Search Results (28)

STEM ideologies provoke environmental destruction from which deaf, disabled, and Indigenous people are uniquely targeted. Our analysis counteracts harms caused by governmental, industrial, and educational agents who weaponize STEM ideologies against downstream people, animals, plants, environments, and biogeochemical entities. We explore two research questions via a theoretical framework about biocultural deaf gains and deaf/Indigenous languacultures to center the arts in STEAM. As a result, we synthesized a conceptual framework called Deaf and Indigenous Curricula and Eco-pedagogies (DICE), which are multimodal, multilingual approaches to STEAM education emphasizing place-based ecology and the arts, including knowledge emanating from Indigenous Deaf Cultures, Indigenous sign languages, and epistemologists who are deaf, disabled, women, and Indigenous (singly or in combination). DICE is designed to reinvigorate communities and ecologies at risk of destruction from colonialism and runnamok capitalism. Within and across Indigenous and Deaf lifeworlds, our model explores: collaboration, mutualism, and symbiosis. These are situated in examples drawn from the research, abductive reasoning, our life histories, and the creative works of Deaf Indigenous scientists and artists. In sum, alongside uprising Indigenous voices, deaf hands shall rise in solidarity to aid Earth’s defense. Full article

This article examines the persistent conceptual and structural obstacles that pluralism faces within the Euro-United-Statesian art system, particularly in the fields of criticism, art history, and aesthetics. The study situates its inquiry within broader debates around the politics of difference and the decolonization of knowledge, aiming to understand how theoretical frameworks historically incorporated plurality in ways that ultimately neutralize its disruptive potential. Methodologically, the article combines philosophical analysis with a critical rereading of canonical texts by figures such as Clement Greenberg and Arthur Danto, juxtaposed with insights from Indigenous, Black, and decolonial thinkers. The findings suggest that pluralism, while rhetorically embraced, is frequently rendered compatible with a teleological and universalizing narrative that privileges Western aesthetic trajectories. As a result, forms of difference are tolerated only insofar as they can be translated into hegemonic terms. The article concludes by advocating for critical practices that sustain rather than resolve difference, calling for frameworks capable of embracing dissonance, incommensurability, and multiple ontologies without collapsing them into sameness. In doing so, it repositions the contemporary struggle over meaning in art not as a problem to be overcome, but as a necessary symptom of epistemic plurality. Full article

Past archaeological practices have resulted in a distorted history of Native American cultures based upon western-biased research. This has been especially apparent in the rock art of the Klamath Basin in southern Oregon and northern California. In response to this, Native and non-Native scholars are striving to develop a counter-discourse that both challenges and replaces western constructs in research on Native American communities. The result of this approach is a growing trend within the discipline that has come to be called “Indigenous Archaeology.” Critical to this approach is that Native voices are transported from the margins of the research to its center, where they are intended to replace the Western colonialist narrative. Unfortunately, Native American tribal communities have been the targets of federal assimilation policies for the past few centuries, and as a result, much of their cultural knowledge unwittingly carries forward this distorted past. In this paper I explore a framework built upon ethnographic accounts of shamanism and rock art, along with a robust familiarity with local myth, and how this provides a foundation of traditional cultural knowledge against which to compare and evaluate the interpretive statements made in contemporary tribal members about rock art and other sacred material culture. Full article

What does it mean to decolonize or undiscipline the anthropology museum? What happens when the museum is confronted by Indigenous and descendant communities who demand an ethic of care rooted in relational ontologies and epistemologies? This article features Indigenous creativity as it has disrupted ‘business as usual’ in anthropology museums. This is primarily evidenced by Fork Peck Tribes who confronted the University of Montana to enact a long-overdue repatriation. Additional examples from The Metropolitan Museum of Art and Peabody Museum of Archaeology and Ethnology at Harvard demonstrate diverse expressions of relationality among Indigenous and descendant communities. These interventions are analyzed through Critical Indigenous Theory to specify the ways in which Indigenous religious traditions refuse the narratives and norms of settler colonial knowledge production and undermine the imperial museological practices of preservation. Instead, relationality is prioritized in the caretaking of and connection with more-than-human entities and materials in the museum. This article emphasizes relationality and repatriation as religious acts that challenge assumptions embedded in imperial and settler colonial approaches to history and science. From various social locations and through multiple strategies, we see the active undisciplining of the museum by Indigenous and descendant communities. Full article

