Thesis (M.A.)--University of Canterbury, 2009. / Typescript (photocopy). Includes bibliographical references (leaves 132-136). Also available via the World Wide Web.

In 2015, the Truth and Reconciliation Commission made their final recommendations for Canadian society to address cultural genocide: by affirming stories of survivors, taking personal and professional inventory of their practices and making concrete steps to meet the Calls to Action. In particular, the TRC recognized damage done by museums and art galleries to perpetuate colonialism and yet, believed that these institutions could be sites of justice, particularly in relation to arts and artists The Art Gallery of Greater Victoria, an institution steeped in colonialism and under pressure to create accountable relationships with Indigenous communities, began to act by revamping their education program for school age children entitled the Gallery in the Schools art program. My study asked Indigenous artists and educators to contribute their ideas for a new art program. I used a blended research of community based and decolonizing research models, contextualized within decolonizing and critical theoretical frameworks. Overall, research findings suggest that process is as important as the end product in the context of reconciliation and decolonization. Significantly, relationships were esteemed over the concept of reconciliation. These finding further imply that a successful art program would ground pedagogical content within a critical historical framework, be informed by a fluid understanding of identity and search out possibilities of hope. The theoretical implications of this study support increased contributions by Indigenous artists as key policy makers, who will challenge the deeply embedded power structures of institutions and offer alternative ways to share power and support Indigenous envisioned futures. / Graduate

Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2017-10-31T17:31:14Z No. of bitstreams: 1 2016 - Ronaldo Cardoso da SIlva.pdf: 2484740 bytes, checksum: 83d6d2139c83ab0a39203dd4e6c84dfd (MD5) / Made available in DSpace on 2017-10-31T17:31:14Z (GMT). No. of bitstreams: 1 2016 - Ronaldo Cardoso da SIlva.pdf: 2484740 bytes, checksum: 83d6d2139c83ab0a39203dd4e6c84dfd (MD5) Previous issue date: 2016-10-17 / This dissertation portrays a research carried out with students of the Integrated Technical Course on Agropecu?ria PRO-EJA Indigenous of the Federal Institute of Amazonas - IFAM, in the Municipality of Tabatinga, located in the western part of the state of Amazonas. It has, among others, the purpose of proposing didactic strategies for the teaching and learning processes of Geometry, based on the relation of the contents of geometry with geometric patterns observed in the confection processes and handicrafts of the Ticuna indigenous peoples of the Umaria?? Indigenous Community, as well as suggest some pedagogical activities to be worked using these elements. The methodology of this work consists in the application of a questionnaire to evaluate the level of understanding and the importance of geometry for the students and for the course, in detailed observations of the student?s presentation during the seminars where the students presented results of their researches. The realization of craft workshops aiming to establish a relationship between the geometric patterns studied and those found in this process, and their possible application in problems of their daily life. During the seminars and in the confection activities it was noticed that the handicrafts facilitated the understanding of the basic contents of geometry because they are part of the socio-cultural context of the student. The satisfaction and motivation for the recognition of their culture were evidenced in the evaluation. In this way, it can be said that indigenous handicrafts can facilitate the teaching and learning processes of geometry for these students. This work also intends to make a modest contribution to the mathematics teachers of the indigenous schools with some suggestions of activities that can be developed by the students of the community with the intention of making the learning more meaningful and pleasant for the students and also to strengthen the traditional culture of the Ticunas / Esta disserta??o retrata uma pesquisa realizada com alunos do Curso T?cnico Integrado em Agropecu?ria PRO-EJA Ind?gena do Instituto Federal do Amazonas ? IFAM, situado no Munic?pio de Tabatinga, localizado no oeste do estado do Amazonas. Tem, entre outras, a finalidade de propor estrat?gias did?ticas para os processos de ensino e aprendizagem da Geometria, baseada na rela??o dos conte?dos de geometria com padr?es geom?tricos observados nos processos de confec??o e nos artesanatos dos povos ind?genas da etnia Ticuna da Comunidade ind?gena Umaria??, bem como sugerir algumas atividades pedag?gicas para serem trabalhadas utilizando esses elementos. A metodologia deste trabalho consiste na aplica??o de um question?rio para avaliar o n?vel de entendimento e a import?ncia da geometria para os alunos e para o curso, em observa??es detalhadas da apresenta??o dos alunos durante os semin?rios onde os discentes apresentaram resultados de suas pesquisas. A realiza??o de oficinas de confec??o de artesanatos visando estabelecer rela??o entre os padr?es geom?tricos estudados com os encontrados nesse processo, e sua poss?vel aplica??o em problemas do seu cotidiano. Durante os semin?rios e nas atividades de confec??o percebeu-se que os artesanatos facilitaram o entendimento dos conte?dos b?sicos de geometria por fazerem parte do contexto sociocultural do discente. A satisfa??o e motiva??o pelo reconhecimento de sua cultura foram evidenciados na avalia??o. Desta forma, pode-se afirmar que os artesanatos ind?genas, podem facilitar os processos de ensino e aprendizagem da geometria para estes discentes. Este trabalho pretende ainda dar uma modesta contribui??o aos docentes de matem?tica das escolas ind?genas com algumas sugest?es de atividades que podem ser desenvolvidas pelos alunos da comunidade com o intuito de tornar a aprendizagem mais significativa e prazerosa para os discentes e tamb?m fortalecer a cultura tradicional dos Ticunas.

