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So far in Unit 2, Climates of Resistance has considered the Disparate Distribution of environmental risks and benefits, and the need for evidence-based information about racialised trends in resource access and allocation.
“(De)Colonising Land” takes a closer look at the root causes of these divisions, critically examining imperial histories of colonialism. This week’s materials explore how the inequalities created by settler and exploitation colonisation have been maintained through practices of Indigenous reservations, redlining, gerrymandering, and border control.
Understand: the relationship between imperialism, colonial practices, and environmental control through this “Theory at a Glance” overview.
Watch: these videos highlighting the histories and contemporary realities of redlining, gerrymandering, and immigrant detention centres.
Gene Demby is the co-host and correspondent for NPR’s Code Switch team. Before coming to NPR, Gene served as the managing editor for Huffington Post’s BlackVoices following its launch, later covering politics. While working at The New York Times, Demby started a blog about race, culture, politics and media called PostBourgie, which won the 2009 Black Weblog Award for Best News/Politics Site.
Demby is an avid runner...mainly because he wants to stay alive long enough to finally see the Sixers and Eagles win championships in their respective sports. (Gene grew up in South Philadelphia.) You can follow him on Twitter at @GeeDee215.
Myles Bess is a multi-media professional who graduated with a BA in Broadcast and Electronic Communication Art from San Francisco State University. Before joining KQED, Bess was a “Rise Up: Be Heard” Journalism Fellow with the Fusion Media Group and interned for Alameda Social Services.
He hosts KQED’s Above the Noise, which explores an array of issues through the lens of racial justice. Big topics are unpacked with the help of data, expert interviews, and the voices of high school students and youth journalists.
Connect: these processes to colonisation and (the abuse of) Indigenous peoples’ rights by reading these articles.
PS: Remember that the United States isn’t the only place this happens - this article from 2018 discusses parallels in the colonial logic of American and Australian immigration policies.
Dr Rai Reece is a professor in the Community Justice Services program in the School of Social and Community Services at Humber College, Ryerson University. An interdisciplinary scholar-activist, Dr Reece’s work examines how carceral processes in Canada are organised and maintained by historical and contemporary narratives and practices of white settler colonial violence specific to anti-Black and anti-Indigenous racism.
A central feature of her work explores how community-based ethnographic pedagogy can be a tool for social activism and the limitations to that praxis. In 2018, Dr Reece received the Research Excellence Award for her work on “One Seed at a Time”: Evaluating the Impact of the Horticulture Technician Pre-Apprenticeship Program on the Lives of Incarcerated Women.
Graham Lee Brewer is a journalist for KOSU public radio in Oklahoma. The Cherokee Nation citizen is also an associate editor for Indigenous Affairs at High Country News and a regular contributor to NPR and The New York Times. As a board member of the Native American Journalists Association, Brewer has trained large news organisations on how to ethically tell Indigenous stories.
His story about Navajo voters in San Juan County received critical acclaim and won several Native American Journalist Association Awards. He also recently teamed up with Simon Romero from The New York Times to report a story about Governor Kevin Stitt’s falling out with the Tribes over the state’s gaming compacts. The story shined a light on the unique situation Tribes in the state find themselves in as generators of revenue for the state as well as their citizens.
Dr Anne Helen Petersen is an American writer and journalist based in Missoula, Montana, who worked as a Senior Culture Writer for Buzzfeed until 2020, when she went full-time with her subscription newsletter Substack. Peterson holds an MA in English from the University of Oregon and a PhD in Media Studies from the University of Texas.
During her time at Buzzfeed, Peterson reported on the pandemic, student loans, Native American politics, expanding Medicaid, refugee resettlement, #MeToo, and more. In 2020, she published Can’t Even: How Millennials Became the Burnout Generation.
Harsha Walia is an activist, journalist, and writer based in Vancouver, Canada. Walia is active in migrant justice, Indigenous solidarity, abolitionist, feminist, anti-racist, anti-imperialist, and anti-capitalist movements, and is particularly well-known for her organising work with No One Is Illegal and publishing reports like “Red Women Rising: Indigenous Women Survivors in Vancouver’s Downtown Eastside” with First Nations collaborators.