The starting point of this proposal is a collection of decorated cuias, preserved in Portugal and produced by Indigenous women in Grão-Pará in the 18th century. The objects in question are an exemplary case of the global art history of the Amazonian communities. In order to investigate them, it is necessary to consider the procurement and ritual use of cuias (fruits of the cuieira tree-Crescentia cuyete), the sophisticated techniques used to produce a durable, glossy, black varnish from cumatê (or cumaté, cumati), a natural dark red pigment extracted from the skins of the cumatezeiro or axuazeiro tree (Myrcia atramentifera), as well as the incorporation of fauna and flora motifs from Asian or Asian-inspired textiles and embroidery, which circulated worldwide. Their history brings together the nature of the forest, the myths of creation, and the knowledge and practices of Indigenous and riverine women, mainly from the lower Amazon. Studying these objects produced by Indigenous female painters in a colonial context of appropriation, in addition to contributing to their knowledge, can stimulate dialogues on the knowledge of the Brazilian Amazon rainforest with other locations in America, sharing their ancestry and resistance. Full article

Blue is one of the most challenging colors for humans to produce and one of the most important colors in art history. Literature from the Tikuna/Magüta culture, from the Amazon Forest, suggests the use of chemical reactions between the juice of the naīcü fruit and iron to produce a blue colorant still unknown among technical art historians and conservation scientists. Additionally, the coloring materials from the Tikuna/Magüta people were never chemically investigated. Therefore, this manuscript presents the investigation of blue colorants from twenty-two Tikuna/Magüta masks and one stamp used to decorate similar items. Collections from four museums, from the USA and Brazil, were examined, and Raman spectra indicated the presence of Prussian blue, phthalocyanine blue, indigo, ultramarine, crystal violet, amorphous carbon, anatase, and barium sulfate (or lithopone). Although the unknown blue colorant was not detected in this campaign, the authors hypothesize the chemical composition and reactions involved in its production by considering the chemistry of naīcü and anthocyanins. The continuation of this work with community-based participatory research (CBPR) approaches is also discussed, justifying why reproduction was not considered in this work and supporting a more socially responsible and inclusive practice in technical art history and conservation science. Full article

For people from communities experiencing poverty and oppression, education, particularly higher education, is a means to ensure upward socioeconomic mobility. The access to and attainment of education are issues of social and economic justice, built upon foundational experiences in primary and secondary settings, and impacted by students’ cultural and socio-political environments. 6. The 2020 murder of George Floyd, the Black Lives Matter movement, ongoing discourse around immigration, and COVID-19-related hate targeting people of Asian American descent prompted national calls to dismantle social and systemic racism, spurring diversity, equity, inclusion, and accessibility (DEIA) initiatives, particularly in education. However, these efforts have faced opposition from teachers who have told students that all lives matter, and racism does not exist in many American classrooms Loza. These comments negate students’ experiences, suppress cultural and identity affirmation, and negatively impact student wellness and academic performance. Forged in this polarized environment, two longtime community organizers and educators, an indigenous person living away from her ancestral lands and a multiracial descendant of Japanese Americans interned during WWII, whose identities, experiences, and personal narratives shape the course of their work in and outside of the physical classroom, call on fellow educators to exercise y (2018) component of the archeology of self, a “profound love, a deep, ethical commitment to caring for the communities where one works”, by adopting a framework to encourage this profound love in students, acting not just as a teacher, but as a sensei. The word sensei is commonly understood in reference to a teacher of Japanese martial arts. The honorific sensei, however, in kanji means one who comes before, implying intergenerational connection. Sensei is an umbrella expression used for elders who have attained a level of mastery within their respective crafts—doctors, teachers, politicians, and spiritual leaders may all earn the title of sensei. The sensei preserves funds of knowledge across generations, passing down and building upon knowledge from those who came before. The Student Empowerment through Narrative, Storytelling, Engagement, and Identity (SENSEI) framework provides an asset-based, culturally affirming approach to working with students in and beyond the classroom. The framework builds on tools and perspectives, including Asset-based Community Development (ABCD), the Narrative Theory, Yosso’s cultural community wealth, cultural continuity, thrivance, community organizing tenets, and storytelling SENSEI provides a pedagogy that encourages students to explore, define, and own their identities and experiences and grow funds of knowledge, empowering them to transform their own communities from within. The SENSEI framework begins by redefining a teacher as not simply one who teaches in a classroom but rather one who teaches valuable life lessons that transcend colonial conceptualizations of the teacher. In colonized contexts, teachers function to maintain hegemony and assert dominance over marginalized populations. In the SENSEI framework, teachers are those who disrupt colonial patterns and function to reclaim the strengths and voices of the communities they serve. In the SENSEI framework, students are not relegated to those enrolled in classrooms. As with a sensei, a student exists to counter hegemony by embracing and enacting their cultural wealth Educators must help counter harmful narratives and encourage students to identify the strengths that lie within themselves and their communities. Collective forms of narrative that value identity can ensure the continuity of a community or a people. The stories of students’ histories, traditional practices, and resilience can help disrupt harms, many that have lasted for generations, so they may not just survive, but thrive. Full article