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<p>This research work addresses the problem being faced by developing countries in the commercial exploitation of their traditional cultural expressions (TCEs) by third parties without giving due attribution to nor sharing benefits with the communities from which these TCEs originate. This problem stems from the inability of customary law systems which regulates life in such communities to adequately cater for the protection of these TCEs. The legal systems of the developing countries have also proven to be ineffective in the protection of TCEs from such misappropriation and unauthorized commercial exploitation. This mini-thesis examines how TCEs have been protected domestically through national legislation and internationally through treaties and proposes means by which they can be protected in a manner that would preserve them, while promoting the dissemination of those which can be shared without destroying their inherent nature. This mini-thesis thus explores avenues through which the protection of TCEs would contribute to economic and human development in developing countries.</p>

This dissertation examines the transformative and decolonizing potential of Indigenous art-making and creativity to resist ongoing forms of settler colonialism and advance Indigenous nationhood and resurgence. Through a transdisciplinary investigation of contemporary Indigenous art, aesthetics, performance, music, hip-hop and remix culture, the project explores indigeneity’s opaque transits, trajectories, and fugitive forms. In resistance to the demands and limits imposed by settler colonial power upon Indigenous artists to perform indigeneity according to settler colonial logics, the project examines creative acts of affirmative refusal (or creative negation) that enact a resistant force against the masked dance of Empire by refusing forms of visibility and subjectivity that render indigeneity vulnerable to commodification and control. Through extensive interviews with Indigenous artists, musicians, and collectives working in a range of disciplinary backgrounds across Turtle Island, I stage an Indigenous intervention into multiple discursive forms of knowledge production and analysis, by cutting into and across the fields of Indigenous studies, contemporary art and aesthetics, performance studies, critical theory, political philosophy, sound studies, and hip-hop scholarship. The project seeks to elaborate decolonial political potentialities that are latent in the enfolded act of creation which, for Indigenous artists, both constellate new forms of community, while also affirming deep continuities within Indigenous practices of collective, creative expression. Against the colonial injunction to ‘represent’ indigeneity according to a determinate set of coordinates, I argue that Indigenous art-making and creativity function as the noise to colonialism’s signal: a force capable of disrupting colonial legibility and the repeated imposition of the normative order. Such force gains power through movement and action; it is in the act of turning away from the colonial state, and toward one another, that spaces of generative indeterminacy become possible. In the decolonial cypher, I claim, new forms of being elsewhere and otherwise have the potential to be realized and decolonized. / Graduate / 0357 / 0413 / 0615 / martij@uvic.ca

<p>This research work addresses the problem being faced by developing countries in the commercial exploitation of their traditional cultural expressions (TCEs) by third parties without giving due attribution to nor sharing benefits with the communities from which these TCEs originate. This problem stems from the inability of customary law systems which regulates life in such communities to adequately cater for the protection of these TCEs. The legal systems of the developing countries have also proven to be ineffective in the protection of TCEs from such misappropriation and unauthorized commercial exploitation. This mini-thesis examines how TCEs have been protected domestically through national legislation and internationally through treaties and proposes means by which they can be protected in a manner that would preserve them, while promoting the dissemination of those which can be shared without destroying their inherent nature. This mini-thesis thus explores avenues through which the protection of TCEs would contribute to economic and human development in developing countries.</p>

