#indigenist

[queerbarddragon]

Album of the day

[sivavakkiyar]

Cultural domination is doubtless a major aspect of imperialist domination as such, and 'culture' is always, therefore, a major site for resistance, but cultural contradictions within the imperialized formations tend to be so very numerous - sometimes along class lines but also in cross-class configurations, as in the case of patriarchal cultural forms or the religious modes of social authorization - that the totality of indigenous culture can hardly be posited as a unified, transparent site of anti-imperialist resistance.

The difficulties of analytic procedure which arise from such complexities of the object of analysis itself are further compounded by the verv modes of thought which are currently dominant in literary debates and which address questions of colony and empire from outside the familiar Marxist positions, often with great hostility towards and polemical caricature of those positions. First, the term 'culture is often deployed as a very amorphous category - sometimes in the Arnoldian sense of 'high' culture; sometimes in the more contemporary and very different sense of 'popular culture; in more recent inflations that latter term, taken over from Anglo-American sociologies of culture, has been greatly complicated by the equally amorphous category of 'Subaltern consciousness which arose initially in a certain avant-gardist tendency in Indian historiography but then gained currency in metropolitan theorizations as well. Meanwhile, the prior use of the term 'cultural nationalism', and of other cognate terms of this kind, in Black American literary ideologies since the mid 1960s - not to speak of the Negritude poets of Caribbean and African origins, the Celtic and nativist elements in Irish cultural nationalism, or the Harlem Renaissance in the United States - then endows the term, as it is used in American literary debates, with another very wide range of densities. Used in relation to the equally problematic category of 'Third World', 'cultural nationalism' resonates equally frequently with tradition', simply inverting the tradition/modernity binary of the modernization theorists in an indigenist direction, so that 'tradition' is said to be, for the 'Third World', always better than 'modernity', which then opens up a space for defence of the most obscurantist positions in the name of cultural nationalism. There appears to be, at the very least, a widespread implication in the ideology of cultural nationalism, as it surfaces in literary theory, that each 'nation' of the Third World' has a 'culture and a 'tradition', and that to speak from within that culture and that tradition is itself an act of anti-imperialist resistance. By contrast, the principal trajectories of Marxism as they have evolved in the imperialized formations have sought to struggle - with varying degrees of clarity or success, of course - against both the nation/ culture equation, whereby all that is indigenous becomes homogenized into a singular cultural formation which is then presumed to be necessarily superior to the capitalist culture which is identified discretely with the 'West', and the tradition/modernity binary, whereby each can be constructed in a discrete space and one or the other is adopted or discarded.

Aijaz Ahmad, In Theory

[allthebrazilianpolitics]

Floods in Rio Grande do Sul state affect 30,000 Indigenous individuals; entity says there is 'water and food shortage'

Ministry of Indigenous Peoples says 9,000 families were affected and promises basic-needs grocery package every 15 days

The severe floods that hit the state of Rio Grande do Sul for almost two weeks have already affected around 30,000 Indigenous individuals. Of the 214 communities affected, 110 have been directly affected.

The Minister for Indigenous Peoples, Sonia Guajajara, announced that each of the 9,000 Indigenous families affected will receive a basic-needs grocery package every 15 days. The numbers were released by the Minister for Indigenous Peoples on Saturday (11).

She also highlighted the importance of Indigenous peoples' knowledge in national plans for preventing disasters and rebuilding the areas destroyed by water.

Read more below about how to donate to Indigenous and indigenist organizations in Rio Grande do Sul.  

Continue reading.

