Plastic Shamans, Intellectual Colonialism and Intellectual Appropriation in New Age Movements
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The IHS Primary Care Provider- June 1998 Issue
THE IHS PRIMARY CARE PROVIDER A journal for health professionals working with American Indians and Alaska Natives June 1998 Published by the IHS Clinical Support Center Volume 23, Number 6 Sweat Lodges: A Medical View health and safety of individuals considering participation in Lawrence R. Berger, MD, MPH; and J. Eric Rounds, BS, MA, regular sweats, and highlight another aspect of traditional, The Lovelace Clinic Foundation, Albuquerque, New Mexico Native American wisdom. We especially hope this information will be of value to health practitioners whose patients may ask Introduction for guidance regarding participation in sweats; and to sweat Sweat lodges are becoming increasingly popular both lodge leaders, who should consider the physical and medical within Native American communities and among non condition of individuals, in addition to their emotional and 1-3 Indians. In addition to their traditional use for purification of spiritual preparedness, before inviting them to a sweat lodge. mind, body, and spirit, sweats are now frequently used as a This article is consistent with the IHS policy of encourag component of substance abuse treatment and rehabilitation ing “a climate of respect and acceptance in which an programs for incarcerated Native Americans. A resurgent individual’s private, traditional beliefs become a part of the interest in and respect for Native American culture and healing and harmonizing forces within his or her life.” By traditions among the general public, and the growing discussing the potentially beneficial medical and physical popularity of New Age spirituality, have also prompted a aspects of the sweat lodge, as well as the conditions that might dramatic rise in the number of people participating in Native warrant caution in its intensive use, we hope to increase the American sweat lodges. -
Precarious Indigeneity
RUNNING HEAD: Precarious Indigeneity PRECARIOUS INDIGENEITY: AINU IDENTITY-MAKING IN (DIGITAL) NORTH AMERICA AND ITS ROOTEDNESS IN WESTERN INDIGENOUS EXPERIENCE by Cheyanne Connell Bachelor Of Arts (Hons.), Simon Fraser University, 2019 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Masters Of Arts (Anthropology) In the Faculty of Arts and Social Sciences Department Of Sociology and Anthropology © Cheyanne Connell 2021 SIMON FRASER UNIVERSITY SUMMER 2021 Copyright in this work is held by the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Precarious Indigeneity I Declaration of Committee Name: Cheyanne Connell Degree: Master of Arts in Anthropology Title: PRECARIOUS INDIGENEITY: AINU IDENTITY- MAKING IN (DIGITAL) NORTH AMERICA AND ITS ROOTEDNESS IN WESTERN INDIGENOUS EXPERIENCE Committee: Chair: Dr. Pamela Stern Professor, Anthropology Dr. Michael Hathaway Supervisor Associate Professor, Anthropology Dr. Kate Hennessy Committee Member Associate Professor, School of Interactive Arts & Technology Dr. ann-elise lewallen Examiner Associate Professor, East Asian Languages & Cultural Studies University of California, Santa Barbara Precarious Indigeneity II Ethics Statement Precarious Indigeneity III Abstract Based on digitally-mediated fieldwork conducted in 2020/2021, and building on existing scholarship, this thesis works to understand how Ainu in North American experience Indigenous identity-making. Working with eight young adults of self-identified Ainu ancestry at various stages of their Ainu journeys, but all started within the last few years, I ask how Ainu and Ainuness is learned and understood through their primary connection and access to Ainu community and culture: digital spaces. From this, I argue that whereas Ainu identity-making of those who grew up and live in Japan is rooted in Japanese Ainu experience, American Ainu identity-making is largely informed by and rooted in Western Indigenous experience. -
Telling Other Peoples' Stories in a Multicultural Society
