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her journey. Her work, Semillas de la Vida, depicts the culture as it has been passed down from ancestors to the present. All three people presented in the painting are women. One, who is the ancestor is dressed very colorfully with a head and filled with vibrant feathers. The second woman is older and looks to be the grandmother of the last, and youngest girl. The grandmother and her grand daughters hair is connected and seems to be significant as she passes down the culture and history or her heritage. A lot of her work has to do with the cultural impression that people leave on the younger generation. She is very determined to leave behind a legacy of the culture that shaped many. Her upbringing intensifies her views on continuing to pass culture down through community and educating others on its existence and meaning. Her goal is to educate others on the origins of her indigenous roots so they can continue to grow as the definition of indigenous futurisms imply.
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that is
Mexican and Costa Rican. There are many pieces in her work that are inspired by Otomi and Nahua traditions. The Otomi are indigenous people that inhabited the central plateau of Mexico. These people are very close-knit, especially with the bonds made between families or godparents. The Nahua are indigenous peoples that had occupied central Mexico. This community also fostered an environment of closeness between families. Being raised by parents from each of these cultures is clearly shown in her artwork that illustrates a family tree. It is a rather unique depiction due to the shape of the family tree. It is very colorful and decorated with other plants or fruit. Ramirez's work, Arbol de la Pura Vida, emphasizes to strong familial connects that are formed within this culture and that it remains many generations later.
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creators dominate the digital media field and digital technology industries. Indigenous
Matriarch 4 is a virtual reality company that provides Indigenous people with the tools they need to participate in and remake the virtual world. Because Indigenous people are often misrepresented in media, VR has become a place to creatively express Native American culture and ideas. Indigenous VR has also provided Indigenous people with the opportunity to be leaders in a new technology field, and to be involved in technology fields that previously excluded them and that had very little representation of Native American and Indigenous communities.
403:(2010), Leia is seen holding a bigger gun and still looking directly at the audience. Baudemann analyses this depiction and says it creates awareness of the colonial gaze, which is harmful to indigeneity. In these paintings Princess Leia is seen clad in a Hopi blanket, wearing the hairstyle typical to unmarried Hopi girls. She is in front of her pueblo homes protecting them with her gun. Baudemann emphasizes the idea that Hopi homes should be seen as homes and not monuments that can be looked at by outsiders and they should not be appropriated. Princess Leia, in the
179:, or ancestral homeland. Through speculative storytelling, it re-imagines relationships with the land, technology, and spirituality, emphasizing interconnection and harmony, socially, spiritually and ecologically. Concepts of time, space, identity, and belonging are redefined, offering insights into indigenous worldviews and Spiritual practices. Ultimately, indigenous futurisms serve as a powerful tool for recognizing colonialism, genocide, and how to more peacefully coexist with one's gender and environment.
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be very important to each that younger generations continue to keep the culture and everything that it encompasses alive. Without newer and younger generations continuing to practice the cultural traditions or beliefs then the culture would gradually die out. Art is a way to emphasize the meaning behind their urgency to continue their heritage and keep in touch with the history that their ancestors have lived through so that the next generations can keep growing.
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nationality, religion, or race. American Indian boarding schools in the last 100 years have been responsible for beating
Indigenous children into learning and accepting customs from America at the time. This interference has since been labeled as genocide, and Indigenous futurist novels often speculate on a future where this culture was allowed to grow and be taught primarily to children, instead of being integrated with American culture and language.
260:, conflict, the environment, trade and treaties, which have impacted Indigenous cultures, are recurring and reexamined, creating new narratives in the process. Artists play with questions of race, privilege, and "Whiteness", both in history and within the speculative genre; they are expanded upon, subverted, erased, reversed, etc., thereby linking culture to time, space, and what lies in-between. The term
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Chicana art overall. It calls attention to the past, present, and optimistic future. It gives views a new lens to view events on in a visual way. Their work depicts the culture as it has been passed down from ancestors to the present. Indigenous futurisms, as a movement, has given many cultures, like
Chicanas, a platform to spread their story.
674:, "a spectrum of speculative aesthetics produced by U.S. Latin@s, including Chican@s, Puerto Ricans, Dominican Americans, Cuban Americans, and other Latin American immigrant populations. It also includes innovative cultural productions stemming from the hybrid and fluid borderlands spaces, including the U.S.-Mexico border."
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the term, arguing that it is a white man's term unreflective of
Indigenous people, saying: “We, native Indigenous people living in tribes, don't think about the future,” he says. “The white man has a vision of progress, not us. Our progress is to preserve our culture ... to live in the present, I have to remember my past.”
