THE SYLLABUS

Table of Contents:

• Intro

• While finding my way

• COMING INTO NATIVE STUDIES

• STANDING WITH STANDING ROCk

• BLACK INDIGENOUS

• THE BEGINNINGS OF MY THESIS

• THE FINAL SEMESTER

• MISCELLANEOUS

I am providing this syllabus as a means of allowing you, who have come to my site, to see what has inspired me through the years to observe my surroundings as I have. I have separated the sources by the phases of my life in which they influenced me. I worked very hard throughout my college career to not only take as many Indigenous courses as I could, but to also incorporate realities of Indigeneity into my non-Indigenous courses. Hopefully through these works, you will see a transition in how I approached my education by the content that stood out to me. I will also be including sources that were not connected to any of my classes or immediate research. These sources I feel are central to the spirit of this project whether they touch directly on the issues I discuss or not.

*Disclaimer: a source’s presence on this list does not signify my agreement with the ideas of the text. Rather it has been placed on the list as it helped challenge my thinking at that time. In addition, some texts will appear twice as I will have revisited them to shape my research.

WHILE FINDING MY WAY

These are the texts that influenced me during my freshman year in London. I took course work that focused on the impact of British imperialism while being exposed to their museums filled with plundered artifacts. I had yet to make up my mind entirely on what I wanted to study, but I knew it would center on the effects of colonization.

• The following have been selected from the Spring 2015 Syllabus for Immigration, taught at NYU London by Nicky Busch

  • Harding, Jeremy. The Uninvited: Refugees at the Rich Man's Gate. Profile Books, 2000.

  • Parekh, Bhikhu. Rethinking Multiculturalism: Cultural Diversity and Political Theory. New York, 2006.

  • Fukuyama, Francis. ‘Identity and Migration’. Prospect Magazine. February 2007, 26-31

  • Green, N. L. “A French Ellis Island? Museums, Memory and History in France and the United States.” History Workshop Journal, vol. 63, no. 1, 2007, pp. 239–253., doi:10.1093/hwj/dbm011.

  • Malik, Kenan. The Meaning of Race: Race, History and Culture in Western Society. Macmillan, 1997.

  • Cohen, Robin. Global Diasporas: an Introduction. Routledge, 2010.

• James, Lawrence. The Rise and Fall of the British Empire. Abacus, 2013.

COMING INTO NATIVE STUDIES

These texts were assigned to me during my Sophomore year. At this time, I was struggling to find classes in Native Studies that could be used toward a major of my own creation. It was at this point in my studies that I became determined to inject Native Studies into every course on the advice given to me from an Indigenous professor. I declared Global Liberal Studies as my major, petitioned to study at NYU Sydney, was elected to be a co-president of the Native American and Indigenous Student Group, and began my journey in petitioning for the NAIS Minor at NYU.

• The following have been selected from the Fall 2015 Syllabus for Indigenous Media Arts, taught by Amalia Cordova.

  • Carelli, Vincent, “Moi, un Indien” Um Olhar Indígena Exhibition Catalogue. 2004. online at http://www.videonasaldeias.org.br/2009/biblioteca.php

  • Cordova, Amalia. “Towards an Indigenous Film Festival Circuit.” Film Festival Yearbook 4: Film Festivals and Activism. St. Andrews. 2012.

  • Ginsburg, Faye, “Embedded Aesthetics: creating a space for indigenous media” Cultural Anthropology. 9(3). 1994.

  • Ginsburg, Faye. Abu-Lughod, Lila, and Larkin, Brian, Eds.“Screen Memories: Resignifying the Traditional in Indigenous Media.”  Media Worlds: Anthropology on New Terrain.  , University of California Press. 2002. pp. 39-57.

  • Hill, Richard. “‘In Search of an Indigenous Place: Museums and Indigenous Culture” The Native Universe and Museums in the Twenty-first Century.’ The Significance of the National Museum of the American Indian. Smithsonian NMAI. 2005. pp.96-117.

  • Valladares, Michelle. “Imagining Indians: A Native American Film and Video Festival,” in Felix: A Journal of Media Arts, Vol. 2. No. 1, 1995, pp.  150-161.

