Author Archives: kevin ault

Module 2 – Post 1 (Code Switch)

Code Switch is an NPR podcast, and blog that focuses on race and identity. Through the lens of journalists of colour, code switch aims to challenge the mainstream construction of identities by giving underrepresented voices a chance to be heard. Code Switch’s intention is to give people information about race and identity so that they can use it as a resource to for conversations that happen in everyday life. 

In the article “Native American Artists Reclaim Images That Represent Them”, author Tanvi Misra highlights the work of several Indigenous artists that use falsely constructed images, names or objects and repurpose them to create new meanings.

Module 2 – Post 2 (1491s)

The 1491’s is an all indigenous sketch comedy group that focuses on the creation of videos, mainly distributed through YouTube , that challenge false Indigenous identities through satire work that exposes mainstream settler culture. What is particularly interesting about the group is their powerful commentary towards cultural appropriation. 

In the below video ‘I’m an Indian Too’, the group depicts how hipster/fashion cultures appropriate false images of Indigenous folks. This clever video mixes, real images of appropriation with a satirical performance – all under the backdrop of Don Armando’s remixed version of Ethel Merman’s highly offensive song I’m an Indian, Too.

 

Module 2 – Post 3 (Remix: New Modernities in a Post Indian World)

Remix: New Modernities in a Post Indian World is an exhibit curated by artists Joe Baker (Delaware) and Gerald McMaster (Plains Cree).  Featuring Indigenous artists from all over the western hemisphere, the exhibition focuses on creating works that challenge identity. They distinguish their views on identity by removing the focus of tribalism and  emphasizing the fact that they are living in a post tribalism world. With a post-modernist world view, these artists challenge traditional representations by focusing on other aspects of their identity outside of placed based knowledge. Their aim is to reconstruct or remix a multitude of experiences to form a more individually constructed concept of being Indigenous. For the most part, they do not believe that tribalism fits their experience in a globalized technically connected world. Hence their usage of “Post Indian World”.

It is important to note that this exhibition is produced by the non-Indigenous organizations: National Museum of the American Indian  and Heard Museum. In my opinion these organizations websites describe Indigenous culture as a singular entity. The reason I posted this resource is so that people are able to compare the remix process of identity when it is set within the context of settler focused institutions. I find it interesting that individuality is stressed and Indigenous tribalisms are described in the past tense.

 

 

Module 2 – Post 4 (In Praise of Nonsense)

In praise of nonsense is a book written by interdisciplinary artist Ted Hiebert. This book focuses on how art and the construction of identity is often disconnected from truths, history, and location. In particular, it puts into question the remix world of cultural identity by examining the artistic works of willing participants.

In chapter 4 titled ‘Playing Dead’, Hiebert focuses on the Jackson 2Bears remix of Ten Little Indians. This is a remix that I highlighted in module one. Hiebert astutely analysis’s Jackson 2Bears’s work and offers an analysis that distinguishes 2Bears work from simple political commentary or satire. It challenges the notion that individual artistic works, especially media, do not fit within the framework of tribalism.

Module 2: Post 5 (Decolonization: Indigeneity, Education & Society)

Decolonization: Indigeneity, Education & Society is a peer reviewed online journal and blog that focuses on the reconstruction of Indigenous identities by providing writings and resources that go “both against and beyond the Western Academy.” The journal and blog have a very inclusive submission practices that are not tied to a specific discipline of the academy. There are 5 components to their practice: articles, editorials, interviews, reviews and continuations. Continuations are works that to not fit the mould of peer reviewed academic constructions. As part of their inclusivity, all material is available in an open access format.

I found this resource while I was looking for information about remixing as a political strategy. This search led me to the above sites and the article: Remixing: Decolonial Strategies in Cultural Production. This article positions the practice of remixes as a way to “signify the past as a means of informing the present, and provide a frame for the future.” The article is definitely worth the read.

 

Entry 1: Jackson 2Bears

Jackson 2Bears is a multimedia artist and cultural theorist who’s work “explores the aesthetics of contemporary Indigenous identity—its various manifestations, transformations, simulations and hybridizations—within the context of our hyper-mediated, technologically saturated culture     (http://jackson2bears.net/).”