Telling Other Peoples’ Stories in a Multicultural Society Jo Henwood Because 98% of the Australian people are from immigrant stock the Storytelling revival of the 1970s-80s was not a matter of Storytellers remembering lost stories and traditions but of going to the library. We learnt our stories in books that had collected folktales from all around the world and these were the stories we told in a multicultural society where our people, our stories, our festivals come from all over the world. But how much right does someone outside a culture have to tell that culture‟s stories? If we tell, how should it be done? The most contentious negotiation for most Australian Storyteller s is the rights and wrongs of telling Aboriginal Dreaming stories so that will be my focus today, but it is my hope that this will illuminate the path to take in any cross cultural storytelling. Why we shouldn’t tell Much has been taken from indigenous Australians: land, citizenship, health, family. Practices of successful invaders include the abolition of language, and thus of story and cultural identity. Colonialism extends from appropriating not only the material but the intangible: taking their paintings and putting them on tea towels, taking their stories and telling them in ways never intended by the communities, then consigning the culture holders to invisibility. (Maddern, 2011; Langrish, 2010; Rose, 2011;Brian Attebery in Finch, 2012) For Indigenous cultures, drama and performance are central to identity, place and belonging and are an expression of a unique and continuing tradition (Australia Council, Performing arts, 2007). -
The Research Was an Attempt to Fill the Gap Concerning
AN ABSTRACT OF THE THESIS OF Carol Jean Carman for the degreeof Master of Arts in Interdisciplinary Studies in Anthropoloqy/Anthropolociy/Musjc presented on May 31, 1989 Title: SweatlodcTe PartjcjpatnAmonci 1Jéz Perce Women Abstract approved: Redacted for privacy This research was undertakento examine the symbolism surrounding the sweatlodge and how it pertainedto women in Native American cultures. After an extensive literature search I determined that therewas little or no information concerning the use of the sweatlodgeby women.The goal of the research was an attempt to fillthe gap concerning womens' usage of the sweatlodgeand the reason for the continuation of the sweatlodge traditionwhen so many other traditions had become lost.To fulfill this goal I chose to work with women from the NezPerce reservation at Lapwai, Idaho. The women of the Nez Perceuse the sweatlodge to cleanse the body and to achieve socialharmony in their daily lives. It is aforum for releasing tensions,an opportunity of marriage counseling, anda method of communing with the spiritworid.In spite of the fact that my women consultants denied any religious niotivations,it appears that the sweatlodge is in fact a religious activity. By participating in the sweatlodge the spiritualtraditions are being kept alive. Change has occurred with great regularity since the appearance of theEuropeans, but even with all that has been lost, the sweatlodge isstill an integral part of the culture. CCopyright by Carol J. Carman May 31, 1989 All Rights Reserved Sweatlodge Participation -
Understanding Cultural Appropriation & Halloween
UNDERSTANDING CULTURAL APPROPRIATION & HALLOWEEN HALLOWEEN - FUN FOR SOME, FRIGHT FOR OTHERS Halloween on a college campus can be a time for spooky fun and celebration. However, this holiday can also give rise to behaviors that have negative long-lasting impacts for some. One of the major areas of concern includes behaviors that fall under the term "cultural appropriation." Cultural appropriation occurs when cultural imagery and materials (ex: ways of dress, music) are removed from their cultural context and used in ways they were never intended. For example, dressing up as a person with a disability that you do not have, or wearing a sombrero as part of a "Mexican" costume. A related behavior we see some people engaging in around Halloween is blackface (see also: "yellowface" and "brownfa ce"). This involves altering one’s physical features to mimick distorted racialized stereotypes of what people of color look like (ex: coloring the skin darker, using makeup to make your eyes seem slanted, etc). WHAT'S THE BIG DEAL? Though the ways people engage in appropriation may result in different degrees of impact, it is particularly of concern when those from historically dominant groups appropriate the cultural practices and artifacts from those who are members of historically marginalized communities. The differences in social and institutional power result in reinforcement of already-existing inequality. Whether racial harm is intentional or not, the result is the same. Under the guise of supposed edginess or humor, people conjure up histories of racial stereotyping, humiliation, and violence against marginalized groups. Minoritized communities experience heightened anxiety and tension as they also encounter these stereotypes in the media, classrooms, and social settings. -
