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"Gender, Sovereignty, and the Discourse of Rights in Native Women's Activism," Meridians: feminism, race, transnationalism 7, no. 1 (2006), 127-62. Reprinted: "Women’s Work: Gender, Sovereignty, and the Discourse of Rights in Native Women's Activism." Indigeneity. John Brown Childs and Guillermo Delgado-P., editors. (Santa Cruz, CA: The Literary Guillotine Press, 2012). "Gender, Sovereignty, and the Discourse of Rights in Native Women's Activism." Rethinking Canada: The Promise of Women’s History. Sixth Edition. Mona Gleason, Adele Perry, and Tamara Myers, editors. (New York: Oxford University Press, 2010). "Gender, Sovereignty, Rights: A Note On Native Women's Activism Against Social Inequality and Violence in Canada," American Quarterly 60, no. 2 (2008).
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Canadian journal of law and society
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Encounters on Contested Lands: Indigenous Performances of Sovereignty and Nationhood in Québec
In Encounters on Contested Lands, Julie Burelle employs a performance studies lens to examine how instances of Indigenous self-representation in Québec challenge the national and identity discourses of the French Québécois de souche—the French-speaking descendants of white European settlers who understand themselves to be settlers no more but rather colonized and rightfully belonging to the territory of Québec. Analyzing a wide variety of performances, Burelle brings together the theater of Alexis Martin and the film L'Empreinte, which repositions the French Québécois de souche as métis, with protest marches led by Innu activists; the Indigenous company Ondinnok's theater of repatriation; the films of Yves Sioui Durand, Alanis Obomsawin, and the Wapikoni Mobile project; and the visual work of Nadia Myre. These performances, Burelle argues, challenge received definitions of sovereignty and articulate new ones while proposing to the province and, more specifically, to the French Québécois de souche, that there are alternative ways to imagine Québec's future and remember its past. The performances insist on Québec's contested nature and reframe it as animated by competing sovereignties. Together they reveal how the "colonial present tense" and "tense colonial present" operate in conjunction as they work to imagine an alternative future predicated on decolonization. Encounters on Contested Lands engages with theater and performance studies while making unique and needed contributions to Québec and Canadian studies, as well as to Indigenous and settler-colonial studies.
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In 2017, Canada commemorated 150 years of nationhood. Omitted from the celebratory narratives was the state-perpetrated cultural genocide upon Indigenous communities. While the Canadian Federal Government initiated a Truth and Reconciliation Commission in 2008, outcomes have been fraught with controversy. Ongoing violence, particularly the epidemic of Murdered and Missing Indigenous Women (MMIW), is evidence of this ongoing colonialism. Indigenous activist art in Canada seeks to keep the memories of these women in the political and collective imagination. One such performance, entitled ACHoRD, aimed to disrupt the legislative system while reclaiming women’s voices, bodies and politics. This article will contextualize MMIW and ACHoRD within Judith Butler’s concept of performativity and in particular, how precarity frames differing levels of privilege and state recognition in women as gendered and racialized bodies. There is a lack of research on how Indigenous-centered art making and.
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