Author Archives: amy jazienicki

As described in my previous blog posts, VR and AR technology are leading the way in enabling Indigenous communities to pursue self-determination and sovereignty. Winter and Boudreau (2018) illuminate the highly Eurocentric conceptions of “civilized” and “savage” in addition to “past” and “present”, insinuating the Indigenous cultures invariably must “assimilate” to survive into future: their cultures are not static however, but always in flux. Even regarding the latter categorizations as “linear” does a disservice to Indigenous epistemologies and perspectives on the world (Winter and Boudreau, 2018). These troublesome categorizations privilege Eurocentric perspectives, making them tech-centered rather than human-centered. Winter Boudreau (2018) reiterate this by stating that we must disrupt the need-based approach in the digital divide and transition to a strength-based approach that support bottom-up community initiatives.

Indigenous creators can leverage these technologies by using animation, design, code, art, etc. to continue traditions of oral storytelling, in addition to pursuing decolonization efforts (Winter & Boudreau, 2018). Creating partially and fully immersive worlds can help Indigenous youth in particular to learn about their relationship with the land, practice traditional skills, and even their languages. The existence of Indigenous-produced VR and AR directly dispels the myth that traditional cultures cannot be reconciled with such technology.

Figure 1. Winter & Boudreau (2018). The School virtual camp. Retrieved June 18, 2021, from https://www.proquest.com/scholarly-journals/supporting-self-determined-indigenous-innovations/docview/2035667161/se-2?accountid=14656. Screenshot by Katrina Metallic.

References

Winter, J., & Boudreau, J. (2018). Supporting self-determined indigenous innovations: Rethinking the digital divide in canada. Technology Innovation Management Review, 8(2), 38-48. https://doi.org/10.22215/timreview/1138

For the uninitiated, ImagineNATIVE is a yearly film festival showcasing Indigenous filmmaking. The festival has launched a virtual reality media series that speculates about the future of Indigenous people 150 years into the future rather than the past that range from utopian to dystopian (Johnson, 2017). Points of view are presented in a sort of ‘Oral Storytelling 2.0’ format, continuing the long-held tradition of oral storytelling with a technological ‘upgrade’ that illuminates the full spectrum of aspirations, fears, and general speculations of Indigenous community members and their futures.

Beyond entertainment, VR is increasingly being leveraged as an educational tool. Although some might not immediately discern a connection between Indigenous histories/stories and VR, it is a powerful method that can be incorporated into the classroom (Johnson, 2017). The incorporation of VR in classrooms is still not mainstream, but the more it is leveraged in events and festivals and the educational value is highlighted, perhaps those opportunities will emerge in the coming years. Indigenous and non-Indigenous students alike would benefit immensely from such incorporation, including enhanced digital literacy, (inter)active learning, and deepening of historical knowledge. It would also provide an excellent foundation for imagination and exploration, which I would argue should be expanded in K-12 nationwide.

References

Johnson, R. (2017, October 20). ImagineNATIVE VR imagines Indigenous lives in 150 years. CBC. https://www.cbc.ca/news/indigenous/imaginenative-virtual-reality-1.4365311

The acronym ‘IM’ stands for “Indigenous Matriarchs”, and the ‘4’ denotes the number of matriarchs who lead the VR/AR lab in collaboration with Emily Carr University: it was founded by Cree/Métis filmmaker and artist Loretta Todd (Sandals, 2019). The lab devotes itself to ‘Indigenizing’ VR/AR/360 technology by enabling integration into linguistic, educational, cultural, artistic, and commercial pursuits; Indigenous artists and media creators are supported within an ‘Indigenized’ tech ecosystem that is governed by respect, reciprocity, and diversity of expression (IM4 Lab, 2020). This epitomizes an ideal ‘linkage’ between Indigenous cultural values and modern technologies, dispelling preconceived notions about modern tech’s alleged ‘incompatibility’ with Indigenous cultures.

Figure 1. In many Indigenous communities, matriarchs are the knowledge holders and cultural leaders. (2020). IM4 Lab. IM4 Lab. Retrieved June 15, 2021.