Unpopular Culture and Explore Its Critical Possibilities and Ramifications from a Large Variety of Perspectives
15 mm front 153 mm 8 mm 19,9 mm 8 mm front 153 mm 15 mm 15 mm TELEVISUAL CULTURE TELEVISUAL CULTURE This collection includes eighteen essays that introduce the concept of Lüthe and Pöhlmann (eds) unpopular culture and explore its critical possibilities and ramifications from a large variety of perspectives. Proposing a third term that operates beyond the dichotomy of high culture and mass culture and yet offers a fresh approach to both, these essays address a multitude of different topics that can all be classified as unpopular culture. From David Foster Wallace and Ernest Hemingway to Zane Grey, from Christian rock and country to clack cetal, from Steven Seagal to Genesis (Breyer) P-Orridge, from K-pop to The Real Housewives, from natural disasters to 9/11, from thesis hatements to professional sports, these essays find the unpopular across media and genres, and they analyze the politics and the aesthetics of an unpopular culture (and the unpopular in culture) that has not been duly recognized as such by the theories and methods of cultural studies. Martin Lüthe is an associate professor in North American Cultural Studies at the John F. Kennedy-Institute at Freie Universität Berlin. Unpopular Culture Sascha Pöhlmann is an associate professor in American Literary History at Ludwig-Maximilians-Universität Munich. 240 mm Martin Lüthe and Sascha Pöhlmann (eds) Unpopular Culture ISBN: 978-90-8964-966-9 AUP.nl 9 789089 649669 15 mm Unpopular Culture Televisual Culture The ‘televisual’ names a media culture generally in which television’s multiple dimensions have shaped and continue to alter the coordinates through which we understand, theorize, intervene, and challenge contemporary media culture. -
Cultural Appropriation
]AMES 0. YouNG The Ethics of Cultural Appropriation ULTURAL OR VOICE APPROPRIATION continues to be a hot Ctopic in Canada and abroad. In Canada the debate has flared up again in the wake of Robert Bringhurst's retelling of Haida leg ends in his A Story as Sharp as a Knife. Debates have also raged in the US, where concern for African-American culture is central to discussions about cultural appropriation. In Australia worries are frequently voiced about the appropriation of aboriginal culture by white Australians. The debate about cultural appropriation has been conducted almost entirely by artists, art critics and advocates of minority rights. Philosophers have had comparatively little to say. 1 This is unfortunate since philosophers have precisely the skills that can contribute to the resolution of the debate. Philosophers are trained to analyse concepts, and little progress can be made in the debate until we have an analysis of the concept of cultural appro priation. Armed with this analysis, we can give a verdict on voice appropriation. Sometimes it is objectionable, on moral or aesthetic grounds. Other instances of cultural appropriation arc unobjec tionable from a moral perspective and even praiseworthy from an aesthetic point of view. If some cultural appropriation is deplor able, the other extreme, a sort of cultural apartheid, where each artist is confined to an aesthetic homeland, is equally unfortunate. ' I have written two previous papers o n the subject of cultural appropriation: ·'Should White Men Play the I3lues?" juunzal of Value Jnqui1y 2R Cl995l: 415-24, and "Against Aesthetic Apartheid," Rendezvous 30 (1995>: 67-77. -
Coyolxauhqui-La-Réunifiée: Femme De Terre En Quête D'appartenance: Une
