Understanding artistic production as a component of the Red Power movement

我建议这项研究由三种主要的调查方法驱动。首先，我将分析艺术，以确定在红色力量时代支持土著艺术的理性和意识形态是否与支持红色力量行动主义的理性和意识形态一致。在这样做的时候，我将与后殖民和批判理论，以确定艺术和直接抗议之间的相似之处。霍米·巴巴和让·鲍德里亚的作品在这里将是必不可少的，尽管我将尽可能地优先考虑本土理论（如杰拉尔德·维泽纳）。我以前的项目已经确定了这些理论在分析艺术如何通过讽刺“印第安人”的欧美模拟来赦免方面的价值。这种讽刺的使用最近被Sam Hitchmough（2020）确定为红色力量运动的表演性抗议的“失去的轮廓”，从而突出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理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，如罗杰A。芬泽尔文件在新墨西哥州，和恶魔岛档案在旧金山弗朗西斯科，以及采访艺术家，可以发现在许多国家和地方报纸。Akwesasne Notes也可能证明是有价值的，因为它的编辑经常发表读者对艺术展和诗歌的评论。最后，我将对参与运动的人（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的项目的支柱，证明尽管大卫西尔弗曼（2020）和其他人的关注，口述历史构成了美洲原住民历史的中心-也许是必要的-组成部分。在运用这三种方法的过程中，我将研究整合红色力量运动和艺术的当前不同线索的有效性。在这样做的过程中，我希望将红色力量叙事推向另一个方向，即我们将这一时期的艺术作品视为红色力量的一部分，而不是与之并行。这样一个项目将有助于进一步避免对红色力量的狭隘理解，因为它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，增加口述历史的使用。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，在那里这种跨学科将得到很好的支持。大卫斯特鲁普表示有兴趣监督这个项目。他在原住民文学和最近的抗议艺术方面的专长与我的研究重点有很大的重叠。美国研究使我能够请求中心的历史学家，如约翰·威尔斯的支持，以确保我的论文，虽然是跨学科的，但首先代表了一部历史作品，因为这是红色力量奖学金所缺乏的文化（特别是艺术作品）与历史的融合。此外，肯特的土著和定居者殖民地研究中心将允许与在类似领域工作的学者进行更多的接触，并为我希望利用的研究方法提供更多的支持。该中心强调与土著社区建立联系，同时集中土著的声音，这与我自己的动机是一致的，特别是与我建议使用口述历史有关。此外，该中心对研究伦理的强烈关注是我希望能指导我的研究。因此，我相信，肯特大学、美国研究中心和土著和殖民地研究中心将非常适合支持我的项目，既提供专家支持，又提供一个论坛，让我可以提出我的想法。

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.