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From Sand Creek to Somalia: Black Bodies in Denver's University of New Mexico UNM Digital Repository American Studies ETDs Electronic Theses and Dissertations Spring 4-17-2017 FROM SAND CREEK TO SOMALIA: BLACK BODIES IN DENVER’S POST-INDUSTRIAL URBAN CULTURAL RE-IMAGINATION Webster Matjaka Mr. University of New Mexico Follow this and additional works at: https://digitalrepository.unm.edu/amst_etds Part of the American Material Culture Commons, American Popular Culture Commons, and the Other American Studies Commons Recommended Citation Matjaka, Webster Mr.. "FROM SAND CREEK TO SOMALIA: BLACK BODIES IN DENVER’S POST-INDUSTRIAL URBAN CULTURAL RE-IMAGINATION." (2017). https://digitalrepository.unm.edu/amst_etds/53 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in American Studies ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Webster Matjaka Candidate American Studies Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Dr. Alex Lubin, Chairperson Dr. Alyosha Goldstein Dr. Kirsten Buick Dr. Michael Trujillo FROM SAND CREEK TO SOMALIA: BLACK BODIES IN DENVER’S POST- INDUSTRIAL URBAN CULTURAL RE-IMAGINATION By Webster Matjaka B.A., Communications, Waldorf College, 1998 M.A., Communication Studies, University of Northern Iowa, 2001 M.S., Political Science, University of Oregon, 2006 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy American Studies The University of New Mexico Albuquerque, New Mexico May, 2017 iii Dedication For my late mother, Asia Matjaka and my late father, John Matjaka. Who were both very instrumental to my achievements. They made it appear very easy for a young man like myself to travel all the way from Africa to America to embark on the projects I did to be where I am at the moment. This included finances and parting with loved ones to go to a foreign land as I did. Their love and encouragement gave me the strength and courage to be where I am and do all I did to achieve my PhD. I LOVE YOU Mum and Dad for making me the man I am today. iv Acknowledgements I owe a lot of gratitude to many people who have helped me to go through the process of conducting research and writing this dissertation. Since the list is too long to record here, for those who go unmentioned, please accept my sincere apologies and gratitude. I would like to reserve my special thanks to my dissertation advisor, Dr. Alex Lubin. Thank you for agreeing to be my advisor and encouraged me to start thinking about my dissertation research early. Thank you for ensuring that I had the resources I needed to conduct this research and write this project. I am grateful that you always believed in my ability to complete the hard and intellectually demanding work of this project. As a patient, understanding and quietly encouraging advisor, you played a key role in helping me to successfully complete this dissertation work. Thank you. I also would like to extend my gratitude to all my dissertation committee members— Dr. Alyosha Goldstein, Dr. Kirsten Buick and Dr. Michael Trujillo. I appreciate the long hours of discussions that I have held with each of you in your offices. I appreciate your contributions not just towards this dissertation, but my overall intellectual and scholarly growth. I also would like to say special thanks to Dr. Alyosha Goldstein for agreeing to work with me while my advisor had gone to do some work in the Middle East. Thank you for helping me through the early and confusing stages of this dissertation. I also would like to extend my gratitude to the department administrator Sandy Rodrique for having been a steady and calming presence from day one. Your knowledge of the inner-workings of the department and the graduate school has been invaluable for me. Thank you for making your office a very friendly place, allowing me to stop by even with v what could be considered silly questions. This helped me to successfully navigate through the stressful process of attaining a PhD. Last but not least, my special thanks to Susan Pinter for your help in reading, editing and formatting my dissertation. Your help has been invaluable during this sometimes very stressful process. Thank you. vi FROM SAND CREEK TO SOMALIA: BLACK BODIES IN DENVER’S POST- INDUSTRIAL URBAN CULTURAL RE-IMAGINATION By WEBSTER MATJAKA B.A., Communications, Waldorf College, 1998 M.A., Communication Studies, University of Northern Iowa, 2001 M.S., Political Science, University of Oregon, 2006 Ph.D., American Studies, University of New Mexico, 2017 ABSTRACT In this research project I situate black experience in the mid-sized post-industrial city of Denver, Colorado within the city’s colonial history in order to highlight some broader historical, global as well as local and national developments that, although seemingly unconnected, have a significant impact on urban social life today, in the case at hand, black urban experience. As people who have been displaced by the main axis of modern European global capitalist expansion: colonialism and slave trade, Native Americans, African Americans and recent African immigrants in Denver occupy a globalized socio-historical space of Euro-American socio-political domination that, in complex ways, stretches from Sand Creek, the scene of the 1864 Massacre of hundreds of peaceful Native American inhabitants of Greater Denver region by U.S. Federal troops, to Africa where African Natives were also violently colonized and displaced by modern European global capitalist expansion and, through the transatlantic slave trade, forcibly transported to the Americas. Drawing on the concept of the “colonial present” I show how U.S. settler colonialism and the related chattel slavery cannot be regarded merely as events of the past, but as vii marking the enactment of Euro-American structures of domination that continue to shape sociality in present. It is within the frame of Denver’s colonial present that I argue that the colonial disdain and hostility that led to the violent displacement of Natives of Greater Denver region centuries earlier as represented by the Sand Massacre of 1864, cannot be separated from the current brutal treatment of black youth by the city’s law enforcement as well as, the equally devastating displacement of economically vulnerable black Americans and African immigrants by Denver’s urban renewal projects, as illustrated by the city’s downtown plan that is curved out of historically neglected black downtown neighborhoods. It is within this colonial history of violence against Native American and a long history of racial discrimination against blacks that Denver has the problem in representing itself as a culturally diverse and welcoming city (cultural hub of the Rocky Mountain West) which is an economic necessity for post-industrial cities world-wide. Focusing on three sites that can be significantly linked to the cultural construction of Denver’s modern image or identity: the historic Five Points; the Denver Downtown Plan & the Denver Art Museum (DAM), this research focuses on how dominant Euro-American intellectual discourses, in the case at hand, the global market-oriented urbanist discourses are mobilized to politically contain the past and present presence of blacks and indigenous people through the cultural construction of the modern image of Denver as a culturally diverse, socially stable and, therefore, culturally unique landscape. Such dominant discourses and, therefore, the modern image of Denver, is inevitably contested by uncomfortable and potentially destabilizing colonial histories of the place and, consequently, the social instability and identity crisis characteristic of globalized post-industrial urban social spaces. viii Denver is selected for this study because of its colonial legacy of violence against Native Americans as well as a long history of racial discrimination of African Americans and, more recently, the hostility that has greeted the arrival of new African immigrants to the city. Denver also has a noticeable ambition and robust cultural projects that aim at constructing the city’s modern image as a global city. The highly visible and evocative image the newly redeveloped Hamilton Building of the Denver Arts Museum that was designed by a world-renowned architect, Daniel Libeskind and opened to the public in 2006, is one of the city’s most visible global market-oriented flagship cultural projects. ix Table of Contents List of Figures ....................................................................................................................... xiii List of Tables ......................................................................................................................... xv Introduction ............................................................................................................................. 1 Blacks in Denver ........................................................................................................... 3 Recent African immigrants. .............................................................................. 4 Denver’s Colonial Present ............................................................................................ 5 False binarism of tradition versus modernity.................................................... 9 Five Points Neighborhood. ............................................................................
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