Coyolxauhqui-la-réunifiée : Femme de terre en quête d’appartenance Une recherche auto-ethnographique Mémoire présenté dans le cadre du programme de maîtrise en étude des pratiques psychosociales en vue de l’obtention du grade de maître ès arts PAR © Sarah-Maria LeBlanc Août 2019 Composition du jury : Diane Léger, présidente du jury, Université du Québec à Rimouski] Jeanne-Marie Rugira, directrice de recherche, Université du Québec à Rimouski Florence Vinit, examinatrice externe, Université du Québec à Montréal Dépôt initial le 13 juin 2019 Dépôt final le 20 août 2019 UNIVERSITÉ DU QUÉBEC À RIMOUSKI Service de la bibliothèque Avertissement La diffusion de ce mémoire ou de cette thèse se fait dans le respect des droits de son auteur, qui a signé le formulaire « Autorisation de reproduire et de diffuser un rapport, un mémoire ou une thèse ». En signant ce formulaire, l’auteur concède à l’Université du Québec à Rimouski une licence non exclusive d’utilisation et de publication de la totalité ou d’une partie importante de son travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, l’auteur autorise l’Université du Québec à Rimouski à reproduire, diffuser, prêter, distribuer ou vendre des copies de son travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l’Internet. Cette licence et cette autorisation n’entraînent pas une renonciation de la part de l’auteur à ses droits moraux ni à ses droits de propriété intellectuelle. Sauf entente contraire, l’auteur conserve la liberté de diffuser et de commercialiser ou non ce travail dont il possède un exemplaire. -
Latest 2017 Quarterly Report
FRIENDSHIP HOUSE ASSOCIATION OF AMERICAN INDIANS, INC., OF SAN FRANCISCO RESIDENTIAL SUBSTANCE ABUSE TREATMENT – RECOVERY SERVICES SERVING THE COUNTIES OF SAN FRANCISCO, SANTA CLARA AND ALAMEDA INDIAN HEALTH SERVICES QUARTERLY REPORT REPORTING PERIOD: FEBRUARY 1, 2017 – APRIL 30, 2017 Friendship House Highlights A total of 37 IHS clients (21 male, 15 female, 1 transgender MTF) received alcohol and substance abuse treatment services at the Friendship House during this third quarter. This includes 17 clients (10 male and 7 female) who were admitted throughout this reporting period. Cumulatively for FY 2016-2017, a total of 63 have received alcohol and substance abuse treatment services. Of these 63 clients, 13 clients rolled over from the previous fiscal year and 50 new clients have been admitted. A total of the 18 clients were discharged this quarter. Of those clients: ● Six clients completed Primary Residential Treatment (PRT), Level 2, and transitioned to Extended Residential Treatment (ERT), Level 1. ● Three clients graduated from PRT, Level 2, and transitioned out to a Sobel Living Environment or returned to their homes. ● Seven clients walked-out of the program (two clients in PRT, Level 1, and 5 clients in PRT, Level 2) ● Two clients in PRT, Level 1, were terminated due to non-compliance of the program’s policy. IHS FY1617 Quarterly Report for San Francisco, Santa Clara, and Alameda Counties (February 1, 2017 to April 30, 2017) Friendship House Association of American Indians, Inc. Page | 1 Friendship House provided and facilitated the following groups during this quarter: Red Road in Recovery, Early Recovery, Relapse Prevention, Caseload, Cultural Education, Process Groups, Family Dynamics, Men’s and Women’s Wellness, Arts and Crafts, Women’s and Men’s Sweats, Daily Living: Stable Housing, Active Daily Living, Step Study, Big Book Study, Talking Circle, Anger Management, AA/NA meetings, Team Building Exercise, Monthly Client Outings, and Graduation Ceremony (bi-monthly). -
The Construction and Export of African American Images in Hip-Hop Culture
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2006 "Don't Believe the Hype": The onsC truction and Export of African American Images in Hip-Hop Culture. John Ike Sewell Jr. East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the African American Studies Commons, and the American Popular Culture Commons Recommended Citation Sewell, John Ike Jr., ""Don't Believe the Hype": The onC struction and Export of African American Images in Hip-Hop Culture." (2006). Electronic Theses and Dissertations. Paper 2193. https://dc.etsu.edu/etd/2193 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. “Don’t Believe The Hype”: The Construction and Export of African American Images in Hip-Hop Culture ____________ A thesis presented to the faculty of the Department of Communication East Tennessee State University in partial fulfillment of the requirements for the degree Master of Arts in Professional Communication ____________ by John Ike Sewell, Jr. May 2006 ____________ Amber Kinser, Ph.D., Chair Primus Tillman, Ph.D. John Morefield, Ph.D. ____________ Keywords: Hip-hop, Rap Music, Imagery, Blackness, Archetype ABSTRACT “Don’t Believe the Hype:” The Construction and Export of African American Images in Hip-Hop Culture by John Ike Sewell, Jr. -
