Co-­‐organizers   Jessica   Bissett   Perea   (Native   American   Studies)   and   Christyann   Darwent   (Anthropology)   have   brought   together   scholars,   artists,   and   activists   to   engage   in   critical   dialogue   about   media   representations  of  arctic  peoples,  cultures,  and  environments,  and  their  implications  for  21 st  century  social
justice  movements.
This  symposium  is  the  result  of  collaboration  between  the  UC  Davis  Native  American  Studies  Department   and  the  Mondavi  Center  for  the  Performing  Arts  to  host  a  Visiting  Artist  Residency  for  the  award-­‐winning
Canadian   Inuit   vocalist   Tanya   Tagaq   Gillis .   This   residency   revolves   around   evening   performances   of   her
multi-­‐media  piece  “Tanya  Tagaq  in  Concert  with   Nanook  of  the  North .”
Tanya  Tagaq   Gillis  along  with   Celina  Kalluk ,  a  Canadian  Inuit  author  and  vocalist,  and   Cathy  Tagnak
Rexford ,  an  Alaskan  Iñupiaq  poet,  playwright,  and  community  leader,  will  participate  in  a   moderated   artists  panel/conversation  about  arctic  cultural  (in)securities,  including  Inuit  people’s  ongoing  experiences   with  colonialism,  food  insecurities,  murdered  and  missing  Aboriginal  women,  and  the  role  creative  and   performing  arts  play  in  social  justice  movements.  Celina  Kalluk  will  join  Tanya  Tagaq  Gillis  in  a  lecture-­‐ demonstration  on   traditional  Inuit  throat  singing  in  conjunction  with  the   C.  N.  Gorman  Museum’s
Canadian  Inuit  sculpture  and  print  exhibit  on  Friday  afternoon,  and  Cathy  Tagnak  Rexford  will  facilitate  an
interactive  theatre  and  drama  workshop  on  Saturday  morning.
Research  presentations  will  be  given  by  leading  arctic  scholars  Jessica  Bissett  Perea,  Beverley  Diamond ,
Ann  Fienup-­‐Riordan ,  Shari  Huhndorf ,  Genevieve  LeMoine ,   and  Dylan  Robinson .  A  significant  aim  of  this   symposium  is  to  establish  an  interdisciplinary  Arctic  Studies  Center  and/or  Working  Group  at  UC  Davis  that   would  offer  a  forum  to  support  faculty,  students,  staff,  and  community  members  interested  in  research   and  advocacy  in  the  circumpolar  north.
This  symposium  is   FREE  and  open  to  the  public   with  the  exception  of  “ Tagaq  in  Concert  with   Nanook  of  the  North”
1

ARCTIC  INDIGENEITIES,  MEDIA,  AND  SOCIAL  JUSTICE
MARCH  12 ‒ 14,  2015
E VENT
USO
THNO
ORUM
Decolonizing  Ethnomusicology
S PEAKER
Beverley  Diamond,  Canada
Research  Chair  in
Ethnomusicology,
Memorial  University  of
Newfoundland
T IME
4:00-­‐6:00   pm
L OCATION
Everson  Hall,  Rm
266
E VENT
Keynote  Lecture:   Performing
Sovereignty,  Social  Justice  and
Citizenship  in  Northern  Canada   and  Scandinavia
S PEAKER /   P ERFORMER
Beverley  Diamond
Canadian  Inuit  Art  Exhibition
(Christel  &  Jurg  Bieri  Collection)
R ECEPTION
Inuit  Throat  Singing:  Informal
Lecture/Demonstration  +  Q&A
Tanya  Tagaq  Gillis  and
Celina  Kalluk,  Nunavut,
Canada
Pre-­‐Concert  Talk:   “The  Sound  of
Eskimo,”  Sounding  Inuit:  Listening
Critically  to  Tanya  Tagaq  Gillis’
Reclamation  of  Nanook  of  the
North
Tagaq  in  Concert  with   Nanook  of   the  North  +  Q&A
Jessica  Bissett  Perea,
Native  American  Studies,
UC  Davis
Tagaq  Trio
T IME   L OCATION
1:00-­‐2:30   pm
Vanderhoef
Studio  Theatre,
Mondavi  Center
3:00-­‐5:00   pm
4:00-­‐5:00   pm
Gorman  Museum/
Hart  Hall  Rotunda
7:00-­‐7:30   pm
Vanderhoef
Studio  Theatre,
