{"title":"Unraveling Colonial Cartographies: Dionne Brand’s A Map to the Door of No Return at 20: A Gathering","authors":"Andrea A. Davis","doi":"10.3138/topia-46-002","DOIUrl":"https://doi.org/10.3138/topia-46-002","url":null,"abstract":"","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":"95 1","pages":"255 - 259"},"PeriodicalIF":0.6,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81375846","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.3138/topia-2022-46-001
C. Sharpe
{"title":"Dionne Brand’s A Map to the Door of No Return at 20: A Gathering","authors":"C. Sharpe","doi":"10.3138/topia-2022-46-001","DOIUrl":"https://doi.org/10.3138/topia-2022-46-001","url":null,"abstract":"","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":"76 1","pages":"1 - 6"},"PeriodicalIF":0.6,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79343312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:This article details the central role Dionne Brand’s A Map to the Door of No Return: Notes to Belonging has had in the development of not only my current book project: Black Grammars: On Difference and Belonging but the broader field of Black diasporic studies more generally. On the occasion of the twentieth anniversary of the text, the article revisits the text’s central provocations and its discipline-rattling engagements.RÉSUMÉ:Cet article explique le rôle central que A Map to the Door of No Return: Notes to Belonging de Dionne Brand a joué dans le développement non seulement de mon projet de livre actuel, Black Grammars: On Difference and Belonging, mais aussi du domaine plus large des études sur la diaspora noire. À l’occasion du 20e anniversaire du livre de Brand, cet article revient sur les provocations centrales du texte et ses prises de position qui brouillent les frontières disciplinaires.
摘要:这篇文章详细阐述了迪翁·布兰德的中心角色:《不归路之门的地图》:《属于的注释》不仅在我目前的图书项目的发展中:《黑人语法:关于差异和属于的注释》，而且在更广泛的黑人移民研究领域中更普遍。在《文本》二十周年之际，本文回顾了《文本》的核心挑衅及其与纪律有关的承诺。摘要:本文的核心作用,解释了Map to the Door of No Return to racial equality)注释:Brand迪翁的发展中发挥了当前我国项目书,不仅Black Grammars:据Difference and racial equality),而且更广泛领域的研究散居各地的黑名单。在布兰德的书出版20周年之际，本文回顾了文本的核心挑衅及其模糊学科界限的立场。
{"title":"Map at 20: A Black Diasporic Grammar Book","authors":"Sam Tecle","doi":"10.3138/topia-2022-0055","DOIUrl":"https://doi.org/10.3138/topia-2022-0055","url":null,"abstract":"ABSTRACT:This article details the central role Dionne Brand’s A Map to the Door of No Return: Notes to Belonging has had in the development of not only my current book project: Black Grammars: On Difference and Belonging but the broader field of Black diasporic studies more generally. On the occasion of the twentieth anniversary of the text, the article revisits the text’s central provocations and its discipline-rattling engagements.RÉSUMÉ:Cet article explique le rôle central que A Map to the Door of No Return: Notes to Belonging de Dionne Brand a joué dans le développement non seulement de mon projet de livre actuel, Black Grammars: On Difference and Belonging, mais aussi du domaine plus large des études sur la diaspora noire. À l’occasion du 20e anniversaire du livre de Brand, cet article revient sur les provocations centrales du texte et ses prises de position qui brouillent les frontières disciplinaires.","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":"53 1","pages":"125 - 133"},"PeriodicalIF":0.6,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80005708","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:This paper explores Dionne Brand‘s A Map to the Door of No Return: Notes to Belonging (2011) as a non-traditional archive, yet idealistically a poetic narrative map, beginning epically at the Door of No Return on the west coast of Africa and spreading out infinitely. I argue the main focus is freedom as marronage mapped out through a set of hyperlinked tension-filled stories across time and space that collectively connect geography and/to history; its method is collecting and recording “conversations” (224), both spoken and observed, about Black diasporic lives and encounters across time and