Use of Imagery, Cultural Appropriation and Socially Just Practices [Adopted March 2017; Reviewed with Recommendations March 2020; Reviewed and Revised February 2021]
Position Statement on Use of Imagery, Cultural Appropriation and Socially Just Practices [Adopted March 2017; Reviewed with recommendations March 2020; Reviewed and Revised February 2021] NAEA believes images have power and meaning that impact individuals, communities, and cultures. Understanding the complexity of images is foundational in the development of students as artists, designers, and citizens. This includes the study of cultures, the use of images and their meanings in an informed way. Visual art educators are then able to understand and challenge the implications surrounding the use of images in order to avoid cultural appropriation, misinformation, and the perpetuation of stereotypes. NAEA encourages visual art educators to make curricular and pedagogical decisions that: • acknowledge the multiple world views and voices of people and communities; • respect, value and integrate different perspectives in pedagogical practices; • advance insightful understandings of the context and meaning of cultural belongings and cultural art practice; • authentically reflect both historical and contemporary cultures and philosophies of diverse people; • confront issues around cultural appropriation and move toward greater cultural equity and inclusivity, valuing the ownership and significance of cultural images; • eliminate the perpetuation of stereotypes, social inequities and assumptions of cultural homogeneity in educational settings. NAEA supports the necessity of culturally competent and responsive visual art educators who encourage critical socially just practices and policies that provide and promote increased awareness, understanding, and acceptance of individual and group identities that affect all human interactions. Resources: • Definition of Cultural Appropriation: Nittle, Nadra Kareem. "A Guide to Understanding and Avoiding Cultural Appropriation." ThoughtCo, Dec. 27, 2020, thoughtco.com/cultural-appropriation-and-why-iits-wrong-2834561. -
A Short Guide to Cultural Appropriation
A Short Guide to Cultural Appropriation Cultural appropriation is an aspect of human exchange that refers to the taking of someone else’s culture (expressions, dress, intellectual property, artifacts, knowledge, art forms, etc.) without “permission.” Cultural appropriation is very tricky to navigate as there are fine lines between attributing “ownership,” showing one’s appreciation for, and mocking or parodying another culture. The stakes are also heightened when aspects of culture are taken from minority groups or groups that have traditionally been oppressed or marginalized, and, as a result, those who take, borrow, or ‘exploit’ those aspects of culture benefit from them in terms of capital, power, prestige, and popularity (e.g. Miley Cyrus’s “twerking”). This benefit often occurs at the expense of the very group from which aspects of culture were appropriated. Articles, Books, and Journals Bock, Sheila and Katherine Borland. “Exotic Identities: Dance, Difference, and Self-Fashioning.” Journal of Folklore Research. 48.1 (January/April 2011): 1-36. Brown, Tamara Lizette and Baruti N. Kopano, eds. Soul Thieves: The Appropriation and Misrepresentation of African American Popular Culture. Palgrave Macmillan, 2014. Brown, Michael F. Who Owns Native Culture? Harvard University Press, 2003. Scafidi, Susan. Who Owns Culture? Appropriation and Authenticity in American Law. Rutgers University Press, 2005. Schneider, Arnd. “On ‘Appropriation’: A Critical Reappraisal of the Concept and its Application in Global Art Practices.” Social Anthropology 11.2 (2003): 215-229. Young, James O and Conrad G. Bunk. The Ethics of Cultural Appropriation. Wiley-Blackwell, 2012. Online Sources Baker, Katie J.E. “A Much Needed Primer on Cultural Appropriation.” Jezebel, November 11, 2012.