The IM4 VR/AR Lab conducts workshops on these technologies for Indigenous youth and adults, with all public programs free of charge – including cameras and other necessary equipment provided by the lab (IM4 Lab, 2020). Film and video have been means through which Indigenous people have been colonized, but VR/AR present an opportunity for them to seize the ‘means of production’ through which their stories can be told, and new worlds can be envisioned and created by them (IM4 Lab, 2020). With storytelling being a cornerstone of Indigenous cultures, VR/AR technology can effectively aid in decolonization, empowerment, and even sovereignty efforts across Canada.

References

IM4 Lab. (2020). Immersive Learning & Opportunities for an Indigenized Tech Eco-System. Indigenous Matriarchs 4 – XR Media Lab. https://im4lab.com/

Sandals, L. (2019, August 1). A Vancouver VR Lab Named for Indigenous Matriarchs. Canadianart. https://canadianart.ca/news/a-vr-lab-named-for-indigenous-matriarchs/

Small (2020) describes how Indigenous women have created mixed media murals that focus on democratic participation, employment challenges and gender-based violence; these murals can be interacted with, and impart powerful lessons about colonization and its effects to the users. In essence, these murals act as ‘Calls-to-Action’ (CTA) to participate in activism and social justice initiatives.

You can listen to audio montages and witness the girls transform into various careers, such as healthcare workers, teachers, etc. (Small, 2020), inspiring other Indigenous girls to pursue their aspirations. This initiative highlights a great point of intersectionality: indigeneity and feminism, combining the adversities faced by Indigenous women (e.g., cases of missing and murdered women, police brutality) and their aspirations (e.g., careers and social justice).

Figure 1. The “Barrier Breakers” piece deals with overcoming workplace barriers. (n.d.). Prairie Rose Photography. Prairie Rose Photography. Retrieved June 10 from https://sites.google.com/ualberta.ca/sweetgrassar/home.

The initiative also features a girl with a red handprint over her mouth (Small, 2020), symbolizing how Indigenous women have had to combat with the powers-that-be attempting to silence their vocalizations to raise awareness about both the past and the present. The project demonstrates the dynamic multimedia capabilities to Indigenous female creators and their ingenuity to advocate for their rights.

References

Small, K. (2020, July 30). Indigenous women create augmented reality murals tackling inequalities, showing strength for Calgary. Global News. https://globalnews.ca/news/7224302/usay-indigenous-women-calgary-murals/

Wallis and Ross (2021) write that Indigenous VR practitioners have been able to reimagine traditional storytelling in media. Access to resources is a challenge that Indigenous creators are often confronted with. Despite this, Wallis and Ross (2021) state that although Silicon Valley and Hollywood are equipped with the latest VR technology, Indigenous creators have been able to “access, adapt and innovate VR technology” (p. 315) and applying sovereignty to broader media practice.

For this post, I’d like to share three recent ‘case studies’ of Indigenous VR practice:

1. The Hunt (2018)

Danis Goulet’s 6-minute VR experience depicts a dystopian, yet hopeful future using live-action 360 video; automated orbs enforce colonial edicts in this future, and Mohawk resistance is portrayed with the mantra ‘Indigenous existence is resistance’ (Wallis & Ross, 2021).

          2. Future Dreaming (2019)

This sample serves to demonstrate how VR can reimagine traditional Indigenous practices. The protagonists were asked to think about their futures in 1 week, 5 years and 20 years, then they expressed their thoughts within the VR space; for instance, a future colony that is powered by treadmills and governed by one of the protagonists is imagined (Wallis & Ross, 2021).

           3. Crow: The Legend (2018) 

Baobab CEO Maureen Fan wanted this project to be community rather than profit-driven, and it was screened at the Gathering of Nations powwow; narrative device is central to this project, and themes of racial harmony and acceptance are creatively explored (Wallis & Ross, 2021).

