Excerpt: Settler colonialism in the United States today is an assemblage of claims to place, possession, and permanence. Yet the dynamics of these claims are not simply the culmination of unchallenged and uninterrupted indigenous dispossession under US empire and settler-colonial governance. Rather, such claims pointedly seek to undo the contemporary particularity of indigenous sovereignty through an affirmation of privatisation, domestication, and heteronormativity. During the 1970s, United States policymakers responded to escalating Native American juridical and social movement demands with legislation that shifted the emphasis of federal Indian law, the distinct legal doctrine partially based on historical treaties and encompassing federally-recognised tribes in the United States. These demands gained international media attention with the tribal fishing rights protests in Washington State beginning in 1964, the occupation of Alcatraz Island by the Indians of All Tribes in 1969, the return of Blue Lake to the Taos Pueblo won in 1970, the Trail of Broken Treaties cross-country march in 1972, and the bloody counterinsurgency waged against the American Indian Movement at Wounded Knee on the Pine Ridge Indian Reservation in South Dakota in 1973. In this context, legislation such as the Indian Self-Determination and Education Assistance Act of 1975 and the Indian Child Welfare Act (ICWA) of 1978 reasserted forms of tribal authority and jurisdiction, even if neither fundamentally unsettled the plenary power of the US Congress.



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Description: Presents an interdisciplinary analysis of the recent developments of Native American nationalism and nationhood in the United States and Canada.

Bringing together perspectives from a variety of disciplines, this book provides an interdisciplinary approach to the emerging discussion on Indigenous nationhood. The contributors argue for the centrality of nationhood and nation building in molding and, concurrently, blending the political, social, economic, and cultural strategies toward Native American self-definitions and self-determination. Included among the common themes is the significance of space—conceived both as traditional territory and colonial reservation—in the current construction of Native national identity. Whether related to historical memory and the narrativization of peoplehood, the temporality of indigenous claims to sovereignty, or the demarcation of successful financial assets as cultural and social emblems of indigenous space, territory constitutes an inalienable and necessary element connecting Native American peoplehood and nationhood. The creation and maintenance of Native American national identity have also overcome structural territorial impediments and may benefit from the inclusivity of citizenship rather than the exclusivity of ethnicity. In all cases, the political effectiveness of nationhood in promoting and sustaining sovereignty presupposes Native full participation in and control over economic development, the formation of historical narrative and memory, the definition of legality, and governance.



Excerpt: This article offers a spatial and gestural analysis of Vancouver-based multi-media art collective Skookum Sound System’s digital remixed video Ay I Oh Stomp (2012). Specifically, I will explore how this remixing intervenes in settler colonialism’s disappearances and erasures, to illustrate the ways the video (particularly its activations of dance, movement and gesture) mobilize ongoing Indigenous presencing into futurity. Inspired by Mar-abe (2015)’s writings on the “black imaginary,” I argue that Indigenous futurity decolonizes the Indigenous imaginary. Ay I Oh Stomp’s (2012) remixing creates a future imaginary attentive to the past as it critiques the present, and ventures forward into the beyond. I illustrate how the video, as it holds space within the collective imaginary, is a form of radical imagination tantamount to social change, expressing, as Mar-abe (2015) writes, the “unalienable right to be that radical, to create new worlds in the place of the ones that oppress us.” As I will describe within this article, the mechanisms through which we spatially and temporally gesture “otherwise,” that is—bodily embrace this map to tomorrow, comes out of a process of “jumping scale” (Harjo 2014). Gestures of futurity are choreographies of possibilities and hope—not residing so much in an unattainable dreamscape, but rather they are in constant figuration and reconfiguration all around us. I illuminate instances where futurity is activated or glyphed (Recollet 2014) through the decolonial gesturings3 of dancers and cultural producers’ visual/aural archiving. Indigenous motion, through glyphing, I suggest, produces maps to tomorrow as a result of mobilizing multiple geographical/territorial scales. By glyphing I am referring the ways that music, dances, and other forms of persistent Indigenous motion activate specific spatial/temporal cartographies in much the same way that pet-roglyphs activate Indigenous presence on land/ sky spaces. This work is rooted in the premise that we build a relationship with the land through activating it. What then, are the lexicons of land and territories, and how can we activate (re)mapping to explore the futuristic narrative of complex land histories?


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