My first exposure to his work was through his Vimeo posting of  ‘Ten Little Indians’: a remix embedded with visuals that creates a very strong artistic portrayal of children being stolen from their families by social workers.

                  10 Little Indians [Remix] – 2005 from Jackson 2bears on Vimeo.

Jackson 2bears is also a member of Beat Nation: a group who’s aim is to promote Indigenous hip hop culture. Their belief is that through this popular medium, they are not assimilating to colonialist culture; rather, they are challenging it by using mainstream technology to promote Indigenous culture.

“These artists are not turning away from the traditions as much as searching for new ways into them. Hip hop is giving youth new tools to rediscover First Nations culture. What is most striking about this work is how much of it embraces the traditional within its development. (http://www.beatnation.org). ”

For me, I am interested in Jackson 2bears work because it directly challenges the notion that Indigenous culture is a historical reference. Both sonically and visually he portrays our modern environment through a critical Indigenous lens.

Entry 2: Sounding Out!

Sounding Out! is peer-reviewed weekly podcast/publication that unites sound artists, scholars and professionals all with the aim of investigating how sound effects us politically, culturally, and emotionally. In addition to their regular contributors, Sounding Out also curates other peoples work and allows outside contributions from interested researchers, artists and readers.

What I like about this project is that they are providing a platform for contributors to present work that otherwise do not have access to  academic communities.

Essentially, Sounding Out can be considered a searchable portal for a very underrepresented sonic community.

Through the site I have managed to find the following topical recordings & writings:

Unsettling the World Soundscape Project: Soundscapes of Canada and the Politics of Self-Recognition

Sounding Out! Podcast #47: Finding the Lost Sounds of Kaibah

Sounding Out! Podcast #40: Linguicide, Indigenous Community and the Search for Lost Sounds

Sounding Out! Podcast #60: Standing Rock, Protest, Sound and Power (Part 1)

Sounding Out! Podcast #58: The Meaning of Silence

 

Entry 3: Center For Global Soundscapes

The ‘Centre for Global Soundscapes‘ is an organization who’s mandate is to document, globally, the worlds vast and ever-changing sonic environments. As part of their mission, they strive to document vanishing or endangered soundscapes.

Though this project may not have a direct link to Indigenous culture and technology, it inadvertently politicizes sound. That is, by documenting the effects that western economic policy has both sonically and environmentally on the world, the project captures the infiltrating sonic penetration of our modern structures.

It is possible to peruse the 1000’s of recordings from archived material. The site also provides a link to user generated recordings that subscribers to the record the earth project have created.

Entry 4: imagine NATIVE

Imagine Native is a Toronto based Indigenous run media company. They are a non-profit society with the aim of  distributing a breadth of Indigenous created media content. In addition to organizing film festivals and screenings, they offer workshops and resources for emerging artists (http://www.imaginenative.org)

Hidden in their publication page, there are numerous topical essays related to arts and technology. This content is worth a lengthy glance.  They also offer a quick preview for their film festival content.

This is a great resource to find films that are not advertised or supported by large format media.

 

Entry 5: NFB Archive Film Remix – Souvenir

Souvenir is a NFB film remix project. Using archived film footage, Indigenous artists, Michelle Latimer, Kent Monkman, Caroline Monnet, Jeff Barnaby and Tanya Tagaq have created a series of films that explore Indigenous identity through the reclaiming of non-indigenous portrayals of Aboriginal communities (http://canadianart.ca/features/nfb-souvenir, http://blog.nfb.ca).

Below are links and descriptions of the four featured films:

Sisters & Brothers by Kent Monkman is a film that juxtaposes archived images of bison herds with images of residential school survivors. The film makes connections to the extermination of the bison population with the genocidal practices of white settlers.

Nimmikaage (She Dances for People) by Michelle Latimer challenges the construction of the Aboriginal female identity by white settlers.

Etlinisigu’niet (Bleed Down) by Jeff Barnaby comments on how the colonialist Canadian mandated initiatives to exterminate the ‘Indian problem’ has failed. That despite genocidal practices, Indigenous populations remain.

Mobilize by Caroline Monnet examines how Indigenous identity is constantly being pulled in two directions because of the influence of colonialist culture on Indigenous communities.