Colonized Silence: Confronting the Colonial Link in Rural Alaska Native Survivors’ Non-Disclosure of Child Sexual Abuse

Though there is evidence linking the history of colonialism and oppression of Indigenous people to the high rates of rape and child sexual abuse experienced by this population today, it is less understood how colonial processes, past and present, condition the decision to disclose or report victimization. Drawing on a survivorship storytelling study of rural Alaska Native survivors of child sexual abuse, this paper underscores the importance of centering colonialism in understanding the culture of silence surrounding sexual victimization among Indigenous people. Results show that reasons for non-disclosure are quite embedded within larger social, historical and political themes of colonialism, oppression, and marginalization. Implications for policy and praxes are discussed, as well as a broader mandate of social change to remove barriers to disclosure.     

早期殖民活动与阿散蒂王国的兴衰--兼论早期殖民主义对西非本土文明的影响

15—19世纪的欧洲早期殖民活动与西非本土文明的发展有着广泛的联系。近代阿散蒂王国的兴起是一个全方面、深层次、多因素共同促动的结果,包括国家形态、经济结构、政治制度、军事力量等多方面变化,这些变化都不同程度地得到了大西洋贸易的推动。然而19世纪末阿散蒂王国不能摆脱沦为殖民地的命运,可见外部因素虽能在一定时期内为非洲本土文明发展产生促进作用,但不能从根本上改变非洲本土文明长期以来封闭缓慢的发展模式。     

Decolonial Hip Hop: Indigenous Hip Hop and the disruption of settler colonialism

ABSTRACT

Contemporary Detroit has gone through many changes – or so it appears. From streets lined with vehicles made by Chrysler, Ford, and General Motors and driven by the nearly 2 million people who called the city home in 1950 to certain parts of the city looking like ghost towns; from a population that dwindled to 670,000 to the revival of downtown. Yet, what has been remarkably consistent is the invisibility of the Motor City’s Indigenous population. Indeed, Indigenous erasure, combined with rhetoric and policies that continue to marginalize and subjugate African Americans in Detroit, create a place rooted in multiple colonialisms. This essay examines how Detroit’s Indigenous Hip Hop artists resist settler colonialism through art, creativity, and culture as well as the practices of Detroit 2.0, a rhetoric and policy used by Detroit elites to reimagine it as a place of opportunity. By making visible the connections between blackness and indigeneity, as well as by linking the struggle of colonized peoples in Detroit to those in Palestine, Indigenous artists are not only asserting their humanity and challenging the longstanding idea of their erasure, but also constructing pathways for artists and activists to disrupt the effects of multiple colonialisms that continue to marginalize people of colour in urban areas. Detroit’s Indigenous Hip Hop artists make socially conscious music and also participate as activists in the city of Detroit. They serve as a window onto contemporary Indigenous identity, represent an exemplar of the urban Indigenous experience, and combine activism with art in a variety of ways.     

A transient presence: black visitors and sojourners in Imperial Germany, 1884–1914

The onset of German colonial rule in Africa brought increasing numbers of black men and women to Germany. Pre-1914 the vast majority of these Africans can best be described as visitors or sojourners and the black population as a whole was a transient one. This makes recovering their presence in the archival record exceptionally difficult and it is not surprising that the existing historiography is dominated by biographies of well-documented lives. Through utilising a number of recently digitised archival materials, particularly the Hamburg Passenger Lists, this article draws upon a database with information on 1094 individuals from sub-Saharan Africa who spent time in Germany over the period 1884–1914 in order to widen our understanding of the black presence as a whole. It offers new insights and detail into the composition and character of this fluid population – where visitors came from, why they came to Germany, their age on arrival – as well as more accurate information on the temporal and spatial distribution of African visitors.     

博弈下的暗涌——解读20世纪中期英国加勒比流散文学

20世纪中期英国殖民统治逐渐走向衰落,与此同时美国正在迅速崛起,曾称霸一时的英国文化面临着被其取代甚至同化的危机。因此英国文化不断寻找着既能助其保持殖民统治,又能抵制美国化的同盟军。它们在英国加勒比移民文化中找到了可团结的力量,以此一度对加勒比移民采取拉拢的态度。反映在文学上,加勒比流散文学也需要这种拉拢才能得到英国主流文化的承认,并确立其在英国的地位,因此欣然接受拉拢,甚至主动向其靠拢;但流散书写总是不断对自我身份进行重新审视,这使加勒比作家进一步反抗殖民主义和帝国主义对其的统治。由此,二者之间虽呈现出短暂的、反常的融洽,但这种平衡终究会被打破。20世纪中期英国加勒比流散文学正是这一特殊时期的典型反映。     

