Recoding Relations: Dispatches from the Symposium for Indigenous New Media

David Gaertner and Melissa Haberl

In June 2018, scholars, developers, artists, and community members from over twenty institutions and three continents gathered on the ancestral and unceded territory of the WSÁNEĆ, Lkwungen, and Wyomilth peoples to participate in the inaugural Symposium for Indigenous New Media (SINM). As part of the University of Victoria’s annual Digital Humanities Summer Institute (DHSI), #SINM2018 sought to highlight Indigenous innovation with digital technology and new media and to create a space for relationshipbuilding between the digital humanities (DH) and Indigenous studies. Scholars from across the social sciences and the humanities presented research on topics ranging from Indigenous video games and virtual reality, to communications technology, language revitalization, and new media, to digital texts, social media analytics, and archival digitization. Our specific intent was to interrogate the critical relationship between DH and Indigenous studies, namely generating more robust ways to consider how key concepts in Indigenous studies—namely, land, language, sovereignty, and self-determination—translated (or failed to translate) into digital spaces and practices.


There is an urgent need to decolonize DH theory and practice. Many Indigenous scholars and community members resist the digital humanities because of concerns raised by their communities about the expropriation of data. These concerns are not unfounded. Indeed, just after our symposium ended, the translation company Lionbridge was accused of mining Facebook for access to Te reo Māori (the Māori language), which, in turn, they were mobilizing for profit: “Data sovereignty has become a real issue,” Peter-Lucas Jones (Te Aupōuri, Ngāi Takoto, Ngāti Kahu) told interviewers about this incident, “now we have a situation where there is economic gain for our reo and if there is economic gain, it should be for our own Māori people, not an American company.”[1] The Lionbridge incident illustrates how digital technologies reproduce and amplify ongoing histories of settler colonialism, which exploit Indigenous resources and knowledges for non-Indigenous cultural and financial gain. We argue that digital extraction is not simply symptomatic of settler colonialism, it is a constitutive piece of terra nullius: the erasure of Indigenous peoples as peoples, with inherent rights and millennia-long histories of research, science, and knowledge mobilization. If DH cannot, or will not recognize Indigenous data sovereignty—that is Indigenous peoples inherent right to steward and mobilize their own knowledges without interference—it will remain, even when mobilized with the best of intentions, part of the problem. If it is able to grapple with the legacies of colonialism embedded in technology and knowledge mobilization schematics, however, we argue that DH has the potential to meaningfully contribute to decolonization. This is the balance on which the symposium operated.

“Recoding Relations,” the title of this blog post and the podcast series that preceded it, means shifting our perspective on the objectives of DH: from data extraction to relationship building; from settler state-based perspectives to anticolonial methodologies; from saviour narratives to reciprocal knowledge exchanges. In other words, “recoding relations” is a call to be attentive to the “how” of DH or, more specifically, the relationality of DH as a practice. Leanne Betasamosake Simpson writes that “ultimately we access knowledge through the quality of our relationships and the personalized context we collectively create—the meaning comes from the context and the process, not the content.”[2] In this sense, “recoding relations,” as informed by Simpson, means being attentive to the relationships we cultivate in DH—not just those that are amplified through our projects and publications but also those that go unheard or are rendered unheard (intentionally or not) through our work. It means assessing the contexts through which we inherit DH (academia, settler colonialism, Western technology) and using those contexts to interpret the processes through which we enact digital research (data scraping, visualization, textual encoding, and others). It means putting people before platforms and consent before code.

