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In the pre-reserve era, Aboriginal bands in the northern plains
were relatively small multicultural communities that actively
maintained fluid and inclusive membership through traditional
kinship practices. These practices were governed by the Law of the
People as described in the traditional stories of Wisashkecahk, or
Elder Brother, that outlined social interaction, marriage,
adoption, and kinship roles and responsibilities. In Elder Brother
and the Law of the People, Robert Innes offers a detailed analysis
of the role of Elder Brother stories in historical and contemporary
kinship practices in Cowessess First Nation, located in
southeastern Saskatchewan. He reveals how these tradition-inspired
practices act to undermine legal and scholarly definitions of
"Indian" and counter the perception that First Nations people have
internalized such classifications. He presents Cowessess's
successful negotiation of the 1996 Treaty Land Agreement and their
high inclusion rate of new "Bill-C31s" as evidence of the
persistence of historical kinship values and their continuing role
as the central unifying factor for band membership. Elder Brother
and the Law of the People presents an entirely new way of viewing
Aboriginal cultural identity on the northern plains.
Indigenous Celebrity speaks to the possibilities, challenges, and
consequences of popular forms of recognition, critically recasting
the lens through which we understand Indigenous people's
entanglements with celebrity. It presents a wide range of essays
that explore the theoretical, material, social, cultural, and
political impacts of celebrity on and for Indigenous people. It
questions and critiques the whitestream concept of celebrity and
the very juxtaposition of 'Indigenous' and 'celebrity' and casts a
critical lens on celebrity culture's impact on Indigenous people.
Indigenous people who willingly engage with celebrity culture, or
are drawn up into it, enter into a complex terrain of social
relations informed by layered dimensions of colonialism, racism,
sexism, homophobia/transphobia, and classism. Yet this reductive
framing of celebrity does not account for the ways that Indigenous
people's own worldviews inform Indigenous engagement with celebrity
culture-or rather, popular social and cultural forms of
recognition. Indigenous Celebrity reorients conversations on
Indigenous celebrity towards understanding how Indigenous people
draw from nation-specific processes of respect and recognition
while at the same time navigating external assumptions and
expectations. This collection examines the relationship of
Indigenous people to the concept of celebrity in past, present, and
ongoing contexts, identifying commonalities, tensions, and
possibilities.
What do we know of masculinities in non-patriarchal societies?
Indigenous peoples of the Americas and beyond come from traditions
of gender equity, complementarity, and the sacred feminine,
concepts that were unimaginable and shocking to Euro-western
peoples at contact. Indigenous Men and Masculinities, edited by Kim
Anderson and Robert Alexander Innes, brings together prominent
thinkers to explore the meaning of masculinities and being a man
within such traditions, further examining the colonial disruption
and imposition of patriarchy on Indigenous men. Building on
Indigenous knowledge systems, Indigenous feminism, and queer
theory, the sixteen essays by scholars and activists from Canada,
the U.S., and New Zealand open pathways for the nascent field of
Indigenous masculinities. The authors explore subjects of
representation through art and literature, as well as Indigenous
masculinities in sport, prisons, and gangs. Indigenous Men and
Masculinities highlights voices of Indigenous male writers,
traditional knowledge keepers, ex-gang members, war veterans,
fathers, youth, two-spirited people, and Indigenous men working to
end violence against women. It offers a refreshing vision toward
equitable societies that celebrate healthy and diverse
masculinities.
Drawing attention to the ways in which creative practices are
essential to the health, well-being, and healing of Indigenous
peoples, The Arts of Indigenous Health and Well-Being addresses the
effects of artistic endeavour on the "good life", or
mino-pimatisiwin in Cree, which can be described as the balanced
interconnection of physical, emotional, spiritual, and mental
well-being. In this interdisciplinary collection, Indigenous
knowledges inform an approach to health as a wider set of relations
that are central to well-being, wherein artistic expression
furthers cultural continuity and resilience, community connection,
and kinship to push back against forces of fracture and disruption
imposed by colonialism. The need for healing-not only individuals
but health systems and practices-is clear, especially as the trauma
of colonialism is continually revealed and perpetuated within
health systems. The field of Indigenous health has recently begun
to recognize the fundamental connection between creative expression
and well-being. This book brings together scholarship by humanities
scholars, social scientists, artists, and those holding
experiential knowledge from across Turtle Island to add urgently
needed perspectives to this conversation. Contributors embrace a
diverse range of research methods, including community-engaged
scholarship with Indigenous youth, artists, Elders, and language
keepers. The Arts of Indigenous Health and Well-Being demonstrates
the healing possibilities of Indigenous works of art, literature,
film, and music from a diversity of Indigenous peoples and arts
traditions. This book will resonate with health practitioners,
community members, and any who recognize the power of art as a
window, an entryway to access a healthy and good life.
