Esta dissertação é pautada em trabalho de campo realizado junto aos Kaingang, grupo Jê Meridional, especialmente os que habitam aldeias localizadas nos territórios das bacias do Lago Guaíba e Rio dos Sinos. Trata das relações estabelecidas entre os Kaingang e os objetos por eles produzidos, sejam estes objetos utilitários, de comercialização, adornos corporais ou objetos em exposição em instituições de arte e museus. Os objetos de arte são tomados aqui como materializações das relações estabelecidas entre humanos e não-humanos. Propõe-se uma abordagem da arte que leve em conta a agência dos objetos sobre o cosmos, os corpos e pessoas kaingang e também as imagens imateriais, como sonhos, evocadas a partir de experiências de relações dos Kaingang com espíritos de humanos e nãohumanos. / This dissertation is based on fieldwork conducted among a group of indigenous Kaingang peoples, who inhabit the villages located in the regions surrounding Lake Guaíba and the Sinos River basins. The following discusses the relationship between the Kaingang and the various objects they produce, like tools, tradable items, body ornaments, and objects for display in art exhibitions or museums. The group’s unique art forms are taken as a materialization of the union between human and nonhuman entities. Also it proposes an approach to art that takes into account the agency of objects on the cosmos, the bodies, the Kaingang persons and also immaterial images, like dreams, evoked from experiences of Kaingang relations with humans and nonhuman spirits.

This dissertation examines “race” politics in Vancouver during the interwar period as one origin of human rights activism. Race-based rights activism is a fundamental element of the modern human rights movement and human rights consciousness in Canada. The rhetoric of race-based rights was problematic from its inception because activists asserted equality rights based on an assumption of racial difference – a paradox that persists in human rights rhetoric today. While the late interwar period marks the origin of modern rights rhetoric, it also reveals a parallel turning point in the history of “race.” The racial categories of “Oriental” and “Indian” originated as discursive tools of colonial oppression. But during the interwar period, these categories were being redefined by activists to connote a political identity, to advocate for rights and privileges within the Canadian nation. While many scholars interpret the driving force behind the Canadian “rights revolution” as a response to the work of civil libertarians and the events of the Second World War, I argue that changing interpretations of rights were also a result of activism from within racialized communities. Interwar Vancouver was a central site for Canadian “race” politics. This type of political activism manifested in response to a range of different events, including a persistent “White Canada” movement; the Indian Arts and Crafts revival; conflict over the sale of the Kitsilano Reservation; the 1936 Golden Jubilee celebrations; sustained anti-Oriental legislation; and a police campaign to “clean up” Chinatown. At the same time, economists and intellectuals in Vancouver were beginning to recognize the importance of international relations with Pacific Rim countries to both the provincial and national economies. When “whiteness” was articulated by businessmen and politicians in City Hall, it was most often used as a means of defending local privileges. In contrast, the “Indian” and “Oriental” identities that were constructed by activists in this period were influenced by transnational notions of human rights and equality. The racial identities that were formed in this local context had an enduring influence on the national debates and strategies concerning rights that followed.

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)

Esta dissertação é pautada em trabalho de campo realizado junto aos Kaingang, grupo Jê Meridional, especialmente os que habitam aldeias localizadas nos territórios das bacias do Lago Guaíba e Rio dos Sinos. Trata das relações estabelecidas entre os Kaingang e os objetos por eles produzidos, sejam estes objetos utilitários, de comercialização, adornos corporais ou objetos em exposição em instituições de arte e museus. Os objetos de arte são tomados aqui como materializações das relações estabelecidas entre humanos e não-humanos. Propõe-se uma abordagem da arte que leve em conta a agência dos objetos sobre o cosmos, os corpos e pessoas kaingang e também as imagens imateriais, como sonhos, evocadas a partir de experiências de relações dos Kaingang com espíritos de humanos e nãohumanos. / This dissertation is based on fieldwork conducted among a group of indigenous Kaingang peoples, who inhabit the villages located in the regions surrounding Lake Guaíba and the Sinos River basins. The following discusses the relationship between the Kaingang and the various objects they produce, like tools, tradable items, body ornaments, and objects for display in art exhibitions or museums. The group’s unique art forms are taken as a materialization of the union between human and nonhuman entities. Also it proposes an approach to art that takes into account the agency of objects on the cosmos, the bodies, the Kaingang persons and also immaterial images, like dreams, evoked from experiences of Kaingang relations with humans and nonhuman spirits.