SINM was informed by Indigenous interventions into technology. Our goal was to build technical and cultural capacity through the symposium and to articulate our conclusions via open access knowledge mobilization, in the form of blog posts, newspaper articles, and podcasts.[3] Our findings were broad in scope but address a number of key intersecting takeaways: (1) emphasize relationships over tools: that is, rather than  engaging DH as a means to collect, analyze, and visualize data, we argue for imagining it as a site of activation for community building and knowledge sharing. We look towards a DH that is willing to build meaningful relationships with community and individuals in ways that exceed the boundaries of what is typically understood as  the digital Emphasizing relationships also means overcoming the deficit model, which has historically framed Indigenous peoples as inherently lacking and therefore in need of (Euro-Christian) support. Building reciprocal relationships based in equality means reaching out to communities before, during, and after a project and lending support and resources, as well as providing training, so that they can continue to build digital projects without the P. I. or the initial research team; it means shifting the critical gaze away from Indigenous communities and towards the colonial systems that produce deficit (2) affirmed, ongoing consent: settler colonialism (colonialism, as seen in settler states such as Canada, the US, Australia, and New Zealand, that is premised on the displacement and erasure of Indigenous people) is already built out of a nonconsensual relationship. We argue that DH can help to make nonconsent visible via big data and immersive, geospecific visualizations. We also argue that we must hold the DH community accountable to the highest standards of informed, ongoing, relational, and reciprocal consensual research. This includes, but is not limited to data sovereignty and the OCAP® principles.[4] (3) Include Indigenous thinkers, programmers in your syllabi: The settler colonial project functions, historically and presently, by simplifying Indigeneity and relegating it to the past. Foregrounding Western models of “progress” and technology fundamentally contributes to the erasure of Indigenous innovation. As such, we argue for DH research and pedagogy that holds up Indigenous technologies in the past, present, and future. A huge part of this means training the next generation of DH scholars, from all backgrounds, to read with Indigenous technologies and towards decolonial methodologies, as developed by Indigenous scholars and activists.

In what follows, we summarize the major themes of SINM as they arose out of presentations, workshops, and discussion groups as a means to build on the above three points. We’ve organized those themes into five categories: (1) (re)worlding through new media; (2) the digital divide and Indigenous technological tradition; (3) historicizing Indigenous new media; (4) challenges, relationships and suggested practices; and (5) decolonizing the digital humanities. Overall, we argue that Indigenous new media is not tangential to DH but that it is in fact foundational to how we understand digital scholarship as a community-oriented practice and relationship. It is our hope that the details shared in this blog post contribute to a deeper relational engagement with Indigenous studies in DH and leads to further work between and across the two fields. Working together, we are hopeful that DH and Indigenous studies can produce significant decolonial digital interventions at a moment when more of this work is desperately needed.[5]

(Re)Worlding through New Media

While barriers to Indigenous participation in DH persist, SINM participants spoke to the powerful ways in which Indigenous peoples are harnessing and repurposing digital technology as a means of self-representation and storytelling, decolonial education, and relationship building. They also attested to the power of digital technologies as potential tools for political mobilization and expressions of sovereignty. During a panel on gaming and animation, Mohawk Communications Studies MA candidate Maize Longboat shared his work on Indigenous video-game development. Longboat argued that video games offer “a narrative medium for Indigenous peoples to tell their stories in ways that other media simply can’t.”[6] His presentation focused on his experience developing his own video game (Terra Nova) as part of a research-creation project for his MA. He posed the question, “What makes Indigenous video games?” and noted that he is still exploring how his game will be informed by his experience as a Mohawk person.[7] Longboat explained that Indigenous video games have a unique narrative quality and are grounded in direct cultural connections to a territory’s original inhabitants. Yet at the same time, the development process and mechanics of the medium are traditionally Western. “How do we contend with that tension?” he asked, and, most importantly, “How do experiential forms of media expand our ways of knowing?” He positioned video games as a means to express long-standing Indigenous knowledges, identities, and cultures but also indicated that gaming offers a way to build on intellectual and cultural traditions by creating new stories and storytelling platforms for and by Indigenous peoples. “Ongoing systems of colonization,” explained Longboat, “seek to relegate Indigenous peoples and identity to a past time that is separate from our contemporary era of digital technology.” Longboat pushes back against that narrative by recognizing Indigenous peoples as “present and active participants in the technological world” and his work contributes to a growing movement of Indigenous developers who are world-making and decolonizing through video games.[8] Terra Nova, a two-player, cooperative puzzle platformer, illustrates how Indigenous epistemologies translate into game play and mechanics while holding up videogame development as an extension of Indigenous storytelling.

