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Playing in the Digital Qargi: Iñupiat Gaming and Online Competition in Kisima Inŋitchuŋa
No full textThis article reads the online Iñupiat game Kisima Inŋitchuŋa (Never Alone) alongside traditional Inuit games. Games have been used to assert self-determination for Inuit communities for thousands of years and have continued to change to accommodate contemporary political and social needs. Games are tools to instill values and life-ways in camp-life and now articulate Inuit nationhood through international Arctic game competitions. The article argues argue that Never Alone reinterprets the values, experiences, and social structure of traditional Inuit competition for Iñupiaq communities by adapting a traditional story into an online puzzle-platform game. Through an online platform, the game reinterprets the community houses in which games are played into a digital form. This brings Iñupiat self-determination into broader conversation with Inuit interests throughout the Arctic. The paper discusses the relationship between Arctic games and changing definitions of Inuit sovereignty. It elaborates on the ways Never Alone engages with Inuit gaming protocols to rearticulate gaming values across the Northern circumpolar. Finally, the varying ways the game challenges Inuit and non-Inuit players will be discussed
Editorial
Get PDFThe Advanced Journal of Professional Practice (AJPP) has been established as a portal for new knowledge created for the advancement of Professional Practice. This journal will host contemporary research articles, narrative reflections on practice as well as creative and innovative papers. The journal also welcomes submissions of an untraditional nature, but which demonstrate translational work-related professional practice application
No Introduction Required
Get PDFIntroduction to this special section of feminists@law, celebrating the work of Professor Dianne Otto
Imagining Sovereignty: Self-Determination in American Indian Law and Literature
Get PDFReview of David J. Carlson. Imagining Sovereignty: Self-Determination in American Indian Law and Literature. Norman, University of Oklahoma Press, 2016. 242pp.
Burn in Flames Post-Patriarchal Archive in Circulation
Get PDFThis is the transcript of a presentation made by artists Sarah Browne and Jesse Jones at the Mixing Feminism, Legality and Knowledge seminar, held in June 2016 at the School of Law, Queen Mary Universtiy of London. The archive in circulation consists of objects involved in the regulation of the female body under the nation state and capitalism, which are labelled hazardous for future generations. It is one of a number of critical feminist tactics of resistance and defence, and exists for a future moment after the fall of patriarchy. The project forms part of a larger collaborative project by the artists called In the Shadow of the State
REVIEW ESSAY: "Song Buried in the Muscle of Urgency"
Get PDFReview essay: Joy Harjo. Conflict Resolution for Holy Beings. New York: W.W. Norton, 2015. Print.Casandra Lopez. Where Bullet Breaks. Little Rock, AR: Sequoyah National Research Center, U of Arkansas at Little Rock, 2014. Print.Kimberly L. Becker. Words Facing East. Cincinnati, OH: WordTech Editions, 2011. Print.Kim Shuck. Clouds Running In. Petaluma, CA: Taurean Horn, 2014. Print.Allison Adele Hedge Coke, Effigies II: An Anthology of New Indigenous Writing. Cromer: Salt, 2014. Print
Trickster Discourse in Narrative Chance: How Gerald Vizenor Helped Shape My Life in Academia
Get PDFAs a doctoral student in Anthropology at the University of British Columbia in the early 1990s, and just beginning research on humor in the work of contemporary Native American and Canadian First Nations artists, I chanced upon the book, Narrative Chance: Postmodern Discourse on Native American Indian Literatures, edited by Gerald Vizenor. It was a serendipitous, even fateful discovery. The final chapter in this book, written by Vizenor, explored the concept of “trickster discourse”. I subsequently framed my dissertation as a trickster discourse, a spirited conversation by and about a new generation of indigenous visual artists who, as “compassionate tricksters” (another key Vizenor concept), employed humor and irony and serious play to reimagine Native American experience in the past, present and future. UBC Press and the University of Washington Press later published the dissertation as a book titled, The Trickster Shift: Humour and Irony in Contemporary Native Art. Gerald Vizenor wrote a very generous endorsement for the dust jacket, and was later instrumental in the book receiving an American Book Award -- the same award that Gerald received for Griever: An American Monkey King in China. I was deeply honored. In the wake of the book’s success, I was offered the position of New Sun Chair in Aboriginal Art and Culture at Carleton University in Ottawa, where, for the past fifteen years I have been teaching in the School of Indigenous and Canadian Studies and the Department of Art History, and where I host an annual conference on aboriginal arts. At the ninth annual conference in 2010 I had the great pleasure of presenting Gerald Vizenor, the most compassionate trickster I know. This essay, based on a presentation delivered at a conference in his honor at the University of Vienna in 2014, traces Gerald Vizenor’s impact and influence on my teaching and research over the last two decades.
TOTEM: A Subjective and Creative Interpretation of Gerald Vizenor’s Trickery
Get PDFA subjective and creative interpretation of Gerald Vizenor's trickery
Reimagining Resistance: Achieving Sovereignty in Indigenous Science Fiction
Get PDFThis essay explores the ways that the science fictional trope of virtual reality has been appropriated by Native authors in order to confront historical trauma and rewrite problematic narratives of victimization. Grounded in the intersections of both science fiction theory and Indigenous knowledge, I place theorists like Darko Suvin in conversation with Vine Deloria and Gregory Cajete to examine Cherokee author Blake Hausman's Riding the Trail of Tears. I argue that Hausman has indigenized the genre of science fiction in order to critique not just the historical Trail of Tears, but also the ways that Euro-American culture continues to romanticize and repeat that narrative. Because the novel takes place in a virtual reality game located in both the past and the present, it can be used to demonstrate Deloria's argument that Native cultures interpret the world primarily through place rather than time. Ultimately, this shift in perspective expands the possibilities of science fiction and emphasizes the value of Cherokee culture and Indigenous worldviews in the twenty-first century.
In The Master's Maison: Mobile Indigeneity in The Heartsong of Charging Elk and Blue Ravens
Get PDFThis essay looks at a pair of the few extent novels that portray Native characters outside of the United States: James Welch’s The Heartsong of Charging Elk (2001) and Gerald Vizenor’s Blue Ravens (2014), both of which feature Native protagonists settling permanently in France. Each novel portrays a character relocating on a temporary basis, but ultimately choosing to stay—albeit under profoundly different circumstances.Charging Elk’s (the protagonist of Welch’s novel) adaptation to France is often read as extremely positive. However, I argue that his transition is in fact quite complicated and ambivalent at best. Specifically, Charging Elk represents an always-already (temporally) diasporic subject, removed from what he perceives to be home not only in space but also in time—even when he dwells in the Oglala Stronghold. The Beaulieu brothers of Blue Ravens remain remarkably unchanged over the course of the novel in regard to their move to France. However, as Vizenor’s text establishes White Earth as a traditionally cosmopolitan space, it renders their movement and relocation to be a part of, rather than apart from, their communities and cultures. In light of these related circumstances, I look at the vexed and vexing portrayals of Native masculinity within these novels, each of which confronts warrior stereotypes and ideologies as deeply incomplete representations of Native people and cultures. Ultimately, I argue, these novels when read together portray the possibilities for Native movement and relocation. Such movement is not without incident, they suggest, but it is not as inherently damaging or liberatory as some might suggest
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