space. In Map Brand’s desire for freedom leads her to interrogate and challenge selected old world maps, charts journeys, and, in narrative and poetry, re/call and re/invent the past and actively re/imagine the present and future of new world liberated Black people as self-created individuals. The result is a modern literary artifact: as memorial to the marooned, with a ruttier for freedom for the marooned. This work forms part of a neo-archive of Black Diasporic texts that collectively perform reparative story-telling. Brand maps and builds a different (non-traditional) repository by recording selected experiences of Black people in the New World Diaspora—connecting paths forged from “a place emptied of beginnings” (6). Map charts the points on a journey to a liberatory future, one based on, as Brand describes it, “a life of conversations about a forgotten list of irretrievable selves” (224)—human dignity. Brand’s Map, then, for inspiration, preserves selected histories that might have otherwise remained unexplored. It makes future retrieval possible, and the possibility of forgetting impossible—and ultimately this is the ageless beauty of this provocative work.RÉSUMÉ:Cet article considère A Map to the Door of No Return: Notes to Belonging de Dionne Brand comme une archiv e non traditionnelle et, de façon idéaliste, comme une carte narrative poétique dont le début épique se situe à la Porte sans retour, sur la côte ouest de l’Afrique, et qui s’étend à l’infini. Je soutiens que la liberté y occupe le premier plan, sous la forme du marronnage cartographié à travers un ensemble d’histoires hyperliées, remplies de tension, qui se déroulent à travers le temps et l’espace et qui, collectivement, lient entre elles la géographie et l’histoire ; la méthode consiste à recueillir et à enregistrer des « conversations » (224), parlées et observées, au sujet des vies et des rencontres des personnes noires de la diaspora à travers le temps et l’espace. Dans Map, le désir de liberté de Brand l’amène à interroger et à contester certaines cartes de l’Ancien Monde, à tracer des itinéraires de voyage et, dans la narration et les poèmes, à (r)appeler et à (ré)inventer le passé et à (ré)imaginer activement le présent et l’avenir des personnes noires du Nouveau Monde libérées en tant qu’individus autocréés. Le résultat est un artéfact littéraire moderne, à la fois mémoria
摘要:本文将迪翁·布兰德的《通往不归路之门的地图:归属笔记》(2011)作为一个非传统的档案，但又理想主义的诗意叙事地图，从非洲西海岸的不归路之门史诗般开始，无限延伸。我认为，主要的焦点是自由，因为婚姻是通过一系列跨越时间和空间的超链接的充满张力的故事来绘制的，这些故事共同将地理和/和历史联系起来;它的方法是收集和记录“对话”(224页)，既有口头的，也有观察到的，关于黑人流散的生活和跨越时间和空间的遭遇。在《地图》中，布兰德对自由的渴望使她质疑和挑战选定的旧世界地图，绘制旅程，并在叙事和诗歌中，重新呼唤和重新发明过去，积极地重新想象新世界解放的黑人作为自我创造的个体的现在和未来。其结果是一部现代文学作品:作为对被放逐者的纪念，为被放逐者争取自由。这部作品构成了散居黑人文本新档案的一部分，这些文本共同进行修复性的故事讲述。布兰德通过记录在新世界散散的黑人的精选经历，绘制并建立了一个不同的(非传统的)存储库——从“一个没有开端的地方”形成的连接路径(6)。地图绘制了通往解放未来之旅的各个点，正如布兰德所描述的那样，“关于一份被遗忘的、无法挽回的自我清单的对话生活”(224)——人类尊严。布兰德的地图，因此，灵感，保留了选择的历史，否则可能仍未被探索。它让未来的回忆成为可能，让不可能的遗忘成为可能——最终，这就是这部引人入胜的作品的永恒之美。RÉSUMÉ:这篇文章考虑了一幅通往不归路之门的地图:关于Dionne Brand的归属的说明，comme une archiiv e non - traditionnelle et, de farsion idsamaliste, comme une carte叙事，comme une archiiv e non - traditionnelle et, de farsion idsamaliste, comme une carte叙事，comme me acte叙述，comme me acte叙述，comme me acimque se situe, la Porte sans retour, sur la côte west de l ' afrique, et qui ' samtend l ' infini。Je soutiens que la libert， Je soutiens que du marronne cartographhi travvers unensemble d 'histoires hyperlilisames，回答de tension, quise ise dsamuise, travvers le temps et l ' space et qui, collective, lient entres elles la gsamugraphie et l 'histoire;“汇汇表”包括“汇汇表”、“汇汇表”、“汇汇表”、“汇汇表”、“汇汇表”、“汇汇表”、“汇汇表”、“汇汇表”、“汇汇表”、“汇汇表”和“汇汇表”。在地图,有分自由度德品牌l 'amene询问等比赛中的某些必须de l 'Ancien Monde,示踪des itineraires de航行等,在叙述les的诗,一个(r) appel et(重新)发明者le过时等(重新)想象activement le礼物等未来des人黑色杜新Monde liberees en数据autocrees曲。从现代的标准看，从现代的标准看，从现代的标准看，从现代的标准看，从现代的标准看，从现代的标准看，从现代的标准看，从现代的标准看，从现代的标准看，从现代的标准看，从现代的标准看，从现代的标准看，是现代的标准。如果一个人的劳动公平，他就会得到一个人的报酬，他就会得到一个人的报酬。品牌制图师在不同的(非传统的)交换条件下构建了不同的(非传统的)交换条件，例如:交换交换条件下的交换条件，交换交换条件下的交换条件，交换交换条件下的交换条件，交换交换条件下的交换条件，交换交换条件。自由)。如œuvre cartographie les res res d 'un voyage qui m vers unavenir sammancieur et qui se construcit, comme le dsamicit Son auteure, comme le dsamicit Son auteure, comme ' s conversations de toute unvie sujet d 'une liste unlisamicede soisimpossible retrover (224, trade)。自由-人类尊严。La carte de Brand, alors, en guise d 'inspiration(灵感)，为历史选择(历史选择)服务，为探索(历史选择)提供服务。未来研究的可能性，未来研究的可能性，未来研究的可能性，未来研究的可能性，未来研究的可能性，未来研究的可能性，未来研究的可能性。