[metamatar]

The issue of nationalism is much more difficult to settle, because nationalism is no unitary thing, and so many different kinds of ideologies and political practices have invoked the nationalist claim that it is always very hard to think of nationalism at the level of theoretical abstraction alone, without weaving into this abstraction the experience of particular nationalisms and distinguishing between progressive and retrograde kinds of practices. Theoretical debates as well as global historical accounts are rendered all the more opaque when the category of ‘nationalism’ is yoked together with the category of ‘culture’ to produce the composite category of ‘cultural nationalism’. Unlike the political category of the state, the regulatory and coercive category of law, institutional mechanisms such as political parties or class organizations like trade unions, ‘culture’ generally and the literary/ aesthetic realm in particular are situated at great remove from the economy and are therefore, among all the superstructures, the most easily available for idealization and theoretical slippage. As these categories have been historically constituted, they have been endowed with an inherent tendency towards national and civilizational singularization. The ideology of cultural nationalism is based explicitly on this singularizing tendency and lends itself much too easily to parochialism, inverse racism and indigenist obscurantism, not to speak of the professional petty bourgeoisie’s penchant for representing its own cultural practices and aspirations, virtually by embodying them as so many emblems of a unified national culture. Cultural domination is doubtless a major aspect of imperialist domination as such, and ‘culture’ is always, therefore, a major site for resistance, but cultural contradictions within the imperialized formations tend to be so very numerous –sometimes along class lines but also in cross-class configurations, as in the case of patriarchal cultural forms or the religious modes of social authorization – that the totality of indigenous culture can hardly be posited as a unified, transparent site of anti-imperialist resistance.

Aijaz Ahmed, Introduction to In Theory: Nations, Classes, Literature

[courtana]

Valeria’s voice actor posting the cursed image of Valeria using the Aztec skin and praising it 🥴

To be honest, most present-day (mestizo) Mexicans have that problem of viewing Aztec history from a very indigenist perspective. It sucks but it’s the reality. So I’m not surprised. This is not hate toward her. She’s doing her job of promoting the project she was a part of.

But I still think it’s fucked up to have the character who’s a narco terrorist in Aztec regalia basically, considering the violent terrorism that colonial and modern Mexico has inflicted toward its indigenous peoples.

[becbug]

QTPI ZINE!!!

Honoring inagofli’e’ & Alofa

happy to share this zine released by The United Territories of Pacific Islanders of WA and the Guma’ Gela’ CHamoru Art Collective🌺

this zine shares the findings of an indigenist collaborative research project to understand the health and cultural experiences of queer and transgender pacific islanders🌴

hopefully this finds its way to the pasifika community on here and anyone interested in learning about qtpi experiences(:

[noviimir]

REVOLUTION, SOCIALISM, AND NATIONAL TRADITION — An analysis of Mariátegui. Part 2.

In the article "NATIONALISM AND VANGUARDISM IN POLITICAL IDEOLOGY" (1925), Mariátegui deepens the debate between Creole conservatism and indigenous vanguardism in Peruvian political ideology. Creole conservatism associates Peruvian nationality solely with Spanish and Latin influences, limiting Peru's history to four centuries. During the colonial period, Peruvian history was often linked to the arrival of Pizarro and the foundation of Lima, ignoring the rich indigenous heritage, such as the Inca Empire. Creole national consciousness was strongly tied to the Spanish heritage, excluding indigenous elements from Peruvian history and tradition, as further elaborated two years later in "THE NATIONAL TRADITION" (1927). In contrast, the indigenous vanguard seeks a Peruvian reconstruction based on indigenous heritage, breaking away from the temporally limited view of Creole conservatism and its association with conquest and colonialism.

Revolutionary indigenist thinkers do not view the Inca past as a mere return to history, but as a foundation for Peruvian reconstruction.

