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Politicians may or may not follow—it is up to them—but we will design, build, and lead this movement with or without them.\u003c\/p\u003e\n\u003cp\u003eWhen the Red Nation released their call for a “red deal,” it generated coverage in places from Teen Vogue to Jacobin to the New Republic, was endorsed by the DSA, and has galvanized organizing and action. Now, in response to popular demand, the Red Nation expands their original statement filling in the histories and ideas that formed it and forwarding an even more powerful case for the actions it demands.\u003c\/p\u003e\n\u003cp\u003eThe Red Deal is a call for action beyond the scope of the US colonial state. It’s a program for Indigenous liberation, life, and land—an affirmation that colonialism and capitalism must be overturned for this planet to be habitable for human and other-than-human relatives to live dignified lives. The Red Deal is not a response to the Green New Deal, or a “bargain” with the elite and powerful. 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A critical response to what has been called the “whiteness of sound studies,” Dylan Robinson evaluates how decolonial practices of listening emerge from increasing awareness of our listening positionality.\u003c\/p\u003e\n\u003cp\u003eWith case studies on Indigenous participation in classical music, musicals, and popular music, \u003cem\u003eHungry Listening\u003c\/em\u003e examines structures of inclusion that reinforce Western musical values. Alongside this inquiry on the unmarked terms of inclusion in performing arts organizations and compositional practice, \u003cem\u003eHungry Listening\u003c\/em\u003e offers examples of “doing sovereignty” in Indigenous performance art, museum exhibition, and gatherings that support an Indigenous listening resurgence.\u003c\/p\u003e\n\u003cp\u003eThroughout the book, Robinson shows how decolonial and resurgent forms of listening might be affirmed by writing otherwise about musical experience. 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Politologue et militant, membre de la Nation dénée du Nord-Ouest du Canada, l’auteur reprend ici la critique fanonienne et démontre en quoi cette reconnaissance ne fait que consolider la domination coloniale.\u003c\/p\u003e\n\u003cp\u003eCet ouvrage de théorie politique engagée appelle à rebâtir et redéployer les pratiques culturelles des peuples colonisés sur la base de l’autoreconnaissance, seule voie vers une réelle décolonisation. 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The book draws from Hupfield’s “coffee breaks”—conversations held over Zoom during the pandemic, in which Hupfield invited international Indigenous performance artists to discuss their work (from dance to stand-up comedy), who in turn invited other artists to join the conversations. Building on these exchanges, \u003cem\u003eBreaking Protocol\u003c\/em\u003e centers on Indigenous place-based artistic modes of making and practice to open spaces for reciprocity and multiplicity. [publisherrs’ note]\u003c\/p\u003e\n\u003cp\u003eIntroduction by Maria Hupfield with contributions by Jackson 2bears, Pelenakeke Brown, Katherine Carl, Re’al Christian, Christen Clifford, TJ Cuthand, Raven Davis, Vanessa Dion Fletcher, Gabrielle L’Hirondelle Hill, Candice Hopkins, Akiko Ichikawa, Ursula Johnson, Kite, Charles Koroneho, Carin Kuoni, Tanya Lukin Linklater, Cathy Mattes, Peter Morin, Meagan Musseau, Wanda Nanibush, Archer Pechawis, Rosanna Raymond, Skeena Reece, Georgiana Uhlyarik, and Charlene Vickers, and reflections on Rebecca Belmore, Lori Blondeau, Dennis RedMoon Darkheem, Natalie Diaz, the Dime Collective, Cheryl L’Hirondelle, Jane Schoolcraft, and Laakkuluk Williamson Bathory.\u003c\/p\u003e","brand":"Inventory Press,Vera List Center for Art and Politics at The New School","offers":[{"title":"Default Title","offer_id":57357990330708,"sku":"A8B-33322","price":35.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/protocol.jpg?v=1790813700"},{"product_id":"anarcho-indigenism","title":"Anarcho-Indigenism. 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This catalog accompanies a group exhibition of the same name, organized by the Museu de Arte de São Paulo Assis Chateaubriand (MASP) in partnership with the Kode Bergen Art Museum, curated by Indigenous artists and researchers and those of Indigenous ancestry, who explore their territories’ own histories and highlight Indigenous activisms around the globe. Eight curatorial essays explore the works on display within the exhibition in their variety of media, typologies, and origins, from the time that preceded colonization to the present. Rather than attempting to produce a comprehensive guide, this selection of regional histories aims to foster dialogues between disparate Indigenous points of view, introducing relevant conversations in the context of their complexity. This is an essential book for anyone interested in Indigenous arts, histories and cultures around the world today. 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In \u003cem\u003eBraiding Sweetgrass\u003c\/em\u003e, Kimmerer brings these two lenses of knowledge together to take us on “a journey that is every bit as mythic as it is scientific, as sacred as it is historical, as clever as it is wise” (Elizabeth Gilbert).\u003c\/p\u003e\n\u003cp\u003eDrawing on her life as an indigenous scientist, a mother, and a woman, Kimmerer shows how other living beings—asters and goldenrod, strawberries and squash, salamanders, algae, and sweetgrass—offer us gifts and lessons, even if we’ve forgotten how to hear their voices. In a rich braid of reflections that range from the creation of Turtle Island to the forces that threaten its flourishing today, she circles toward a central argument: that the awakening of a wider ecological consciousness requires the acknowledgment and celebration of our reciprocal relationship with the rest of the living world. For only when we can hear the languages of other beings will we be capable of understanding the generosity of the earth, and learn to give our own gifts in return.\u003c\/p\u003e\n\u003cp\u003e[publisher's note]\u003c\/p\u003e","brand":"milkweed editions","offers":[{"title":"Default Title","offer_id":57358071759188,"sku":"A8B-34325","price":20.0,"currency_code":"EUR","in_stock":false}]},{"product_id":"what-to-let-go","title":"What to Let Go?","description":"\u003cp\u003eThis book contributes to discussions about what counts as heritage now, who gets to do the counting, and broader related issues around the subject of cultural sovereignty. It unpacks historical narratives and political memories linked with objects, sites, and ceremonies that have been lost, looted, restituted, repatriated, revived, or reinvented. 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Native artists then and now are at the vanguard of performance art practices and discourse, using humor as a strategy for cultural critique and reflection, parsing the inherent relationships between objecthood and agency, and often complicating representations of the Native body through signaling the body’s absence and presence via clothing, blanketing, and adornment. Song, dance, and music are also posited as a basis for collectivity and resistance and a means to speak to a time when Native traditional ceremony and public gatherings were illegal in both the United States and Canada. 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