{"title":"\"Trans Lies Elsewhere\": Trans of Color Lives, Critiques, and Futures","authors":"N. Upadhyay","doi":"10.1353/aq.2022.0072","DOIUrl":"https://doi.org/10.1353/aq.2022.0072","url":null,"abstract":"","PeriodicalId":51543,"journal":{"name":"AMERICAN QUARTERLY","volume":"74 1","pages":"1053 - 1065"},"PeriodicalIF":0.7,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41908400","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:Through a Lakota, Indigenous, and dance studies lens, this essay presents the first extensive study of Buffalo Dance (1894), one of the earliest films to depict Native Americans, and in particular, Lakota men. Previous scholarship about Buffalo Dance has missed significant details about the film by failing to conduct community-engaged research and a reading of the movement modalities depicted. Instead, my analyses of the dancers' choreographies and interviews with Native experts illuminate Buffalo Dance as a brilliant expression of Lakota sovereignty and survival within and beyond US settler colonial confines. Drawing on and expanding Indigenous studies scholars' discussions of sovereignty, I define this concept as follows: Native expressions of agency and authority—rooted in Indigenous worldviews, languages, narratives, experiences, and practices—that relate to human and/or more-than-human collectives and promote Native well-being and futurities. I conclude by considering the contemporary implications of the Buffalo Dance choreographies as they relate to Tatanka Kcizapi Wakpala (Buffalo Fighting Creek), another Lakota performance of sovereignty and survival created in 2020 by George Blue Bird—a direct descendant of a performer in Buffalo Dance. Connecting these choreographies affirms how the Buffalo Dance performance extends into the present and the future.
{"title":"From Buffalo Dance to Tatanka Kcizapi Wakpala, 1894–2020: Indigenous Human and More-Than-Human Choreographies of Sovereignty and Survival","authors":"Tria Blu Wakpa","doi":"10.1353/aq.2022.0062","DOIUrl":"https://doi.org/10.1353/aq.2022.0062","url":null,"abstract":"Abstract:Through a Lakota, Indigenous, and dance studies lens, this essay presents the first extensive study of Buffalo Dance (1894), one of the earliest films to depict Native Americans, and in particular, Lakota men. Previous scholarship about Buffalo Dance has missed significant details about the film by failing to conduct community-engaged research and a reading of the movement modalities depicted. Instead, my analyses of the dancers' choreographies and interviews with Native experts illuminate Buffalo Dance as a brilliant expression of Lakota sovereignty and survival within and beyond US settler colonial confines. Drawing on and expanding Indigenous studies scholars' discussions of sovereignty, I define this concept as follows: Native expressions of agency and authority—rooted in Indigenous worldviews, languages, narratives, experiences, and practices—that relate to human and/or more-than-human collectives and promote Native well-being and futurities. I conclude by considering the contemporary implications of the Buffalo Dance choreographies as they relate to Tatanka Kcizapi Wakpala (Buffalo Fighting Creek), another Lakota performance of sovereignty and survival created in 2020 by George Blue Bird—a direct descendant of a performer in Buffalo Dance. Connecting these choreographies affirms how the Buffalo Dance performance extends into the present and the future.","PeriodicalId":51543,"journal":{"name":"AMERICAN QUARTERLY","volume":"74 1","pages":"895 - 920"},"PeriodicalIF":0.7,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42236052","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 asks us to reconceptualize nuclear colonialism in the Pacific as a form of settler colonialism, arguing that through nuclear testing the US applied older settler colonial principles of property and appropriation to previously unclaimed ocean spaces. Through an analysis of the Applied Fisheries Laboratory archives, I show how colonial legal doctrines provided a framework within which the American nuclear complex could conceptualize itself as properly owning the ocean that it had put to "productive use" through nuclear testing, with radiation serving as a settler colonial prosthesis that continues to impose colonial land relations even in the absence of settlers themselves. At the same time, I show how the Pacific itself shaped the emergence of US nuclearism, as its surprisingly resilient ecologies allowed the nuclear complex to continue to think of its destructive activities as compatible with the ongoing survival of life. The essay closes with an analysis of the Marshall Islands Student Association's 2019 campaign "My Fish Is Your Fish," which considers what decolonization looks like in an oceanscape that is permanently occupied by American radiation. For MISA, decolonial nuclear justice involves recomposing Marshallese land relations with the irradiated ocean as a critical form of nuclear decolonization.
