Understanding artistic production as a component of the Red Power movement

我建议通过三种主要的调查方法来推动这项研究。首先，我将分析艺术，以确定在红色力量时代支撑土著艺术的理念和意识形态是否与支撑红色力量激进主义的理念和意识形态相一致。在这样做的过程中，我将利用后殖民和批判性理论来确定艺术和直接抗议之间的相似之处。Homi Bhabha和Jean Baudrillard的工作在这里将是至关重要的，尽管我将尽可能地优先考虑印第安人理论(如Gerald Vizenor)。在我之前参与的项目中，我发现这些理论在分析艺术如何通过讽刺的欧美人对“印度人”的模拟来赦免方面是有价值的。这种反讽的使用最近被Sam Hitchmough(2020)认为是红色力量运动表演抗议的一种“失落轮廓”，从而突显了这种分析方法的潜力。其次，我将利用当代的采访和原始材料来了解艺术在多大程度上被理解为红色力量运动的一部分。我将利用传统的档案，如新墨西哥州的罗杰·A·芬泽尔文件和旧金山的恶魔岛档案，以及在许多国家和地方报纸上可以找到的对艺术家的采访。Akwesasne Notes也可能被证明是有价值的，因为它的编辑经常发表读者对艺术展和诗歌的评论。最后，我将寻求对参与这场运动的人(包括艺术家)进行口头采访，以填补档案中的空白。我将利用口述历史作为我项目的支柱，展示尽管大卫·西尔弗曼(2020)和其他人的担忧，口述历史构成了美国原住民历史的核心--或许是必要的--组成部分。在使用这三种方法时，我将调查将目前红色力量运动的不同线索与艺术相结合的有效性。通过这样做，我希望将红色权力叙事推向另一个方向，即我们将那个时期的艺术作品视为红色权力的一部分，而不是与之并驾齐驱。因此，这样的项目将有助于进一步避免将红色力量狭隘地理解为仅限于高调的直接抗议。这将有助于填补这两个领域的学术空白，同时引入红色力量研究并增加对口述历史的利用。由于我的项目使用了强烈的跨学科方法，我希望在肯特大学的美国研究中心进行这个项目，在那里这种跨学科研究将得到很好的支持。David Stirrup表示有兴趣监督这个项目。他在本土文学以及最近的抗议艺术方面的专业知识与我的关注点有很大重叠。美国研究将允许我也向中心的历史学家，如约翰·威尔斯寻求支持，以确保我的论文虽然是跨学科的，但首先代表的是一部历史作品，因为正是这种文化(特别是艺术作品)与历史的融合是RedPower奖学金所缺乏的。此外，肯特的土著和定居者殖民地研究中心将允许与从事类似领域工作的学者更多地接触，并为我希望使用的研究方法提供更多支持。中心强调与土著社区建立联系，同时以土著声音为中心，这与我自己的动机是一致的，特别是在我建议使用口述历史方面。此外，该中心对研究伦理的强烈关注是我希望能够指导我的研究的东西。因此，我相信肯特大学、美国研究中心以及土著和殖民地研究中心将非常适合在我的项目中为我提供支持，无论是在提供专家学术支持方面，还是在一个我可以表达我想法的论坛方面。

I propose that this research be driven by three main methods of investigations. Firstly, I willanalyse art to identify whether the rationales and ideologies underpinning Indigenous art in the RedPower era conformed with those underpinning Red Power activism. In doing so, I will engage withpostcolonial and critical theory to identify similarities between art and direct protest. The work ofHomi Bhabha and Jean Baudrillard will be essential here, though I will look to privilege Indigenoustheory (such as Gerald Vizenor) wherever possible. Previous projects I've undertaken have identified these theories as valuable in analysing how art can absolve through irony Euroamerican simulationsof the "Indian". This use of irony has been recently identified by Sam Hitchmough (2020) as a 'lostcontour' of the Red Power movement's performative protest, thus highlighting the potential of thisanalytical methodology. Secondly, I will utilise contemporary interviews and primary material tounderstand the extent to which art was understood contemporaneously as part of the Red Powermovement. I will utilise traditional archives, such as the Roger A. Finzel Papers in New Mexico, andthe Alcatraz archives in San Francisco, as well as interviews with artists that can be found in manynational and local papers. Akwesasne Notes may also prove valuable, since its editors oftenpublished reviews of art shows and poetry from its readers. Finally, I will look to conduct oralinterviews with those involved in the movement (including artists) to fill gaps in the archives. I willlook to utilise oral history as the backbone of my project, demonstrating that despite the concerns ofDavid Silverman (2020) and others, oral history constitutes a central - and perhaps necessary -component of Native American history. In utilising these three approaches, I would investigate thevalidity of integrating the currently distinct threads of the Red Power movement and art. In doing so,I hope to push Red Power narratives in yet another direction, whereby we consider the artisticproductions of the period as part of, not running alongside, Red Power. Such a project will thus helpto further eschew narrow understandings of Red Power as limited to high-profile direct protest. Thiswill serve to fill gaps in the scholarship of both fields, whilst introducing to Red Power studies anincreased utilisation of oral histories.Since my project utilises a strongly interdisciplinary approach, I am hoping to undertake thisproject in the University of Kent's Centre for American Studies, where this interdisciplinarity will bewell supported. David Stirrup expressed an interest in supervising this project. His expertise inindigenous literature, and more recently art as protest, overlaps significantly with my focus.American Studies would allow me to request support also from historians in the Centre, such as JohnWills, to ensure that my thesis, whilst interdisciplinary, represents first and foremost a work ofhistory, for it is this integration of culture (and specifically artistic productions) into history that RedPower scholarship lacks. Furthermore, Kent's Centre for Indigenous and Settler Colonial Studieswould allow for both greater engagement with scholars working in a similar field, and more supportfor the research methodologies I hope to utilise. The Centre's emphasis on establishing connectionswith Indigenous communities whilst centring Indigenous voices is consistent with my ownmotivations, particularly in relation to my proposed use of oral histories. Furthermore, the Centre'sstrong focus on research ethics is something I hope can direct my study. It is thus my belief that theUniversity of Kent, the Centre for American Studies, and the Centre for Indigenous and SettlerColonial Studies would be well suited to support me in my project, both in providing expert scholarlysupport and a forum in which I can present my ideas.