Virtual and augmented reality developers Caroline and Michael Running Wolf had a similar message about the power of Indigenous new media and its capacity to connect people across distance, language, and culture. Caroline, of the Crow Nation, and Michael, of the Northern Cheyenne Nation, hail from what is currently known as Montana. In 2016 they travelled to neighbouring North Dakota to join thousands of Indigenous and allied people gathered at Oceti Sakowin, commonly known as the Standing Rock water protector camp. The Running Wolfs created a virtual reality (VR) platform based on their experiences at the gathering and later brought it to a conference on language conservation in Hawai’i. There, they showed it to a Siberian grandmother who chose to watch the victory song that erupted after then President Obama announced that the US government would halt the North Dakota Access pipeline efforts for a time. As Michael explained,

she didn’t speak a lick of English, she didn’t speak any native language outside her home country, and yet she got it. She understood the power of this event that we had captured through technology and transported. So I think that’s the power of this technology — that we can take video from this alien place, North Dakota, and show it to someone from Siberia, in Hawai’i. And it transported her, and she just got it emotionally, what was going on [at] this event of joy.

This story elucidates the power of Indigenous VR to create spaces for understanding and decolonial education all rooted in an ethic of relationship building. The capacity of the app to connect someone from the other side of the world, with no knowledge of the language being spoken, to the people, struggles, and triumphs at Standing Rock is particularly significant in a colonial system designed to segregate and disassociate Indigenous peoples from settler society while alienating individual struggles as a means of control. The Standing Rock VR app, along with other VR and augmented reality (AR) projects developed by the Running Wolfs, works to not only hold up Indigenous experiences and resistance but to forge new social realities and decolonial futures by facilitating learning and building empathy and community through virtual worlds.[9]

Gaming and social media are two spaces in which we are witnessing Indigenous resurgence. According to Métis scholar Aubrey Hanson, “resurgence is an Indigenizing impulse; it acknowledges colonialism and domination through resistance but it does not focus solely on colonialism as the most important concern. Instead, resurgence insistently focuses on Indigenous communities as sites of power and regeneration.”[10] Social media, and in particular #NativeTwitter, represents a critical space where Indigenous resurgence is taking place. Understanding the labour that Indigenous peoples put into making Twitter an effective platform for anti-racist and anti-white supremacist work is key to unpacking and reconfiguring the DH/Indigenous studies relationship.[11]  During the SINM panel on digital ecologies, Nehiyaw (Cree) Applied Psychology scholar Jeffrey Ansloos presented on his current research with Twitter, where he uses social media analytics as a means of analyzing social and political dimensions of Indigenous mental health as they’re expressed online. In particular, his research aims to strengthen a qualitative understanding of decolonial efforts on Twitter and to “explicate the polity of cultural revitalization activities” happening on the site. He spoke about how #NativeTwitter is repurposing the platform to not only revitalize Indigenous cultures, but to mobilize politically and to assert sovereignty. His research into language revitalization on the site found that “the [Twitter] ecology is producing an opportunity where there is language learning, but not in the way we have understood it — not merely to indigenize, but also to speak politically . . . and to strategically engage systems of the settler state.” Ansloos argued that while cultural revitalization online can indeed support Indigenous mental health, this cannot be achieved through “a neoliberal framing of indigenization or cherry-picking culture.” Rather, he explained that the Indigenous community’s relationship with these social media projects is fundamentally “renegotiating Indigenous peoples’ sovereignty with the settler state.” Ansloos’s findings and political orientation push us to think beyond the sometimes-limited framework of cultural revitalization. Instead of “indigenizing,” his work highlights the necessity of decolonizing, and of productively engaging with the ways in which the Indigenous Twitter community is already doing this work. That is to say, in order to decolonize DH, it is not enough to simply invite more Indigenous peoples into the field. Rather, allied scholars must first work to make the field safe and viable for Indigenous peoples and Indigenous knowledges. Ansloos’s research speaks to the richness of data in online environments like #NativeTwitter and how analyzing these ecologies can in turn inform and encourage resurgence in social policy and practice.