{"title":"“Finding My Way to Freedom”: Dionne Brand’s A Map to the Door of No Return: Notes to Belonging","authors":"S. Beckford","doi":"10.3138/topia-2022-0061","DOIUrl":"https://doi.org/10.3138/topia-2022-0061","url":null,"abstract":"ABSTRACT:This paper explores Dionne Brand‘s A Map to the Door of No Return: Notes to Belonging (2011) as a non-traditional archive, yet idealistically a poetic narrative map, beginning epically at the Door of No Return on the west coast of Africa and spreading out infinitely. I argue the main focus is freedom as marronage mapped out through a set of hyperlinked tension-filled stories across time and space that collectively connect geography and/to history; its method is collecting and recording “conversations” (224), both spoken and observed, about Black diasporic lives and encounters across time and space. In Map Brand’s desire for freedom leads her to interrogate and challenge selected old world maps, charts journeys, and, in narrative and poetry, re/call and re/invent the past and actively re/imagine the present and future of new world liberated Black people as self-created individuals. The result is a modern literary artifact: as memorial to the marooned, with a ruttier for freedom for the marooned. This work forms part of a neo-archive of Black Diasporic texts that collectively perform reparative story-telling. Brand maps and builds a different (non-traditional) repository by recording selected experiences of Black people in the New World Diaspora—connecting paths forged from “a place emptied of beginnings” (6). Map charts the points on a journey to a liberatory future, one based on, as Brand describes it, “a life of conversations about a forgotten list of irretrievable selves” (224)—human dignity. Brand’s Map, then, for inspiration, preserves selected histories that might have otherwise remained unexplored. It makes future retrieval possible, and the possibility of forgetting impossible—and ultimately this is the ageless beauty of this provocative work.RÉSUMÉ:Cet article considère A Map to the Door of No Return: Notes to Belonging de Dionne Brand comme une archiv e non traditionnelle et, de façon idéaliste, comme une carte narrative poétique dont le début épique se situe à la Porte sans retour, sur la côte ouest de l’Afrique, et qui s’étend à l’infini. Je soutiens que la liberté y occupe le premier plan, sous la forme du marronnage cartographié à travers un ensemble d’histoires hyperliées, remplies de tension, qui se déroulent à travers le temps et l’espace et qui, collectivement, lient entre elles la géographie et l’histoire ; la méthode consiste à recueillir et à enregistrer des « conversations » (224), parlées et observées, au sujet des vies et des rencontres des personnes noires de la diaspora à travers le temps et l’espace. Dans Map, le désir de liberté de Brand l’amène à interroger et à contester certaines cartes de l’Ancien Monde, à tracer des itinéraires de voyage et, dans la narration et les poèmes, à (r)appeler et à (ré)inventer le passé et à (ré)imaginer activement le présent et l’avenir des personnes noires du Nouveau Monde libérées en tant qu’individus autocréés. Le résultat est un artéfact littéraire moderne, à la fois mémoria","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":"17 1","pages":"209 - 223"},"PeriodicalIF":0.6,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82026300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:This essay draws on Brand’s storying of an encounter in Kalinago territory in order to think about diaspora and indigeneity simultaneously in relation to, and against histories and contemporary practices of extractivism.RÉSUMÉ:Cet essai s’appuie sur la mise en récit par Brand d’une rencontre en territoire Kalinago pour penser simultanément la diaspora et l’autochtonie dans leur relation et leur opposition aux histoires et aux pratiques contemporaines de l’extractivisme.
