers, theorists, and musicians such as African American writer James Baldwin, Michi Saagiig Nishnaabeg scholar, writer, and artist Leanne Simpson, and Stó:lō scholar Dylan Robinson. I think about what it means to listen cross-culturally in the context of ongoing settler colonialism in North America (Turtle Island) and increased rhetoric around “reconciliation” in response to the conclusion of the Truth and Reconciliation Commission of Canada (TRC) in 2015. I speak to the intimate level of listening to music from across cultures in this dissertation so that settlers might begin to engage in a critical self-reflection necessary for the rebuilding of settler states of mind—a reflection that involves a sense of surrender that requires settlers to learn how to participate in new worlds opened and led by various Indigenous peoples and nations.



Abstract: Native people under colonial rule have suffered a multitude of human rights abuses throughout history. The human rights community has attempted to address this by granting colonised peoples self-determination, in addition to creating international laws that seek to prevent and punish the mistreatment of vulnerable people more broadly. However, a growing number of scholars have argued that international human rights law not only fails to sufficiently account for abuses that continue to be perpetrated against native peoples, but also, by doing so, actively contributes to their marginalisation. I will follow this academic trajectory, and will argue that the Genocide Convention specifically, was constructed in accordance with the vested interests of colonial powers. The resulting definition of genocide omitted acts occurring to native people, such as ethnic cleansing and forced assimilation, as it suited the political agendas of colonial countries. I will challenge this position and assert that if genocide is to be understood as the destruction of the group, rather than its individual constituent parts, then any action designed to intentionally decimate the group, (as a metaphysical entity existing beyond its human participants), should be considered genocidal. More specifically, non-lethal methods, often referred to as cultural genocide, should be included in the Genocide Convention. I will contextualise this argument within Palestine and apply a settler-colonial lens to the engagement between the Israeli State and the Palestinian people. I will argue that settler-colonisation has an intrinsically genocidal dimension; it follows therefore that the treatment of the Palestinians by the Israeli State can be plausibly considered. It will be concluded that if international human rights law is to effectively protect vulnerable communities from human rights abuses, such as genocide, it needs to be consistently evaluated and reconsidered from a multitude of perspectives.



Abstract: The access, control, and ownership of land and the means of production is an enduring frontier of conflict in post colonial settler states. Whilst racially tinged, colonialism created “structures of feeling” that sanctioned epistemic violence and created an economy of entitlement and belonging that sustained imperial designs. Zimbabwe’s independence meant the redistribution and proprietorship of land became a central leitmotif of cadastral politics. The article explores the interplay of the contested tropes of race, entitlement, and indigeneity as they informed the highly polarized land redistribution discourse. The discussion takes stock of the dominant narratives of post-colonial state predations, patronage, populism, and megalomania in contradistinction to the various ways in which whiteness and its prejudices and stereotypes nurtured some hubris of entitlement and belonging that retrogressively not only perpetuated colonial settler values and identities but also entrenched racial distance and indifference. The polarized contestations on land redistribution discourse coalesce around concepts such as restitution, indigeneity, nativity, patriotism, race, and class. Therefore while critiquing state excesses that have masked the honorable intentions of land redistribution, the article underscores the complex ways in which white Zimbabweans contributed to the enduring crisis by obdurately fixating their energies on colonial settler entitlements, values, and identities.




Description: In the decades following the Mexican Revolution, nation builders, artists, and intellectuals manufactured ideologies that continue to give shape to popular understandings of indigeneity and mestizaje today. Postrevolutionary identity tropes emerged as part of broader efforts to reunify the nation and solve pressing social concerns, including what was posited in the racist rhetoric of the time as the “Indian problem.” Through a complex alchemy of appropriation and erasure, indigeneity was idealized as a relic of the past while mestizaje was positioned as the race of the future. This period of identity formation coincided with a boom in technology that introduced a sudden proliferation of images on the streets and in homes: there were more photographs in newspapers, movie houses cropped up across the country, and printing houses mass-produced calendar art and postcards. La Raza Cosmética traces postrevolutionary identity ideals and debates as they were dispersed to the greater public through emerging visual culture.

Critically examining beauty pageants, cinema, tourism propaganda, photography, murals, and more, Natasha Varner shows how postrevolutionary understandings of mexicanidad were fundamentally structured by legacies of colonialism, as well as shifting ideas about race, place, and gender. This interdisciplinary study smartly weaves together cultural history, Indigenous and settler colonial studies, film and popular culture analysis, and environmental and urban history. It also traces a range of Indigenous interventions in order to disrupt top-down understandings of national identity construction and to “people” this history with voices that have all too often been entirely ignored.