In this compilation, the focus is on the Cochineal insect (Dactylopius coccus Costa, 1835 (Hemiptera: Dactylopiidae)), a creature native to South America that produces a potent natural red pigment known as “carmine”. This pigment, utilized for obtaining the color red, has been an integral part of the art world for thousands of years. Indigenous cultures, in particular, have employed the dye extracted from this insect in the creation of textile dyes and paintings. Moreover, the Cochineal insect and its unique pigments have not only supported artistic expression but also captivated and inspired artists. During the Renaissance period, artists preferred the carmine pigment produced by the females of the Cochineal insect for obtaining bright and vivid red tones. This study delves into the history of the Cochineal insect, its role in art, and its perception in the modern world. Famous paintings created with dyes obtained from the Cochineal insect are discussed, exploring how pigments have found a place in the art world and how artists have utilized this extraordinary source to create distinctive works. Full article

Recent research has played a pivotal role in advancing our understanding of cloisonné enamel production in China during the 19th and 20th centuries. However, Christian workshops, whether operating under missionary subcontracting or owned by the Catholic Church, have yet to be accurately identified and contextualized. This article delves into three significant contexts. Firstly, it identifies and contextualizes the Christian connections and interactions of the Decheng private cloisonné workshop, involving the French Lazarist Bishop Alphonse Favier, in Beijing. Secondly, it identifies the cloisonné workshop stablished by the Lazarists in the Beitang complex in Beijing and elucidates the role it played. Finally, this paper presents new evidence concerning cloisonné Christian objects crafted by the Tushanwan Jesuit workshop in Shanghai. Some of the primary works of these three workshops are identified for the first time. Additionally, this paper shows that certain cloisonné crosses, some of them thought to be originally Japanese, including those referred to as Namban, were, in fact, crafted in Beijing during the 1920s. These preliminary results will contribute to placing Chinese Christian cloisonné within the history of Chinese Art and its interactions at a global level in the context of evangelization in China, the production of the so-called export art, and the processes of indigenization carried out by the Lazarists and the Jesuits. Full article

Over 12,000 Haida belongings and 500 Haida ancestral remains were collected and locked away in museums at the height of colonization in the late 1800s to early 1900s. It has been my lifelong quest to undo the colonial harm done to my Ancestors and their belongings. With gudáang ‘láa, (joy) as a foundational philosophy and methodology, I am researching and telling the story of Haida repatriation and reconciliatory work with museums. Full article

Elder Nora Marks Dauenhauer, Kheixwnéi, a poet and oral literary scholar and a mentor of the author, told the author “Life is a poem”. This essay will explore the ways in which the oral literary and visual arts of the Northwest Coast interact, how artists across multiple disciplines attain knowledge and develop as artists, and the ways in which the arts sing the poetry of Tlingit life. Examining the relationship between the arts will deepen one’s understanding of each art and illuminate how they inform and enrich one another. Full article

Using buttons and beads sewn on wool and calico, Northwest Coast First Nations women fashion the robes and aprons essential to ongoing expressions of inherited prerogatives and rights. Each piece of regalia is carefully crafted to include signifying materials and motifs, telling of the origins or relations of their owners. These creations exist as part of a holistic system that integrates material artworks within ceremony, including song, dance, and oratory, which in turn uphold the laws expressed through potlatching. Shifting scholarly focus from Northwest Coast carving traditions, this paper recenters textile arts within a holistic, culturally focused context while addressing issues of gender, the effects of colonial practices, and the damage wrought by salvage anthropology as it fragmented cultural information across archives. Women’s artistic productions embody long-held technical and aesthetic knowledge connected to oral histories and cultural practices. Restoring Indigenous perspectives connecting tangible and intangible cultural heritage counterbalances the aesthetic emphasis that has dominated Northwest Coast art history. Full article

