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Pages:
8 pages/β‰ˆ2200 words
Sources:
4 Sources
Style:
Chicago
Subject:
Literature & Language
Type:
Essay
Language:
English (U.S.)
Document:
MS Word
Date:
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Final research paper. Methodological Approach. Literature Essay

Essay Instructions:

For the concpet, Your choice is prompt D!! Not B as you stated! So please read carefully and choose which one you really want yo write’
Write an 8-10 page research paper. Choose one of the prompts below as a starting point for thinking about the more specific questions you are interested in focusing on. These prompts are intentionally relatively open, as this is an upper division course and I would like everyone to spend some time developing their specific research questions and argument.
Prompt A: How has visual media been employed in past and/or present social movements related to Indigenous peoples’ justice? Choose two Indigenous collectives/art-activists/organizations as case studies. In your paper, consider the political potential of “decolonial visual culture,” as well as the course content that frames visual terrains as sites of contestation. Consider using your examples to formulate your own definition of “decolonial visual culture.”
Prompt B: Choose one Indigenous artist/activist/collective. How has this person/collective used visual media in response to issues related to land and/or sovereignty? Use specific pieces and/or actions as case studies. Consider the course readings related to land and sovereignty when addressing these elements in your paper. For instance, how does this artist/activist/collective approach conceptions of land or sovereignty? Are they attempting to challenge dominant notions of land and/or sovereignty? Or perhaps they are encouraging a different approach to relationships with land?
Prompt C: Choose two examples of visual culture — one in which notions of race are mobilized against Indigenous peoples, and one in which notions of race are problematized or challenged. The latter example must be created by an Indigenous artist/activist/collective. Compare and contrast the two examples, making sure to be as specific as possible when discussing their socio-political contexts. When contextualizing the work and the issues it addresses, consider the discourse related to genomic science, DNA, and kinship. What negative or positive impact did this work have? What is its political potential?
Prompt D: Compare and contrast the work of two Indigenous artist/activists/collectives from different contexts (for instance, Hawai’i and Inuit Nunangat). How have these artists/activists/collectives visually responded to issues related to Indigenous peoples’ justice specific to their location? How do these issues overlap and/or differ? Discuss the political potential and outcomes (if already evident) of the work.
Prompt E: Propose your own prompt. You must discuss your prompt with the instructor or your TA, and have it approved before submitting your research paper proposal.

Guidelines (Please review these carefully):
Please choose your references carefully. Using interviews, oral history transcripts, podcasts, and other alternative media is fine, but make sure to support your arguments with books and scholarly articles as well. Prioritize citing Indigenous authors.
Situate the artists within a clear socio-political context.
The essay should be approximately 8-10 pages, typed and double-spaced.
Include a thesis statement in your first paragraph. Develop an argument and include clear evidence (based on formal and contextual analysis, references to research literature and quotations with footnotes).
Address questions you may have, and any particularly challenging elements you may come across.
Be specific: try to define, clarify, explain, and defend all of your statements.
Toward the beginning of your paper, address your methodological approach. How did you attempt to challenge the legacies of colonial research?
Avoid plagiarism (do not copy the text, sentences, or arguments of another published source without appropriate reference).
Make sure you properly identify all examples (by stating the maker’s name, title/event title, and date).
All reference information should be contained in the footnotes (please use Chicago Style footnotes)
Use 10 or 12 point type in Times, Arial, Helvetica or Garamond font.
Use 1.25-inch or smaller margins on the left and right, 1-inch margins on the top and bottom.
If you include images, please place them at the end of your essay with captions.

Essay Sample Content Preview:

FINAL RESEARCH PAPER
Name:
Course:
Date:
Introduction
Nicholas Galanin and Duane Slick use visual media to communicate their indigenous history, away from the colonial legacies of colonial research. The two artists have been very instrumental in demonstrating various contexts about the life and culture of indigenous people. The different forms of art presented by each artist communicates and responds to the same political issues affecting their communities. Although the two artists have lived in different geographical locations and experienced different cultures, they have represented their cultures well through art. The two artists have challenged the appropriation of native cultures in different contexts. This paper will outline how the two artists have challenged colonial legacies of pioneering research that has been reviewed in the various literature.
Methodological Approach
A qualitative research method will be used to research the differences between colonial legacies and art by indigenous artists. The method of research is preferable in this area of research because it is related to the social constructivist model that emphases on the socially constructed nature of reality. The research will feature the analysis of the art by an indigenous artist to uncover a more profound meaning about the art they create and the potential political outcomes associated with their indigenous art. The aim of the research will be gaining a rich and complex understanding of the indigenous artists’ experience about colonial legacies of colonial research.[Lindroos, Kia, and Frank Möller. Art as a political witness. (Opladen: Barbara Budrich Publishers, 2017), 16.]
The research model will be inductive which means that the indigenous artists and their work of art will be used to develop a theory depending on the political message communicated by each artist. Data for this research will be collected through observation and interaction through oral history. Colonial legacies of colonial research will then be challenged using works of art by indigenous artists and the kind of history they tell. It is important to note that this research will not be limited to the researcher’s point of view.[Lindroos, “Art as a political witness,” 18]
Response to Issues Related to Indigenous People’s Justice
Before the new generation of artists such as Galanin and Slick, indigenous art mainly consisted of anthropological artifacts displayed in a museum according to geographic location, age, and the tribe or culture that created them. The exhibition that existed before the wave of new indigenous artists were curated by non-Native “experts” who determined how native art was organized and described for viewers. A good number of such curators used definitions gained from colonial legacies of colonial research, and often described themselves and their personal views instead of considering those of the native artist. Art that was produced by native artists was considered as part of history that was still indigenous, rigid and unchangeable. Today, indigenous artists have risen above such preconception about indigenous art and are continuously challenging colonial legacies that were used to understand th...
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