They embrace a realistic and modern conception of history, considering all events and historical elements that have shaped Peruvian reality over more than four centuries, without excluding indigenous elements, as often happens in the colonialist view of history. Mariátegui also highlights the relationship between nationalism and socialism in politically or economically colonized countries like Peru. He argues that socialism is not inherently anti-national, except within empires. In former colonies, socialism takes on a nationalist stance, opposing Western imperialism and capitalism. For the author, the assertion of Peruvian nationality is of utmost importance, especially for those historically oppressed and dispossessed. The Peruvian reconstruction based on indigenous heritage is seen as a way to restore the independence and dignity of those who were conquered and subjugated by the Spanish four centuries ago. The writings of José Carlos Mariátegui resonate deeply in the history and culture of various colonized countries, finding resonance in the struggles of the working class. His reflections on national tradition, revolution, and socialism invite us to rethink how we perceive our own history, events, movements, and prominent figures, challenging both conservative and liberal narratives that seek to restrict and distort the richness of our cultural heritage. (Part 1)

Published originaly in September 2023.

[tarikulislamahc]

El Condor Pasa - An Emblem of Peruvian Culture

El Condor Pasa, the enchanting song popularized by American folk duo Simon and Garfunkel, is an incredibly beautiful and melodious composition that has captivated the hearts of people worldwide. It was composed by Daniel Alomia Robles, a Peruvian musician and composer, in 1913, and is based on traditional Andean folk music. Its melody reflects the beauty and essence of Peruvian culture and has become an emblem of the country’s rich history.

It is a sad song that evokes feelings of loss and longing. The lyrics of the composition are influenced by the harawi, a traditional Andean musical style that is characterized by slow and melancholic melodies. This style is often used in songs that are dedicated to the deceased and reflects the sorrow of the indigenous people of the Andes. In fact, the harawi is so ingrained in Peruvian culture that the country has even included it on its list of cultural heritage.

The El condor pasa song was a hit before Simon and Garfunkel recorded it. It was written by Daniel Alomia Robles, a composer from Peru who had a deep appreciation for the country’s diverse culture. He was an indigenist who worked to preserve the country’s folk music, and this is evident in his work.

During his lifetime, the song reached a large number of audiences across Europe and Latin America. However, it gained international recognition when the American folk duo Simon and Garfunkel covered it on their 1970 album Bridge Over Troubled Water. The song quickly became a global hit, and it is one of the best-known Peruvian songs in the world.

According to legend, the author of el condor pasa was inspired by miners working in brutal conditions in Cerro de Pasco, a mining mecca in Peru. The song depicts the struggles of the workers and how a condor, a symbol of freedom, watches over them. It is no wonder that this piece of music has become an emblem of the country’s complex and profound history.

This year, a film by director Jeon Soo-ill is based on the classic song. The movie is titled The Way Home, and it will premiere in Busan on October 20. Jeon is known for her realist form of filmmaking, and el condor pasa perfectly demonstrates this style with long takes and minimal interference from the crew.

It will be interesting to see how the new adaptation of this timeless classic will be received by audiences around the world. We are looking forward to seeing the movie and hearing this enduring song again. In the meantime, we encourage you to listen to a few versions of this beautiful piece of music, including the one by the famous Peruvian Charango musician Jaime Torres. Also, check out this song by Leo Rojas that combines electronic rhythms with pan pipes for a modern take on the old classic!

[naoehalara]

A new era

Imagem: Ricardo Stuckert.

It was the first day of 2023 when Luiz Inácio Lula da Silva, widely known for short name Lula, walked up the ramp of Palácio do Planalto, the most powerful building in Brazil, for the third time.

It had rained a lot throughout December in my home city, Brasilia. The last days of 2022 kept the grass soaked and the heavy air was constantly surrounded by thunderous melodies and the unending soundtrack of water meeting the ground.

The general advice was for Lula not to do the traditional ride in the convertible Rolls-Royce that carried Brazilian presidents to their inauguration for 70 years. But it wasn’t because of the weather.

Over the last four years, Brazil had suffered from a terrible fate in its history. Discrimination, lies and violence became ordinary since they emanated from the highest chair in Palácio do Planalto from 2019 to 2022. Hate became the rule and people felt comfortable on distilling it against political opponents, once the most important person of the country did it constantly and no serious consequences were directed to him.