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Much of
Indigenous futurism exists as a way to speculate a future without the interference of Western countries, namely Spain, France, and Britain, and explores the idea of what an American community would look like free of the colonization of Europe. Most of these stories include either a community,
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Indigenous
Futurisms as a term has received mixed feedback among Indigenous Brazilian musicians. Many Indigenous artists do not embrace this concept because they view preserving culture to be much more important than thinking about the future. For example, Indigenous rapper Kunumi MC, disagrees with
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Both artists grew up in very culturally rich areas where they had the ability and surroundings to learn about their culture and what it meant to them as they got older. They each communicate through their artwork their perspectives of their culture and how it will continue in the future. It seems to
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Another artist whose work reflects the connection of their heritage to the present in this exhibit is Andrea
Ramirez. Her artwork, Arbol de la Pura Vida, captures a family tree of sorts that also happens to center around women. She developed her skills in her community with influence from her family
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Indigenous futurisms touched many communities, one of which is the
Chicana/Mexican Community. There art offers an alternative platform that allows the view to see and feel the history of their past and their connection to it in the present. The movement has inspired many hope and aspirations for the
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ceremonial and social role in their cultures. Those who identify themselves as Two-Spirit are neither a man nor woman, but can carry the traits of both sex represented in one complete body. The term was widely adopted in the 1990s to encompass the various non-binary gender identities and expressions
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Indigenous
Futurisms also manifest themselves in physical games as well, Coyote and Crow, is a tabletop role playing game created by Connor Alexander, A native Cherokee who has had a large portion of his culture taken away from him by colonialism. The setting is in an America far in the future that
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Amparo Chi is an artist selected to showcase her work in the riverside art exhibit for indigenous futurisms. Amparo Chi is a Chicana artist raised in Los Angeles, a city dense with Hispanic culture in many forms like art. She drew inspiration from murals by Chicano artists around the city and began
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Virtual reality is being used to create space and capacity for Indigenous creatives to tell their stories. VR is used by many Indigenous practitioners to reimagine traditional storytelling and express themselves and their culture, promote health and wellbeing, and foster self-esteem and pride. New
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Virtual reality (VR) is a medium in which the concept of screen sovereignty can be used to combat misrepresentation of Indigenous people in media. Indigenous VR makers are shaping the culture of technology through VR to properly represent Indigenous people and their culture. Currently, white media
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Art plays an essential role into this movement as it communicates more than pretty pictures and something to look at. It is meant to influence opinions, values, and experiences. It is one of the earliest sources of work done with indigenous futurisms. Indigenous futurisms have had a big impact on
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In both the indigenous populations of today and the works of speculative fiction, each individual member of a community is often asked to take part in maintaining and sustaining the environment they are a part of. Nature is often viewed as a cycle, just like the life and death of a member of a
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Literature lends itself to many aspects of Indigenous Futurisms. Many of the stories revolving around Indigenous Futurisms contain an Indigenous main character, however, this does not define the genre, when referring to literature in Indigenous Futurisms we are referring to the Author, or the
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Indigiqueer is a term that is used as an alternative to two-spirit. It does not rely on binary concepts of gender. The term Indigiqueer was created by Thirza Cuthand (Plains Cree) in 2004. Unlike Two Spirit and other recent modern identities, Indigiqueer honors and celebrates one's sexual and
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Indigenous Futurisms in film reflect non-colonial encounters such as utopian sovereignty and dystopian assimilation. The continued development of Indigenous Futurists frameworks account for the diversity of creative efforts and histories between the First Nations, Inuit, and Native American
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While in some part, genocide in Indigenous communities might normally only be attributed to the early Americans, however, genocide, is a far broader topic for discussion. The definition of genocide is the deliberate and systematic destruction of a group of people because of their ethnicity,
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has been completely free of contact with the eastern hemisphere of the world. Culture and technology have allowed us to be completely influenced by indigenous beliefs and ideals. And America becomes a country without borders that lives in complete harmony with the cycle of life and death.
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romantic orientation as well as their gender identity and expression as they both relate to one's indigeneity There are many indigenous futurisms stories written with indigiqueer themes. For example: How to Survive the Apocalypse for Native Girls by Two-Spirit Métis/Baawiting Nishnaane.
