Abstract: The Two Row Wampum is held up to inspire relationships between Indigenous and nonIndigenous peoples in Canada that are rooted in respect and responsibility. However, Indigenous-non-Indigenous relations have been characterized by the deracination of Indigenous relational self-determination.

In this dissertation, I juxtapose settler colonial representations (circa 2012) with Indigenous stories of Indigenous-non-Indigenous relationships. I offer Foucauldian discourse analyses of selected settler colonial representations to show how these representations displace and erase Indigenous relational self-determination. I also look beyond the constraints of settler discourse to readings of Indigenous narratives guided by storywork. Storywork is an Indigenous method of reading stories as pathways towards respectful relationships between all beings of creation. These pathways are grounded in what Vanessa Watts calls place-thought, Indigenous understandings of the relational knowledge embedded in the living network of relations that make up Indigenous traditional territories.

I focus on 2012 because of the intensity of settler discourse and Indigenous resistance during this year. In 2012, the Canadian government and the CBC produced commemorations of the War of 1812, the CBC’s 8th Fire documentary and website were featured on CBC.ca, and national media produced representations of Indigenous activism that emerged in 2012 under the banner of Idle No More. I show how these selected settler colonial representations legitimize liberal democratic forms of governance and advance the demands of the neoliberal capitalist resource economy. The problem is that these political and economic discourses often undermine and efface Indigenous relational self-determination. I juxtapose settler representations of the War of 1812 with Odawa scholar Cecil King’s historical account, Balancing Two Worlds (2013); national media representations of Indigenous activism with Lee Maracle’s novel, Sundogs (1992); and 8th Fire’s representation of reconciliation with The Eeyouch of Eeyou Itschee (2010-2015), a documentary series produced by the Cree peoples of Quebec about their relations with settler governments.

Through this engagement, I aim to unsettle settler colonial productions of state sovereignty, liberal democratic institutions, and global market capitalism and to gesture towards possibilities of Indigenous-non-Indigenous relationships rooted in traditional understandings of the white of the Wampum: relationships based in respect and responsibility between self-determining peoples.






Abstract: For Native American and Indigenous peoples, settler colonialism in the United States continues to disrupt many cultural understandings and practices. There is a particular disruption upon Indigenous sexualities, given the ways in which gender and sexuality are used to uphold white supremacy and settler colonial political objectives. Native American women’s sexuality is rarely discussed within academia or even within Native communities. The heavy silence on the topic of Native women’s sexuality must be disrupted. The high rates of gendered-based abuse against Native women represent a singular story. Instead, I research how Native women understand their own sexualities, sexual imaginations, and sexual knowledge. Native American women’s sexuality is an important topic for decolonization and represents a way to re-construct Indigenous realities. I center Native women’s views on sexuality and how Native women’s sexual experiences can be expanded. My theoretical contribution is Indigenous decolonial sexuality and it challenges the monolithic representation of Native women and argues for new Native sexualities free of violence. To decolonize sexuality, Native women must be given the opportunity to share their voices, exposing harsh experiences of sexual assault, but also their sexual imaginaries.

The first of my four body chapters centers Native women’s voices through one-on-one interviews with approximately forty Native American and Indigenous women in and around the Denver area. I propose that Native women’s sexuality is currently based on complex influences of settler colonialism, power structures, and a desire to re-construct Indigenous-based constructions on sexuality. My second chapter draws from Cheyenne Arapaho artist, Brent Learned’s, 2017 exhibition titled Native American Body of Art. This exhibit challenges the idea that Native women are only sexual assault victims within the realm of sexuality and serves as a material representation of the Indigenous erotic. My third chapter analyzes early anthropological ethnographies that document Pawnee mythologies as guidance for Pawnee people to include and value queer/Two-spirit Pawnee people as significant members of community. Chapter Four analyzes a progressive sex education curriculum, which I use as a template to theorize a sex education curriculum intended for Native Americans.