Esta dissertação é pautada em trabalho de campo realizado junto aos Kaingang, grupo Jê Meridional, especialmente os que habitam aldeias localizadas nos territórios das bacias do Lago Guaíba e Rio dos Sinos. Trata das relações estabelecidas entre os Kaingang e os objetos por eles produzidos, sejam estes objetos utilitários, de comercialização, adornos corporais ou objetos em exposição em instituições de arte e museus. Os objetos de arte são tomados aqui como materializações das relações estabelecidas entre humanos e não-humanos. Propõe-se uma abordagem da arte que leve em conta a agência dos objetos sobre o cosmos, os corpos e pessoas kaingang e também as imagens imateriais, como sonhos, evocadas a partir de experiências de relações dos Kaingang com espíritos de humanos e nãohumanos. / This dissertation is based on fieldwork conducted among a group of indigenous Kaingang peoples, who inhabit the villages located in the regions surrounding Lake Guaíba and the Sinos River basins. The following discusses the relationship between the Kaingang and the various objects they produce, like tools, tradable items, body ornaments, and objects for display in art exhibitions or museums. The group’s unique art forms are taken as a materialization of the union between human and nonhuman entities. Also it proposes an approach to art that takes into account the agency of objects on the cosmos, the bodies, the Kaingang persons and also immaterial images, like dreams, evoked from experiences of Kaingang relations with humans and nonhuman spirits.

Esta investigación estudia las influencias musicales y las etapas que la Escuela Cusqueña indigenista afrontó a partir de una revisión que indaga en los sucesos que afectaron el desarrollo de la música en Cusco durante los periodos virreinales, decimonónicos y los primeros años del siglo XX. Este enfoque prioriza a los eventos históricos debido a que el indigenismo musical cusqueño se proyectó sobre las expresiones populares consolidadas en un extenso proceso sociocultural. La investigación está estructurada en 3 capítulos. El primero corresponde a la revisión de las raíces indigenistas en el Virreinato del Perú. El segundo estudia la aparición del preindigenismo durante el periodo republicano del siglo XIX. El tercero aborda a la Escuela Cusqueña desde la difusión del movimiento indigenista a comienzos del siglo XX. / This research studies the influences and stages faced by the Cusco indigenist school in the first half of the 20th century, based on a review that examines the viceregal period, nineteenth-century and the first years of the twentieth century that impacted the development of music in Cusco. This approach prioritizes the historical events due to the fact that the Cusco musical indigenism was projected on the popular expressions consolidated in an extensive social and cultural process. The investigation is structured in 3 chapters. The first one corresponds to the revision of the indigenist roots in the Viceroyalty of Peru. The second studies the most immediate roots of the preindigenismo in the republican period of the 19th century. The third discusses the music development since the dissemination of the indigenous movement in the early twentieth century. / Tesis

De 2003 à 2017, le jardin des Premières-Nations du Jardin botanique de Montréal a été le lieu d’exposition de 12 œuvres d’artistes autochtones dans le cadre du Concours d’œuvre murale éphémère lancé par Sylvie Paré. Ce mémoire rassemble l’ensemble de cette exposition afin d’en relever le discours général et les liens que les œuvres entretiennent entre elles, avec le Jardin et avec les territoires physiques et imaginaires. À travers une analyse formelle et symbolique des œuvres qui intègre les ontologies, épistémologies et méthodologies des Premières Nations, je souhaite réfléchir aux liens qui unissent les notions que sont le regard, le territoire, l’interconnexion et la mémoire. Le premier chapitre s’articule autour du mouvement de distanciation opéré par le regard perçu comme un intermédiaire « objectif » de l’expérience humaine et de la séparation (ou schisme) qu’il engendre entre nature et culture. Je m’intéresse ensuite à la remise en question de cette rupture par le Jardin des Premières-Nations. Le deuxième chapitre de