  • Wilson, Pamela, “Indigenous Documentary Media” in Contemporary Documentary, Daniel Marcus and Selmin Kara, eds.. London and New York: Routledge, 2016.

  • Gonzalez, Jennifer, Subject to Display, Reframing Race in Contemporary Installation Art, MIT Press, 2008.

  • Kilpatrick, Jacquelyn, Celluloid Indians: Native Americans and Film, University of Nebraska Press, 1999.

  • Singer, Beverly, Wiping the War Paint Off the Lens: Native American Film and Video, Visible Evidence, Vol. 10, University of Minnesota Press, 2001.

  • Tuhiwai Smith, Linda, Decolonizing Methodologies: Research and Indigenous Peoples , Zed Books, 1999/2012 (second edition).

  • Wilson, Pamela, and Stewart, Michelle, Global Indigenous Media: Cultures, Poetics and Politics, Duke University Press, 2008.

  • Beyond Buckskin blog: http://www.beyondbuckskin.com/

  • Native appropriations website: http://nativeappropriations.com/

  • Smithsonian National Museum of the American Indian: http://nmai.si.edu/explore/film-media/

  • Shohat, E. & Stam, R., Unthinking Eurocentrism: Multiculturalism and the media. New York: Routledge, 1994.

  • Smith, Paul Chaat, Everything You Know About Indians is Wrong, Minnesota Press, 2009. http://www.upress.umn.edu/Books/S/smith_everything.html

  • Worth, Sol, and Adair, John, Through Navajo Eyes: An Exploration in Film and Communication and Anthropology, University of New Mexico Press, 1997.

• The following have been selected from the Spring 2016 Syllabus for Approaches: Identities and Representations, taught by Roberta Newman.

  • Gottlieb, Alma and Philip Graham.  Parallel Worlds: An Anthropologist and a Writer Encounter Africa. Chicago: University of Chicago Press, 1993.

  • Haenfler, Ross.  Subcultures: The Basics.  New York: Routledge, 2014.

  • Mauss, Marcel . The Gift: The Form and Reason for Exchange in Archaic Societies.  W.D.Halls, Translator.  New York: Norton, 1990.

STANDING WITH STANDING ROCK

I did not take any Indigenous courses the first semester of my Junior Year. I was focused on getting my affairs in order to live in Sydney the coming spring. However, this was also the semester filled with buzz around Standing Rock. Ironically, it subsequently became my most Indigenous semester yet. My weeks were filled with protests, events, teach-ins, and email correspondence. At the time I was interning at Land is Life, a non-profit organization that focuses on connecting grassroots Indigenous movements with the resources they need. As a result I was able to have a piece published in their newsletter and visit the UN, both of which had been professional goals of mine. There was a lot I was able to achieve, but also was the semester I was most ready to leave university. I could not handle having to sit by while my brothers and sisters were being hosed down and bitten by dogs. I went to Standing Rock for two days and it tooks everything in my body to return home. But I did, and these are the sources that helped me refocus my passion. The resources are few, primarily because “NYC Stands with Standing Rock” is so massive, but also because much of the learning that took place was experiential and could not be found in books.

• Elbein, Saul. “The Youth Group That Launched a Movement at Standing Rock.” The New York Times, The New York Times, 31 Jan. 2017, www.nytimes.com/2017/01/31/magazine/the-youth-group-that-launched-a-movement-at-standing-rock.html.

• “NYC Stands with Standing Rock.” NYC Stands with Standing Rock, nycstandswithstandingrock.wordpress.com/

• “Stand with Standing Rock.” Stand With Standing Rock, standwithstandingrock.net/.

BLACK INDIGENOUS 

Living in Sydney allowed me to have many firsts. It was the first time I would live as an Indigenous person on sacred land that was not my own. It was my first time to work in a museum. It was my first time representing my people and being an activist clear on the other side of the globe. It was my first time being taught how to pick medicines from the bush and the first time I was able to be so close to nature in my college career. Most importantly, it was the first time all of my courses acknowledged Indigeneity and the first time I was fully supported by administration as an Indigenous person. I won’t lie and say it was an easy time, after all, I am a Black (American) coded Indigenous person, but I will say I found an Indigenous community more open to my experiences as a Black and Indigenous person.