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While not as prominent as other mediums, video games provide a more hands-on approach to the teaching and display of Indigenous Futurisms. Representation of indigenous cultures has been part of video games for years, with iconic games such as
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that showcases Indigenous culture in a dystopian future. Various tribes exist in the new region of Zion Canyon and the connection to nature is showcased with rain and friendly dogs being introduced to Fallout: New Vegas for the first time.
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Nation. A recent Indigenous Futurists game, Terra Nova, was produced by Maize Longboat, a member of the Mohawk tribe, and many other indigenous people have been engaging in the production of video games centered around indigenous themes.
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First Contact scenarios, Indigenous communities construct self-determined representations and alternative narratives about their identities and futures. Indigenous Futurists critique the exclusion of Indigenous people from the
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Indigenous futurisms at its base, envisions alternative futures where indigenous peoples are allowed to reclaim agency, sovereignty, and cultural continuity over culture, which may have been lost to time as well as
2151:"Indigenous Futurisms: Transcending Past/Present/Future: Curated by Suzanne Fricke, Chelsea Herr (Choctaw Nation of Oklahoma), and Manuela Well-Off-Man, February 13, 2020-January 3, 2021, Institute of Americ"
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thriving on the same scale as modern America while being more symbiotic with its environment, or a community of oppressed citizens/refugees who long to return to a time/space where such things were possible.
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have depicted Indigenous cultures to be dangerous and violent. Many new video games have begun hiring consultants from the Native community to ensure accurate representation, with the popular video game
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virtual platforms have also been created that retell significant moments in Indigenous history as well as connect to the present, like the platform AbTeC Island (Aboriginal Territories in Cyberspace).
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399:(2009), he shows the Hopi Princess Leia holding a gun pointing straight at the audience while also staring directly at the audience as well. In his second Hopi Princess Leia, named
1303:"Indigenous Futurisms: Transcending Past/Present/Future: Curated by Suzanne Fricke, Chelsea Herr, and Manuela Well-Off-Man, February 13, 2020-January 3, 2021, Institute of America"
133:, noting that Indigenous peoples have at once been purposefully excluded from accessing media technologies and constructed as existing outside of modernity. The widespread use of
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In the late 20th century, Indigenous artists and writers experimented with science fiction and images of Indigenous lifeways through different spaces and times. In her anthology,
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emphasizes the importance of 'Indigenous language futurisms,' where she shows that Indigenous languages are important to articulating and understanding Indigenous temporalities.
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depicting Indigenous peoples. However, the specific genre of Indigenous Futurisms in video games is a relatively new concept and few prominent games fall into this category.
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is a movement in literature, visual art, comics, video games, and other media that expresses Indigenous perspectives of the future, past, and present in the context of
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1521:"Indigenous futurisms in North American Indigenous art: the transforming visions of Ryan Singer, Daniel McCoy, Topaz Jones, Marla Allison, and Debra Yepa-Pappan"
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In other words, Indigenous Futurisms do not solely address the future, but create a range of scenarios and phenomena in which reimaginations of space, time, and
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since 2012, was coined by Grace Dillon, professor in the Indigenous Nations Studies Program at Portland State University. The term was inspired by
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369:. She says that Indigenous people are resilient and sustainable and their art incorporates those characteristics. One specific Indigenous artist,
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Aceves, Abby; Chi, Amparo; Arroyo, Ariana; Carranza, Adriana; Cervantes, Melanie; Cortez, Rosy; Cruz, Emilia; Ramirez, Andrea; Gomez, Mariana.
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by returning to their ancestral roots, conflating past with present and future, as well as reframing what the world would or could be like.
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movies, loves her home and tries her hardest to protect it which is why Singer chose Princess Leia to be depicted in these paintings.
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created conditions in which, to some extent, Indigenous peoples may participate in the creation of a network of self-representations.
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314:, an examination of Native American literary epistemology and futurisms including an analysis of the Indigenous Star Wars phenomena.
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The concept of time in Indigenous Futurisms moves away from Western linear interpretations, both culturally and within the genre of
348:. Another major facet of Indigenous Futurists artwork is the adaptation of existing culture and nomenclature. For instance, artist
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The term “Two Spirit” is a modern, pan-Indian, umbrella term used by some Indigenous peoples to describe those who fulfill a
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artistic styles. The game offers a form of protest specifically against the oil industry. Additionally, the popular game
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619:, each offering a different perspective on the role Indigenous peoples and identities will have in building the future.
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January 2017, Rebecca RoanhorseBy: Elizabeth LaPenseeBy: Johnnie JaeBy: Darcie Little Badger Issue: 30 (2017-01-30).
