Podcasts about indigenous photography

Announcer: This is Minnesota Native News. This week, the Minneapolis Institute of Art is currently holding an exhibition focusing on indigenous photography from the late 1890's to the present day. Reporter Chandra Colvin has the story. Chandra Colvin: In October, the Minneapolis Institute of Art, also known as the MIA, opened an exhibition focused on Native Photography titled, “In Our Hands.” The exhibit was formed primarily by a council of Native artists and scholars. Jaida Grey Eagle, who is a member of the Oglala Lakota Sioux tribe, is a photographer and artist. She is a co-curator for the exhibit and was the initial inspiration for it during her time as a fellow at the MIA. Jaida Grey Eagle: I've been practicing photography since I was a young kid. I think I was probably 11 when I got my first camera. Native, you're always wondering, “are there other people doing what I'm doing?” In schools here, they never talk about Native photographers in Minnesota. And it wasn't until I went to the Institute of American Indian Arts down in Santa Fe that I was introduced to this whole world of native photographers. Why do I have to travel so far away from home to find that? Why is that just not talked about? I think for myself, I just, I really want it to inspire people, and to just introduce them to this incredible history of, you know, Native people practicing the art of photography. It's such a different experience to see photography from the viewpoint of Native people. So it's inspiring to me, and I just hope that it's inspiring to other people to just see the art practiced by the people themselves that it's about. CC: The Native artists and scholars worked alongside MIA curators, like Jill Oberg, a curator of Native arts and a co-curator of the exhibit. Jill Oberg: Jaida was our fellow at the time. And she came in and asked us about our collection of photography made by Native people. And we came together and we knew that we didn't have many. And that we needed to build that. So it was a great way for us to understand the field through going to the experts who have been dedicating their entire lives to the field. And that was the beginning of the exhibition.   CC: The exhibit features over 150 photographs by, of, and for Native people. Joseph Allen, who is a member of the Rosebud Sioux tribe and a direct descendent of White Earth Nation, has been doing photography for 30 years. His featured piece titled, “Free Land,” was captured in front of the MIA in 1992.  Joseph Allen: From that original image that, you know, is in the show - it's such a small piece, it's 8in by 10in. But that connection back to that beginning, I lived in Minneapolis for 25 years. And so and then having that image taken on the grounds of the MIA, that really connects to my career, you know, as a photographer it means a lot.  CC: Allen said it's an honor to be a Minnesota-based photographer featured in the exhibit. Co-curator Casey Riley agrees. Casey Riley: We say this throughout the sort of overviews of the show, but, you know, this really was a show first and foremost, for Native audiences, and Native visitors. And, you know, this, hopefully, is an invitation to many younger photographers to join the profession, and continue this work, because there are so many amazing people who have influenced the medium from the beginning. And I would say that for me as someone who's trained in photo history, that is a really important message for all of us who have studied the field. Native people have been left out of our discourse, and they have been so important to its development. I think it's a really important takeaway. That, you know, the canon needs to change. CC: “In Our Hands” will be on display at the Minneapolis Institute of Arts  until January 14th [2024]. Members of the indigenous community can visit for free. For Minnesota Native News, this is Chandra Colvin. Announcer: For more information on the In Our Hands exhibit, visit the MIA's website at new.artsmia.org. 

Stephen Sheehi (Michigan, MA, PhD, Temple, BA; pronouns he/his/his) is the Sultan Qaboos Professor of Middle East Studies and Professor of Arab Studies at the College of William and Mary. He is a joint appointment in the Program of Asian and Middle Eastern Studies (AMES) and the Arabic Program in the Department of Modern Languages and Literatures and a core faculty member of the Asian & Pacific-Islander American Studies Program (APIA): https://stephensheehi.com Prof. Sheehi is also Founding Faculty Director of the Decolonizing Humanities Project at William and Mary, which seeks to validate, elevate and learn from knowledge practices, and creative expressions of communities of color, natives and displaced peoples and marginalized identities: https://www.wm.edu/sites/dhp/ Prof. Sheehi’s work examines cultural, intellectual, art history, and the political economy of the Middle East, with a special emphasis on the late Ottoman Empire and the Arab Renaissance (al-nahdah al-‘arabiyah). His research and written commentaries have also examined photography, psychoanalysis, minorities in the Middle East, Islamophobia in the United States and contemporary issues of the Middle East and North America. In addition to Middle Eastern studies and Islamophobia, he has had a life-time engagement with Arab and Muslim American issues, globalization and economic equity, transformative education, and social justice. He remains interested in and a perennial student of