Mondavi  Center
8:00-­‐9:30   pm
Vanderhoef
Studio  Theatre
2

ARCTIC  INDIGENEITIES,  MEDIA,  AND  SOCIAL  JUSTICE
MARCH  12 ‒ 14,  2015
E VENT
I NTRODUCTIONS
MORNING  REFRESHMENTS
Qimmiit  Music:  Native
Nationalism  Goes  to  the  (Sled)
Dogs
Picturing  the  Arctic:  Culture   and  the  Politics  of  Indigenous
Land  Claims
Theater  Workshop
LUNCH
Arctic  Cultural  (In)Securities:
In  Conversation  with  Visiting
Artists
S PEAKER /P ERFORMER
Jessica  Bissett  Perea  &
Christyann  Darwent
Dylan  Robinson,  Canada
Research  Chair  in
Indigenous  Music,  Queen's
University
Shari  Huhndorf,  Native
American  Studies  &
Comparative  Ethnic
Studies,  UC  Berkeley
Cathy  Tagnak  Rexford,
Independent  Artist,  Seattle
T IME
9:00-­‐10:00   am
10:00-­‐10:30   am
10:30-­‐11:00   am
11:00  am-­‐ noon
L OCATION
Vanderhoef
Lobby
Vanderhoef
Studio  Theatre   noon-­‐1:30
Vanderhoef
Lobby
Tanya  Tagaq  Gillis
Celina  Kalluk
Cathy  Tagnak  Rexford
1:30-­‐2:30   pm
Candid  Camera:  Women  and
Men  in  Donald  B.  MacMillan’s
Arctic  Films  and
Photographs—from  Raw
Footage  to  Edited  Production
“The  World  is  Changing,
Following  Its  People”:  Lower
Yukon  Perspectives  on  Human-­‐
Animal  Relations
Genevieve  LeMoine,  Peary-­‐
MacMillan  Arctic  Museum,
Brunswick,  Maine
Ann  Fienup-­‐Riordan,  Calista
Education  and  Culture,
Anchorage,  Alaska
2:30-­‐3:00   pm
3:00-­‐3:30   pm
Vanderhoef
Studio  Theatre
AFTERNOON  REFRESHMENTS
Arctic  Studies  Research
Working  Group  Discussion
Pre-­‐Concert  Talk
Tagaq  in  Concert  with of  the  North   +  Q&A
Nanook
Symposium  Participants
Jessica  Bissett  Perea
Tagaq  Trio
3:30-­‐3:45   pm
3:45-­‐5:00   pm
6:30-­‐7:00   pm
7:00-­‐8:30   pm
Vanderhoef
Lobby
Vanderhoef
Studio  Theatre
Vanderhoef
Studio  Theatre
Vanderhoef
Studio  Theatre
3

ARCTIC  INDIGENEITIES,  MEDIA,  AND  SOCIAL  JUSTICE   MARCH  12 ‒ 14,  2015
Tagaq  reclaims  the  controversial  1922  silent  film   Nanook  of  the  North ,  which  is  considered  the  world’s  first   major  work  of  non-­‐fiction  filmmaking,  yet  it  is  rife  with  contradictions.  The  film  portrays  the  lives  of  an  Inuk   family  in  Arctic  Canada.  Its  director,  Robert  Flaherty,  lived  and  worked  with  Inuit  for  years,  but  still  included   staged   scenes   of   buffoonery   and   feigned   Inuit   ignorance   of   modern   accoutrements.   Working   with   composer  Derek  Charke  (whose  “Tundra  Songs”  Tagaq  performed  with  the  Kronos  Quartet),  Tagaq,  along   with  percussionist  Jean  Martin  and  violinist  Jesse  Zubot,  performs  a  live  accompaniment  to  the  film’s  silent   images  of  life  in  an  early  20th-­‐century  Inuit  community  in  Northern  Quebec.
Drawing   on   her   childhood   on   Nunavut’s   Victoria   Island,   and   on   her   mother’s   memories   of   forced   relocation   from   the   film’s   Northern   Quebec   location,   Tagaq’s   sense   of   the   sound   of   the   Arctic   spaces   shown  in  the  film  transforms  the  images,  adding  tremendous  feeling  and  depth  to  what  is  a  complex  mix   of  beautiful  representations  and  racially  charged  clichés.  Tanya  Tagaq  in  concert  with   Nanook  of  the  North   was  commissioned  by  the  Toronto  International  Film  Festival,  where  it  premiered  to  critical  acclaim  in  2012   as   part   of   Toronto   International   Film   Festival   First   Nations.   Tagaq   was   awarded   the   Galaxie   Rising   Star
Award  at  the  2013  Mundial  Montreal  for  her  showcase  performance  of  the  program.