Magister Legum - LLM / This research work addresses the problem being faced by developing countries in the commercial exploitation of their traditional cultural expressions (TCEs) by third parties without giving due attribution to nor sharing benefits with the communities from which these TCEs originate. This problem stems from the inability of customary law systems which regulates life in such communities to adequately cater for the protection of these TCEs. The legal systems of the developing countries have also proven to be ineffective in the protection of TCEs from such misappropriation and unauthorized commercial exploitation. This mini-thesis examines how TCEs have been protected domestically through national legislation and internationally through treaties and proposes means by which they can be protected in a manner that would preserve them, while promoting the dissemination of those which can be shared without destroying their inherent nature. This mini-thesis thus explores avenues through which the protection of TCEs would contribute to economic and human development in developing countries. / South Africa

This study takes up the phrase ‘the skin of all’ as a means to explore the tension between the singular and the collective, and between union and estrangement. I examine aesthetic, symbolic, and theoretical attempts at unification amidst various forms of difference and the political imperatives and implications attached to this aim. The goal is to analyze how such attempts were related to the development of artistic institutions and discourses as well as to broader sociopolitical conditions within and beyond Brazil’s dictatorship era (1964-1985). This dissertation reflects on the reemergence of the discourse of antropofagia throughout the sixties and seventies in Brazil, a concept first developed in the 1920s as an explicit rejection of the privileged position of European culture and the assertion of a unified Brazilian national identity forged from its colonial histories and the co-presence of indigenous, African, and European identities. I emphasize that antropofagia has functioned as a counterhegemonic proposition reliant on the appropriation of marginal racial positions and their integration into a larger national framework, while still acknowledging the productive potentials that antropofagia’s collapsing of boundaries facilitates. My project challenges simplified narratives of harmonic exchange, embracing contradiction and the tensions of privilege, access, and power. Examining primary sources, contemporaneous writings and present-day scholarship, this project interrogates the mythos, life, and after-life of Pape and Oiticica’s performance and participatory works and analyzes these alongside both artist’s media-based practices. Analyzing the broader aims and implications of Lygia Pape and Hélio Oiticica’s engagement with Black and indigenous cultures, I unpack the ways their works irresolutely engage with race in the Brazilian context and how a primitivistic essentialism has been central to these works and their reception.

This study considered indigenisation to involve a process of making the local people `feel at home' in their Church. The ministry of early catechists such as Bernard Mizeki and Frank Ziqubu was crucial in showing the fact that the Anglican Church was not necessarily a church for Europeans only, but for the indigenous people as well. After this first generation of catechists there were numerous indigenous catechists who also ministered in the Diocese of Mashonaland by way of preparing people for the different sacraments found in the Anglican Church. On the other hand the training of the indigenous people for the ordained ministry was also another significant step in the process of indigenisation in the Diocese of Mashonaland. In this regard theological institutions such as St Augustine's Seminary in Penhalonga Manicaland, St Peter's Seminary Rossettenville in Johannesburg and St John's Seminary in Lusaka provided the much needed training. This study also revealed that although the Diocese of Mashonaland had an indigenous person at its helm in 1981, it remained European in several facets of its life. Although translations as a form of indigenisation started from the beginning of the Diocese of Mashonaland and continued right up to 1981, it seems it actually crippled the local indigenous peoples' innovativeness and ingenuity. In addition indigenous musical instruments also took sometime before they could be accepted in divine worship. On the other hand local art and décor as well as local architectural expressions took time to be incorporated into the Diocese of Mashonaland. However few early European missionaries such as Arthur Shirley Cripps and Edgar Lloyd tried to implement local architecture and décor in their churches in Daramombe and Rusape respectively. This study has also established that although the Anglican Diocese of Mashonaland got indigenous leadership by 1981, its liturgy, theology as well as its Acts and Canons remained European. / Christian Spirituality, Church History and Missiology / D. Div. (Church History)