That is why, on January 1st, most of the people recommended Lula to not ride on the open car amongst the citizens who were technically celebrating his victory over Jair Bolsonaro on the presidential elections. Along with the possibility of terrible storms, just like the previous days, there was sadly, but truly, a much worst danger than the threats coming from the sky: the hate atmosphere was dimmer than the dark clouds. Lula could be shot while heading to his destination – just like Brazilian activist and politician Marielle Franco, English The Guardian/Washington Post journalist Dom Phillips and indigenist Bruno Pereira had government-related murders on Bolsonaro’s term.

But, on the first day of the year, just as if it was a miracle, the skies were of the clearest light blue. Clouds were as white as a peace flag and the hottest sun rays were warming the avenues of the city where I was born. On the first day of the year, Luiz Inácio Lula da Silva got up on the 1950’s Rolls-Royce next to the first lady, Janja, the vice-president, Geraldo Alckmin, and his wife.

I was there. Just less than two months before I moved to the other side of the world to study, I was able to see history happening right in front of my eyes.

Growing up in an open-minded family and studying Journalism, it was natural for me to actively participate in political events and debates, since my early teenage years, when I discovered how important it was to get my voice heard and to speak for me and for the others who couldn’t. But never in my 23 years had I seen so closely and so concretely how essential it was for a whole nation, especially for the minorities, to get their needs attended and themselves represented by a respectable and caring leader – even more after four years of neglect and disregard.

I saw with my eyes the excitement, the joyfulness, the union among those who watched the new president go up the ramp and start his term. Above all, I felt with my other four senses the hope of a new age coming through.

Back in Brazil, I study in a public university, which, among other public high education institutions, is leader in research, education and extension, and is one of the best of the country. Just before I came to South Korea, through a university partnership, Brazilian education was receiving the worst budget cuts it has ever experienced. It was Bolsonaro’s notorious plan to break up public universities.

This way, I clearly remember how fearful I was of having my exchange intention turned into an unachievable dream. Even when it was all set, and I had already been accepted to study one semester abroad, I had to pray and cross my fingers that Bolsonaro wouldn’t be reelected, because, if he did, I had decided I wouldn’t come – specifically, for two main reasons: it was possible that, when I’d go back, one semester later, public universities would be so wasted I wouldn’t be able to finish my degree; and, since I was at the end of the graduation, it would be preferable for me to finish it the faster possible so I could definitely get out of the country instead of living under the power of a government that stimulated hate and violence.

I remember going out to vote with my family on both rounds, in October 2022, afraid, insecure. I remember seeing the vote counting live through the whole day. I remember receiving the news that Lula had already been elected by Brazilians who were abroad in Asian countries – except for Japan, where Bolsonaro won –, in which the election was held 12 hours before. I remember having hope, and I remember when the reporter finally announced that Lula was elected the 39th president of Brazil.

It was a collective relief. It was almost like Brazilians could finally fully breathe again, after four years holding our breaths.

So, on the first day of the year, I remember the sun burning my back whilst I was walking with my family towards the president inauguration. I saw it with my own eyes when the presidential sash was passed to Lula not by Bolsonaro – who was at this time cowardly hiding at the U.S. and expressly broke the Brazilian democratic tradition of handing over the sash to next president as a symbol of a peaceful transition –, but by the people.

It was The New York Times’ cover the next day. “On Sunday, Mr. Lula ascended the ramp to the presidential offices with a diverse group of Brazilians, including a Black woman, a disabled man, a 10-year-old boy, an Indigenous man and a factory worker. A voice then announced that Mr. Lula would accept the green-and-yellow sash from ‘the Brazilian people,’ and Aline Sousa, a 33-year-old garbage collector, played the role of Mr. Bolsonaro and placed the sash on the new president.”