ce mémoire s’intéresse plus spécifiquement aux perspectives obliques adoptées par les œuvres du concours en ce qu’ils se portent sur les mémoires et les marques culturelles laissées par les nations autochtones sur les territoires depuis plus de 10 000 ans. Par ailleurs, si les murales traduisent généralement une inquiétude environnementale, elles le font à travers le regard de différentes « entités » qui y circulent de manière fluide et circulaire dans l’espace, le temps et l’intersubjectivité. Elles explorent les traces physiques et imaginaires des relations entretenues avec le territoire et mettent en lumière l’existence d’une relation de réciprocité avec l’univers dont le territoire tient un rôle dynamique. / From 2003 to 2017, the First Nations Garden of the Montréal Botanical Garden has exhibited each year the mural artwork of an Indigenous artist as part of the Ephemeral mural contest launched by Sylvie Paré. This memoir brings together all of this exhibition in order to highlight the general discourse and the relations that the artworks have with each other, with the Garden and with the physical and imaginary territories. Through a formal and symbolic analysis of this exposition, that integrates the ontologies, epistemology and methodologies of the First Nations, I wish to reflect on the links that unite the notions of gaze, territory, interconnection and memory. The first chapter focuses on the distance generated by the sight seen as an intermediary “objective” of human experience, and the separation (or schism) that it created between the conceptions of nature and culture. I will then look at how the First Nations Garden questions this rupture. The second chapter of this dissertation focuses more specifically on the oblique perspectives adopted by the mural artworks in that they focus on memories and cultural marks left by the indigenous nations on the territories for more than 10,000 years. Moreover, if the murals generally express an environmental concern, they do so through the eyes of different “entities” circulating fluidly and circularly in space, time and intersubjectivity. They explore the physical and imaginary traces of relationships with the territory and highlight the existence of a relationship of reciprocity with the universe in which the territory plays a dynamic role.

En regard aux conclusions de différentes commissions d’enquête (Enquête nationale sur les femmes et les filles autochtones disparues et assassinées en 2014, Commission de vérité et réconciliation en 2015, Commission Viens en 2019), les blessures perpétrées par le régime colonial canadien aux Autochtones apparaissent impossibles à nier. En territoire anicinabe d’Abitibi, une réelle affirmation culturelle autochtone témoigne alors d’une prise de parole dans l’espace urbain. En lien avec l’histoire de la colonisation du territoire qui les a vus naître, ce mémoire analyse quatre réalisations environnementales publiques : Des pierres qui prient (Pésémapéo-Bordeleau 1997, Amos), Poésie en marche pour Sindy (Pésémapéo-Bordeleau 2017, Val-d’Or), Otipi (Papatè 2017, Val-d’Or) et Orignal (Boulanger, Binette, Happyjack et Kakekayash 2019, Val-d’Or). À travers les propos des artistes (Pascale-Josée Binette, Kigos Papatè et Virginia Pésémapéo-Bordeleau), de travailleuses culturelles impliquées dans les projets rencontré.e.s (Geneviève Béland, Carmelle Adam et Marianne Trudel), puis de penseur.e.s majoritairement autochtones, ces différentes œuvres sont réfléchies comme participant au mouvement autochtone de guérison entamé en Abitibi depuis plusieurs années, et s’opposant aux effets du colonialisme encore perceptibles dans les villes. Ces différentes manifestations culturelles proposent une façon d’être en relation à la nature dans l’espace urbain, plus près d’un rapport animiste qu'anthropocentriste. Pensant leur pratique artistique à partir de leurs cultures ancestrales, ces artistes autochtones contemporains lient leurs blessures à celles de la Terre-Mère et s’expriment ainsi sur les conséquences des développements coloniaux de ce territoire. Ces démarches environnementales autochtones anticoloniales en ces terres urbanisées visent ainsi à rétablir un équilibre. / In light of the conclusions of various commissions of inquiry (National Inquiry