Nala,  wife  of  Allakariallak,  photo  by  R.  Flaherty  (ca.  1920)         Tanya  Tagaq,  photo  by  Ivan  Otis  (2013)
4

ARCTIC  INDIGENEITIES,  MEDIA,  AND  SOCIAL  JUSTICE   MARCH  12 ‒ 14,  2015
is  an  award-­‐winning  Inuit  artist  best  known  for  extending  the  traditional  genre  of
Inuit  vocal  games  into  experimental  musical  scenes.  Born  and  raised  in  Cambridge  Bay  in  Nunavut,  Tagaq   earned   a   BFA   from   the   Nova   Scotia   College   of   Art   and   Design   in   Halifax.   Tagaq’s   early   career   included   touring   with   Björk   and   appearing   on   her   2004   album,   Medúlla .   Tagaq’s   debut   album,   Sinaa   (2005),   an
Inuktitut  word  meaning  “edge,”  was  nominated  for  five  awards  at  the  Canadian  Aboriginal  Music  Awards,   winning  awards  for  Best  Producer/Engineer,  Best  Album  Design,  and  Tagaq  herself  won  the  Best  Female
Artist  award.   Sinaa  was  also  nominated  for  the  Best  Aboriginal  Recording  at  the  2006  Juno  Awards.  In  2007   the  world-­‐renowned  Kronos  Quartet  invited  Tagaq  to  participate  as  co-­‐writer  and  performer  on  a  project   aptly   titled   “Nunavut,”   which   led   to   ongoing   collaborations   with   the   Kronos   Quartet.   Tagaq’s   second   album,   Auk/Blood   (2008),   won   a   Canadian   Aboriginal   Music   Award   and   was   nominated   for   two   Juno
Awards:   Best   Aboriginal   Recording   and   Best   Instrumental   Recording.   In   2011,   she   released   a   live   album   titled   Anuraaqtuq ,  recorded  from  her  May  2010  trio  performance  at  the  Festival  International  de  Musique
Actuelle  de  Victoriaville.  Her  most  recent  album,   Animism  (2014),  won  the  2014  Polaris  Music  Prize,  which
“rewards  creativity  and  diversity  in  Canadian  recorded  music  by  recognizing,  then  marketing  the  albums  of   the   highest   artistic   integrity,   without   regard   to   musical   genre,   professional   affiliation,   or   sales   history.”
Tagaq’s  ventures  into  film  include  contributing  to  various  soundtracks,  as  well  as  a  starring  role  in  the  short   film   Tungijuq  (What  We  Eat)  (2009)  with  Cannes-­‐winning  Inuit  filmmaker  Zacharias  Kunuk.  This  film  was   selected  for  Sundance,  Toronto  International  Film  Festival,  and  imagineNATIVE  Film  Fest  in  2009.
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ARCTIC  INDIGENEITIES,  MEDIA,  AND  SOCIAL  JUSTICE   MARCH  12 ‒ 14,  2015
is  an  independent  artist  who  learned  Inuit  throat  singing  from  her  uncle’s  wife  in  the   village   of  Resolute   Bay,   Nunavut,  where   she   grew   up   in   the   Canadian   High   Arctic.   Kalluk   relocated   to
Iqaluit,  the  capital  of  Nunavut,  where  she  works  as  a  writer  and  illustrator.  Through  her  children’s  book
“ Sweetest   Kulu ”   and   her   work   on   children’s   schoolbooks,   Kalluk   has   been   working   to  preserve   the
Inuktitut  language.
was  born  in  Alaska  and  is  of  Iñupiaq,  French,  German,  and  English  descent.
She   is   a   poet   and   playwright   and   earned   an   MFA   from   the   University   of   British   Columbia.   Grounded   in   photography  and  lyric  documentary,  her  poetry  has  appeared  in  various  anthologies.  Her  chapbook   Black
Ice  appeared  in   Effigies:  An  Anthology  of  New  Indigenous  Writing,  Pacific  Rim   (2009),  and  individual  poems   have  appeared  in   Ahani:  Indigenous  American  Poetry   (2007)  and   To  Topos  Poetry  International   (1999).  She  is   the  author  of   A  Crane  Story   (illustrated  by  Sini  Salminen,  2013).  Her  plays  include   The  Namesake   and,  with
Challen  Wilson,   The  Winter  Overture;   Rexford  also  works  on  short  films .   She  has  received  fellowships  from   the  First  Peoples  House  of  Learning  and  the  Rasmuson  Foundation.  Rexford  currently  lives  in  Seattle.