References

Goulet, D. (2017, April 21). The Hunt test injected [Video]. YouTube. https://www.youtube.com/watch?v=DA90So5eht4

Sutu Eats Flies. (2019, April 17). Future Dreaming – A VR documentary [Video]. YouTube. https://www.youtube.com/watch?v=Fq9xAk1CuZY

UploadVR. (2017, April 13). Inside Baobab Studios: Behind the Scenes of Rainbow Crow (VR Animated Film) [Video]. YouTube.

Wallis, K., & Ross, M. (2021). Fourth VR: Indigenous virtual reality practice. Convergence (London, England), 27(2), 313-329. https://doi.org/10.1177/1354856520943083

Module 1: The Global and the Local in Indigenous Knowledge

Entry 5: Sweetgrass AR

Augmented Reality (AR) is a form of Virtual Reality (AR) that enables users to engage with a tech-facilitated interactive experience in a real-world environment, with varying modalities used to enhance the user’s experience. These can include auditory, visual, and other modalities to create a dynamic experience. Sweetgrass AR uniquely combines AR technology with Indigenous knowledge and pedagogical approaches in post-secondary environments; the HP Reveal platform is used to share AR stories about a particular treaty at Sweetgrass Bear, which is a sculpture carved by Cree artist Stewart Steinhauer (Sweetgrass AR, n.d.). The AR experience fosters conversations around relevant topics include but are not limited to settler-colonialism, information governance, and ownership of cultural knowledge (Sweetgrass AR, n.d.).

Figure 1. Sweetgrass Bear Sculpture. (n.d.). Stewart Steinhauer. Sweetgrass AR. Retrieved May 26, 2021 from https://sites.google.com/ualberta.ca/sweetgrassar/home. Screenshot by author.

As noted in my previous blog entry, storytelling is a central element of Indigenous cultures; they are also fundamental to healing and reconciliation processes while also promoting cultural revitalization and awareness. Presenting both students and faculty the opportunity to learn about the bear sculpture’s embedded Cree knowledge ensures cultural survival and enhances intercultural understanding.

Sweetgrass AR. (n.d.). Sweetgrass AR. Retrieved May 26, 2021, from https://sites.google.com/ualberta.ca/sweetgrassar/home

Module 1: The Global and the Local in Indigenous Knowledge

Entry 4: Power of Indigenous Storytelling

Storytelling is an integral component of Indigenous cultures and communities: it is the thread that ties experiences, languages, and people together. Storytelling is also embedded in many other cultural practices, including beadwork and moccasin-making. The YouTube video linked in this post features Roberta Anderson, who is a Cree artist and teacher: she expresses how her creations and teaching experiences have helped to maintain traditional practices and promote cultural heritages (Insight Vacations, 2020). Further, these art forms represent Indigenous cultures in authentic and genuine ways: in a sense, by and for Indigenous people.

Interestingly, the value of storytelling is being recognized in more ‘Western’ learning contexts – whether it is in the K-12 or corporate environment. Only in recent years has storytelling been perceived as an integral tool that can be used to better illustrate both abstract and practical concepts, and everything in-between. This can manifest through interactive videos, case studies, or even AR and VR. To me this is a fascinating development because Indigenous communities have long held storytelling to be a revered practice, while ‘Western’ cultures are only beginning to appreciate its value across a myriad of contexts. I believe that this practice is one of many that ‘Western’ cultures can respectfully learn a lot from.

Insight Vacations. [2020, July 20]. Sarain Fox and the Power of Indigenous Storytelling. [Video]. YouTube. https://www.youtube.com/watch?v=i_pDrjL9kjs

Module 1: The Global and the Local in Indigenous Knowledge

Entry 3: Connected North

Much of the rhetoric around the ‘Digital Divide’ tends to focus on physical access in rural areas, particularly those in North America. However, a similar issue afflicts remote and Northern Indigenous communities across Canada as well. Connected North employs Telepresence video technology to create immersive and engaging learning experiences for Indigenous learners; First Nations, Inuit and Métis industry experts, community leaders, and role models are brought in to enhance learning outcomes (Connected North, n.d.). The initiative fosters a sense of empowerment, relationship-building, and ‘big picture’ thinking to motivate and inspire Indigenous learners. A diverse series of service providers and program supporters can provide the infrastructure, technology, and overall ‘know-how’ to facilitate this process.