Walia is the award-winning author of Undoing Border Imperialism and, most recently, Border and Rule. Trained in law, she currently serves as Executive Director for the British Columbia Civil Liberties Association. A Sikh of South Asian heritage, her Twitter bio includes the phrase “Inquilab”, an Urdu phrase meaning “revolution”.
read full lyrics
Intro: Excerpts from the State Attorney’s intervention in a court case between the Sámi reindeer herding community Girjas - from whence Sofia Jannok’s grandmother came - and the Swedish State.
“The State is of the opinion that the claim put forward by the Sámi reindeer herding community with regards to their long tradition of being engaged in reindeer husbandry, hunting and fishing in the area is of irrelevance to the case. In order to be eligible to claim immemorial prescription, said claim has to be based on a 90 years long use of an area. Any additional use for a longer period of time is of irrelevance to the legality of the claim.”
“Because of the claim that it is of importance that the Sámi have been using this area, the State is of the opinion that it is of utmost importance to define what is meant by the term Sámi, and how specific such a definition really is. This is what the following material is meant to do.”
(Gällivare Lapland District Court, June, 2015.)
This is my land, this is my country and if I’d be the queen you’d see that I’d take everyone by hand and sing it so it’s out there
that we’ll paint this land blue, yellow, red and green
If you say that this girl’s not welcome in this country, if she must leave because her face is brown
Well, then I’d say you go first ’cause frankly this is my land and here we live in peace, I’ll teach you how
This is my pride, this is my freedom, this is the air that I breathe and you’ll find no kings, no queens, here everybody’s equal - men, women and all who are in between
This is my home, this is my heaven, this is the earth where I belong and if you want to ruin it all with big wounds in the mountains then you’re not worthy of listening to this song
This is my land, this is my country, these lakes, rivers, hills and woods If you open up your eyes you’ll find someone is lying
I’ve always been here, welcome to my hoods
Brita Maret “Sofia” Jannok is a Swedish Sámi artist, singer, songwriter and radio host who has been nominated twice for a Grammy Award. Her music is shaped by a diversity of musical influences including folk, pop, jazz and yoik (a traditional form of song in Sámi music). Born and raised in Sápmi, Sofia is an activist for Indigenous rights. She regularly speaks out against mining on land used by Sámi reindeer herders and uses her music to advocate for her people. “For the unbreakable sinews of kin, I continue to sing. For my future sisters, I raise my voice to the misters. Kings and queens. Cities and trees. Mountains and seas. All that is in between. This is my land. ORDA [tree line].”
Imagine: what the world could look like “without the violence of colonialism, imperialism, and borders”, in the words of poet Janel Pineda.
The war never happened but somehow you and I still exist. Like obsidian,
we know only the memory of lava and not the explosion that created
us. Forget the gunned-down church, the burning flesh, the cabbage soup.
There is no bus. There is no border. There is no blood. There are
only sweet corn fields and mango skins. The turquoise house and clotheslines.
A heaping plate of pasteles and curtido waiting to be disappeared into our bellies.
In this life, our people are not things of silences but whole worlds bursting
into breath. Everywhere, there are children. Playing freely, clothed and clean.
Mozote does not mean massacre and flowers bloom in every place shoes are
left behind. My name still means truth, this time in a language my mouth recognizes,
in a language I know how to speak. My grandmother is still a storyteller although I am
not a poet. In this life, I do not have to be. This poem somehow still exists. It is told
in my mother’s voice and she makes hurt dissolve like honey in hot water, manzanilla
warming the throat. You and I do not find each other on another continent, grasping
at each other’s necks in search of home. We meet in a mercado, my arms overflowing
with mamey and anonas, and together we wash them in riverwater. We watch sunset fall over
a land we call our own and do not fear its taking. I bite into the fruit, mouth sucking
seed from substance, pulling its veins from between my teeth. Our laughter echoes
from inside the cave, one we are free to step outside of. We do not have to hide here.
We do not have to hide anywhere. A torogoz flies past my face and I do not fear its flapping.
Born in Los Angeles, Janel Pineda is a Salvadoran poet and educator. A first-generation college graduate, she earned a BA in English from Dickinson College, where she was a Posse Scholar. She is a part of the editorial team that founded La Piscucha Magazine, a multilingual arts, literature, and culture magazine created by Salvadoran writers, and a member of the Committee in Solidarity with the People of El Salvador (CISPES). As a Marshall Scholar, Janel holds an MA in Creative Writing and Education from Goldsmiths, University of London. Her debut poetry chapbook, Lineage of Rain, was published from Haymarket Books in February 2021. (Photograph by Luz María Castillo.)
