Category Archives: MODULE 2

M2-P4 – Dr. Amy Parent: Raising Nisga’a Language, Sovereignty, and Land-based Education Through Traditional Carving Knowledge (RNL)

I will be looking at Howe’s (1998) 4 aspects of tribalism in my final paper. The first aspect, the spatial dimension is threatened by cyberspace as “identity and land are inseparable” (p.22). After viewing Mary Simmons video this week, she furthers the point that Inuit identity is embedded in language. So how can language/identity be preserved for community member especially those students who have moved away from their nations?

Dr. Parent aims to tackle a three part project that looks at language development through VR, the carving of a new house pole, and the reparation of a house totem pole from Edinburgh, Scotland. I am interested, for my paper, in the VR component (Johnson, 2020).

Dr. Amy Parent believe’s virtual reality has the ability to revitalize the Nisga’a language.  She considers language as a “‘guide for a total way of being. It teaches us our cultural behaviors, ethics, and who we are as a people, in terms of our identity,” …“Our language contains important land-based  knowledge, which provides us with the ability to live well with every aspect of Mother Earth.'” (Parent, as cited in Van Eeuwen, 2020).

“only approximately five per cent of Nisga’a citizens can speak their language fluently” (Van Eeuwen, 2020). This projects aims to combine technology and the minds of Elders and Knowledge keepers to commutate land-based knowledge in the Nisga’a language. Dr. Parent sees the VR medium as a way to spark interest for youth, and

I am glad I came across this project and want to reach out to Dr. Parent as she is looking for a classroom in Vancouver. It would be great to be involved in this project.

 

References

Eeuwen, T. V. (2020). UBC Prof Amy Parent creates revolutionary program to revitalize Nisga’a Language. Retrieved from https://looselipsmag.com/features/ubc-prof-amy-parent-creates-revolutionary-program-to-revitalize-nisgaa-language/

 Johnson, R. (2020, December 23). Project to use virtual reality technology to teach Nisga’a culture and language. CBC. https://www.cbc.ca/news/indigenous/nisga-a-vr-technology-language-culture-1.5846341

 

https://amyparent.ca/projects/

 

M2, Entry 3: The danger of a single story

Module 2: Stereotypes and the Commodification of Indigenous Social Reality

Entry 3: The danger of a single story

While researching ways to indigenize STEM curricula, I watched this TED Talk by Chimamanda Ngozi Adichie who discusses the danger that arises when we view a person or a group of people based on only one story. The poignant message in this video is relevant to my research to ensure that while learning how to effectively weave Indigenous ways of knowing, doing, and being, it is important to hear many stories and share many perspectives. 

Adichie, C.N., (2009). The danger of a single story. TED Talk. https://www.youtube.com/watch?v=D9Ihs241zeg

M2, Entry 2: Indigenous Women & Augmented Reality Murals

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/

M2, Entry 1: Fourth VR: Indigenous Virtual Reality Practice

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

M2:P3 Molly of Denali – Indigenous Representation in Animation

I have a three year old who is obsessed with PBS kids. She is also a big fan of “Molly of Denali”. The cartoon is produced by both Canadian and American production companies and tells the story of Molly, a young Indigenous girl. Molly and her family manage a trading post in Denali, Alaska and she uses social media platforms to share her experiences. The animated show links technology and representation and has recently won Canada’s Youth Media Alliance’s 2021 Awards of Excellence and represents

A young Canadian Indigenous student from Emily Carr, Lia Fabre-Dimsdale, has secured an internship with the animated TV show. Fabre-Dimsdale is a member of the Liidlii Kue First Nation and landed an internship with Mitacs, a “not-for-profit organization that fosters growth and innovation in Canada and offers a number of internships to Indigenous students”(Ryan , 2021).Fabre-Dimsdale is enrolled at Emily Carr and finishing her Bachelor of Media Arts. Her main focus is working on storyboarding and design.

Fabre-Dimsdale is excited to be working on the project, she believes, “A lot of times, Indigenous characters are presented simply for the fact they are Indigenous. Having Molly who is adventurous and enthusiastic in her own right, while also connecting with her culture and community is a great balance” (Ryan, 2021). Molly of Denali also reflects what we have been covering so far, the link between representation in media and indigeneity. I also visited the PBS site and under the Molly of Denali link, there are games, activities, games and a podcasts. This provides extension for children to experience life in Alaska alongside Molly and her family. Even though the show  is geared toward younger children in primary grades, I think practicing visual and media literacy skills on an episode would be a great way to analyze representation.