303:, a collection of stories and perspectives from queer Indigenous peoples tackling colonialism and the ideas of hope.
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Kristina Baudemann focuses on storytelling and art and the integration of science fiction into Indigenous art in
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Morin, Courteney (2019). "Screen Sovereignty: Indigenous Matriarch 4 Articulating the Future of Indigenous VR".
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There has been controversy surrounding representation of Native people in video games, and iconic games such as
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667:, all of which encapsulate multiple modes of art-making from literature to visual arts, fashion, and music.
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1896:"Is Thunderbird Strike a fun learning tool or an ecoterrorist's version of Angry Birds? | Great Lakes Echo"
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2085:"Skawennati Makes Space for Indigenous Representation and Sovereignty in the Virtual World of Second Life"
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Many pieces of Indigenous Futurists artwork contain iconography or symbolism that reference Indigenous
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and challenge notions of what constitutes advanced technology. In so doing, the movement questions the
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features significant artistic components and lots of indigenous imagery. The creator of the game,
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2291:"'The way I am is an outrage': the Indigenous Brazilian musicians taking back a burning country"
1858:"Decolonizing Encounters of the Third Kind: Alternative Futuring in Native Science Fiction Film"
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Gore, Amy (December 2013). "Walking the Clouds: An Anthology of Indigenous Science Fiction".
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2364:"SNOTTY NOSE REZ KIDS UNVEIL THEIR VISION OF THE FUTURE WITH "RED FUTURE" VIDEO AND SINGLE"
2190:""WHAT'S A STORY LIKE YOU DOING IN A PLACE LIKE THIS?": CYBERSPACE AND INDIGENOUS FUTURISM"
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1394:"Worlding beyond 'the' 'end' of 'the world': white apocalyptic visions and BIPOC futurisms"
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Literature is currently the most diverse subject in Indigenous Futurisms, works including:
1949:"Voyages Into Native Worlds: Gaming Offers a Glimpse into Indigenous Cultures and Stories"
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2313:"Looking towards the future: Indigenous futurism in literature, music, film and fashion"
1706:"Indigenous Futurism exhibition @The Cheech Marin Center for Chicano Art & Culture:"
1165:"Decolonizing Science Fiction And Imagining Futures: An Indigenous Futurisms Roundtable"
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and an Arctic fox as they explore a dire atmosphere and experience the cosmology of the
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Virtual reality environment of "Indigenous Futurisms: Transcending Past/Present/Future
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To increase this movement's visibility and bring attention to Indigenous voices, the
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and related sub-genres. Such perspectives may reflect Indigenous ways of knowing,
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Talking Indian: Identity and Language Revitalization in the Chickasaw Renaissance
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879:(Cree/Métis), filmmaker who runs IM4, the Indigenous Matriarchs 4 XR Media Lab;
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Convergence: The International Journal of Research into New Media Technologies
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Convergence: The International Journal of Research into New Media Technologies
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334:) for Indigenous artworks starting in 1997 to 2004. It was a precursor to her
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featuring the works of 27 contemporary Indigenous artists. Following the
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and Scott Benesiinaabandan (Lac Seul First Nation), notable for his work
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community, and thus they can contribute to the cycle they are a part of.
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2339:"Machinima art series revisits Oka Crisis, Moments in Native History"
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Novel Alliances: Allied Perspectives on Literature, Art and New Media
1974:"Telling the story of first contact ... with a futuristic video game"
1467:"Knotting Ontologies, Beading Aesthetics, and Braiding Temporalities"
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1345:"Future history: Indigenous Futurisms in North American Visual Arts"
308:
Knotting Ontologies, Beading Aesthetics, and Braiding Temporalities,
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599:(TIIF), commissioned the works of many Indigenous artists such as
377:), paints in acrylic and silk-screens prints. He has two pieces of
1442:"10 Unforgettable Indigenous Futurism Books by Indigenous Authors"
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Artists working within the field of Indigenous Futurisms include:
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88:, historical or contemporary politics, and cultural perspectives.
1071:"Jenny L. Davis to give 2019 Marc and Constance Jacobson Lecture"
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parameter to this template to explain the issue with the article.
1097:"Indigenous Futurism: Transcending the Past, Present and Future"
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736:(Cherokee Nation), animator, illustrator, comic artist, painter
272:, exemplifies how Indigenous creators reflect on the impact of
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The National Native American Boarding School Healing Coalition
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Walking the Clouds: An Anthology of Indigenous Science Fiction
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of the Hopi butterfly whorl hairstyle. In his first painting,
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Walking the Clouds: An Anthology of Indigenous Science Fiction
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Walking the Clouds: An Anthology of Indigenous Science-Fiction
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experience that the public can access through their devices.