The Digital Divide and Indigenous Technological Tradition

More than presenting on the ways in which Indigenous communities are taking up technology, SINM participants also explained that Indigenous new media engagement is not novel but a continuation of a long history of Indigenous technological innovation. At the same time, the symposium grappled with how that history exists in tension with current realities of ongoing colonization, material inequality, and systemic barriers to information and communication technologies (ICTs). The historical and ongoing exclusion of Indigenous communities and reserves from these rapidly evolving industries and technologies presents a major problem, and as Jasmin Winters put it, “challenging the digital divide is no small feat.” Winters presented on her involvement with the First Nations Technology Council — an Indigenous-led organization in BC working to ensure that Indigenous peoples have “equal access to the tools, training, and support required to maximize the opportunities presented by technology and innovation.”[12] She explained that the council aims to address practical issues “like the actual building of digital infrastructure such as fibre optics, increasing supplies of hardware and software in communities, and creating more opportunities for careers in existing tech industries.” The council also does advocacy work around “the potential of digital tools for the pursuit of Indigenous rights to self-determination and sovereignty.” In this way, the Council fills a much-needed gap in respect to offering services and support that practically address the material impacts and injustices of the digital divide while providing infrastructural support that can be levied towards the proliferation of Indigenous resurgence.

Systems of oppression and digital inequality, however, must not belie the ways in which Indigenous peoples have technologically innovated since time immemorial. Winters noted that the Technology Council “first and foremost recognizes Indigenous peoples as always having been innovators in science and technology.” She stressed that we “need to position Indigenous peoples as the original innovators on these territories” and cited Cheryl L’Hirondelle, who writes “that to be truly free and self-governing, [Indigenous peoples] must also acknowledge and be aware of [their] pre-contact ingenuity as inventors and technologists — experts in new media and avatars of innovation.”[13] Sara Humphreys furthered this argument during her talk on the Cogewea Project.[14] According to Humphreys, “Indigenous ontology and epistemology expressed ideals of cyberspace before cyberspace was thought of as technology.” As evidence to this claim, she cited the centrality of interconnectedness within Indigenous worldviews, the storing of data via sign systems, and uses of multilayered, multimedia communication systems. In turn, Ashley Caranto Morford presented on one such example of precolonial Indigenous digital technology. Morford’s presentation built out of the foundational work of Cherokee scholar Angela Haas, who writes that the wampum belts made by Woodlands Indigenous peoples “extend human memory . . . via interconnected, nonlinear designs and associative message storage and retrieval methods” and have thereby functioned as hypertextual digital technology for over a thousand years — long before the invention of Western hypertext in the 20th century.[15] According to Morford, Haas “calls on us to rethink the digital” as not only that which involves computers and computer technology, but as that “which relies on the intricate work of the fingers, or digits, to create complex code.” Morford then turned to her own research on pre-colonial and ongoing Philippine tattooing practices: “These practices rely on the fingers to code significant aspects of our cultures through an intimate hand tapping technique that requires a bamboo stick and lemon tree thorn, water and soot,” and as such, are also “forms of decolonial digital technology.” In sum, Winters, Humphreys and Morford all demonstrated the long-standing genealogies of Indigenous technology while illustrating how those technologies translate into contemporary platforms and practices. At stake for all of these scholars were expressions of Indigenous technologies that informed and expanded contemporary definitions of the digital, namely through advanced cataloguing and representational techniques.

Considering these perspectives and traditions, we need to reject deficit- and damage-based approaches when moving towards the creation of a more just and equitable digital future. Deficit- and damage-based narratives look towards documenting exploitation and colonial oppression to elucidate the contemporary issues faced by Indigenous peoples and leverage redress. As Eve Tuck puts it, “common sense tells us this is a good thing, but the danger . . . is that it is a pathologizing approach in which the oppression singularly defines the community.”[16] Winters argues that “decolonizing the technology sector means first challenging deficit-based notions of the digital divide and understanding the impact and legacy of colonization on Indigenous knowledge,” as well as “challenging linear worldviews of development and innovation.” This is to say that beginning from the idea that DH or technology can “save” Indigenous peoples reproduces deficit-based narratives while eliding Indigenous innovation. In the Q&A for their panel, Mark Turin added that while Indigenous peoples have always engaged technology in deep and insightful ways, this does not mean that state structures have been supporting or facilitating that work. The DH and tech communities must hold up both of these realities by first recognizing the Indigenous histories at play, while also working to end digital inequality through strengths-based approaches, for instance supporting the work already being done by organizations like the First Nations Technology Council.