In the pre-reserve era, Aboriginal bands in the northern plains
were relatively small multicultural communities that actively
maintained fluid and inclusive membership through traditional
kinship practices. These practices were governed by the Law of the
People as described in the traditional stories of Wisashkecahk, or
Elder Brother, that outlined social interaction, marriage,
adoption, and kinship roles and responsibilities. In Elder Brother
and the Law of the People, Robert Innes offers a detailed analysis
of the role of Elder Brother stories in historical and contemporary
kinship practices in Cowessess First Nation, located in
southeastern Saskatchewan. He reveals how these tradition-inspired
practices act to undermine legal and scholarly definitions of
""Indian"" and counter the perception that First Nations people
have internalized such classifications. He presents Cowessess's
successful negotiation of the 1996 Treaty Land Agreement and their
high inclusion rate of new ""Bill-C31s"" as evidence of the
persistence of historical kinship values and their continuing role
as the central unifying factor for band membership. Elder Brother
and the Law of the People presents an entirely new way of viewing
Aboriginal cultural identity on the northern plains.
What do we know of masculinities in non-patriarchal societies?
Indigenous peoples of the Americas and beyond come from traditions
of gender equity, complementarity, and the sacred feminine,
concepts that were unimaginable and shocking to Euro-western
peoples at contact. Indigenous Men and Masculinities, edited by Kim
Anderson and Robert Alexander Innes, brings together prominent
thinkers to explore the meaning of masculinities and being a man
within such traditions, further examining the colonial disruption
and imposition of patriarchy on Indigenous men. Building on
Indigenous knowledge systems, Indigenous feminism, and queer
theory, the sixteen essays by scholars and activists from Canada,
the U.S., and New Zealand open pathways for the nascent field of
Indigenous masculinities. The authors explore subjects of
representation through art and literature, as well as Indigenous
masculinities in sport, prisons, and gangs. Indigenous Men and
Masculinities highlights voices of Indigenous male writers,
traditional knowledge keepers, ex-gang members, war veterans,
fathers, youth, two-spirited people, and Indigenous men working to
end violence against women. It offers a refreshing vision toward
equitable societies that celebrate healthy and diverse
masculinities.
Drawing attention to the ways in which creative practices are
essential to the health, well-being, and healing of Indigenous
peoples, The Arts of Indigenous Health and Well-Being addresses the
effects of artistic endeavour on the "good life", or
mino-pimatisiwin in Cree, which can be described as the balanced
interconnection of physical, emotional, spiritual, and mental
well-being. In this interdisciplinary collection, Indigenous
knowledges inform an approach to health as a wider set of relations
that are central to well-being, wherein artistic expression
furthers cultural continuity and resilience, community connection,
and kinship to push back against forces of fracture and disruption
imposed by colonialism. The need for healing-not only individuals
but health systems and practices-is clear, especially as the trauma
of colonialism is continually revealed and perpetuated within
health systems. The field of Indigenous health has recently begun
to recognize the fundamental connection between creative expression
and well-being. This book brings together scholarship by humanities
scholars, social scientists, artists, and those holding
experiential knowledge from across Turtle Island to add urgently
needed perspectives to this conversation. Contributors embrace a
diverse range of research methods, including community-engaged
scholarship with Indigenous youth, artists, Elders, and language
keepers. The Arts of Indigenous Health and Well-Being demonstrates
the healing possibilities of Indigenous works of art, literature,
film, and music from a diversity of Indigenous peoples and arts
traditions. This book will resonate with health practitioners,
community members, and any who recognize the power of art as a
window, an entryway to access a healthy and good life.
Indigenous Celebrity speaks to the possibilities, challenges, and
consequences of popular forms of recognition, critically recasting
the lens through which we understand Indigenous people's
entanglements with celebrity. It presents a wide range of essays
that explore the theoretical, material, social, cultural, and
political impacts of celebrity on and for Indigenous people. It
questions and critiques the whitestream concept of celebrity and
the very juxtaposition of "Indigenous" and "celebrity" and casts a
critical lens on celebrity culture's impact on Indigenous people.
Indigenous people who willingly engage with celebrity culture, or
are drawn up into it, enter into a complex terrain of social
relations informed by layered dimensions of colonialism, racism,
sexism, homophobia/transphobia, and classism. Yet this reductive
framing of celebrity does not account for the ways that Indigenous
people's own worldviews inform Indigenous engagement with celebrity
culture--or rather, popular social and cultural forms of
recognition. Indigenous Celebrity reorients conversations on
Indigenous celebrity towards understanding how Indigenous people
draw from nation-specific processes of respect and recognition
while at the same time navigating external assumptions and
expectations. This collection examines the relationship of
Indigenous people to the concept of celebrity in past, present, and
ongoing contexts, identifying commonalities, tensions, and
possibilities.
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