{"title":"Nuclear Settler Colonialism at Sea, or How to Civilize an Ocean","authors":"Jessica Hurley","doi":"10.1353/aq.2022.0065","DOIUrl":"https://doi.org/10.1353/aq.2022.0065","url":null,"abstract":"Abstract:This essay asks us to reconceptualize nuclear colonialism in the Pacific as a form of settler colonialism, arguing that through nuclear testing the US applied older settler colonial principles of property and appropriation to previously unclaimed ocean spaces. Through an analysis of the Applied Fisheries Laboratory archives, I show how colonial legal doctrines provided a framework within which the American nuclear complex could conceptualize itself as properly owning the ocean that it had put to \"productive use\" through nuclear testing, with radiation serving as a settler colonial prosthesis that continues to impose colonial land relations even in the absence of settlers themselves. At the same time, I show how the Pacific itself shaped the emergence of US nuclearism, as its surprisingly resilient ecologies allowed the nuclear complex to continue to think of its destructive activities as compatible with the ongoing survival of life. The essay closes with an analysis of the Marshall Islands Student Association's 2019 campaign \"My Fish Is Your Fish,\" which considers what decolonization looks like in an oceanscape that is permanently occupied by American radiation. For MISA, decolonial nuclear justice involves recomposing Marshallese land relations with the irradiated ocean as a critical form of nuclear decolonization.","PeriodicalId":51543,"journal":{"name":"AMERICAN QUARTERLY","volume":"74 1","pages":"969 - 995"},"PeriodicalIF":0.7,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42068038","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 examines the 2001 Thomasite Centennial in the Philippines, marking the arrival of American teachers who came to the colony aboard the US Army Transport Thomas in 1901 as a site of contemporary negotiations of US colonial history for the needs of the present. As representatives of colonial love, the Thomasites were both admired and criticized by Filipinos and used by the US as exemplifications of American benevolence. Although the centennial, billed as a commemoration of the Thomasites by American diplomats, was demonstrably an instance of soft power led by the US embassy, the Filipinos recruited for the event were multiply positioned subjects, constrained as well as empowered by the situated yet mutable sites they occupied. Analyzing the centennial through its circulation in different discursive registers—journalistic, promotional, historical, diplomatic, and literary—the essay reveals the contested nature of present-day memory-making of US sentimental colonialism in the Philippines, with different state and nonstate actors struggling to claim historical record. Tony Perez's play "A Hundred Songs of Mary Helen Fee," written for the occasion, simultaneously memorializes Fee and instantiates a critique of the centennial by putting the Thomasite memoir on which it was based in conversation with the colonial archive. The essay illustrates the complexities of postcolonial commemoration and shows how the centennial functioned as a contested site of American and Filipino diplomacy, critical interrogation, and a strategic rerouting of Thomasite history by Filipinos.