Historicizing Indigenous New Media

While histories of Indigenous creation with technology go back millennia, the now constantly evolving field of Indigenous new media developed more recently and specifically through the leadership of Indigenous women. During his symposium keynote, David Gaertner traced the emergence of the field to 1996 and to two key interventions: Loretta Todd’s essay critiquing the colonial underpinnings of the internet, “Aboriginal Territories in Cyberspace,” and Skawennati CyberPowWow, which Gaertner argues was “the first Indigenous territory in cyberspace.”[17] Gaertner explained that “it was no small feat” that these women made these interventions at a time and in an environment that was (and often still is) openly hostile towards women and Indigenous peoples. Since their emergence, online spaces have been, and continue to be, disproportionately violent toward black and Indigenous peoples, other people of color, as well as women, queer, trans and Two-Spirit individuals and communities. This is particularly true in respect to Indigenous women, who frequently face a combined force of racist, sexist, and colonial harassment and abuse online. Despite this, Gaertner noted, it also continues to be Indigenous women, like Anishinaabe video-game developer Elizabeth LaPensée, who “do the heavy lifting” in respect to confronting this behaviour and calling out violence, such as when LaPensée “intervened to stop the 2014 rerelease of the Atari platformer Custer’s Revenge — a game in which the objective is the rape of Pocahontas.” Indigenous women have in this way led the charge in building safer, more just and more equitable digital worlds, and their intellectual and creative contributions form the backbone of Indigenous new media and, in some ways new media itself. Indeed, some of the most cited new media and digital technology scholars at SINM were Todd, Skawennati, Angela Haas, and Marisa Duarte — all Indigenous women whose digital innovations and critical interventions have helped shape the field from the onset. Scholars and developers currently working in DH and new media need to hold up this labour and do far better in respect to supporting Indigenous women and addressing colonial and patriarchal violence when it occurs both online and offline.

Challenges, Relationships and Suggested Practices

Closing his talk during the SINM Indigitization workshop, Cultural Coordinator of Cowichan Tribes Chuck Seymour remarked that: “[Indigenous peoples] are the most studied people, but the least understood.” “Why are we not understood?” he asked. “You don’t speak our language.” Seymour was presenting on his work with the Cowichan Tribes Cultural Education Department and their process of digitizing cultural heritage materials so that their history and language can be kept alive and accessible for future generations. His words threw into sharp relief a larger truth that was discussed by other presenters at the symposium: that while non-Indigenous scholars continue to pursue research and projects in Indigenous contexts, there remains a significant gap in understanding and lived experience between these academics and the Indigenous communities they seek to work with. The material challenges and demands communities face as a result of ongoing settler colonial occupation are often missed or ignored by academics working in the digital humanities and the academy more broadly and thus the colonial dynamic to research goes largely unchanged. Addressing these gaps through ongoing relationship building, community-led research, and cultural sensitivity training, while not traditionally thought off as “digital” are thus key innovating ethical and meaningful relationships between DH and Indigenous studies.

Sarah Dupont, program manager at Indigitization — a collaborative initiative that works to support Indigenous communities and organizations with the conservation, digitization and management of community knowledge — dedicated most of her time at SINM to discussing issues of capacity for Indigenous digital initiatives. In particular, she outlined how Canadian government and industry demands on Indigenous nations, handed down in the form of thousands of annual referrals, often make doing archival digitization or other digital projects a difficult trade-off for communities.[18] Committing time and resources to this work is a substantial challenge in a colonial context where nations are constantly faced with proposals for natural resource development on their territories, or other threats to land, sovereignty, and culture. Dupont explained that nations are also often working with extremely limited resources, small staff numbers, and technical constraints, especially in more remote First Nations that may not have access to IT departments or up-to-date communications technology. Cultural heritage work, for instance, often operates on contingent funding, she explained, which leads to difficult cycles of “startup and collapse” for many communities. These are some of the challenges communities are facing, and Dupont argues that when academics make a commitment to work with a nation, they need to understand the resources and demands that community is dealing with and adjust their practice and objectives accordingly.