into Missing and Murdered Indigenous Women and Girls in 2014, Truth and Reconciliation Commission of Canada in 2015, Viens Commission in 2019), the harm perpetrated by the Canadian colonial regime on Indigenous people is impossible to deny. In the Anicinabe territory of Abitibi, a genuine Indigenous cultural affirmation thus testifies to the fact that they are speaking out in the urban space. This dissertation analyzes four public environmental artworks, connecting them to the history of colonization of the territory where they emerged : Des pierres qui prient (Pésémapéo-Bordeleau 1997, Amos), Poésie en marche pour Sindy (Pésémapéo-Bordeleau 2017, Val-d'Or), Otipi (Papatè 2017, Val-d'Or) and Orignal (Boulanger, Binette, Happyjack and Kakekayash 2019, Val-d'Or). Through my encounters with the artists (Pascale-Josée Binette, Kigos Papatè and Virginia Pésémapéo-Bordeleau), as well as the cultural workers involved in the projects (Geneviève Béland, Carmelle Adam and Marianne Trudel), and building on theories of mostly Indigenous thinkers, these different works are reflected as participating in the Indigenous healing movement that is underway in Abitibi for several years, and as opposing the effects of colonialism that are still perceptible in the cities. These different cultural manifestations propose a way of relating to nature in the urban space closer to an animistic than anthropocentric relationship. Anchoring their artistic practice in their ancestrals cultures, these contemporary indigenous artists link their wounds to those of Mother Earth, hence expressing themselves on the consequences of colonial developments in these lands. These anti-colonial indigenous environmental approaches thus aim to restore a balance in urbanized lands.

Les modes de gestion et de représentation des territoires ancestraux autochtones sont encore aujourd’hui largement enclavés dans des structures rhétoriques colonialistes. Les notions de propriété privée et de frontière étatique, les mythes de la terra nullius et de la découverte, la dominance de l’écriture et la dévaluation de l’oralité, sont autant de préceptes sur lesquels s’appuient à ce jour les outils textuels législatifs et géopolitiques canadiens. Ainsi, les épistémologies autochtones se trouvent marginalisées et délégitimées au sein des lois, des cartes nationales et de certains traités, qui s’imposent comme des cadres naturalisés de création, de transmission et de négation des connaissances spatiales. Lors de processus de revendications territoriales, certains acteurs et actrices politiques se consacrent à une autochtonisation des vocabulaires et méthodologies discursives des arènes juridique et législative, parvenant à y tailler des espaces de résurgence pour les voix autochtones. Néanmoins, un tel exercice de traduction culturelle s’avère souvent hasardeux et unidirectionnel, pouvant mener à une instrumentalisation ou à une dénaturation des savoirs autochtones. Cette thèse porte sur les stratégies développées par des artistes et auteur.es autochtones qui démantèlent, autochtonisent et outrepassent les outils textuels étatiques. Elle vise à démontrer que leur articulation de récits intimes, intergénérationnels et mythologiques comme matrices théorisantes permet une réactivation des réseaux relationnels holistes qui se trouvent à la base même des lois, des pratiques de gestion territoriale et, ultimement, des modes de formation identitaire autochtones évacués des enceintes coloniales. Nous proposons ainsi que les notions de souveraineté territoriale, mémorielle et rhétorique y sont imbriquées dans une triangulation dynamique qui prend racine dans des réalités locales, tout en trouvant écho dans des réseaux transcommunautaires élargis. Dans les œuvres de Nadia Myre, Lawrence Paul Yuxweluptun et Alan Michelson, notamment, de même que dans les écrits théoriques ou fictionnels de Gerald Vizenor et Taiaiake Alfred, les textes coercitifs comme la Loi sur les Indiens sont soit démantelés par le biais de grammaires visuelles endogènes et de structures narratives ancestrales réactualisées, soit extraits de l’enceinte législative et projetés en des espaces de réflexions dialogiques, hétérogènes et non coloniaux. De plus, les artistes Sonny Assu, Olivia Whetung et Christi Belcourt, de même