It was it. Lula won. And, just like that, the whole world was talking about him once again. After being the most approved Brazilian president during his first terms, from 2003 to 2010, being called “the most popular politician on Earth” by Barack Obama, raising the name of Brazil in and outside the country, and being unfairly chased and arrested for political reasons, he was back at the game and in the sight of leaders from all around the globe. “From now on,” said Lula once, when his political chase was at its peak, “if they arrest me, I’m a hero. If they kill me, I become a martyr. And if they let me go, I’ll become president again.” And that’s what happened. He didn’t become a martyr, since he was fortunately not killed, but the Brazilian hero Luiz Inácio Lula da Silva became president of this continental country for the second time.

With not even four complete months of government on this third term, he is constantly showing what he came for – again –, already figuring in Time’s 100 most influential people of 2023.

Last week, he officially visited Asia as Brazil president for the first time after almost 20 years. Just while me, myself, visited Asia for the first time in my life, for a one-semester exchange in South Korea, thanks to his election.

In the United Arab Emirates, the cloudy Middle East sky was painted blue, white, yellow and green, Brazil flag colors, by airplanes that crossed Abu Dhabi’s presidential palace, where Lula got his way leaded by a cavalry holding Brazilian and UAB flags. He was well-received by sheikh Mohammed bin Zayed Al Nahyan to the sound of the Brazilian national anthem played by a guard band. Lula invited him to visit Brazil, after discussing economy, commerce, infrastructure, energy and climate changes, and signing agreements that amount about U$ 2,5 billion.

In China, the president was received with a wave of Chinese and Brazilian flags held together by kids who greeted him happily to the sound of a Brazilian song called Novo tempo – which could be literally translated as New era, famous for being a resistance symbol against the military dictatorship that ruled the country between 1964 and 1985 and left a heritage of authoritarianism and excessive violence, that was resembled in the period of 2019 to 2022.

The message was clear. 2023 is the start of a new era not only for Brazil and its international relations, but for Brazilians’ culture and dreams. “In the new era, despite the punishments, we’re grown up, we’re watchful, we’re more alive to help ourselves out,” says the lyrics of the song.

Shanghai Old Jazz Band also played the instrumental of a Brazilian lullaby, widely known for all generations of Brazilians who used to sing it as a child. “If this street was mine,” says the ballad, “I would have it tiled with shiny little pebbles just for my love to pass by.”

Lula is known for his peaceful position towards wars and conflicts, honoring the mediator peace tradition Brazil was so known for, since the First World War. In Asia, he talked to China’s Xi Jinping and UAB’s Al Nahyan about creating a group with countries interested in peace issues, in solving conflicts and trying to make the world more united, after so much disrespect and hate. “Brazil is back,” he said, just when he arrived on the other side of the world from the country we came from, “and willing to make a difference. To help the world see through new eyes. And we have a task we didn’t have 10 years ago: to dispel a hate we thought didn’t exist anymore.���

“We need humanism to react. We can’t have a society without heart, without feelings. Beyond politics, we need to take care of our souls. We’ll have to learn how to reach out to each other one more time. We need to defeat the individualism that is taking over humanity.”

The agreements with China summed up to almost U$ 10 billion, the highest amount with the Asian country until now. They embrace areas such as renewable energy, automotive industry, agribusiness, green lines of credit, information technology, health and infrastructure.

“I return to Brazil today,” he said, a week ago, “with the certainty that we’re coming back to civilization. And, more importantly, that we reopened the doors of the world to more progresses to take part in our country.”

Seeing the videos that covered the welcome ceremonies in Asian countries made me especially emotional. As a citizen from Brazil not because of the city I was born in – which happens to be the capital and the center of power of the country –, but because of the green and yellow blood that runs proudly through my veins and the rich culture that exhales from my Brazilian soul, I lacked the commitment of a real representant for my people. As a cultural journalist and someone who pursues singularities of cultures from all around the world, I was tired of watching my own country, which has an unmeasurable culture itself, being disrespected and getting its reputation lowered each time more. We were nothing like the hate previous president was disseminating through ignorant speeches. We were so much more, as compatriots and as individuals, and we could show so much more of our love to the world.