摘要：本文考察了2001年菲律宾托马西特百年纪念活动，纪念1901年美国教师乘坐美国陆军运输托马斯号来到殖民地，作为当代美国殖民历史谈判的场所。作为殖民爱情的代表，托马斯派既受到菲律宾人的钦佩和批评，也被美国视为美国仁爱的典范。尽管被美国外交官宣传为纪念托马派的百年庆典显然是美国大使馆领导的软实力的一个例子，但被招募参加该活动的菲律宾人是处于多重地位的主体，他们所占据的位置虽然多变，但却受到了限制和授权。这篇文章通过在新闻、宣传、历史、外交和文学等不同话语领域的传播来分析百年纪念，揭示了当今美国在菲律宾的情感殖民主义记忆的争议性，不同的国家和非国家行为者都在努力争取历史记录。托尼·佩雷斯（Tony Perez）为这一时刻创作的戏剧《玛丽·海伦·费的一百首歌》（A Baidu Songs of Mary Helen Fee）同时纪念了费，并通过将其所依据的托马西特回忆录与殖民档案馆对话，来实例化对百年的批判。这篇文章阐述了后殖民纪念活动的复杂性，并展示了百年纪念活动是如何成为美国和菲律宾外交、批判性审讯以及菲律宾人对托马斯派历史进行战略性重新安排的一个有争议的场所。
{"title":"Celebrating Imperial Education: The 2001 Thomasite Centennial in the Philippines","authors":"M. Schueller","doi":"10.1353/aq.2022.0064","DOIUrl":"https://doi.org/10.1353/aq.2022.0064","url":null,"abstract":"Abstract:This essay examines the 2001 Thomasite Centennial in the Philippines, marking the arrival of American teachers who came to the colony aboard the US Army Transport Thomas in 1901 as a site of contemporary negotiations of US colonial history for the needs of the present. As representatives of colonial love, the Thomasites were both admired and criticized by Filipinos and used by the US as exemplifications of American benevolence. Although the centennial, billed as a commemoration of the Thomasites by American diplomats, was demonstrably an instance of soft power led by the US embassy, the Filipinos recruited for the event were multiply positioned subjects, constrained as well as empowered by the situated yet mutable sites they occupied. Analyzing the centennial through its circulation in different discursive registers—journalistic, promotional, historical, diplomatic, and literary—the essay reveals the contested nature of present-day memory-making of US sentimental colonialism in the Philippines, with different state and nonstate actors struggling to claim historical record. Tony Perez's play \"A Hundred Songs of Mary Helen Fee,\" written for the occasion, simultaneously memorializes Fee and instantiates a critique of the centennial by putting the Thomasite memoir on which it was based in conversation with the colonial archive. The essay illustrates the complexities of postcolonial commemoration and shows how the centennial functioned as a contested site of American and Filipino diplomacy, critical interrogation, and a strategic rerouting of Thomasite history by Filipinos.","PeriodicalId":51543,"journal":{"name":"AMERICAN QUARTERLY","volume":"74 1","pages":"945 - 968"},"PeriodicalIF":0.7,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49431070","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}
{"title":"Situating J. C. Leyendecker within the Conflicting Narratives of the Gay and Lesbian Past","authors":"M. J. Murphy","doi":"10.1353/aq.2022.0074","DOIUrl":"https://doi.org/10.1353/aq.2022.0074","url":null,"abstract":"","PeriodicalId":51543,"journal":{"name":"AMERICAN QUARTERLY","volume":"74 1","pages":"1079 - 1093"},"PeriodicalIF":0.7,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43273458","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 explores the differing relations to land, time, and history—human and planetary—that organized responses to the New Madrid Earthquakes of 1811–12 and that now characterize responses to the Anthropocene. Indigenous and settler accounts connected the earthquakes to a catastrophic rupture in time, but they located that catastrophe differently. For the US, the disaster was seismic, a geological revelation of human powerlessness. Federal intervention sought to restore the region to the future-oriented time of the nation, while Romantic history and geological fantasy supplemented the inscription of settler-national time on the land by identifying the "Indian" with cultural and geological pasts. Indigenous interpretations connected the quakes to the ongoing rupture that colonialism instantiated. Circulated through the pan-Indigenous revival, the polychronicity of anticolonial assessments of the quakes drew on the energy of prophecy, reflecting what Mark Rifkin identifies as prophecy's ability to gather other-than-chronological possibilities as they interwove the earth's past and the land's present state to make Indigenous futures possible again. Recent approaches to the Anthropocene replicate this division, alternately perpetuating the necropolitics of geological fantasy and embracing a reparative adaptation of what Kyle Powys Whyte (Citizen Potawatomi) describes as "kinship time."