{"title":"“A whole world was in her face”: Honouring places beyond maps","authors":"D. A. Trotz","doi":"10.3138/topia-2022-0031","DOIUrl":"https://doi.org/10.3138/topia-2022-0031","url":null,"abstract":"ABSTRACT:This essay draws on Brand’s storying of an encounter in Kalinago territory in order to think about diaspora and indigeneity simultaneously in relation to, and against histories and contemporary practices of extractivism.RÉSUMÉ:Cet essai s’appuie sur la mise en récit par Brand d’une rencontre en territoire Kalinago pour penser simultanément la diaspora et l’autochtonie dans leur relation et leur opposition aux histoires et aux pratiques contemporaines de l’extractivisme.","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":"1 1","pages":"56 - 65"},"PeriodicalIF":0.6,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75609288","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:A reflection on Dionne Brand’s A Map to the Door of No Return, originally presented at A Map to the Door of No Return at 20: A Gathering.RÉSUMÉ:Ce texte est une réflexion sur A Map to the Door of No Return de Dionne Brand présentée à l’origine lors de la rencontre qui soulignait le vingtième anniversairre de l’ouvrage, « A Map to the Door of No Return at 20: A Gathering ».
文摘:反射了on A Map Brand’s迪翁to the Door of No Return学上,臀部at A Map to the Door of No Return at A 20支会。摘要:本文是对迪翁·布兰德(Dionne Brand)的《不归路之门地图》(A Map to the Door of No Return at 20: A Gathering)的反思，该地图最初是在纪念该作品20周年的会议上提出的。
{"title":"Things I Knew Before I Knew","authors":"William C. Anderson","doi":"10.3138/topia-2022-0052","DOIUrl":"https://doi.org/10.3138/topia-2022-0052","url":null,"abstract":"ABSTRACT:A reflection on Dionne Brand’s A Map to the Door of No Return, originally presented at A Map to the Door of No Return at 20: A Gathering.RÉSUMÉ:Ce texte est une réflexion sur A Map to the Door of No Return de Dionne Brand présentée à l’origine lors de la rencontre qui soulignait le vingtième anniversairre de l’ouvrage, « A Map to the Door of No Return at 20: A Gathering ».","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":"42 1","pages":"251 - 254"},"PeriodicalIF":0.6,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89359761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A few years ago, I had the privilege of getting a tattoo from the performance artist & sculptor Doreen Garner, also known as KING COBRA. And when I arrived in New York City for this sole reason, to get tatted by a black person who might actually show my skin on their Instagram in the end, all I had was an idea.“There’s this book,” I told her, and “there’s this line.” I tried to explain how the book comforted & terrified me, and how one line in particular would come to me at odd hours. In the line at CVS, waiting for the light to turn, waiting to turn over in bed.On page 89 of “A Map to the Door of No Return: Notes to Belonging,” Dionne Brand writes, “The door is not a map. The door is on my retina.”I don’t remember Doreen’s response, and I don’t remember if she’d read A Map before, but remember she took some time to think, time to sketch. I am not a visual person, and my original idea—an eye, and in the iris, a door—proved insufficient for what we needed to do together. After some time Doreen reappeared excited and proposed: “Why not put Africa there?” she asked. “Let’s put Africa in the eye.”While I didn’t think my idea was the sexiest by any means, fitting the continent into a visual space the size of a quarter sounded impossible to me. But that’s exactly what Doreen did, and maybe this is what Dionne Brand had done, too: moved the continent into the eye.As Garner gunned the ink into my chest, her decision and Brand’s words drowned out the buzz and the blistering pain.Why not show what made the door? Why not say what I really mean?