Ryan, D. (2021, May). Animation internship offers opportunity to broaden Indigenous representation on screen. https://vancouversun.com/news/local-news/animation-internship-offers-opportunity-to-broaden-indigenous-representation-on-screen

Truth and Reconciliation Commission of Canada

Module 2 – Entry 4 – Tyler Ohashi

Website: Truth and Reconciliation Commission of Canada

I am a little disappointed in myself that I did not visit this website sooner. I say this because I finally decided to check this website out because I was curious about what the TRC report had to say. What I found was more than I expected.  There is information about:

  • TRC reports and findings
  • Info about the National Center for Truth and Reconciliation (NCTR) – this includes news articles and achieved reports
  • You can explore exhibits
  • There is an ENTIRE section dedicated to resources for students and teachers

This website is massive! I hunted around and discovered lessons arranged by grade that can be used to bring an Indigenous perspective to your classroom. I am excited to look through these lessons because I am interested in bringing more indigenous ways of teaching and learning into my own classroom. I want to look for evidence of pedagogical best practices and incorporate them into my classroom in the best way I can. I can only assume that these lessons and activities have been vetted by Indigenous people and are culturally accurate and appropriate.

For me, first impressions of this website are amazing! However, like I said at the beginning of this post, I am disappointed that I did not look at this website sooner.

Understanding the Land Acknowledgement

MODULE 2:  ENTRY 1

The York University Land Acknowledgement could be used with staff and students to explain why acknowledgements are used. It is from the perspective of the University but the concepts can apply to any of our school buildings.  There are several professors and students that speak to why acknowledgements are important and how we can make them more meaningful rather than something you check off as part of your meeting or presentation.

 

 

Reference:

cass yorku. (2019, January 2). Understanding the Land Acknowledgment. [Video]. YouTube. https://www.youtube.com/watch?v=qNZi301-p8k

Representing Indigenous Characters in Kids Shows on PBS

Module 2 – Entry 3 – Tyler Ohashi

Lia Fabre-Dimsdale, a Liidlii Kue Frist Nation member, earned an opportunity that she was very proud to be part of when she landed an internship from Mitacs that had her working on the design team for “Molly and Denali”. “The series features Indigenous lead characters, with Indigenous actors voicing the six main characters, and Indigenous elders consulting behind the scenes (Ryan, 2021).” Having Indigenous media created by Indigenous people gives the series more relatability for Indigenous viewers. I think this is important because it will engage young Indigenous viewers in an authentic way. The way the characters look, their voices, how they interact with each other are all accurately portrayed. Furthermore, seeing a representation of Indigenous people on TV will promote a sense of pride because they see themselves in a positive light.

Here is a link to the Global News story.

https://globalnews.ca/video/rd/eb2f7714-ca51-11eb-901d-0242ac110006/?jwsource=cl

I thought to myself how this is story reflects what we have been learning in this course because it is an example of Indigenous people using technology to promote their ways of life. The fact that “Molly and Denali” is targeted at a younger audience is very powerful because young people are the foundations for change. We must break down the stereotype that Indigenous people have faced for generations. We can start this process by instilling a sense of pride and a sense of belonging by providing young people a quality media production such as “Molly and Denali” where they see Indigenous values being shown in a public space and being received with praise.

References

Indigenous student animator obtains valuable internship with animated TV production: Watch News Videos Online. Global News. (2021, June 10). https://globalnews.ca/video/7940520/indigenous-student-animator-obtains-valuable-internship-with-animated-tv-production.

Ryan, D. (2021, May 21). Animation internship offers opportunity to broaden Indigenous representation on screen. vancouversun. https://vancouversun.com/news/local-news/animation-internship-offers-opportunity-to-broaden-indigenous-representation-on-screen.

M2: P1: Knowing where you are

In my exploration of ways that Indigenous Knowledge can inform educational best practices with the added challenge of online delivery and learning, I discovered (new to me) that Native-land.ca has a teacher’s guide with guidance around the map.

I have had the positive experience in Zoom meetings and webinars where the native-land.ca link is shared in the chat and expectations are set at the start that participants are to include a land acknowledgement of where they are and who’s land they are on when the introduce themselves either on microphone or in the chat. Native-land.ca provides a resource so that attendees that might not know the answer can look it up and participate. It encourages and scaffolds online learners to move beyond “I don’t know” and to take a first step, take chances, and make mistakes. The teacher guide explains that the map is not perfect but works to encourage territory awareness in everyday speech and action.

https://native-land.ca/wp/wp-content/uploads/2019/03/teacher_guide_2019_final.pdf 

M2 Entry 4: The Power of Social Media

A friend of mine encouraged me to check out an Instagram page that she recently uncovered. The profile belongs to a young Indigenous boy named Opie with the username “baby_opie_”.  As I scrolled through his Instagram feed and looked at the photos and videos, I felt a more personal connection to Indigenous culture. When used responsibly, I feel that social media has the potential to provide opportunities for young Indigenous people to extend their identities online. By sharing stories and videos, they give voice to their Indigenous identities. A platform such as this allows Indigenous people to represent themselves, putting them in control in terms of the content that they choose to share with others, especially with the non-Indigenous community.

This Instagram profile is open to the public. Opie’s parents also have their own individual Instagram profiles. If you have an Instagram account, check it out! He’s got quite a big following.