• The following have been selected from the Spring 2017 Syllabus for Anthropology of Indigenous Australia, taught by Petronella Vaarzon-Morel.

  • Deborah Bird Rose (2001), “The Saga of Captain Cook: Remembrance and Morality,” in Bain Attwood and Fiona Magowan (eds.)

  • Telling Stories: Indigenous History and Memory in Australia and New Zealand (Allen & Unwin), 61-79.

  • First Australians, episode 1: “They Have Come to Stay”: Sydney & New South Wales (17881824) (dir. Rachel Perkins, 60 mins, 2008).

  • Fred Myers (1991), Pintupi Country, Pintupi Self: Sentiment, Place, and Politics Among Western Desert Aborigines (University of California Press), Introduction, 11-23, and Chapter 1, 25-46. • Bronislaw Malinowski (1978) [1922], Argonauts of the Western Pacific (Routledge), Introduction, 111-1X.

  • Fred Myers (1991), Pintupi Country, Pintupi Self: Sentiment, Place, and Politics Among Western Desert Aborigines (University of California Press).

  • Bronislaw Malinowski (1978) [1922], Argonauts of the Western Pacific (Routledge), Introduction, 111-1X.

  • Dianne Bell (1981), “Women’s Business is Hard Work,” Signs 7, 314-337.

  • Henry Reynolds (1981), The Other Side of the Frontier: Aboriginal Resistance to the European Invasion of Australia (UNSW Press), Chapter 3, “Resistance: Motives and Objectives

  • Coniston Directed By: Francis Jupurrurla Kelly and David Batty

  • Bain Attwood (2003), Rights for Aborigines (Allen & Unwin), “My Father’s Country”

  • Tim Rowse (1987), “Assimilation and After,” in Ann Curthoys, A W Martin, Tim Rowse (eds.), Australians from 1939 (Syme & Weldon).

  • Barry Morris (1988), “Dhan-gadi resistance to assimilation,” in Ian Keen (ed.) Being black: Aboriginal cultures in settled Australia, 33-63.

  • Freedom Ride (dirs. Rachel Perkins and Ned Lander, 55 mins, 1993)

  • Howard Morphy (1983), “’Now You Understand’: An Analysis of the Ways Yolngu Have Used Sacred Knowledge to Maintain their Autonomy,” in N. Peterson & M. Langton, eds., Aborigines, Land and Land Rights, 110-133.

  • Jacobs, Margaret D. (2009) “Designing Indigenous Child Removal Policies” in White Mother to a Dark Race (University of Nebraska Press), 25-86.

  • Bain Attwood (2001) “‘Learning about the Truth’: The stolen generations narrative,” in Bain Attwood and Fiona Magowan (eds.), Telling Stories: Indigenous History and Memory in Australia and New Zealand (Allen & Unwin/Bridget Williams Books), 183-212.

  • Stolen Generations, (dir. Darlene Johnson, 52 min, 2000)

  • Stan Grant (2016) Talking to My Country, Sydney: HarperCollins Publishers

  • Jon Altman (2012) “People on country as alternate development” in Jon Altman and Sean Kerins (eds.), People on country: Vital Landscapes/Indigenous Futures. (The Federation Press), 1-22.

  • Faye Ginsburg, “Native Intelligence: A Short history of debates on Indigenous Media and the Ethnographic.” In Banks and Ruby, eds. A Short History of Visual Anthropology: 234-255

  • Faye Ginsburg (2005), “Blak Screens and Cultural Citizenship,” Visual Anthropology Review, 21: 80- 97.

  • Vaarzon-Morel, P. (2014) ‘Pointing the Phone: Transforming Technologies and Social Relations among Warlpiri’. The Australian Journal of Anthropology 25 (2), 239-255.

  • Michael Christie (2005), “Words, Ontologies and Aboriginal Databases”, Media International Australia 116: 52-63.

  • Merlan, F. (2014). 'Recent Rituals of Indigenous Recognition in Australia: Welcome to Country'. American Anthropologist 116(2):1-14.

  • Sabra Thorner (2010), “Imagining an Indigital Interface: Ara Irititja Indigenizes the Technologies of Knowledge Management,” Collections: A Journal for Museum and Archives Professionals 6(3): 125- 146.

