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This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1989.

The Portuguese Colonial Empire established its base in Africa in the fifteenth century and would not be dissolved until 1975. This book investigates how the different populations under Portuguese rule were represented within the context of the Colonial Empire by examining the relationship between these representations and the meanings attached to the notion of ‘race’. Colour, for example, an apparently objective criterion of classification, became a synonym or near-synonym for ‘race’, a more abstract notion for which attempts were made to establish scientific credibility. Through her analysis of government documents, colonial propaganda materials and interviews, the author employs an anthropological perspective to examine how the existence of racist theories, originating in the eighteenth and nineteenth centuries, went on to inform the policy of the Estado Novo (Second Republic, 1933–1974) and the production of academic literature on ‘race’ in Portugal. This study provides insight into the relationship between the racist formulations disseminated in Portugal and the racist theories produced from the eighteenth century onward in Europe and beyond.

Self-determination is on the agenda of Indigenous peoples all over the world. This analysis by an Indigenous feminist scholar challenges the United Nations-based human rights agendas and colonial theory that until now have shaped Indigenous models of self-determination. Gender inequality and gender violence, Dian Million argues, are critically important elements in the process of self-determination.Million contends that nation-state relations are influenced by a theory of trauma ascendant with the rise of neoliberalism. Such use of trauma theory regarding human rights corresponds to a therapeutic narrative by Western governments negotiating with Indigenous nations as they seek self-determination.Focusing on Canada and drawing comparisons with the United States and Australia, Million brings a genealogical understanding of trauma against a historical filter. Illustrating how Indigenous people are positioned differently in Canada, Australia, and the United States in their articulation of trauma, the author particularly addresses the violence against women as a language within a greater politic. The book introduces an Indigenous feminist critique of this violence against the medicalized framework of addressing trauma and looks to the larger goals of decolonization. Noting the influence of humanitarian psychiatry, Million goes on to confront the implications of simply dismissing Indigenous healing and storytelling traditions.Therapeutic Nationsis the first book to demonstrate affect and trauma's wide-ranging historical origins in an Indigenous setting, offering insights into community healing programs. The author's theoretical sophistication and original research make the book relevant across a range of disciplines as it challenges key concepts of American Indian and Indigenous studies.

In the Current Where Drowning Is Beautiful is a meditation on water, land, women, and violent environmental changes as they affect both the natural world and human migration. The poet reckons with the unsettling realities that women experience, questioning the cause and effect of events and asking why stories of oppression are so often simply accepted as the only stories. Alutiiq language is used throughout these poems that are in conversation with history, ancestors, and an uncertain future, in imagery that moves in waves, returning again and again to the ocean, and a deep visioning of the current. Excerpt from IN THE FIELD They asked me if I was a citizen. They wanted to know what I had seen/ I had heard/ this was only a test: Look at the mark and tell them what you see. [...]

Employing a transregional and interdisciplinary approach, this volume explores indigenous and black confraternities -or lay Catholic brotherhoods- founded in colonial Spanish America and Brazil between the sixteenth and eighteenth century. It presents a varied group of cases of religious confraternities founded by subaltern subjects, both in rural and urban spaces of colonial Latin America, to understand the dynamics and relations between the peripheral and central areas of colonial society, underlying the ways in which colonialized subjects navigated the colonial domain with forms of social organization and cultural and religious practices. The book analyzes indigenous and black confraternal cultural practices as forms of negotiation and resistance shaped by local devotional identities that also transgressed imperial religious and racial hierarchies. The analysis of these practices explores the intersections between ethnic identity and ritual devotion, as well as how the establishment of black and indigenous religious confraternities carried the potential to subvert colonial discourse.

Ruth Phillips argues that these practices are \"indigenous\" not only because they originate in Aboriginal activism but because they draw on a distinctively Canadian preference for compromise and tolerance for ambiguity. Phillips dissects seminal exhibitions of Indigenous art to show how changes in display, curatorial voice, and authority stem from broad social, economic, and political forces outside the museum and moves beyond Canadian institutions and practices to discuss historically interrelated developments and exhibitions in the United States, Britain, Australia, and elsewhere. Drawing on forty years of experience as an art historian, curator, exhibition critic, and museum director, she emphasizes the complex and situated nature of the problems that face museums, introducing new perspectives on controversial exhibitions and moments of contestation. A manifesto that calls on us to re-imagine the museum as a place to embrace global interconnectedness, Museum Pieces emphasizes the transformative power of museum controversy and analyses shifting ideas about art, authenticity, and power in the modern museum.

This is the biography of Sherman Coolidge, Arapaho survivor of the Indian Wars, witness to the maladministration of the reservation system, mediator between Native and white worlds, and ultimate defender of Native rights and heritage.

Young countercultural back-to-the-land settlers flocked to northwestern California beginning in the 1960s, and by the 1970s, unregulated cannabis production proliferated on Indigenous lands. As of 2021, the California cannabis economy was valued at $3.5 billion. In Settler Cannabis , Kaitlin Reed demonstrates how this \"green rush\" is only the most recent example of settler colonial resource extraction and wealth accumulation. Situating the cannabis industry within this broader legacy, the author traces patterns of resource rushing-first gold, then timber, then fish, and now cannabis-to reveal the ongoing impacts on Indigenous cultures, lands, waters, and bodies. Reed shares this history to inform the path toward an alternative future, one that starts with the return of land to Indigenous stewardship and rejects the commodification and control of nature for profit. Combining archival research with testimonies and interviews with tribal members, tribal employees, and settler state employees, Settler Cannabis offers a groundbreaking analysis of the environmental consequences of cannabis cultivation that foregrounds Indigenous voices, experiences, and histories.

While Indigenous media have gained increasing prominence around the world, the vibrant Aboriginal media world on the Canadian West Coast has received little scholarly attention. As the first ethnography of the Aboriginal media community in Vancouver,Sovereign Screensreveals the various social forces shaping Aboriginal media production including community media organizations and avant-garde art centers, as well as the national spaces of cultural policy and media institutions. Kristin L. Dowell uses the concept of visual sovereignty to examine the practices, forms, and meanings through which Aboriginal filmmakers tell their individual stories and those of their Aboriginal nations and the intertribal urban communities in which they work. She explores the ongoing debates within the community about what constitutes Aboriginal media, how this work intervenes in the national Canadian mediascape, and how filmmakers use technology in a wide range of genres-including experimental media-to recuperate cultural traditions and reimagine Aboriginal kinship and sociality. Analyzing the interactive relations between this social community and the media forms it produces,Sovereign Screensoffers new insights into the on-screen and off-screen impacts of Aboriginal media.

In Braided Learning, Lenape-Potawatomi educator Susan Dion inspires engagement with the histories and perspectives of Indigenous peoples, cultivating capacities for understanding, attunement, and respect.