Heart of Decolonization Gathering

From Awakening the Horse People:

A gathering for decolonizing people of diverse backgrounds who are in positions of teaching and inspiring others to decolonize while occupying stolen Native lands still under resistance.

SAVE THE (TENTATIVE) DATE!
September 4-6, 2015
Independent Lakota Territory
Hosted by the Lakota Cante Tenza Okolakiciye (Strong Heart Warrior Society)

This unique gathering is intended to bring together a diverse group of decolonizing people under observation of Native warriors and activists. In particular, we are focusing on those non-Native persons in positions of leadership, teaching, or mentoring others in movements of decolonization. Over the three days, we hope to engage in conversations that will create understanding, build relationship, and ensure accountability in the critical movements to return Indigenous lands and lifeway.

The gathering hopes to:

  • Bring transparency and openness to our approaches and perspectives, ensuring we are moving and sharing in ways that center the Native peoples and lands we occupy while doing this work.
  • Create a space to share the stories and experiences that has sparked this work in individuals or peoples, seeking commonalities and differences that may lead to a base of knowledge that can be used to understand and support each other, as well as the future generations who follow in our uncertain footsteps.
  • Openly exchange and share knowledge, tools, approaches, perspectives, and ‘technologies’ to aid each other in non-competitive and collaborative ways,  seeking to eliminate competitive ego, ownership, and to discourage commodification of Indigenous thought and philosophies and recovered cultural information.

Participants will need to bring their own camping equipment, food to share, and cover your own transportation.  Some carpooling to the land from Rapid City will be available. Traditional protocols will be observed.

Click here for the online application…

Essential Questions on Ecology & Decolonization

Originally posted on hastenthedownfall:

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[This entry also appears in my Rewilding Community Toolbox Zine]

Personal Questions, Part I
Where does your water come from? Where does your food come from? Who makes the things you use? Under what conditions? Where does your poop go when you dispose of it? Where do your other wastes end up? Who lives within 200 feet of you when you sleep? How well do you know them? Do you interact more with creatures, or plastic?

Ecology Questions, Part I
Does the moon currently wax or wane? What wild flora, fauna, and fungi live around you? Which local native species do you know? What watershed do you live in? Which ones border it? What do you know about your local bioregion? Polar, temperate, or tropical climate? Do you know your latitude, humidity, and elevation? Your hardiness zone? The direction and source of your winds and rains? What terrestrial biomes…

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When Being An Ally Turns Into Being An Appropriator (Settler Conduct and Self Check) PDF

Originally posted on Warrior Publications:

Ancestral Pride ally appropriatorPRINT READY! In the same vein as our first infamous zine, for indigenous and settlers alike here are some serious thinks to think about especially if you think you don’t need too. As my web master and ally friend put it: “Sometimes I think I am veteran, you know, like the call-outs are for someone else, not me. But I need to keep tabs on these things.”

Do you ever think that truths or check yourself advice, articles, or memes are not about you? Do you feel you been around long enough to know whats up with indigenous resistance or any kind of activism and and so you are exempt from these types of teachings? If this is you YOU NEED TO READ THIS NOW!

You can purchase for $10 (or more! bigger donations for the zines are happily welcomed) with Email Money Transfer to mamazonscreations@gmail.com or Pay Pal to…

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HipHop’s Origins as Organic Decolonization

Originally posted on Decolonization:

by Damon Sajnani

Scholars routinely recognize HipHop’s political potential but this relation is commonly construed as incidental rather than definitive. Others have gestured to the colonization of HipHop in reference to the way minstrel stereotypes have replaced Afrocentric consciousness as the dominant theme in major label U.S. rap recordings post-1992. However, this leaves the antecedent relation of HipHop to colonization merely implied. This brief article outlines the more fundamental connection between HipHop culture and politics, specifically the politics of decolonization. HipHop culture, at its origins, is an organic decolonization of local urban space by internally colonized people in post-industrial 1970s New York.

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Rhyming Out the Future: Reclaiming Identity Through Indigenous Hip Hop

Originally posted on Decolonization:

by Lindsay Knight

Hip hop music has begun to transform the ways in which young Indigenous people perceive their environments and assert their identities. Examples of resistance in Indigenous music can easily be discovered through hip hop. Without easy access to land and rural communities, urban Indigenous people often have limited exposure to ceremonial ways of experiencing music. Many grow up without an awareness of the existence of Indigenous forms of song and dance beyond the limited versions taught in school. Instead, they are exposed to other forms of music, which they latch onto and reformat by incorporating Indigenous style and sound into the music. By focusing on positive and conscious artists who are situated in this growing movement, this essay describes how hip hop fills a cultural void within urban people’s identities, and assists in maintaining Indigenous worldview through resistance, revitalization and connection to the spirit world.

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Trackin’ settler colonial erasures in Palestine: Decolonizing Zionist toponymy

Tlalli Yaotl:

Solidarity with occupied Palestine!