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An early source of collective Indigenous Futurisms is on the
1256:"Introduction: Indigenous Futurisms in the hyperpresent now"
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InVisible Culture: An Electronic Journal for Visual Culture
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InVisible Culture: An Electronic Journal for Visual Culture
1922:"Fallout New Vegas: 10 Things You Missed About Zion Canyon"
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1115:"Genocide | Definition, Examples, & Facts | Britannica"
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an action game where you take on the form of the legendary
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filmmakers and communities to influence the outside world.
352:'s “If Yoda was Indian” displays show a new perspective on
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conceptualized stories, as defined in Dillon's anthology.
757:(Santa Clara Pueblo), ceramic artist, painter, printmaker
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series that portrays the princess as Hopi, acknowledging
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Lidchi, Henrietta; Fricke, Suzanne Newman (2019-05-04).
860:(Mohawk), multimedia artist best known for her project
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Museum of Contemporary Native Arts (IAIA MoCNA) showed
1805:"Nahua | History, Culture & Language | Britannica"
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Indigenous Futurisms in North American Indigenous Art
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Mitchell, Audra; Chaudhury, Aadita (September 2020).
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Indigenous Futurisms in North American Indigenous Art
1042:. Tucson: University of Arizona Press. p. 148.
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Indigenous Futurists games range from games such as
1781:"Otomí | Mexico, Indigenous, Language | Britannica"
595:The 2167VR Project (2017), in partnership with the
545:, calls the art style "Woodland" or "X-ray," after
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714:(Cree/Ojibway) multimedia artist based in Winnipeg
1207:Indigenous New Hampshire Collaborative Collective
945:– via Arts & Humanities Citation Index.
769:(Métis/Cree) filmmaker and screenwriter based in
2104:"Fourth VR: Indigenous virtual reality practice"
2046:"Fourth VR: Indigenous virtual reality practice"
240:, distant and near futures, separate timelines,
183:Anti-Colonialism and Cultural Genocide Rhetoric
1471:
1582:"Based on a True Story: Leia's Bun Hairstyle"
341:series began with a 22nd-century Mohawk man.
45:needs attention from an expert in visual arts
8:
2421:"Animating Indigenous Scientific Literacies"
1757:"Ramirez, Andrea-Árbol de la Pura Vida.jpeg"
423:Ritualistic mask used by indigenous peoples.
2102:Wallis, Keziah; Ross, Miriam (April 2021).
1187:: CS1 maint: numeric names: authors list (
670:Indigenous Futurisms are also connected to
439:Mural pertaining to the Mexican Revolution.
956:Cornum, Lou Catherine (January 26, 2015).
2434:"Visual Cultures of Indigenous Futurisms"
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456:Some Indigenous Futurists films include:
27:Indigenous literary and artistic movement
2456:IAIA Museum of Contemporary Native Arts
2259:Merla-Watson, Cathryn Josefina (2017).
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2406:Guzmán, Alicia Inez (March 15, 2015).
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1657:"Chi, Amparo-Semillas de la Vida.jpeg"
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1519:Baudemann, Kristina (March 22, 2016).
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979:"Aboriginal Territories in Cyberspace"
931:Studies in American Indian Literatures
814:) beadwork artist and fashion designer
60:may be able to help recruit an expert.
2020:
2018:
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1941:
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1560:Baudemann, Kristina. (January 2016).
1254:Fricke, Suzanne Newman (2019-05-04).
790:), musician, multidisciplinary artist
104:outlines how science fiction can aid
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2419:LaPensée, Elizabeth (January 2017).
2311:Deerchild, Rosanna (June 19, 2019).
1580:Schmitt, Erika (November 18, 2020).
1002:
1000:
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844:), installation artist, photographer
708:) multimedia artist based in Sudbury
2261:"The Altermundos of Latin@futurism"
2149:McEnaney, Lillia (September 2020).
2044:Keziah Wallis; Miriam Ross (2020).
1301:McEnaney, Lillia (September 2020).
1228:"What is Two Spirit and LGBTQPAI+?"
1140:"US Indian Boarding School History"
834:), fashion designer, textile artist
570:collaborating on the game with the
1856:Lempert, William (November 2014).