That’s what I expected I could bring to South Korea, on this exchange adventure I’ve been into: all the warmness my home country taught me to hand out. By helping others. By holding dialogues with different cultures. By promoting peace. By loving Brazil and by wanting the world to be a better place. 

Skies were clear blue and sun rays were shining bright when President Lula was received in Asia, just like they were on the first day of his term, back in Brazil. For me, back in February, it was the start of the most important journey of my life, until now. For my country, it is the start of a new journey back to the heart of the world.

“In the new era, despite the punishments, we’re on the stage, we’re on the streets, breaking handcuffs to help ourselves out. In the new era, despite the dangers, we find ourselves singing on the town square.”

References:

Gore, A. (2023, April 13). Luiz Inácio Lula da Silva is on the 2023 Time 100 list. Time. Retrieved April 23, 2023, from https://time.com/collection/100-most-influential-people-2023/6269853/luiz-inacio-lula-da-silva/

Lins, I., & Martins, V. (1980). Novo tempo. On Novo tempo [Album]. EMI-Odeon Records.

Lula [@LulaOficial]. (2023, April 13). É preciso que o humanismo reaja. Não podemos ter uma sociedade sem coração, sem sentimentos. Além da política, precisamos cuidar da nossa alma. Vamos ter que aprender a estender a mão para o outro mais uma vez. Precisamos derrotar o individualismo que toma conta da humanidade. [Tweet]. Twitter. Retrieved April 23, 2023, from https://twitter.com/LulaOficial/status/1646372383953920001?s=20 

Lula [@LulaOficial]. (2023, April 13). O Brasil voltou. E com vontade de fazer a diferença. De ajudar o mundo a ter um olhar diferente. E temos uma tarefa que não tínhamos há 10 anos: dispersar um ódio que achávamos que não existia mais. [Tweet]. Twitter. Retrieved April 23, 2023, from https://twitter.com/LulaOficial/status/1647455561510797313?s=20

Lula [@LulaOficial]. (2023, April 16). Bom dia! Retorno ao Brasil hoje com a certeza de que estamos voltando à civilização. Nos Emirados Árabes, fechamos acordos que somam R$ 12,5 bilhões. Na China foram 50 bilhões. E, mais importante, reabrimos as portas do mundo para mais avanços para o nosso país. [Tweet]. Twitter. Retrieved April 22, 2023, from https://twitter.com/LulaOficial/status/1647550016071024650?s=20

Nicas, J., & Spigariol, A. (2023, January 1). Lula becomes Brazil's president, with Bolsonaro in Florida. The New York Times. Retrieved April 22, 2023, from https://www.nytimes.com/2023/01/01/world/americas/bolsonaro-florida-brazil.html

Saxena, S. (2010, April 9). Why Lula is the Man - Times of India. The Times of India. Retrieved April 22, 2023, from https://timesofindia.indiatimes.com/edit-page/why-lula-is-the-man/articleshow/5775158.cms

The Brazilian Report [@BrazilianReport]. (2022, November 4). #CARTOON: Lula da Silva issued a prophecy that this week has come true. “From now on,” he said, “if they arrest me, I’m a hero. If they kill me, I become a martyr. And if they let me go, I’ll become president again.” [Tweet]. Twitter. Retrieved April 22, 2023, from https://twitter.com/BrazilianReport/status/1588281176526946304

[sivavakkiyar]

See always an exception. in India one of the great sources of biodiversity are in places that are at least considered/ claimed as old ‘ashrama’ lands (to my knowledge). This does in fact show up in Hindu indigenist discourse often. tch tch tch

[allthebrazilianpolitics]

Brazil: Bruno and Dom case defendant granted house arrest

Fisherman Oseney da Costa de Oliveira, one of the three people detained in connection with the 2022 murder of British journalist Dom Phillips and indigenist activist Bruno Pereira, was granted house arrest Friday by case rapporteur Justice Marcos Augusto de Sousa of Brasilia's Federal First Region Regional Court (TRF1), Agencia Brasil reported.