Realise: that decolonisation is not a metaphor, but the active “repatriation of Indigenous land and life”. Decolonisation is not about the reconciliation of settler guilt. Nor is it focused on settler futures. It is unsettling, in its truest and fullest sense. Read more in this article by Tuck and Yang.
Eve Tuck is Associate Professor of Critical Race and Indigenous Studies at the Ontario Institute for Studies in Education (OISE), University of Toronto. Dr Tuck is Unangax̂ and is an enrolled member of the Aleut Community of St. Paul Island, Alaska. She earned a PhD in Urban Education from The Graduate Center, The City University of New York in 2008.
Tuck’s research focuses on how Indigenous social thought can be engaged to create more fair and just social policy, more meaningful social movements, and robust approaches to decolonisation. She makes a podcast with graduate students called The Henceforward on relationships between Indigenous and Black communities on Turtle Island.
Wayne Yang’s work transgresses the line between scholarship and community. Before his academic career, he was a public school teacher in Ohlone territory (now called Oakland, California), where he co-founded the Avenues Project, a youth development non-profit.
Dr Yang writes about decolonisation and everyday epic organising, particularly from underneath ghetto colonialism. He is interested in the complex role of cities in global affairs: cities as sites of settler colonialism, as stages for empire, as places of resettlement and gentrification, and as always-already on Indigenous lands.
Sometimes he writes as la paperson, an avatar that irregularly calls.
Examine: these works by Demian DinéYazhi´ and Noelle Sosaya reclaiming settler symbols and valuing the Land.
Demian DinéYazhi´ is an Indigenous Diné transdisciplinary artist born to the clans Naasht’ézhí Tábąąhá (Zuni Clan Water’s Edge) and Tódích’íí’nii (Bitter Water). Growing up in the colonised border town of Gallup, New Mexico, the evolution of DinéYaz´’s work has been influenced by their ancestral ties to traditional Diné culture, ceremony, matrilineal upbringing, the sacredness of land, and the importance of intergenerational knowledge.
They are the founder of the Indigenous artist/activist initiative, R.I.S.E.: Radical Indigenous Survivance & Empowerment, a non-profit based in Oregon dedicated to the education, dissemination, & evolution of Indigenous art & culture.
Noelle Sosaya is an Albuquerque-based artist and vintage shop owner.
About “Untitled (Sovereignty)”
“I think of this piece as being about reclaiming settler colonial symbols, but also as an object symbolic of community trust. Noelle and I hardly knew one another, but being part of the #QTPOC (Queer and Trans People of Color) community we came together to bring this piece to life.
“This piece is about so many things. I imagine it being hung after this empire has been burned to ash and Indigenous Queer, Trans, GNC, and 2Spirit babes reclaim what was stolen from our communities. The colours are reflective of Indigenous colour symbology. The crosses reference Diné rug textiles that symbolized stars, but they are also an ode to lives lost through the waves of genocide against Indigenous bodies and the lives lost during the HIV/AIDS epidemic. The flag is undoubtedly an inflammatory symbol, and one that Indigenous Peoples have a complicated relationship with. My grandfather was a Code Talker, so I use the flag to honour both his service and resiliency. There are wars inside me, unsettled PTSD, but also so much untapped strength and harmony.
“Art is my method of defense, but it is also my form of ceremony.”
About “nahasdzáán biłth ha’ní”
This “is about telling, testament, revelation, and healing.
“This piece is about being accountable to the Land and utilizing the Land for healing.
“How the Land contains stories and is a safe-space for individual well-being.
“Unlike the confessional spaces set up in western religion, this piece brings us back to the Land as the source of our existence and mediates a reconnection to the cosmos.
“Everything spoken in this audio piece is meant for the Land and no one else.
“It is as much about burying as it is about revealing truths to all the living energy that has existed and come to pass throughout the history of this earth.”
The piece involved pouring sand collected from the Columbia River Gorge over a phone playing a recording from the artist, such that their words were heard only by the Land.
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