1833:"Native Sci-fi Films and Trailers"
943:10.5250/studamerindilite.25.4.0100
25:
2188:Gaertner, David (23 March 2015).
901:Indigenous people in video gaming
742:(Yakama/Pawnee) multimedia artist
629:Institute of American Indian Arts
613:Blueberry Pie Under a Martian Sky
597:Initiative for Indigenous Futures
463:(2013 short film) by Danis Goulet
1075:LSA Institute for the Humanities
748:(Métis) digital artist based in
220:among Indigenous peoples today.
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1831:Lempert, William (2021-11-19).
1095:Dooley, Tatum (April 4, 2008).
1015:. University of Arizona Press.
824:) ceramic sculptor and designer
1972:Muzyka, Kyle (March 8, 2019).
1920:Caruso, Michael (2020-08-12).
1:
1495:"Skawennati: Time Traveller™"
1362:10.1080/21500894.2019.1627675
1272:10.1080/21500894.2019.1627674
724:), fashion designer at Aconav
2432:Nixson, Lindsay (May 2016).
1691:– via www.youtube.com.
687:List of Indigenous Futurists
411:Influence on Chicana Artists
326:website, a site launched by
196:Environmental sustainability
2027:New Media Review Bc Studies
529:which tells the story of a
306:Scholarly works including;
106:processes of decolonization
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2155:Visual Anthropology Review
1862:Visual Anthropology Review
1682:AmParo Chi, Chicana Artist
1307:Visual Anthropology Review
1101:National Gallery of Canada
958:"The Space NDN's Star Map"
730:(Métis), multimedia artist
617:Canada's 150th anniversary
208:
2289:Miranda, Beatriz (2020).
2240:. University of Rochester
2212:Portland State University
1007:Dillon, Grace L. (2012).
2120:10.1177/1354856520943083
2062:10.1177/1354856520943083
1564:. Liverpool University.
1474:BBscholarworks.umass.edu
1411:10.1177/0047117820948936
1036:Davis, Jenny L. (2018).
983:www.culturalsurvival.org
152:Grace Dillon, editor of
1398:International Relations
58:WikiProject Visual arts
2408:"Indigenous Futurisms"
2379:"Riverside Art Museum"
2267:: 1–14. Archived from
2234:"Indigenous Futurisms"
2083:McNamara, Rea (2020).
1618:Singer, Ryan. (2010).
1605:Singer, Ryan. (2009).
1203:"Two Spirit Resources"
885:(Navajo), photographer
553:features a DLC titled
477:and Mars colonization.
440:
424:
393:cultural appropriation
2486:Indigenous mass media
2232:Guzmán, Alicia Inez.
1620:Hopi Princess Leia II
633:Indigenous Futurisms,
438:
422:
401:Hopi Princess Leia II
2383:Indigenous Futurisms
1837:Space + Anthropology
1710:Riverside Art Museum
1570:Volume 57, Issue 1-2
873:), hip hop musicians
867:Snotty Nose Rez Kids
794:Stephen Graham Jones
657:Indigenous Futurisms
491:(2021), directed by
78:Indigenous futurisms
1538:10.3828/extr.2016.8
1499:Niagara Arts Centre
1232:Indigenous Pride LA
653:Indigenous Futurism
568:Assassins Creed III
473:’ film short about
356:from the franchise
297:Love After the End,
238:alternate histories
234:speculative fiction
108:. Using tools like
18:Indigenous Futurism
2476:Futurist movements
1900:greatlakesecho.org
1809:www.britannica.com
1785:www.britannica.com
1607:Hopi Princess Leia
1119:www.britannica.com
911:Thunderbird Strike
696:A Tribe Called Red
551:Fallout: New Vegas
543:Elizabeth LaPensée
539:Thunderbird Strike
514:Thunderbird Strike
441:
425:
397:Hopi Princess Leia
143:Digital Revolution
135:personal computers
127:contemporary world
2167:10.1111/var.12212
2003:Coyote & Crow
1874:10.1111/var.12046
1319:10.1111/var.12212
1049:978-0-8165-3768-6
1022:978-0-8165-2982-7
647:Related movements
312:Darren Lone Fight
177:cultural genocide
75:
74:
16:(Redirected from
2493:
2441:
2428:
2415:
2394:
2393:
2391:
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2080:
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2013:
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1995:
1989:
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1603:
1597:
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1594:
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1577:
1571:
1558:
1543:
1542:
1540:
1531:(1–2): 117–151.