Originally posted on Decolonization:

by Chandni Desai

Settler colonial societies use national mythologies to erase the genocidal history that lead to a settler nation’s founding. These national mythologies are profoundly racialized and spatialized stories. Sherene Razack (2002) argues that “although the spatial story that is told varies from one time to another, at each stage the story installs Europeans as entitled to the land, a claim that is codified in law” (p. 3). The legal doctrine of terra nullius – empty, uninhabited lands – describes territory that has supposedly never been subject to the sovereignty of any nation. Settler colonists used such laws to politically and materially occupy Indigenous land.

For example, early Zionist settler colonists rendered the land of Palestine as a “land without a people, for people without a land.” Zionist “imaginative geographies” (Said, 1978) constructed Palestine as terra nullius, the empty wilderness, a land that is “bare”, “abandoned”, “naked”, “virgin” and…

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Essay: Decolonizing the “Primitive Skills” Movement

Originally posted on On Stolen Land:

Decolonizing the “Primitive Skills” Movement

A note: I use the word “primitive skills” as a catchall for traditional, indigenous, ancestral, and earth-based skills and technologies, because it is the term widely used in the movement I speak of in this essay. However using the word “primitive” is problematic, as it implies that the technology of industrial civilization is more “advanced” than these older technologies, and ignores the fact that many of these technologies are part of living traditional cultures.

People in modern America choose to practice “primitive”, also called ancestral or earth-based skills, for a number of reasons. Many oppose the modern lifestyle, are critical of capitalism and civilization and mourn the ways it has disconnected us as humans from the earth. Many recognize that Indigenous ways of being represent a picture of humans living in harmony with nature, a truly sustainable way of life, finding food, shelter, and every…

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Unceded Voices – Anticolonial Street Artists Convergence 2015

UNCEDED VOICES : Anticolonial Street Artists Convergence fosters the idea of bringing together street artists of indigenous and settler origins and build an artistic community of shared anticolonial values. The convergence will promote a type of street art that advocates the decolonization of Turtle Island and will remind Montrealers of the city’s colonial past and present. The artists, living across the Canadian and American states, already focus part of their work on issues related to indigenous resistance, anti-oppressive and anti-capitalist street art.

This second convergence is starting on August 14 and runs until August 23 in so-called Montreal, unceded Kanien’kéhá:ka and Algonquin territories.

UNCEDED VOICES : Anticolonial Street Artists Convergence will organize its activities around two different axes. The first artistic axe will bring together the street artists to create art pieces on the streets of Tiohtià:ke, so-called Montreal. The works will differ in medium, subject and relationship to the public sphere. The second community axe will foster the idea of creating spaces to discuss political issues related to colonialism between the participants and organisms devoted to the urban native community of Tiohtià:ke. There should also be activities specifically designed to involve Indigenous youth.

The  Convergence is a completely grassroots effort, with absolutely no state or corporate funding. We need money to finance the project this year again. We rely on donations to meet our expenses, which is predominantly travel and art materials (paint, paste, scaffoldings, printing costs,etc.). To finance a part of our spending with the project, we ask for $5000.

If you want to support us, we offer perks (patches, prints, posters, sticker packs, mixtape) made by the artists participating in the project.

Throughout the Anti-Colonial Street Artists Convergence, visiting and local artists will be creating art pieces on the streets of Tiohtià:ke between August 14 until August 23. Some of these collaborations will be open to the public: visit the facebook and website of the Convergence frequently for updates. There will also be several events open to the public (workshops, panels, screenings, etc.)

Nia:wen/Thank you /Merci for your support !

gofundme.com/uncededvoices
decolonizingstreetart.com
facebook.com/decolonizingstreetart

Can We Live – And Be Modern?: Decolonization, Indigenous Modernity, and Hip Hop

Originally posted on Decolonization:

by Kyle T. Mays

Quite frankly, living as an Indigenous person in the United States of Amerikkka is difficult. For me, adding my blackness to the mix makes it even more challenging. But this essay is not about the difficulty of living in a settler colonial society, where we live in a constant state of occupation/colonialism/racism and other forms of violence; that is a fact of life for all of us (to varying degrees): Indigenous, Black, white–everyone. Instead, this essay is specifically about how we–Indigenous people–relate to one another, and how we understand ourselves living in contemporary society, as modern subjects.

Our cultures are an important part of decolonizing ourselves in a settler colonial society. By highlighting culture, I am not excluding the material reality of the everyday needs of Indigenous communities, including land, water, food, education, housing, etc. Decolonization is a process whereby we work to cleanse ourselves of…

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Remixing: Decolonial Strategies in Cultural Production

Originally posted on Decolonization:

by SCZ

Hip Hop has always been more than the narrow space of the boom bap; it’s reach extends past the designs of coloniality; its power lies in its unpredictability. As scholar, cultural producer and emcee, Bocafloja argues, “At root, we must recognize Hip Hop as a consequence of connected historical processes that transcended the official transcript.” What then becomes the role of the deejay or producer in disorienting this “official transcript”; how, in fact, are we “flippin’ the script” and positioning our narratives at the front of these cultural productions?

As a deejay, i become that sonic archivist, a reclaimer of histories and transcommunicator of knowledge. Through the remix we are able to signify the past as a means of informing the present, and provide a frame for the future. The information being communicated through mixing is a complex web of signifying, coding, reclaiming histories, and remembering…

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