  • Faye Ginsburg and Fred Myers (2005), “A History of Aboriginal Futures,” Critique of Anthropology 26(1): 27-45.

• The following have been selected from the Spring 2017 Syllabus for Indigenous Australian Art, taught by Petronella Vaarzon-Morel.

  • Howard Morphy. “A Journey to Recognition: The “Discovery” of Aboriginal Art” in Aboriginal Art, London, England: Phaidon Press, 1998, pp. 13–64.

  • Jolene Ricard “Absorbing or Obscuring the Absence of a Critical Space in the Americas for Indigeneity: The Smithsonian's National Museum of the American Indian,” Res: Anthropology and Aesthetics 52, Harvard University: Peabody Museum Press, Boston, Fall, 2007, pp. 85–93.

  • Philip Jones, “Namatjira: Traveller between two worlds,” in The Heritage of Namatjira: The Watercolourists of Central Australia, Port Melbourne, Victoria: William Heinemann Australia, Jane Hardy, J.V.S. Megaw, and Ruth Megaw, eds., 1992, pp. 97–136.

  • Val Attenbrow, Sydney's Aboriginal past: Investigating the archaeological and historical records. Sydney, UNSW Press, 2010, pp. 160–163; 178–180; and 184–185.

  • Fred Myers, “Representing culture: The production of discourse(s) for Aboriginal acrylic paintings”, Cultural Anthropology, 6, 1, 1991, pp 26–62. • Geoff Bardon, “The Money Belongs to the Ancestors.” in Papunya Tula: Genesis and Genius, Sydney, Art Gallery of New South Wales in association with Papunya Tula Artists, Hetti Perkins and Hannah Fink, eds., 2000, pp. 99–203

  • Françoise Dussart, “A Body Painting in Translation” in Rethinking Visual Anthropology, New Haven, Yale University Press, Howard Morphy and Marcus Banks, eds., 1997, pp. 186–202.

  • Vaarzon-Morel, P. ‘Continuity and Change in Warlpiri Practices of Marking the Landscape’ In William A. Lovis and Robert Whallon (eds.) Marking the Land: Hunter-Gatherer Creation of Meaning in their Environment. Routledge Studies in Archaeology. 2016, pp. 201-230.

  • Hannah Fink, “Self-Evident: Indigenous Artists and the Photographic Image,” in One sun one moon: Aboriginal art in Australia, Sydney, Art Gallery of New South Wales, Hetti Perkins and Margie West, eds., 2007, pp. 310–321.

  • • Mick Dodson, “The End in the Beginning: Re(de)finding Aboriginality,” in Blacklines: Contemporary Critical Writing by Indigenous Australians, Carlton, Vic. :Melbourne University Press, Michele Grossman, ed, 2003, pp. 25–42

  • Marianne Riphagen, “Black on White: or varying shades of grey? Indigenous Australian photomedia artists and the "making of" Aboriginality”, Australian Aboriginal Studies, Vol. 2008, No. 1, pp. 78–89.

  • Haidy Geismar, “Alternative Market Values? Interventions into Auctions in Aotearoa/New Zealand,” The Contemporary Pacific Vol. 20, No. 2, 2008, pp. 291–327.

  • Christina Kreps, “Indigenous Curation, Museums and Intangible Cultural Heritage” in Intangible Heritage, Laurajane Smith and Natsuko Akagawa, eds, London, Routledge, 2009, pp. 193–208.

  • Lyndel V. Prott “The Dja Dja Wurrung Bark Etchings Case,” The International Journal of Cultural Property Vol. 13, No. 2, 2006, pp. 241–246.

  • Howard Morphy, “Settler Australia: The Survival of Art in Adversity” in Aboriginal Art, London, England: Phaidon Press, 1998, pp. 317–352

THE BEGINNINGS OF MY THESIS

These texts guided me as I began to bring my thesis to life. It was not until my second semester that I realized that I wanted to have my work be entirely web-based. These sources focus on the legacy of Native studies in the United States. They look at the practice as a whole and at specific case-studies around the country.

• Allen, Chadwick. Trans-Indigenous: Methodologies for Global Native Literary Studies. University of Minnesota Press, 2012.