{"title":"Unsettled Ground: Indigenous Prophecy, Geological Fantasy, and the New Madrid Earthquakes","authors":"Dana Luciano","doi":"10.1353/aq.2022.0059","DOIUrl":"https://doi.org/10.1353/aq.2022.0059","url":null,"abstract":"Abstract:This essay explores the differing relations to land, time, and history—human and planetary—that organized responses to the New Madrid Earthquakes of 1811–12 and that now characterize responses to the Anthropocene. Indigenous and settler accounts connected the earthquakes to a catastrophic rupture in time, but they located that catastrophe differently. For the US, the disaster was seismic, a geological revelation of human powerlessness. Federal intervention sought to restore the region to the future-oriented time of the nation, while Romantic history and geological fantasy supplemented the inscription of settler-national time on the land by identifying the \"Indian\" with cultural and geological pasts. Indigenous interpretations connected the quakes to the ongoing rupture that colonialism instantiated. Circulated through the pan-Indigenous revival, the polychronicity of anticolonial assessments of the quakes drew on the energy of prophecy, reflecting what Mark Rifkin identifies as prophecy's ability to gather other-than-chronological possibilities as they interwove the earth's past and the land's present state to make Indigenous futures possible again. Recent approaches to the Anthropocene replicate this division, alternately perpetuating the necropolitics of geological fantasy and embracing a reparative adaptation of what Kyle Powys Whyte (Citizen Potawatomi) describes as \"kinship time.\"","PeriodicalId":51543,"journal":{"name":"AMERICAN QUARTERLY","volume":"74 1","pages":"821 - 843"},"PeriodicalIF":0.7,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42620070","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:Enslavers and their allies wrote in terrified, apocalyptic terms about slave revolts, particularly in the late eighteenth- and early nineteenth-century US. This essay suggests that by consistently framing slave revolt in these ways, proslavery white Americans constructed and reproduced a dominant, normative narrative about the meaning of Black self-determination, which this essay calls a "reactionary romance." This "romance" deemed Black self-determination an apocalypse-signaling antagonist against which the privileged body politic must continually and violently struggle in order to reproduce itself. It perversely drew on the rebellious actions of Black people as a way to enclose the prospect of Black freedom in a shroud of terror, rendering the suppression of Black self-determination an esteemed civic duty for the American citizen. This essay critically and historically analyzes this romance as it functions in archival documentation of the 1811 German Coast Uprising in southeastern Louisiana, the largest slave revolt in US history. The way that Louisiana planters told the story of the 1811 Uprising weaponized the reactionary romance to compel an expanding American empire (and its citizens) to protect and expand both the social and material structures of plantation slavery and the limits on moral and political imagination that attended these structures.
{"title":"The Reactionary Romance of American Slave Revolt: Scripting the Unthinkable in the Archive of the 1811 German Coast Uprising","authors":"Nicolas Farrell Bloom","doi":"10.1353/aq.2022.0060","DOIUrl":"https://doi.org/10.1353/aq.2022.0060","url":null,"abstract":"Abstract:Enslavers and their allies wrote in terrified, apocalyptic terms about slave revolts, particularly in the late eighteenth- and early nineteenth-century US. This essay suggests that by consistently framing slave revolt in these ways, proslavery white Americans constructed and reproduced a dominant, normative narrative about the meaning of Black self-determination, which this essay calls a \"reactionary romance.\" This \"romance\" deemed Black self-determination an apocalypse-signaling antagonist against which the privileged body politic must continually and violently struggle in order to reproduce itself. It perversely drew on the rebellious actions of Black people as a way to enclose the prospect of Black freedom in a shroud of terror, rendering the suppression of Black self-determination an esteemed civic duty for the American citizen. This essay critically and historically analyzes this romance as it functions in archival documentation of the 1811 German Coast Uprising in southeastern Louisiana, the largest slave revolt in US history. The way that Louisiana planters told the story of the 1811 Uprising weaponized the reactionary romance to compel an expanding American empire (and its citizens) to protect and expand both the social and material structures of plantation slavery and the limits on moral and political imagination that attended these structures.","PeriodicalId":51543,"journal":{"name":"AMERICAN QUARTERLY","volume":"74 1","pages":"845 - 869"},"PeriodicalIF":0.7,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49170327","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}
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