{"title":"Black Myopia","authors":"Jon Jon Moore Palacios","doi":"10.3138/topia-2022-0042","DOIUrl":"https://doi.org/10.3138/topia-2022-0042","url":null,"abstract":"A few years ago, I had the privilege of getting a tattoo from the performance artist & sculptor Doreen Garner, also known as KING COBRA. And when I arrived in New York City for this sole reason, to get tatted by a black person who might actually show my skin on their Instagram in the end, all I had was an idea.“There’s this book,” I told her, and “there’s this line.” I tried to explain how the book comforted & terrified me, and how one line in particular would come to me at odd hours. In the line at CVS, waiting for the light to turn, waiting to turn over in bed.On page 89 of “A Map to the Door of No Return: Notes to Belonging,” Dionne Brand writes, “The door is not a map. The door is on my retina.”I don’t remember Doreen’s response, and I don’t remember if she’d read A Map before, but remember she took some time to think, time to sketch. I am not a visual person, and my original idea—an eye, and in the iris, a door—proved insufficient for what we needed to do together. After some time Doreen reappeared excited and proposed: “Why not put Africa there?” she asked. “Let’s put Africa in the eye.”While I didn’t think my idea was the sexiest by any means, fitting the continent into a visual space the size of a quarter sounded impossible to me. But that’s exactly what Doreen did, and maybe this is what Dionne Brand had done, too: moved the continent into the eye.As Garner gunned the ink into my chest, her decision and Brand’s words drowned out the buzz and the blistering pain.Why not show what made the door? Why not say what I really mean?","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":"13 1","pages":"-"},"PeriodicalIF":0.6,"publicationDate":"2023-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85202522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay brings together the writing of Audre Lorde and Dionne Brand and their responses to their visits, decades apart to the dungeons of Elmina. The essay proposes that Elmina Castle and the other forts used for the purposes of trading enslaved Africans can be understood as particle accelerators because of their reduction of key components of communities into individuals for sale. The word “particular” in the writing and speaking of Lorde and Brand offer us a poetics beyond individuality.
{"title":"Quantum Particularity: For Audre Lorde and Dionne Brand","authors":"A. P. Gumbs","doi":"10.3138/topia-2022-0045","DOIUrl":"https://doi.org/10.3138/topia-2022-0045","url":null,"abstract":"This essay brings together the writing of Audre Lorde and Dionne Brand and their responses to their visits, decades apart to the dungeons of Elmina. The essay proposes that Elmina Castle and the other forts used for the purposes of trading enslaved Africans can be understood as particle accelerators because of their reduction of key components of communities into individuals for sale. The word “particular” in the writing and speaking of Lorde and Brand offer us a poetics beyond individuality.","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":"3 1","pages":"-"},"PeriodicalIF":0.6,"publicationDate":"2023-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86517361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In “Pinery Road & Concession 11”, writer, academic and musician Leanne Betasamosake Simpson reflects on the chapter of the same name in Dionne Brand’s A Map to the Door of No Return. By physically traveling to the same corner in rural Ontario that Brand’s car broke down two decades earlier, Simpson considers place, belonging, diaspora, property, and foreclosure in her own Michi Saagiig Nishnaabeg homeland. Simpson’s companion on part of the journey is an 80 year old Black Ash Basket which she repatriates to Curve Lake First Nation on the way. What follows is the text of the piece originally presented at the Map to the Door At 20 gathering. Simpson presented the piece over looped time lapse photography of the journey and surveillance footage of the intersection of Pinery Road & Concession 11. Simpson’s sister, Ansley Simpson provided a soundscape for the piece, repurposed from Leanne’s track “Solidification” (Noopiming Sessions, Giizhiwe Music, 2021). “Pinery Road & Concession 11” is an honour song to Brand’s constellation of thought that has traveled the world, and back to the Burnt River, near Kinmount, Ontario.