decolonial theory and praxis, psychoanalysis, and cultural and poststructural theory. Prof. Sheehi is the author of three books: The Arab Imago: A Social History of Indigenous Photography 1860-1910 (Princeton University Press, 2016); Islamophobia: The Ideological Campaign Against Muslims (Clarity Press, 2011), which has been translated into Arabic as al-Islamofobia: al-Hamlah al-idiulujiyah dud al-Muslimin translation by Fatimah Nasr (Cairo: Dar al-Sutour, 2012); and Foundations of Modern Arab Identity (University Press of Florida, 2004). Dr. Sheehi discusses the 40th Annual Spring Meeting of Division 39 – Society for Psychoanalysis and Psychoanalytic Psychology of the American Psychological Association (APA), March 18-21, 2020, New York City: https://division39springmeeting.net The conference Psychoanalysis to Come: Community and Culture, July 24-26, 2020, Copenhagen is also discussed: http://dasunbehagen.org/event/du-international-conference-psychoanalysis-come-community-culture/ Rendering Unconscious Podcast is hosted by psychoanalyst Dr. Vanessa Sinclair, who interviews psychoanalysts, psychologists, scholars, creative arts therapists, writers, poets, philosophers, artists & other intellectuals about their process, world events, the current state of mental health care, politics, culture, the arts & more. Episodes are also created from lectures given at various international conferences. Please support the podcast at: https://www.patreon.com/vanessa23carl Rendering Unconscious is also a book! Rendering Unconscious: Psychoanalytic Perspectives, Politics and Poetry (Trapart, 2019): https://store.trapart.net/details/00000 Rendering Unconscious Podcast can be found at: Spotify, iTunes, YouTube, Vimeo, SoundCloud Please visit the About page for links to all of these sites: http://www.renderingunconscious.org/about/ For more, please visit the following websites: http://www.renderingunconscious.org http://www.drvanessasinclair.net https://store.trapart.net https://division39springmeeting.net The track at the end of the episode is “Knight of Swords” from the album "The Chapel is Empty". Words by Vanessa Sinclair. Music by Akoustik Timbre Frekuency. Available from Trapart Editions and Highbrow-Lowlife: https://store.trapart.net/details/00062 Photo of Dr. Stephen Sheehi

In the Arab world, photography is often tied to the modernizing efforts of imperial and colonial powers. However, indigenous photography was itself a major aspect of the cultural and social lives of Middle Eastern societies in the late nineteenth and early twentieth centuries. Stephen Sheehi’s The Arab Imago: A Social History of Indigenous Photography 1860-1910 (Princeton University Press, 2016) tells that story, focusing primarily on portraiture and those that took portraits. Sheehi examines the formalism of portraits in relation to changing notions of class, questioning whether or not portrait photography were creating new forms of sociability or vice versa. But photography is also another way Arab modernity was in relation to Ottomanism: The Arab Imago looks at how portrait studios developed in Istanbul and beyond, often operated by Armenian and Greek Orthodox photographers. The Arab Imago integrates photography, modernity, and the banal to give us one of the first histories of photography in the Middle East. Stephen Sheehi is the Sultan Qaboos bin Said Chair of Middle East Studies and Director of the Program of Asian and Middle Eastern Studies (AMES) at the College of William and Mary. He is Professor of Arabic Studies as well, and holds a joint appointment in AMES and the Arabic Program in the Department of Modern Languages and Literatures. He did his doctorate at Michigan. His work largely examines cultural, intellectual, art history, and the political economy of the late Ottoman Empire and the Arab Renaissance (al-nahdah al-arabiyah). Nadirah Mansour is a graduate student at Princeton University’s Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In the Arab world, photography is often tied to the modernizing efforts of imperial and colonial powers. However, indigenous photography was itself a major aspect of the cultural and social lives of Middle Eastern societies in the late nineteenth and early twentieth centuries. Stephen Sheehi’s The Arab Imago: A Social History of Indigenous Photography 1860-1910 (Princeton University Press, 2016) tells that story, focusing primarily on portraiture and those that took portraits. Sheehi examines the formalism of portraits in relation to changing notions of class, questioning whether or not portrait photography were creating new forms of sociability or vice versa. But photography is also another way Arab modernity was in relation to Ottomanism: The Arab Imago looks at how portrait studios developed in Istanbul and beyond, often operated by Armenian and Greek Orthodox photographers. The Arab Imago integrates photography, modernity, and the banal to give us one of the first histories of photography in the Middle East. Stephen Sheehi is the Sultan Qaboos bin Said Chair of Middle East Studies and Director of the Program of Asian and Middle Eastern Studies (AMES) at the College of William and Mary. He is Professor of Arabic Studies as well, and holds a joint appointment in AMES and the Arabic Program in the Department of Modern Languages and Literatures. He did his doctorate at Michigan. His work largely examines cultural, intellectual, art history, and the political economy of the late Ottoman Empire and the Arab