1516:
1510:
1509:
1507:
1505:
1491:
1485:
1484:
1482:
1481:
1463:
1457:
1456:
1454:
1453:
1446:theportalist.com
1438:
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1218:
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1215:
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1199:
1193:
1192:
1186:
1178:
1176:
1175:
1169:Strange Horizons
1160:
1154:
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1136:
1130:
1129:
1127:
1126:
1111:
1105:
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1067:
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1033:
1027:
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1014:
1004:
993:
992:
990:
989:
975:
966:
965:
953:
947:
946:
926:
812:Shoshone-Bannock
780:Nicholas Galanin
563:The Oregon Trail
537:for themselves.
506:The Oregon Trail
416:future to come.
301:Joshua Whitehead
283:are celebrated.
70:
67:
61:
47:. Please add a
38:
37:
30:
21:
2501:
2500:
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2418:
2405:
2402:
2400:Further reading
2397:
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2337:Ore, Jonathan.
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2077:
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2016:
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1997:
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1982:
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1639:
1637:Shop Sacred Art
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1035:
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1006:
1005:
996:
987:
985:
977:
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969:
962:The New Inquiry
955:
954:
950:
928:
927:
923:
919:
892:
740:Bunky Echo-Hawk
689:
680:
672:Chicanafuturism
665:Africanfuturism
649:
625:
585:
583:Virtual reality
501:
481:The Northlander
450:
413:
350:Bunky Echo-Hawk
320:
289:
230:
228:Concept of time
213:
207:
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185:
172:
122:anthropological
118:science fiction
94:
82:science fiction
71:
65:
62:
56:
39:
35:
28:
23:
22:
15:
12:
11:
5:
2499:
2497:
2489:
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2483:
2481:Indigenous art
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2473:
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2447:
2446:External links
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2401:
2398:
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2395:
2369:
2355:
2329:
2300:
2281:
2251:
2224:
2208:"Grace Dillon"
2199:
2180:
2161:(2): 417–424.
2141:
2114:(2): 313–329.
2094:
2075:
2036:
2014:
1990:
1964:
1937:
1912:
1887:
1868:(2): 164–176.
1848:
1820:
1796:
1772:
1745:
1721:
1694:
1672:
1648:
1624:
1611:
1598:
1586:Twin Suns Post
1572:
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1511:
1486:
1458:
1433:
1404:(3): 309–332.
1384:
1332:
1313:(2): 417–424.
1293:
1266:(2): 107–121.
1243:
1219:
1194:
1155:
1131:
1106:
1087:
1062:
1048:
1028:
1021:
994:
967:
948:
937:(4): 100–103.
920:
918:
915:
914:
913:
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898:
891:
888:
887:
886:
880:
874:
864:
855:
845:
838:Wendy Red Star
835:
825:
815:
801:
791:
776:Silver Jackson
773:
764:
761:Jeffrey Gibson
758:
752:
746:Rosalie Favell
743:
737:
734:Roy Boney, Jr.
731:
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699:
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535:Alaska Natives
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336:TimeTraveller™
319:
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288:
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229:
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209:Main article:
206:
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184:
181:
171:
168:
164:Jenny L. Davis
141:following the
131:digital divide
93:
90:
73:
72:
42:
40:
33:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2498:
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2484:
2482:
2479:
2477:
2474:
2472:
2471:Art movements
2469:
2468:
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2457:
2453:
2450:
2449:
2445:
2439:
2438:GUTS Magazine
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2430:
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2422:
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2409:
2404:
2403:
2399:
2384:
2380:
2373:
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2318:
2314:
2307:
2305:
2301:
2296:
2292:
2285:
2282:
2271:on 2021-04-14
2270:
2266:
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2255:
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2209:
2203:
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2105:
2098:
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2090:
2086:
2079:
2076:
2071:
2067:
2063:
2059:
2056:(2): 313–29.