Settler students and scholars interested in or already working in Indigenous contexts also need to appreciate the living history of academic appropriation, misrepresentation, and exploitation. Linda Tuhiwai Smith writes that, “from the vantage point of the colonized, the term ‘research’ is inextricably linked to European imperialism and colonialism,” and the ways that academic research has been used to subjugate and dehumanize Indigenous peoples remains a “powerful remembered history for many of the worlds colonized peoples.”[19] Dupont explains that “colonial organizations have historically worked against Indigenous control of Indigenous information,” while Gaertner noted that universities have been complicit in the theft of Indigenous land and knowledge since the onset of colonization. These histories and their ongoing effects on Indigenous communities extend critical responsibilities. DH and new media scholars, and academics in general, need to recognize that they are working out of a space that is deeply implicated in colonial violence and in turn make visible and resist that legacy in the ways they carry out their work. As Gaertner argued in his keynote, “settler colonialism is already premised off a non-consensual relationship” and thus “we need to hold ourselves to a higher standard as DH researchers working in Indigenous studies.”

Bearing in mind the historical connection between research and colonization, several SINM participants also offered helpful guidelines for engaging Indigenous communities. The Running Wolfs suggested “6Rs” for nonexploitative data collection and research: respect, relevance, responsibility, reciprocity, relationality, and representation. They emphasized that research must be done with communities, which involves researchers building respectful and reciprocal relationships. Caroline explained that scholars need to ask themselves what and how they can give back to the communities they work with and that they also need to be aware of the forms of representation they create through their work. Drawing on the words of Deanna Reder, Gaertner offered similar suggestions and argued that researchers need to be better relations to Indigenous peoples. “Being a good relation,” he explained, involves forming “meaningful relationships with communities and individuals, which requires time and emotional labour.” Gaertner stressed the importance of free, prior, informed, and ongoing consent, and insisted that Indigenous buy-in cannot be an afterthought but must be secured before and throughout a project. “A yes at the beginning,” he said, “is not a yes at the middle, nor is it a yes at the end.” Citing the First Nations Principles of OCAP®, Gaertner also noted that scholars and developers in the digital humanities need to “take data sovereignty seriously” and that while it may be legal to use data in a certain way, Indigenous communities may have different rules for data stewardship that must be respected and followed.[20]

Decolonizing the Digital Humanities  

More than being good relations and ethical researchers, the digital humanities need to carve space for Indigenous knowledge, worldviews, and ways of being, and better attend to colonial legacies in the field. DH scholars need to recognize how mainstream ways of engaging with digital spaces, for instance with trends regarding open access and open education, often work against the values, concerns, and rights of Indigenous peoples. As Kimberly Christen explains, for the past two decades, demands for increased information freedom by the free and open source software community have combined with debates about open access, digital rights management, and intellectual property rights. Yet, those pushing to resist private control over digital spaces often do not consider—or actively deny—Indigenous rights to managing their information and knowledge online.[21] “The celebration of openness, something that began as a reaction to corporate greed and the legal straightjacketing of creative works,” writes Christen, “has resulted in a limited vocabulary with which to discuss the ethical and cultural parameters of information circulation and access in the digital realm.”[22] The open access and Creative Commons movements in this way fail to recognize or respond to culturally-specific contexts and social realities, such as the rights of Indigenous communities to uphold protocols for who, how, and when their digital heritage materials can be accessed, used, and disseminated. Morford in turn argued at SINM that “Creative Commons licensing and the public domain are not necessarily ethical, and often are a means of benefiting and protecting the colonialist and the colonial system.” She gave an example of historical photos of Philippine Indigenous peoples taken by early colonial zoologists and asked: “Did the ancestors whose photos were taken by white researchers with malicious colonial intents, and whose photos are now in the public domain, consent to have their images taken and used in such a way?” The DH community, and indeed all people involved in the broad scope of the open access movement, have a responsibility to address these concerns and to build space for discussing issues like Indigenous consent, protocol, and sovereignty within larger debates regarding open access.