Renaissance (al-nahdah al-arabiyah). Nadirah Mansour is a graduate student at Princeton University’s Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In the Arab world, photography is often tied to the modernizing efforts of imperial and colonial powers. However, indigenous photography was itself a major aspect of the cultural and social lives of Middle Eastern societies in the late nineteenth and early twentieth centuries. Stephen Sheehi’s The Arab Imago: A Social History of Indigenous Photography 1860-1910 (Princeton University Press, 2016) tells that story, focusing primarily on portraiture and those that took portraits. Sheehi examines the formalism of portraits in relation to changing notions of class, questioning whether or not portrait photography were creating new forms of sociability or vice versa. But photography is also another way Arab modernity was in relation to Ottomanism: The Arab Imago looks at how portrait studios developed in Istanbul and beyond, often operated by Armenian and Greek Orthodox photographers. The Arab Imago integrates photography, modernity, and the banal to give us one of the first histories of photography in the Middle East. Stephen Sheehi is the Sultan Qaboos bin Said Chair of Middle East Studies and Director of the Program of Asian and Middle Eastern Studies (AMES) at the College of William and Mary. He is Professor of Arabic Studies as well, and holds a joint appointment in AMES and the Arabic Program in the Department of Modern Languages and Literatures. He did his doctorate at Michigan. His work largely examines cultural, intellectual, art history, and the political economy of the late Ottoman Empire and the Arab Renaissance (al-nahdah al-arabiyah). Nadirah Mansour is a graduate student at Princeton University’s Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In the Arab world, photography is often tied to the modernizing efforts of imperial and colonial powers. However, indigenous photography was itself a major aspect of the cultural and social lives of Middle Eastern societies in the late nineteenth and early twentieth centuries. Stephen Sheehi’s The Arab Imago: A Social History of Indigenous Photography 1860-1910 (Princeton University Press, 2016) tells that story, focusing primarily on portraiture and those that took portraits. Sheehi examines the formalism of portraits in relation to changing notions of class, questioning whether or not portrait photography were creating new forms of sociability or vice versa. But photography is also another way Arab modernity was in relation to Ottomanism: The Arab Imago looks at how portrait studios developed in Istanbul and beyond, often operated by Armenian and Greek Orthodox photographers. The Arab Imago integrates photography, modernity, and the banal to give us one of the first histories of photography in the Middle East. Stephen Sheehi is the Sultan Qaboos bin Said Chair of Middle East Studies and Director of the Program of Asian and Middle Eastern Studies (AMES) at the College of William and Mary. He is Professor of Arabic Studies as well, and holds a joint appointment in AMES and the Arabic Program in the Department of Modern Languages and Literatures. He did his doctorate at Michigan. His work largely examines cultural, intellectual, art history, and the political economy of the late Ottoman Empire and the Arab Renaissance (al-nahdah al-arabiyah). Nadirah Mansour is a graduate student at Princeton University’s Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In the Arab world, photography is often tied to the modernizing efforts of imperial and colonial powers. However, indigenous photography was itself a major aspect of the cultural and social lives of Middle Eastern societies in the late nineteenth and early twentieth centuries. Stephen Sheehi’s The Arab Imago: A Social History of Indigenous Photography 1860-1910 (Princeton University Press, 2016) tells that story, focusing primarily on portraiture and those that took portraits. Sheehi examines the formalism of portraits in relation to changing notions of class, questioning whether or not portrait photography were creating new forms of sociability or vice versa. But photography is also another way Arab modernity was in relation to Ottomanism: The Arab Imago looks at how portrait studios developed in Istanbul and beyond, often operated by Armenian and Greek Orthodox photographers. The Arab Imago integrates photography, modernity, and the banal to give us one of the first histories of photography in the Middle East. Stephen Sheehi is the Sultan Qaboos bin Said Chair of Middle East Studies and Director of the Program of Asian and Middle Eastern Studies (AMES) at the College of William and Mary. He is Professor of Arabic Studies as well, and holds a joint appointment in AMES and the Arabic Program in the Department of Modern Languages and Literatures. He did his doctorate at Michigan. His work largely examines cultural, intellectual, art history, and the political economy of the late Ottoman Empire and the Arab Renaissance (al-nahdah al-arabiyah). Nadirah Mansour is a graduate student at Princeton University’s Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In the Arab world, photography is often tied to the modernizing efforts of imperial and colonial powers. However, indigenous photography was itself a major aspect of the cultural and social lives of Middle Eastern societies in the late nineteenth and early twentieth centuries. Stephen Sheehi’s The Arab Imago: A Social...