The measure had been requested by the legal team assisting the suspect citing health problems such as the need for a colonoscopy to treat heavy bleeding in the rectal area. Da Costa de Oliveira, whose son Amarildo has been prosecuted for the double homicide in the Vale do Javari Indigenous Land in Amazonas, will have to wear a tracking anklet while staying with a relative in Manaus, it was explained.

Last Tuesday, the TRF1 concurred with De Sousa's rationale and rejected the prosecution's accusation against him on the grounds that there was no evidence placing him at the crime scene; he was merely with his son Amarildo in a canoe. Meanwhile, Amarildo and Jefferson da Silva Lima will remain in prison to stand trial in Tabatinga.

Continue reading.

[tendingthearchive]

A&M Kambah

Title:

Building a participatory archive with a suburb - the case study of Kambah, known as a bogan suburb

Abstract:

Participatory appraisal has been discussed amongst archivists for decades. There is literature reporting on experiences in the United Kingdom and the United States but there is limited reportage of the practice of building archives with communities in Australia. In January 2023 a project focused on a low-social capital suburb in Canberra was exhibited. This paper reports back with some insights.

A challenge for participatory appraisal identified through this project was scale – if successful, the volume of content quickly becomes overwhelming. Another challenge is the responsibility that goes with accepting content from contributors. Expectations are set up that the content will be used or shared. And crucially, participation means everyone. Strategies are needed to connect with contributors that goes beyond relationships in easy reach for the archivist based on existing connections. Recognising who is likely to be overlooked and thinking about how the project might connect with the aspirations of those community groups offered a starting point in this project. Demonstrating that those voices are wanted and welcome is another part of the puzzle. Some strategies include partnerships and focusing on community events where there has been broad community participation.

A final lesson comes from social engaged art, a practice that focuses on community participation. This calls on the archivist to recognise their standpoint, the worldview they bring. Our sector has recognised that collections and building them is not neutral. For archivists, there remains much to do to work out how to meaningfully share that power and authority as collections are built.

The paper describes the project and explains these points using examples from the project. 

The scene for this article is set by literature on participatory appraisal from Cook (2011), Bastian and Flinn (2020), Flinn and Sexton (2019) and Huvila (2015) for example, as well as reportage on practice by Caswell  and Mallick (2014), Rolan (2016) and Gibbons (2020) for example. The discussion of standpoint draws on the work of Phillips (2019) on Indigenist standpoint theory and the discussion of socially engaged art draws on the work of Ihlein and Williams (2020), Bourgault (2022) and Thompson (2012).

References

Bastian, Jeannette A., and Andrew Flinn. Community Archives, Community Spaces : Heritage, Memory and Identity. Facet Publishing, 2020.

Bourgault, Rebecca. 2022. “The Shapeshifting and Boundary Crossings of Socially Engaged Art.” Art/Research International 7 (1). https://doi.org/10.18432/ari29603.

Caswell, Michelle, and Samip Mallick. 2014. “Collecting the Easily Missed Stories: Digital Participatory Microhistory and the South Asian American Digital Archive.” Archives and Manuscripts 42 (1): 73–86. https://doi.org/10.1080/01576895.2014.880931.

Cook, Terry. 2011. “‘We Are What We Keep; We Keep What We Are’: Archival Appraisal Past, Present and Future.” Journal of the Society of Archivists 32 (2): 173–89.

Flinn, Andrew, and Anna Sexton. Activist Participatory Communities in Archival Contexts: Theoretical Perspectives. 2019, pp. 173–90, https://doi.org/10.29085/9781783303588.015.

Gibbons, Leisa. “Community Archives in Australia: A Preliminary Investigation.” Journal of the Australian Library and Information Association, vol. 69, no. 4, Oct. 2020, pp. 451–72, https://doi.org/10.1080/24750158.2020.1831900.