The digital humanities and technology sectors also need to acknowledge the ways in which whiteness, colonialism, and harmful Western ideologies have shaped the internet. “Since its beginning,” explain Jason Lewis and Skawennati, “cyberspace has been imagined as a free and open space, much like the New World was imagined by the Europeans.”[23] Indeed, as Loretta Todd wrote in 1996, the internet was built as an extension of millenia of Western and colonial philosophy and “has in fact been under construction for at least the past two thousand years.”[24] Todd argues that “a fear of the body, aversion to nature, a desire for salvation and transcendence of the earthly plane created a need for cyberspace,” and that the “tension [in Western culture] between the need to know all . . . and the limitations of the body and the senses, of the physical world, [extended] a need for a new site for the ‘heart and mind’ of man.”[25] During her presentation in the symposium, Humphreys argued that “there are limits to knowledge” and that, despite its depiction in literature, “cyberspace is not limitless and utopic” and cannot be treated as such. We remain accountable to people and place when we contribute to and engage in the digital world, and Humphreys stressed that we must be responsible to the communities we represent when we use these spaces. Deciphering what this looks like is thus a key component of what decolonial DH is and should be.

Power is an essential consideration in a DH/Indigenous studies relationship. According to Treena Chambers, “too often we see the politics of the powerful as the norm” in the digital humanities. That is to say that technology, as a tool of power, carries with it particular sets of ideologies that are often elided via its application. Chambers notes that, in this sense, technology itself is political, speaking to the need to apply critical analysis to the tools we use, not just the results they produce. Other presenters stressed similar points and offered different perspectives on how to improve and decolonize DH. Symposium co-organizer and Nisga’a writer Jordan Abel further argued during his SINM keynote that “DH needs to be a space . . . with generative, porous borders” — that it needs to be an “interdisciplinary and intersectional” community that encourages work that can in turn “engender understanding across forms of difference.” Finally, more than address the realities of ongoing colonization and invite critical scholarship, Ansloos argued that the digital humanities must not simply seek to “indigenize” or treat Indigenous peoples as “sprinkles on the academic cupcake” but that the DH community needs to support decolonization and Indigenous sovereignty in practical, material ways, be that through funding opportunities, training, resourcing, reciprocal research, and/or MOUs.


Throughout the many presentations at SINM 2018 there lingered a constant notion that digital technologies themselves cannot achieve the goals of Indigenous communities or dismantle colonization. Participants noted that it is not technology alone but people and relationships that have the power to support Indigenous and decolonial futures, and while SINM was itself an important space for people to connect, share ideas, and discuss common challenges, there remains much work to be done in terms of community building and supporting the relationships necessary for decolonial digital innovation in DH. It is our hope that this blog post furthers those conversations and leads to continued capacity-building across DH and Indigenous studies.

For more on SINM, including audio excerpts from the above described presentations, please download our four-part podcast miniseries Recoding Relations, which you can find here:  

David Gaertner is an Assistant Professor in the Institute of Critical Indigenous Studies at the University of British Columbia. He has published broadly on Indigenous literature, Indigenous new media, and the digital humanities. His articles have appeared in Canadian Literature, American Indian Cultural and Research Journal, and Bioethical Inquiry, amongst others. He is the editor of Sôhkêyihta: The Poetry of Sky Dancer Louise Bernice Halfe and the co-editor of Read, Listen, Tell: Indigenous Stories from Turtle Island. His monograph, The Theatre of Regret: Objecting to Reconciliation with Indigenous Arts and Literatures is forthcoming from UBC Press.

Melissa Haberl  is a BA graduate of History and First Nations and Indienous Studies at the University of British Columbia and a creator of the 2018 Symposium for Indigenous New Media’s Recoding Relations podcast series. She currently lives in Berlin, Germany.

[1] “Indigenous Data Theft,” te hiku media, 10 Aug. 2018,

[2] Leanne Betasamosake Simpson, “Bubbling Like a Beating Heart: Reflections on Nishnaabeg Poetic and Narrative Consciousness,” in Indigenous Poetics in Canada,  ed. Neal McLeod  (Ontario, 2014), p. 112.

[3] Aside from our four-part podcast miniseries, Symposium RA, Autumn Schnell, also produced the essay “It’s Time to Queer the Digital Humanities,” The Talon, 29 Jan. 2019,

[4] See Tahu Kukutai and John Taylor, Indigenous Data Sovereignty: Toward an Agenda (2016), p. xxii. See also OCAP (Ownership, Control, Access, Permission),

[5] Miriam Posner writes that, “DH needs scholarly expertise in critical race theory, feminist and queer theory, and other interrogations of structures of power in order to develop models of the world that have any relevance to people’s lived experience. Truly, it is the most complicated, challenging computing problem I can imagine, and DH hasn’t even begun yet to take it on” (Miriam Posner, “What’s Next: The Radical, Unrealized Potential of Digital Humanities,” Miriam Posner’s Blog, 27 July 2015, While this claim is five years old now, we believe that issues race, gender, and indigeneity are just as pressing now in 2020 as they were in 2015. DH still has an enormous amount of work to do.