The Brazilian Legal Amazon region is divided into at least 155 ethnic groups and has the largest concentration of Indigenous people globally. It represents one of the most extraordinary levels of human, cultural, and artistic diversity, but its material culture is one of the least well-studied. This is especially true in technical art history and conservation science, largely due to (1) the limited international awareness of the richness of materials and techniques used by these Indigenous people and (2) the limitations of knowledge access for many scientists to literature usually published in Portuguese within social sciences and humanities. One result is that these arts are marginalized within technical art history, conservation, and conservation science. To address this knowledge gap, the authors explore 70 materials—among them pigments, dyes, binding media, and varnishes—used for paint production and coloring processes, including syntheses. The authors facilitate research possibilities within technical art history, conservation, and conservation science by presenting data from historical texts from the 18th and 19th centuries and more recent scientific literature. The work aims to build a more global, inclusive, and decentralized vision of art history and to create a more pluralistic narrative of Indigenous art history from South America. Full article

The colonial visual archive has occupied in recent decades the work of scholars and artists from indigenous and racial minority communities, who revealed it as a major apparatus of historical meta-narratives. This article aims at pushing forward this preoccupation by revealing an additional scene: the art of Mizrahi women, descendants of Jewish communities of Arab and Muslim countries. Relying on a visual culture approach and focusing on an analysis of artworks by Mizrahi artist Vered Nissim, as well as on photographs of Mizrahi women, fund in Zionist archives, I demonstrate how Nissim’s work challenges the racial category of Mizrahi women as “natural workers”, constructed in the Zionist historical meta-narrative. Nissim does so by re-enacting the category’s paradigmatic visual image—the Mizrahi women cleaning worker—in a different way, visually and discursively. Body, voice, and visual image, three instances of the subjectivity of Mizrahi women cleaning workers that were separated, shaped, and mediated through Zionist colonial visual archives unite in Nissim’s work when embodied by a real Mizrahi woman cleaning worker: her mother, Esther Nissim. By casting her mother to play herself over the past twenty years, Nissim creates political conditions for the appearance of her mother as the author of her own history as she orally, bodily, and visually writes it in front of her daughter’s camera. Thus, Nissim joins a transnational phenomenon of global south artists who create political conditions enabling the self-imaging of colonized peoples, empowering the reading of colonial imagery and the historical meta-narratives attached to it through their situated knowledge and lived experience and, thus, constructing a counter history communicated visually. Full article

The Tree of Abundance is an origin story for many nations in the Amazon basin. It recounts a time when all people(s) lived under a mother tree, until those with an ax arrived and the tree collapsed. This is the act of coloniality, which produced a new landscape. The story serves as a conceptual metaphor to analyze the production of an emerging generation of contemporary visual makers of indigenous origin. These cultural producers are set in a historical context, which represents long temporalities of cultural-production resistance and re-existence in Latin America (called here Abya Yala). The text introduces a way to rethink contemporary art in the region under conditions of coloniality and names the artists “embodied territories” since they have particular connections to the places they live and work. This article is organized into three parts presenting artwork by several indigenous and intercultural subjects (with emphasis on those living in indigenous territories of Colombia): (1) A short genealogy from modernity to contemporaneity brings indigenous cultural production to the academic space as another source for a critical understanding of the lived experience in Abya Yala. (2) An account of themes derived from the contested histories highlights how indigenous and intercultural artists produce responses to them. (3) The genealogy and themes are then set in spatial terms offering two case studies, on one hand, the toppling of historical figures by indigenous activists as performance in the public space and, on the other, the exhibitions “Visual Sovereignty” and the “Indigenous Salon Manuel Quintín Lame”. The article concludes stressing how this emerging generation builds on long genealogies of sovereign representation, responding with a wide range of contemporary means (visual, textual, bodily, and multimedia) to issues that still affect their communities (land grabs, resource extraction, racialization, marginality, etc.). Adaptation, resistance, and re-existence occur when embodied territories recognize historical realities (time), location (space), and forms of liberation (action) within coloniality. Full article