In my view, once the issue of reliable physical access to the Internet is ameliorated, then curriculum matters can be properly reconciled with technology more generally and provide learners with experiences typically reserved for more ‘well-connected’ schools. The ‘Digital Divide’ can only begin to be adequately addressed when both physical access and curriculum/technology are resolved, and this is especially true for Indigenous communities. If the physical access matter is resolved but the technology is used to propagate ‘Western’ pedagogy exclusively, then the ‘Digital Divide’ would not truly be closed.

Figure 1. Telepresence Video Footage. (n.d.). The Connected North Story. Connected North. Retrieved May 26, 2021 from https://www.connectednorth.org/en/. Screenshot by author.

Connected North. (n.d.). Connected North. Retrieved May 26, 2021, from https://www.connectednorth.org/en/

Module 1: The Global and the Local in Indigenous Knowledge

Entry 2: Learning Bird: Indigenous Language and Culture in Digital Classrooms 

Indigenous languages and cultures have been in jeopardy of being lost overtime. Learning Bird is an initiative designed to directly involve Elders, local Knowledge Keepers, schools, and communities in the creation of compelling and engaging digital content; further, teachers are provided with training and coaching to incorporate these digitized resources into their classrooms (Learning Bird, 2020). The initiative has accessibility in mind, with both high and low-tech solutions available to accommodate learners’ diverse needs; both face-to-face and virtual professional and curriculum development (Learning Bird, 2020). The content is delivered through a myriad of multimedia types, including presentations, videos, and audio.

The direct involvement of Elders and local Knowledge Keepers stood out to me about this initiative, seeing as they are cherished in Indigenous communities as teachers; they can be consulted on pedagogical approaches that are in line with their customs and traditions while having their knowledge digitized for others to learn from. Furthermore, as the medium is the message, their input would contribute to the selection of the digitized form(s) most appropriate for specific forms of knowledge: for example, choosing audio for knowledge ordinarily expressed through the oral tradition. Aligning the knowledge with the appropriate media type can be achieved to preserve cultural elements.

Figure 1. Elder Speaking with Individual. (2020). About. Learning Bird. Retrieved May 19, 2021 from https://learningbird.com/. Screenshot by author.

Learning Bird. (2020). Learning Bird. Retrieved May 19, 2021, from https://learningbird.com/

Module 1: The Global and the Local in Indigenous Knowledge

Entry 1: Centre for Indigenous Innovation & Technology 

The Centre for Indigenous Innovation & Technology (CIIT) combines technical and social innovation to enhance the well-being of Indigenous communities. Additionally, the Centre is invested in cultivating Indigenous talent in the tech sector through an elaborate ecosystem consisting of a skills accelerator, research and advocacy, and a collaborative network; there is also explicit recognition of the paramount importance of reconciliation inherent in the Centre’s work (CIIT, 2021).

Indigenous cultures have long been stereotyped as purely emblematic of the past, but founder Jarret Leaman states that traditional knowledge and values can be incorporated into “modern” learning and EdTech tools. According to CIIT (2021), Indigenous people represent only 1.4% of individuals with a STEM post-secondary credential. Promoting Indigenous representation in the tech sector is a critical way in which Indigenous knowledge and pedagogy can carve a meaningful place in a highly tech-driven world, in addition to enhancing economic, social, and political participation in ways that are culturally responsive.

To me, the Centre demonstrates a tremendous capacity for experimentation by endeavoring to bridge gaps pertaining to traditional knowledge and “modern” technology, in addition to skill and knowledge gaps in the tech sector. In the video below, Jarret Leaman explains his motivation for founding the Centre.

CIIT. (2017, November 30). Be a Part of the Change [Video]. Retrieved from https://ciit.io/

Centre for Indigenous Innovation & Technology. (2021). Centre for Indigenous Innovation & Technology. Retrieved May 12, 2021, from https://ciit.io/