• Champagne, Duane, and Jay Stauss. Native American Studies in Higher Education: Models for Collaboration between Universities and Indigenous Nations. Altamira, 2002.

• Deloria, Vine. Custer Died for Your Sins: an Indian Manifesto ; with New Pref. Univ. of Oklahoma Press, 1988.

• Grenier, Louise. Working with Indigenous Knowledge: a Guide for Researchers. International Development Research Centre, 1998.

• Kincheloe, Joe L., and Ladislaus M. Semali. What Is Indigenous Knowledge?: Voices from the Academy. Falmer Press, 1999.

• Moreton-Robinson, Aileen. Critical Indigenous Studies: Engagements in First World Locations. The University of Arizona Press, 2016.

• Shoemaker, Nancy. Clearing a Path: Theorizing the Past in Native American Studies. Routledge, 2002.

• Smith, Linda Tuhiwai. Decolonizing Methodologies: Research and Indigenous Peoples. 2nd ed. London: Zed, 2012. Kindle.

• Spruce, Duane Blue, and Tanya Thrasher. The Land Has Memory: Indigenous Knowledge, Native Landscapes, and the National Museum of the American Indian. University of North Carolina Press, 2009.

• Tuan, Yi-fu. Space and Place: The Perspective of Experience. Minneapolis, MN: U of Minnesota, 2014. Print.

• Wilson, Pamela. Global Indigenous Media: Cultures, Poetics, and Politics. Durham: Duke UP, 2008. Kindle.

THE FINAL SEMESTER

The following texts have served as guides during the final semester of my undergraduate career. They do not focus on the web aesthetics, but more so on the legacy of Indigenous academia not dissimilar to the previous semesters sources. I also had the opportunity during this semester to take a Critical Indigenous Theory Course whose texts will appear in the following list for their holistic insight on Indigeneity.

• The following have been selected from the Spring 2018 Syllabus for Critical Indigenous Theory, taught by Dean Saranillio.

  • Haunani-Kay Trask, From a Native Daughter (1998)

  • Patrick Wolfe, “Settler Colonialism and the Elimination of the Native” in Journal of Genocide Research.

  • Glen Coulthard, “From Wards of the State to Subjects of Recognition? Marx, Indigenous Peoples, and the Politics of Dispossession in Denendeh” in Theorizing Native Studies, pp. 56-98.

  • Noenoe K. Silva and John Goldberg-Hiller, “Sharks and Pigs: Animating Hawaiian Sovereignty against the Anthropological Machine” in South Atlantic Quarterly.

  • Glen Coulthard, (Select Chapters) Red Skin, White Mask: Rejecting the Colonial Politics of Recognition

  • Robert Williams, “Documents of Barbarism: The Contemporary Legacy of European Racism and Colonialism in the Narrative Traditions of Federal Indian Law” in Critical Race Theory: The Cutting Edge

  • Vine Deloria Jr. and Clifford Lytle, The Nations Within: The Past and Future of American Indian Sovereignty (select chapters)

  • Noenoe Silva, The Power of the Steel-Tipped Pen: Reconstructing Native Hawaiian Intellectual History

  • Iyko Day, “Being or Nothingness: Indigeneity, Antiblackness, and Settler Colonial Critique”

• Mihesuah, Devon Abbott, and Angela Cavender Wilson. Indigenizing the Academy Transforming Scholarship and Empowering Communities. University of Nebraska Press, 2004.

• Huffman, Terry E. American Indian Higher Educational Experiences: Cultural Visions and Personal Journeys. 2008.

• Boyer, Paul. Capturing Education: Envisioning and Building the First Tribal Colleges. Salish Kootenai College Press, 2015.

• P., Ah Nee-Benham Maenette K., and Wayne J. Stein. The Renaissance of American Indian Higher Education: Capturing the Dream. Lawrence Erlbaum, 2003.

MISCELLANEOUS

The following are miscellaneous resources that I believe are helpful in understanding the spirit of my project. Some of these are good resources for those who are just beginning to learn about Indigenous issues while others are syllabi and blogs with more resources.

• Dineaesthetics.com

• Archivaldecolonist.wordpress.com

• Beyondbuckskin.com

• Nativeappropriations.com

• Project562.com