At the frontier of imperial history: revisiting Edward Gait’s A History of Assam

Edward Gait’s A History of Assam was first published in 1906, later revised in 1926. The book has remained one of the most popular ‘textbooks’ in Assam, especially as the first modern historiography on the subject. This article looks at two broad issues in this regard. First, it looks at the contradictions that Gait was faced with in terms of his imperial ideology and interpreting the historical sources of an imperial frontier. Second, it tries to situate the relevance of the above point vis-à-vis some of the contemporary attempts at re-framing the region as an international borderland. In conclusion, the article looks at the reception of Gait and his appropriation into different discourses within Assam. A point explored is whether despite its contradictions, was Gait’s A History of Assam part of a wider, dynamic context of early twentieth century Assam, which made the book an important academic and political intervention of its times.     

Consultancy to a Care Home: The Influences of Family and Gender Roles,and of Race and Colonialism

This paper is an account and critical analysis of the psychodynamic and systemic consultancy that the author provided to a care home (and the voluntary organisation running it) over a period of about 16 months. In addition two emergent, linked themes are identified and discussed: family and gender roles in care homes, and racism and colonialism. Care homes are of course part of the society in which they exist and of which they are a product. This means that all the overt and covert psychological and social pressures, defences and trends that occur in the wider society, for individuals, families, groups and communities are also to be found in care homes and in the organisations that run them. They are not isolated from these forces, indeed, it is argued in this paper, the forces are intensified in the ‘hot house’ environment of a care home and, if ignored, avoided and denied, result in the exploitation, abuse and neglect of both staff and residents.     

Policing native pleasures: a colonial history

The moral modality of colonial power is still with us when it comes to the recreation of sexual norms of traditional or feudal society. We can examine the emergent properties of colonial knowledge anew by exploring how the colonial regime's strategic attention of regulating brothels in India differed from the analytic of power Foucault described for sexuality in European society. It turns out that amongst other things, public anxieties about the failure of adaptation by South Asians are incapable of leaving sexuality aside as a key interpretive device for their culture. The British preoccupation with reproducing the dynamics of the bourgeois matrimonial market on foreign soil in the mid‐nineteenth century similarly necessitated a sociological pretext for racial purity. However, the kind of knowledge a typical traveller and employee of the East India Company brought to the Victorian public from his own researches in the brothels and streets of colonial India, which revealed how popular prostitution was as a vice amongst the officer class, was also more than a welcome imaginary relief from Christian morality; it was an alternative vision of modernity.     

Forward,Ever Forward: a reading of Robert Harris,Photographic Album of South African Scenery,Port Elizabeth,c.1880–1886

Early copies of the Photographic Album of South African Scenery that was published between c.1880 and c.1888 by Robert Harris in Port Elizabeth consisted of 28 double-card pages with two, occasionally one, tipped-in photographs per page. During the near-decade of its production, the number of images increased, printed captions replaced handwritten captions and both the selection and arrangement of images became gradually more coherent and programmatic. The paper interprets these changes as Robert Harris’s attempt to construct a public identity for South Africa at the moment its economy and society were being transformed by the diamond mines at Kimberley and elsewhere that constitute the focus of the later form of the form Album. In the developed form of the Album, a narrative progression is suggested to move from Cape Town and the Western Province, to Port Elizabeth and the Eastern Province, to the Kimberley Diamond Fields, Natal, etc. In order to read this journey critically, the paper is arranged to demonstrate the constituent parts of this journey in the representation of cities and towns, laid out in grid plans on the African veld; the depiction of individual buildings with their expressive vocabulary of architectural style; and the idea of commerce – represented in street scenes, markets and seaports – and the facilitation of commerce through roads, bridges and mountain passes. The disproportionately large number of photographs of Kimberley, with both its mining operations and no less than three commercial markets, underlines the significance of commerce and industry in the new South African identity. The emphasis on commercial achievement in the Album leaves an obviously subordinate role for images of nature in both agriculture and landscape. Farming is represented through such exploitative practices as forest clearing and hunting, rather than the developed forms of agriculture of wine farming, sheep farming and wheat farming. And landscape in the Album is either a landscape subdued to the wants and needs of a settler population that would bludgeon its way through mountain passes or divert the course of rivers to facilitate commerce, or a landscape that is defined by the imported aesthetic conventions of the picturesque and sublime. Similarly, grouping the photographs of indigenous peoples that are scattered throughout the Album, one may see that their representation is entirely instrumental, divided crudely into roles of either war-like barbarians or pliant labourers. In these ways, the Photographic Album may be understood as a true mirror of the colonial achievement.