6

ARCTIC  INDIGENEITIES,  MEDIA,  AND  SOCIAL  JUSTICE
MARCH  12 ‒ 14,  2015
Mother  and  Child  Running  by  Judas  Ullulaq  (Ooloolah),  date  unknown;  16  inches;  soapstone,  bone  and  antler
Hulleah  J.  Tsinhnahjinnie/Courtesy  Photo
(http://www.davisenterprise.com/arts/uc-­‐davis-­‐alumni-­‐couple-­‐lends-­‐inuit-­‐artwork-­‐for-­‐exhibition/)
This   exhibition   features   contemporary   Inuit   stone   sculpture   and   prints,   privately   collected   over   the   past   30   years   by   Christel   and   Jürg   Bieri ,   both   of   whom   are   UC
Davis  alumni.  The  works  are  both  figurative  and  abstract,  reflecting  the  wide  range  of   techniques,   materials,   and   oral   histories   employed   by   contemporary   Canadian   Inuit   artists.     The  exhibition  includes  58  sculptures  and  14  drawings  and  prints  by  45  artists   from  throughout  Nunangat  (Inuit  Regions  of  Canada).
7

ARCTIC  INDIGENEITIES,  MEDIA,  AND  SOCIAL  JUSTICE
MARCH  12 ‒ 14,  2015
(Memorial  University)
Abstract:   Human   rights   and   social   justice   issues   have   been   cast   in   specific   ways   in   Arctic   indigenous   communities   in   relation   to   divergent   interests   in   resource   rights,   other   economic   enterprises,   international   security,   and   the   particular   adjacencies   and   agendas   of   trans-­‐polar   nations.   In   spite   of   monumental   struggles   in   the   face   of   relocations,   residential   schools,   and   massive  environmental  change  (to  name  only  a  few  issues),  Indigenous  northerners  have,  in  many   instances,   claimed   sovereignty   and   defined   citizenship   on   their   own   terms.   The   Inuit-­‐controlled   government   of   Nunavut   in   Canada   (grounded   in   principles   of   Inuit   Qaujimajatuqangit ),   and   the   transnational  Sami  Parliament  in  Scandinavia  are  perhaps  two  of  the  most  prominent  milestones   in   this   history.   Through   traditional   performance   genres,   colonial   ones,   and   innovative   contemporary   production,   performers   have   also   played   a   significant   role   in   these   processes,   asserting   relationality—between   individuals   and   communities,   between   indigenous   and   settler   communities,  between  humans  and  environments—and  thus  defining  citizenship.    I  want  to  speak   about  how  changes  in  several  performance  traditions  reflect  different  approaches  to  sovereignty,   social   justice   and   citizenship.   I   will   focus   on   three   pivotal   examples:   shifts   in   Inuit   drum   dance   performance,   the   impact   of   recording   technologies   on   Inuit   throat   singing   and   Sami   joik,   and   reflections   on   Moravian   hymns   in   the   lives   of   Labrador   Inuit.   What   Ana   Maria   Ochoa   Gaultier
(2014)  has  recently  argued  about  colonial  Colombia  could  be  argued  equally  for  Arctic  indigenous   communities:   that   contrasting   ideas   about   “how   the   local   should   sound”   are   of   fundamental   importance  in  reconfiguring  concepts  of  nature/culture  and  colonial/modern,  and  in  constituting   the  politics  of  everyday  life.
(Calista  Heritage)
Abstract:   Animal-­‐human-­‐environmental  relations  form  a  critical  nexus  all  across  the  Arctic  and  are   increasingly  the  focus  of  inquiry.  These  relations  remain  especially  significant  in  southwest  Alaska   where  subsistence  hunting  and  fishing  are  everyday  activities  during  which  animals  are  not  viewed   as   resources   but   as   co-­‐inhabitants   of   a   sentient   world   and   as   non-­‐human   persons   who   like   the   environment  are  responsive  to  human  thought  and  deed.  My  brief  remarks  will  touch  on  the  many   qanruyutet  (oral  instructions)  surrounding  the  treatment  of   neqa ,  a  word  that  means  both  food   and  fish,  among  Yup'ik  people  living  on  the  lower  Yukon  River.  Just  as   qanruyutet  guide  relations   among   humans   and   between   humans   and   animals,   they   guide   human   relations   with   the   world   around   them.   Elders   speak   at   length   about   these   qanruyutet ,   as   well   as   about   their   personal   experiences,   to   teach   their   youth   not   merely   the   physical   features   of   land   and   sea   but   ways   in   which  one's  actions  elicit  reactions  in  a  responsive  world.