que les autrices Leanne Betasamosake Simpson et Mishuana Goeman, entre autres, initient selon nous, par leurs discours de respatialisation décoloniale, un changement paradigmatique plutôt qu’un simple renversement des relations d’autorité déséquilibrées établies et portées par les cartes nationales et cadastrales. Les récits en résurgence qui articulent leurs représentations contre-cartographiques sont récoltés et transmis par le biais de pratiques matérielles, performatives et affectives témoignant d’une survivance collective des épistémologies autochtones au sein de leurs espaces de formation identitaire, malgré les restructurations de ces territoires par des infrastructures et des discours cartographiques coloniaux. Nous souhaitons donc démontrer, par ce travail d’analyse intertextuelle, que les philosophies holistes, expérientielles et intergénérationnelles ancestrales, retravaillées au moyen des arts, des langues et des récits, fournissent des méthodologies d’effritement de vastes structures rhétoriques hégémoniques, de même que des modèles de création d’espaces transnationaux et décoloniaux d’où émergent de nouveaux possibles. / Territorial management policies and dominant ways of depicting Indigenous lands are still today extensively entrenched in colonial structures and ideologies. The concepts of private property and state borders, the doctrines of discovery and terra nullius, the devaluation of oral traditions and the domination of writing systems, are only but a few of the precepts that underpin contemporary legislative and geopolitical frameworks. Thus, Indigenous epistemologies are often marginalized and delegitimized within legislative texts, national cartography, and certain treaties, which act as all-encompassing frames of knowledge production, dissemination, and negation. During land claim negotiations, First Nations representatives devote themselves to indigenizing the vocabularies and methodologies that shape legal spheres, effectively carving out spaces of resurgence for Indigenous voices. However, such endeavors of cultural translation can prove hazardous and unidirectional, sometimes leading to Indigenous knowledges being manipulated or distorted. This thesis focuses on the strategies developed by Indigenous artists and writers who dismantle, indigenize, and bypass those state-sanctioned texts through their productions. We wish to demonstrate that these creators articulate personal, collective, and mythological stories as theoretical frameworks. In doing so, they reactivate the kinship networks that also shape ancestral laws, land management practices and modes of identity formation, which are often dismissed within colonial discourses. We argue that territorial, rhetorical, and memorial sovereignties are therefore entwined in a dynamic triangulation that simultaneously stems from a local context, and resonates on a transnational level. In Nadia Myre, Lawrence Paul Yuxweluptun, and Alan Michelson’s artworks, as well as in Gerald Vizenor and Taiaiake Alfred’s theoretical and fictional writings, coercive texts such as the Indian Act are either dismantled through the revitalization of endogenous visual grammars and ancestral narrative structures, or extracted from the legislative sphere and relocated in spaces of dialogical, heterogenous, and non colonial reflection. Moreover, we argue that artists such as Sonny Assu, Olivia Whetung, and Christi Belourt, as well as authors like Leanne Betasamosake Simpson and Mishuana Goeman, initiate a paradigmatic change rather than a simple reversal of the skewed authority dynamics conveyed by national cartography and cadastral maps. The stories they use to structure their counter-mapping discourses are harvested and transmitted through material, relational, and performance practices that attest to the survivance of Indigenous epistemologies, despite the restructuring of their traditional spaces of identity formation by colonial infrastructures and mapping tools. Throughout our inter-textual analyses, we wish to demonstrate that holistic, experiential, and ancestral philosophies, when revisited through artworks and stories, provide both decolonial methodologies that may erode hegemonic rhetorical structures, and tools to generate transnational spaces of resurgence.