[6] Maize Longboat, presentation, Symposium for Indigenous New Media, Victoria B.C., June 2018. Unless otherwise indicated, all subsequent references to content from presentations, keynotes and related discussions are from the Symposium for Indigenous New Media held as part of the Digital Humanities Summer Institute at the University of Victoria on 10–11 June 2018.

[7] You can download and play Terra Nova at

[8] For other key projects, see the Aboriginal Territories in Cyberspace (AbTec) research-creation network,; Achimostawinan Games,; Skins 5.0,; and work by Skawennati, and Elizabeth LaPensée,

[9] For more virtual and augmented reality projects developed by the Running Wolfs, see Buffalo Tongue Inc.,, and Madison Buffalo Jump and others at

[10] Aubrey Hanson, “Reading for Reconciliation? Indigenous Literatures in a Post-TRC Canada,” ESC: English Studies in Canada 43, nos. 2-3 (2017): 74.

[11] Here, we bear in mind Lisa Nakamara’s work on social media labour; see Lisa Nakamara, “The Unwanted Labour of Social Media: Women of Colour Call out Culture As Venture Community Management.” new formations: a journal of culture/theory/politics 86 (2016): 106–12.

[12] For more information on their objectives, projects, and current opportunities, see the First Nations Technology Council website,

[13] Cheryl L’Hirondelle,”Codetalkers Recounting Signals of Survival,” in Coded Territories: Tracing Indigenous Pathways in New Media Art, ed. Steven Loft and Kerry Swanson (Calgary, 2014), p. 147.

[14] To learn about the Cogewea Project, see

[15] Angela M. Haas, “Wampum as Hypertext: An American Indian Intellectual Tradition of Multimedia Theory and Practice,” Studies in American Indian Literatures 19, no. 4 (2008): 80–81.

[16] Eve Tuck, “Suspending Damage: A Letter to Communities,” Harvard Educational Review 79, no. 3 (2009): 413.

[17] Cyberpowwow was an Indigenous online gallery, live chat space and mixed-reality event active between 1997–2004. To learn more about the space, see CyberPowWow,

[18] Dupont explained during her presentation that “referral” is a generic term used by the Crown, First Nations, or both when referencing a potential statutory or policy decision that may adversely affect or impact the Aboriginal or treaty rights of a nation. Referrals typically relate to the land, water, and natural resources of a nation and typically include consultation requests from industries such as oil and gas, wind energy, hydro, forestry, and mining.

[19] Linda Tuhiwai Smith, Decolonizing Methodologies: Research and Indigenous Peoples (London, 2012), p. 1

[20] The First Nations Principles of OCAP® stand for ownership, control, access, and possession. To learn more about OCAP®, see the First Nations Information Governance Centre,

[21] Kimberly Christen, “Does Information Really Want to Be Free? Indigenous Knowledge Systems and the Question of Openness,” International Journal of Communication 6 (2012): 2870.

[22] Ibid., p. 2874.

[23] Jason Lewis and Skawennati Tricia Fragnito, “Aboriginal Territories in Cyberspace,” Cultural Survival Quarterly 29, no. 2 (2005).

[24] Loretta Todd, “Aboriginal Narratives in Cyberspace,” in Immersed in Technology: Art and Virtual Environments, ed. Mary Anne Moser and Douglas MacLeod (Cambridge, Mass., 1996), p. 155.

[25] Ibid



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4 responses to “Recoding Relations: Dispatches from the Symposium for Indigenous New Media

  1. Pingback: Recoding Relations: Dispatches from the Symposium for Indigenous New Media | Novel Alliances

  2. Pingback: Recoding Relations: Episode 1, People Over Tools | Novel Alliances

  3. Pingback: Recoding Relations: Episode 2, Indigeneity in DH - Novel Alliances

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