I   conclude   that   while   there   are   many   fruitful   connections   between   Yup'ik   knowledge   and
Western   science,   it   is   important   to   recognize   and   respect   profound   differences   between   world   views.  One  excellent  way  to  understand  these  connections  and  differences  is  through  long-­‐term   collaborations  with  communities.  Only  by  working  together  can  we  begin  to  understand  not  only   what  is  occurring  but  why  people  believe  it  to  be  so.
8

ARCTIC  INDIGENEITIES,  MEDIA,  AND  SOCIAL  JUSTICE   MARCH  12 ‒ 14,  2015
(UC  Berkeley)
Abstract:   The  post-­‐1960s  era  has  seen  major  indigenous  land  claims  settlements  in  the  U.S.  and
Canada,   and   these   land   conflicts   have   become   a   key   subject   of   contemporary   Native   culture.    What  can  culture  contribute  to  our  understanding  of  colonial  dispossession  and  ongoing   land  conflicts?    Can  it  support  indigenous  claims  to  land,  and  if  so,  how?    This  paper  engages  these   questions   through   an   analysis   of   Erica   Lord’s   multi-­‐media   installation   Native   American   Land
Reclamation   Project   (2000),   which   thematizes   the   Alaska   Native   Claims   Settlement   Act,   and   an   online   map   created   in   conjunction   with   the   film   Atanarjuat   (2001),   which   represents   the   newly   formed  territory  of  Nunavut.
(Peary-­‐MacMillan  Arctic  Museum)
Abstract:   Historic  photographs  and  motion  picture  film  are  a  rich  source  of  information,  but  like  all   documentary  evidence  they  are  complex,  their  meaning  mediated  by  the  eye  behind  the  camera,   and   indeed   the   camera   itself.   Donald   B.   MacMillan’s   photographs   and   films,   produced   over   his   long   career   in   the   Arctic   (1908–1954)   represent   a   unique   opportunity   for   such   interpretation.
Unlike  many  other  photographers  and  filmmakers  in  the  north  MacMillan  spent  extended  periods   living  and  working  in  several  communities,  developing  long-­‐term  relationships  with  families  that   persisted  for  decades.  And  although  he  lectured  extensively  using  his  photographs  and  films,  his   images   were   typically   created   without   any   predetermined   narrative   structure   and   were   rarely   staged.  In  the  raw  footage,  and  1000’s  of  photographs  he  produced,  it  is  possible  to  get  a  glimpse   of  many  aspects  of  every-­‐day  life  for  men  and  women.  Not  surprisingly,  much  of  this  has  been  lost   in   the   transition   to   edited   film   and   published   photographs.   Interpreting   the   content   of   such   images  requires  understanding  the  context  of  their  production,  including  the  relationship  among   the  individuals  on  either  side  of  the  camera  and  their  motives  in  participating  in  the  production  of   the  images.
(Queen’s  University)
Abstract:   To  what  extent  should  composers  who  write  works  about  Indigenous  culture  be  held   accountable   to   understanding   the   social   and   political   context   of   those   communities   their   music   represents,  and  addressing  this  context  through  their  compositions?  This  presentation  compares   classical  compositions  written  for  Inuit  throat  singers  including  Alexina  Louie’s   Take  the  Dog  Sled
(2009)  and  Derek  Charke's   Cercle  du  Nord  III .  I  here  confront  art  music’s  fixation  on  the  sonic  allure   of  difference,  and  its  sanitized  depictions  of  the  North’s  beauty  and  references  to   qimmiit ,  or  sled   dogs,  in  particular.  Drawing  upon  the  discourse  of  Indigenous  literary  nationalism  that  questions   the  efficacy  of  Indigenous  creative  practice  for  Native  communities,  I  examine  how  these  musical   representations  of  dogsled  travel  perpetuate  an  idyllic  “idea”  of  north  for  southern  audiences.