{"title":"Pinery Road and Concession 11","authors":"L. Simpson","doi":"10.3138/topia-2022-0013","DOIUrl":"https://doi.org/10.3138/topia-2022-0013","url":null,"abstract":"In “Pinery Road & Concession 11”, writer, academic and musician Leanne Betasamosake Simpson reflects on the chapter of the same name in Dionne Brand’s A Map to the Door of No Return. By physically traveling to the same corner in rural Ontario that Brand’s car broke down two decades earlier, Simpson considers place, belonging, diaspora, property, and foreclosure in her own Michi Saagiig Nishnaabeg homeland. Simpson’s companion on part of the journey is an 80 year old Black Ash Basket which she repatriates to Curve Lake First Nation on the way. What follows is the text of the piece originally presented at the Map to the Door At 20 gathering. Simpson presented the piece over looped time lapse photography of the journey and surveillance footage of the intersection of Pinery Road & Concession 11. Simpson’s sister, Ansley Simpson provided a soundscape for the piece, repurposed from Leanne’s track “Solidification” (Noopiming Sessions, Giizhiwe Music, 2021). “Pinery Road & Concession 11” is an honour song to Brand’s constellation of thought that has traveled the world, and back to the Burnt River, near Kinmount, Ontario.","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":"128 ","pages":"-"},"PeriodicalIF":0.6,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72430067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay analyses Jennifer Dysart’s 2014 documentary film Kewekapawetan: Return After the Flood, which tells the past and present-day story of the Northern Manitoba Ithinew (Cree) community South Indian Lake and its entanglement with Manitoba Hydro. Dysart documents the history of colonial hydro policy by showcasing rare archival footage from the late 1960s and reclaims this material for the community she has roots in. At the same time, she records her search to learn about her father’s life and her efforts to reconnect with family by spending time on the land. Discussion between author and filmmaker throughout the research and writing process engages “visiting” as a methodology for studying Indigenous narrative arts. Ultimately, Dysart’s visual storytelling is a critical site of knowledge-making about the dislocation caused by large-scale resource extraction that foregrounds reconnection to family, community and land.
{"title":"Looking Back in Kewekapawetan: Return After the Flood. Research, remembrance and reclamation of a Hydro story","authors":"Isabella Huberman","doi":"10.3138/topia-2022-0011","DOIUrl":"https://doi.org/10.3138/topia-2022-0011","url":null,"abstract":"This essay analyses Jennifer Dysart’s 2014 documentary film Kewekapawetan: Return After the Flood, which tells the past and present-day story of the Northern Manitoba Ithinew (Cree) community South Indian Lake and its entanglement with Manitoba Hydro. Dysart documents the history of colonial hydro policy by showcasing rare archival footage from the late 1960s and reclaims this material for the community she has roots in. At the same time, she records her search to learn about her father’s life and her efforts to reconnect with family by spending time on the land. Discussion between author and filmmaker throughout the research and writing process engages “visiting” as a methodology for studying Indigenous narrative arts. Ultimately, Dysart’s visual storytelling is a critical site of knowledge-making about the dislocation caused by large-scale resource extraction that foregrounds reconnection to family, community and land.","PeriodicalId":43438,"journal":{"name":"Topia-Canadian Journal of Cultural Studies","volume":"45 1","pages":"-"},"PeriodicalIF":0.6,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83556221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：