Abstract: This article draws on Deleuze and Guattari’s concepts of arborescent and rhizomic assemblages to examine encounters between large-scale conservation and grassroots resistance to industry. I explore how the United Nations Educational, Scientific and Cultural Organization’s (UNESCO) World Heritage listing of New Caledonia’s reefs contributed to the demise of Rhéébù Nùù, an indigenous activist group that had been targeting a multinational mining project. I also interrogate how an assemblage’s form enables certain modalities of power while constraining others and how these differences in power modalities inform relationships between types of assemblages. Mistakenly expecting assistance in protecting their coral reef from mining impacts, Rhéébù Nùù relinquished the coercive power inherent to their rhizomic form in favor of participation in UNESCO’s arborescent structure via World Heritage “management committees”—a globally promoted, but locally inappropriate, comanagement diagram that targeted local fishing activities despite an absence of overfishing. Thus, this article argues that rhizomic structures have unique means of influence, exercised through particular modalities of power, which might be lost through cooptation into arborescent assemblages that exercise different modalities of power and might employ locally inappropriate diagrams. Ultimately, conservation does not only result in the extension of state powers, as the literature has shown; as this study demonstrates, it can surreptitiously support the extension of environmentally damaging industrial development at the expense of grassroots action.



Abstract: As a result of the settler colonial project in North America, Ts’msyen have been thrust into a state of reclamation. The purpose of this study was to examine the distinctiveness of what it means for Ts’msyen to reclaim given our particular history and experiences with settler colonialism. Utilizing the poetics and politics as a theoretical, methodological and practical framework, this dissertation synthesizes the motivations, possibilities and obstacles associated with Ts’msyen reclamation in the contemporary era. Further, as a contribution to the literature on decolonization, Indigenous nationhood, Indigenous subjectivity, Indigenous methodologies and repatriation of Indigenous cultural heritage, I report on two multi-sited, auto-ethnographic, and community-based research initiatives: (1) a repatriation case study focusing on the legal and ethical dimensions associated with reclaiming Ts’msyen songs from archives, and (2) a case study focusing on embodied sovereignty and heritage reclamation with an urban Ts’msyen dance group. To contextualize the information generated from my engagements with over 200 Ts’msyen, I also offer my own experiences as a Ts’msyen hana’ax (woman), and as a dancer and a
singer. Primary data are derived from a series of listening gatherings, translation workshops and talking circles from the repatriation case study; and a Photovoice project, talking circle and dance ethnography from the dance group study. Secondary data are derived from Ts’msyen lived social realties in the third space; academic literature; current affairs and archival research. Key findings show (a) the ways in which Ts’msyen laws and systems of property ownership are enacted when Ts’msyen sing and dance, (b) how an Indigenous research paradigm develops organically based on an ethos of relational accountability, (c) how Indigenous standpoints alter ethnographic form and disrupt objectified knowledge production, (d) and where to put the theories of decolonization into praxis in settler colonial contexts. Ultimately, this dissertation is representative of a Ts’msyen manifesto. It is a call for a renunciation of contemporary ethics, policies, laws, discourses and practices that continue the work of structured dispossession and Indigenous elimination, while it is also an active assertion of Ts’msyen nationhood, sovereignty, precedent, laws and ways of knowing, being and doing.


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Abstract: Commentators on late-Victorian culture often tell us that two interrelated developments took place. First, there was a shift away from Victorian sentimentality; second, there was a growing insistence on toughness and emotional reserve as desirable for white men. Commentators on late-Victorian Australia often suggest that these developments were unusually conspicuous there. This is what the historian of mourning Patricia Jalland tells us in a discussion of the paradigmatic representation of death in Victorian Australian culture. In the Australian colonies, she writes, the paradigmatic death was the tough white man’s in the solitary bush. Representations of such deaths were legion, most often infused with ‘ironic realism’ rather than sentiment. In this article I challenge this view. Focusing on the work of popular Australian writer, Henry Lawson, I show that depictions of white men dying in the bush were profoundly sentimental in that they promoted pathos for white men’s suffering and grief in conventional ways. Representations of dying bushmen were indeed part of a specifically white, masculine sentimentality emerging throughout Anglophone culture in the late-Victorian years, part of a process through which white men insisted on the primacy of their emotional experiences and needs. In Australia and other settler colonies, this new masculine sentimentality also supported settler colonialism because promoting tenderness for hardy white frontiersmen diverted sympathy from the Aboriginal peoples they dispossessed. This article accordingly rethinks the dynamic between masculinity and sentiment in late-Victorian culture, paying particular attention to its relationship to power.