2055:
2051:
2047:
2040:
2037:
2032:
2028:
2021:
2019:
2015:
2004:
2000:
1994:
1991:
1979:
1975:
1968:
1965:
1954:
1953:NMAI Magazine
1950:
1944:
1942:
1938:
1927:
1923:
1916:
1913:
1901:
1897:
1891:
1888:
1883:
1879:
1875:
1871:
1867:
1863:
1859:
1852:
1849:
1838:
1834:
1827:
1825:
1821:
1810:
1806:
1800:
1797:
1786:
1782:
1776:
1773:
1762:
1758:
1752:
1750:
1746:
1735:
1731:
1725:
1722:
1711:
1707:
1701:
1699:
1695:
1684:
1683:
1676:
1673:
1662:
1658:
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1649:
1638:
1634:
1628:
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1621:
1615:
1612:
1608:
1602:
1599:
1587:
1583:
1576:
1573:
1569:
1568:
1567:Extrapolation
1563:
1557:
1555:
1553:
1551:
1549:
1545:
1539:
1534:
1530:
1526:
1525:Extrapolation
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1515:
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1500:
1496:
1490:
1487:
1475:
1473:
1468:
1462:
1459:
1447:
1443:
1437:
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1429:
1425:
1421:
1417:
1412:
1407:
1403:
1399:
1395:
1388:
1385:
1380:
1376:
1372:
1368:
1363:
1358:
1355:(2): 99–102.
1354:
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1328:
1324:
1320:
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1312:
1308:
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944:
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907:
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902:
899:
897:
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893:
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868:
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862:TimeTraveller
859:
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658:
655:, now called
654:
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618:
614:
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609:Postcommodity
606:
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569:
564:
559:
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555:Honest Hearts
552:
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540:
536:
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528:
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517:
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509:
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498:
494:
490:
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488:Night Raiders
485:
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475:Navajo people
472:
468:
467:The 6th World
465:
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429:
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379:Princess Leia
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375:Navajo Nation
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111:
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59:
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50:
46:
43:This article
41:
32:
31:
19:
2437:
2424:
2411:
2386:. Retrieved
2382:
2372:
2358:
2346:. Retrieved
2342:
2332:
2320:. Retrieved
2316:
2295:The Guardian
2294:
2284:
2273:. Retrieved
2269:the original
2264:
2254:
2242:. Retrieved
2237:
2227:
2215:. Retrieved
2211:
2202:
2193:
2183:
2158:
2154:
2144:
2111:
2107:
2097:
2088:
2078:
2053:
2049:
2039:
2030:
2026:
2006:. Retrieved
2002:
1993:
1981:. Retrieved
1977:
1967:
1956:. Retrieved
1952:
1929:. Retrieved
1925:
1915:
1904:. Retrieved
1902:. 2018-02-14
1899:
1890:
1865:
1861:
1851:
1840:. Retrieved
1836:
1812:. Retrieved
1808:
1799:
1788:. Retrieved
1784:
1775:
1764:. Retrieved
1760:
1737:. Retrieved
1733:
1724:
1713:. Retrieved
1709:
1686:. Retrieved
1681:
1675:
1664:. Retrieved
1660:
1651:
1640:. Retrieved
1636:
1633:"Sacred Art"
1627:
1619:
1614:
1606:
1601:
1589:. Retrieved
1585:
1575:
1565:
1561:
1528:
1524:
1514:
1502:. Retrieved
1498:
1489:
1478:. Retrieved
1476:. 2023-08-01
1470:
1461:
1450:. Retrieved
1448:. 2020-10-08
1445:
1436:
1401:
1397:
1387:
1352:
1348:
1310:
1306:
1296:
1263:
1259:
1235:. Retrieved
1231:
1222:
1211:. Retrieved
1209:. 2022-02-04
1206:
1197:
1172:. Retrieved
1168:
1158:
1147:. Retrieved
1143:
1134:
1123:. Retrieved
1121:. 2024-04-19
1118:
1109:
1100:
1090:
1078:. Retrieved
1074:
1065:
1053:. Retrieved
1038:
1031:
1010:
986:. Retrieved
982:
961:
951:
934:
930:
924:
877:Loretta Todd
861:
818:Virgil Ortiz
767:Danis Goulet
755:Jason Garcia
722:Acoma Pueblo
718:Loren Aragon
690:
681:
669:
661:Afrofuturism
656:
652:
650:
632:
626:
612:
605:Kent Monkman
601:Danis Goulet
594:
590:
586:
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538:
523:
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493:Danis Goulet
486:
471:FutureStates
466:
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430:
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414:
404:
400:
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389:George Lucas
382:
366:
364:
357:
346:oral history
343:
335:
321:
307:
305:
299:compiled by
296:
294:
290:
278:
274:colonization
261:
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217:third gender
214:
199:
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173:
158:
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147:
102:Grace Dillon
97:
95:
86:oral history
77:
76:
63:
52:
48:
44:
2089:ARTnews.com
1983:December 5,
1761:Google Docs
1661:Google Docs
1472:https://cuz
1080:29 December
1055:29 December
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