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ARCTIC  INDIGENEITIES,  MEDIA,  AND  SOCIAL  JUSTICE   MARCH  12 ‒ 14,  2015
(UC  Davis)
Abstract:   This   talk   explores   the   innovations   of   Inuit   vocalist   Tanya   Tagaq   Gillis,   focusing   specifically  on  “Tanya  Tagaq  In  Concert  with  Nanook  of  the  North.”  The  work,  commissioned  by   the  Toronto  International  Film  Festival  and  premiered  to  critical  acclaim  in  2012,  is  a  collaborative   multimedia  piece  performed  as  live  accompaniment  to  screenings  of  Robert  J.  Flaherty’s   Nanook   of  the  North  (1922)  featuring  improvisations  by  Tagaq,  violinist  Jesse  Zubot  and  percussionist  Jean
Martin  over  a  pre-­‐recorded  soundscape  of  arctic  field  recordings  and  samples  of  Inuit  vocal  games   by   composer   Derek   Charke.   Tagaq’s   voice   serves   as   an   intervention   to   racialized   and   gendered   colonial  logics  that  resonate  throughout  historic  cue  sheets  and  contemporary  scores  written  for
Flaherty’s  film,  comprising  what  I  call  “the  sound  of  Eskimo.”  Tagaq’s  reclamation  of   Nanook  of   the  North  amplifies  diverse  understandings  of  what  “sounding  Inuit”  in  the  twenty-­‐first  century   can   mean   by   unsettling   colonial   representations   of   Inuit-­‐ness   characterized   by   primitivism,   loss,   and  silence.  This  study  is  positioned  as  a  critical  conversation  between  the  interdisciplinary  fields   of   American   music   studies   and   critical   Inuit   studies,   drawing   on   Beverley   Diamond’s   “alliance   studies   model”   to   address   how   Tagaq’s   social   justice-­‐oriented   performance   practices   express   a   transformative   futurism   via   sustainable   relationships   between   humans,   animals,   and   environments.   Tagaq’s   musical   modernities   make   audible   the   complicated   histories   of   settler   colonialism  in  the  Americas,  histories  that  hold  implications  for  the  ways  in  which  “ethnic”  musics   in  the  Americas  are  taught  and  studied.
(Assistant  Professor  of  Native  American  Studies,  University  of  California,  Davis)   is  a  San  Francisco-­‐based  musician,  educator,  and  scholar.  She  was  born  in  Anchorage,  Alaska,  is  an  enrolled   member  of  the  Knik  Tribe,  and  her  innovative  dissertation  research  and  dedication  to  community  outreach   were   recognized   with   a   2010   Alaska   Native   Visionary   Award,   presented   by   the   Alaska   Native   Heritage
Month   Board   of   Directors.   Her   research   and   teaching   focus   on   music,   sound,   and   media   studies;   critical
race  and  gender  studies;  Alaska  Native  and  Circumpolar  Inuit  cultures,  histories,  and  politics;  African  and
Native  alliances  and  cultural  production  in  the  Americas;  and  research  ethics  and  methodologies.
(Associate  Professor  of  Anthropology,  University  of  California,  Davis)  currently   serves   as   Editor   for   Arctic   Anthropology:   A   Research   Journal   about   Arctic   Peoples .   She   has   directed   or   participated   in   archaeological   field   research   in   northern   Alaska,   Nunavut,   and   Greenland.   Her   research   examines  how  animal  skeletal  remains  from  archaeological  sites  can  shed  light  on  past  human  subsistence
economies   and   past   environments.   In   collaboration   with   Vet   Genetics,   she   is   using   ancient   DNA   to   understand  the  origin  and  movement  of  Qimmiit  or  dogs  across  the  Arctic  and  by  extension  their  human   companions  (2013,   Journal  of  Archaeological  Science ).  Work  with  G.  LeMoine  and  J.  Darwent  has  focused  on   understanding   the   history   of   Polar   Inughuit   people   in   northwest   Greenland   (2007,   Arctic   Anthropology ;
2010,   Danish   Journal   of   Geography).   She   has   been   working   in   the   Kotzebue   and   Norton   Sound   areas   to   document   the   archaeology   of   Thule-­‐Iñupiat   peoples—most   recently   in   collaboration   with   the   Native
Village  of  Shaktoolik.