Huvila, Isto. 2015. “The Unbearable Lightness of Participating? Revisiting the Discourses of ‘Participation’ in Archival Literature.” Journal of Documentation 71 (2): 358–86. https://doi.org/10.1108/JD-01-2014-0012.

Ihlein, Lucas, and Kim Williams. 2020. “Imagining the Impossible.” Art and AsiaPacific, no. 120: 19–4.

Phillips, Jay. 2019. “Indigenous Australian Studies, Indigenist Standpoint Pedagogy, and Student Resistance.” In Oxford Research Encyclopedia of Education, by Jay Phillips. Oxford University Press. https://doi.org/10.1093/acrefore/9780190264093.013.257.

Rolan, Gregory. “Agency in the Archive: A Model for Participatory Recordkeeping.” Archival Science, July 2016, pp. 1–31, https://doi.org/10.1007/s10502-016-9267-7.

Thompson, Nato. 2012. Living as Form : Socially Engaged Art from 1991-2011. 1st ed. New York, N.Y: Creative Time.

[abyssal-boything]

About me and this blog

I am horrible at introductions lol, please bear with me. I am also new to Tumblr so I don't really know how everything works Ꮚ˃̣̣̥ ꈊ<Ꮚ !!! I am using the chat font because I have somewhat of a hard time reading the regular font !!! Y'all can call me either Abyss or Ambrose here. I am a 21 yr old, southern, Black, nonbinary, Hellenic Polytheist and pagan. I also think I am AuDHD. This blog will be where I'll primarily stay until I learn some more about this website. I'll be documenting my journey here as I continue to learn about the Gods, as well as my own spiritual journey. My gender, ethnicity, and neurodivergence plays a heavy role in how I experience my practice and how I perceive the Gods as well. I am most familiar with Dionysos though, as He was the first of the Gods I felt a "calling" to. I'll also discuss art, music, and my language learning journey. Outside of religion, I am an artist and an avid bug and fungus fan. The art mediums I specialize in are fiber (crochet, cross stitch, spinning), pencil, and digital. I may post some of my art here and there as well as arthropod posts, so be warned if you don't like them. I am very much a leftist and I primarily consume such media from black people. I am also learning Ancient Greek. The pronouns I primarily use are it/its/itself and they/them/themself (sometimes he/him, depending on the day. I am very genderqueer/gender fuckey. I am ok being called most masc terms like boy, sir, son, etc and terms relating to being trans masculine. Honorifics (Mr.) aren't necessary. Femme terms are off limits. Full stop. Do not try me. DNI (I mean, no asks, dms, or reblogs) TERFs Anti-LGBT Racists, including anti-indigenist sentiments, anti-semetism, anti-roma, etc Evangelicals Ableists Fatphobes "Cringe" posters I will not tolerate bigotry on this blog.

[misespinas]

India del Collao (1925) by José Sabogal

[protoslacker]

This project was inspired by the work of Edward H. Davis and John T. Morgan. From 2003-2005 they traveled the Southeast and collected over 70 collard varieties from dedicated seed savers. Their work is detailed in the book, Collards: A Southern Tradition from Seed to Table. There is remarkable diversity in this unique collection!  Most of the seed savers contacted by David and Morgan were over the age of 60 and did not intend to share their seeds with the next generation of seed savers. These varieties have special histories associated with them and a goal of this project to celebrate these stories and support the tradition of growing and sharing heirloom collards.

Since 2016 Seed Savers Exchange with help from partners across the country has taken on the task of regenerating the USDA Davis and Morgan accessions so that the seed can be widely available. Ira Wallace has been promoting collards for many years and was the main driving force behind the original creation of this project. With renewed enthusiasm the project was relaunched in Spring 2020 with a large community science collard trial in collaboration with SeedLinked.

[lauritanaomystery]

Its me!!! happy month guys!💖