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ARCTIC  INDIGENEITIES,  MEDIA,  AND  SOCIAL  JUSTICE   MARCH  12 ‒ 14,  2015
(Professor   of   Music,   Canada   Research   Chair   in   Ethnomusicology,   Memorial
University   of   Newfoundland,   St.   John’s)   established   and   directs   the   Research   Centre   for   the   Study   of
Music,  Media,  and  Place.  Diamond  is  known  for  her  research  on  gender  issues,  Canadian  historiography,   and  indigenous  music  cultures.  Her  research  on  indigenous  music  has  ranged  from  studies  of  traditional
Inuit  and  First  Nations  song  traditions  and  Saami  joik,  to  indigenous  audio  recording,  traditional  protocols   for  access  and  ownership,  and,  most  recently,  expressive  culture  in  relation  to  the  Truth  and  Reconciliation
Commission   on   residential   schools   in   Canada.   Most   recently   she   co-­‐edited   Aboriginal   Music   in
Contemporary  Canada.  Echoes  and  Exchanges   (McGill-­‐Queen’s  UP,  2012)  which  received  a  Choice  Academic
Book   award.   Active   in   the   development   of   ethnomusicology   in   Canada   at   Queen’s   University,   York
University  as  well  as  Memorial  University,  she  has  been  recognized  for  moving  Canadian  music  studies  in
new  directions  and  mentoring  a  generation  of  scholars  who  have  greatly  expanded  the  histories  of  cultural   diversity.  Diamond  currently  serves  as  the  President  of  the  Society  for  Ethnomusicology  (2013–15).  She  was   elected  to  the  Royal  Society  of  Canada  in  2008,  named  a  Trudeau  Fellow  (2009–12),  and  a  Member  of  the
Order  of  Canada  (2013).
(Calista  Education  and  Culture,  Inc.,  Anchorage,  Alaska;  Independent  Researcher,
Arctic   Studies   Center,   Smithsonian   Institution)   received   her   Ph.D.   in   cultural   anthropology   from   the
University  of  Chicago  in  1980.  She  has  lived,  worked  and  taught  in  Alaska  as  an  independent  scholar  since
1973.  During  the  last  twenty  years,  she  has  changed  the  way  she  works  in  response  to  changing  needs.  In
1976–77  she  carried  out  field  work  on  Nelson  Island  in  the  “classic”  anthropological  tradition  of  participant   observation,  publishing  the  results  in  her  first  book,  The  Nelson  Island  Eskimo.  Since  then  she  has  been   involved   in   half-­‐a-­‐dozen   collaborative   research   projects   including   work   for   the   Association   of   Village
Council   Presidents,   the   Yupiit   Nation,   the   Toksook   Bay   Traditional   Council   and   for   the   Coastal-­‐Yukon
Mayors’  Association  and  the  Anchorage  Museum  of  History  and  Art  in  their  efforts  to  organize  the  Yup’ik   mask   exhibit   “Agayuliyararput:   Our   Way   of   Making   Prayer”.   Since   1999   she   has   worked   with   the   Calista
Elders  Council  on  a  number  of  community-­‐initiated  projects,  reflected  in  her  major  publications,  including
Wise   Words   of   the   Yup’ik   People:   We   Talk   to   You   because   We   Love   You ,   Yuungnaqpiallerput/The   Way   We
Genuinely  Live ,  and   Ellavut/Our  Yup’ik  World  and  Weather:  Continuity  and  Change  on  the  Bering  Sea  Coast .  In   recognition   of   her   work   with   Alaska   Natives,   she   received   the   Alaska   Federation   of   Natives   President’s
Award  in  2000,  and  in  2001  the  Governor’s  Award  for  Distinguished  Humanist  Educator.
(Professor  of  Native  American  Studies  and  Comparative  Ethnic  Studies,  University   of   California,   Berkeley)   received   her   Ph.D.   in   Comparative   Literature   from   New   York   University.   Her   research   and   teaching   focus   on   the   areas   of   interdisciplinary   Native   American   studies,   contemporary   literary  and  visual  culture,  cultural  studies,  gender  studies,  and  American  studies.  Professor  Huhndorf  is  the   author  of  two  books,   Going  Native:  Indians  in  the  American  Cultural  Imagination  (Cornell  University  Press,
2001)   and   Mapping   the   Americas:   The   Transnational   Politics   of   Contemporary   Native   Culture   (Cornell
University   Press,   2009),   and   a   co-­‐editor   of   Indigenous   Women   and   Feminism:   Politics,   Activism,   Culture
(University  of  British  Columbia  Press,  2010),  winner  of  the  Canadian  Women’s  Studies  Association  prize  for
Outstanding   Scholarship.  At   Berkeley,   Professor   Huhndorf   is   affiliated   with   the   Center   for   Race   and
Gender,   the   Interdisciplinary   Program   in   American   Studies,   the   Designated   Emphasis   in   Gender   and
Women’s  Studies,  and  the  Myers  Center  for  Research  on  Native  American  Issues.  She  is  a  former  member   and   chair   of   the   executive   committee   of   the   Division   of   Twentieth-­‐Century   American   Literature   of   the
Modern   Language   Association.     She   also   served   for   a   decade   on   the   board   of   the   directors   of   the   CIRI
Foundation,   which   provides   educational   funding   and   cultural   programs   for   Alaska   Natives   in   her   home   community.     She   received   a   2013   President’s   Award   from   the   Alaska   Federation   of   Natives   for   her
contributions  to  Native  education  and  a  Distinguished  Teaching  Award  from  the  Division  of  Social  Sciences   at  UC  Berkeley.
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ARCTIC  INDIGENEITIES,  MEDIA,  AND  SOCIAL  JUSTICE   MARCH  12 ‒ 14,  2015
(Curator,   The   Peary-­‐MacMillan   Arctic   Museum,   Bowdoin   College,   Brunswick,
Maine)  received  her  PhD  in  Archaeology  from  the  University  of  Calgary  in  1991.  Her  research  focuses  on   technological  change  in  prehistoric  and  historic  cultures  in  high  Arctic  Canada  and  Greenland.  LeMoine  has   published  numerous  articles  examining  the  ways  in  which  Inuit  women  organized  their  labor  and  adopted,   and   adapted   to   changing   technology.   In   addition   to   archaeological   data   she   has   integrated   textual   and   photographic  records  from  nineteenth  and  early  twentieth  century  American  exploration  expeditions  into   her  research,  throwing  light  on  the  sometimes  fraught  interactions  of  Inuit  and  explorers.  Recent  articles   include   “Elatu’s   Funeral:   a   glimpse   of   Inughuit-­‐American   relations   on   Robert   E.   Peary’s   1898-­‐1902   expedition”  in  the  journal   Arctic ,  and,  with  C.  Darwent,  “Furs  and  Satin:  Understanding  Inughuit  Women’s   role  in  Culture  Contact  through  Clothing,”  in   North  By  Degree:  New  Perspectives  on  Arctic  Exploration   edited
by  Susan  Kaplan  and  Robert  Peck.  She  has  also  published  exhibit  catalogs  on  Canadian  Inuit  art  and  Inupiat   caribou-­‐skin  masks.
(Curator,  C.N.  Gorman  Museum,  University  of  California,  Davis)   is  a  writer,   curator,  and  scholar  of  Native  North  American  art.    Receiving  her  MPhil  in  Museum  Studies  from  Oxford
University  in  1996,  her  research  emphasis  is  contemporary  Native  American  art  with  a  specialty  in  Native
American  photography.  Her  curatorial  practices  are  based  on  collaboration  with  contemporary  Indigenous   artists  in  national  and  international  exhibitions  held  at  Autry  National  Center,  Eiteljorg  Museum,  Pitt  Rivers
Museum,  Navajo  Nation  Museum,  Barbican  Art  Gallery,  as  well  as  the  C.N.  Gorman  Museum.
(Canada  Research  Chair  in  Indigenous  Arts,  Queen’s  University,  Kingston,  Ontario)  is  a
Stó:lō   scholar   currently   working   in   the   traditional   and   ancestral   territory   of   the   Haudenosaunee   and
Anishinaabe  peoples.  His  research  focuses  upon  the  sensory  politics  of  Indigenous  activism  and  the  arts,   and   questions   how   Indigenous   rights   and   Settler   colonialism   are   embodied   and   spatialized   in   the   public
sphere.   His   current   research  documents   the   history   of   contemporary   Indigenous   public   art   (including   sound  art  and  social  arts  practices)  across  North  America.  This  project  involves  working  with  Indigenous
artists  and  scholars  to  collaboratively  imagine  new  models  for  public  engagement  and  to  create  new  public   works  that  acknowledge  Indigenous  histories  of  place  and  speak  to  contemporary  Indigenous  experience.
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MARCH  12 ‒ 14,  2015   ARCTIC  INDIGENEITIES,  MEDIA,  AND  SOCIAL  JUSTICE
(Director,  Howard  Winant)
(Curator  Veronica  Passalacqua)
(Chair  Li  Zhang/  C.  Darwent)
(Chair  Henry  Spiller)
(J.  Bissett  Perea)
(Chair  Jon  Rossini)
(Dean  Susan  Kaiser)
(Dean  Ron  Mangun)
(Director  Chuck  Walker)
(Dean  Ron  Mangun)
(Director  Joe  Dumit)
(Executive  Director  Don  Roth)
(Chancellor  Katehi,  Executive  Vice  Chancellor  and
Provost  Ralph  Hexter)
(Departments  of  Anthropology  &  Sociology,  and  Program  in  Middle  East/South  Asia  Studies)
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