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- Convenors:
-
Leonie Stevens
(Monash University)
Lynette Russell (Monash University)
David Haworth (Monash University)
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- Format:
- Panel
- Sessions:
- Tuesday 7 June, -
Time zone: Europe/London
Short Abstract:
An interdisciplinary exploration of how Indigenous Futurisms informs and subverts traditional sci-fi representations of first encounters between peoples, cultures, languages, and technologies.
Long Abstract:
Encounters between peoples, cultures, languages, and technologies across time and space have formed the beating heart of science fiction narratives in film and television since the 1960s. In step with western cultural "turns", the representation of Indigenous peoples has evolved from passive actors to active agents and stakeholders, to resisters and reclaimers, and now, with Indigenous Futurisms, as authors of the narratives around exploration, discovery, and navigating first contacts between cultures. In this panel, we invite contributions from across disciplines that challenge or interrogate representations of Indigenous peoples at the moment of intercultural encounter.
Accepted papers:
Session 1 Tuesday 7 June, 2022, -Leonie Stevens (Monash University)
Paper short abstract:
This paper examines metaphorical representations of alien invasion and Indigenous resistance, focusing on extractive (as opposed to settler) colonialism, the outsiders’ inability to recognise Indigenous life and culture, and the agency of non-human(oid) life.
Paper long abstract:
Alien invasion has been a striking metaphor for colonial expansion since H G Wells drew on the Tasmanian genocide for War of The Worlds. This paper examines the ravages of imperial invasion on Indigenous peoples and cultures using the example from Star Trek Discovery of the Mycelian network, and the intervention and resistance of the JahSepp. Key focuses will be extractive (as opposed to settler) colonialism, the outsiders’ inability to recognise Indigenous life and culture, and the agency of non-human(oid) life.
Lynette Russell (Monash University)
Paper short abstract:
STNG's motifs of colonialism, dispossession, and Indigenous rights intersect and presents an (often) unconscious critique of settler colonialism and imperialism. Although written by the colonising victors STNG nonetheless offers a counter reading of the potential for Indigenous futures and agencies.
Paper long abstract:
Many episodes and several STNG films (First Contact, Insurrection) focus on the themes of Indigeneity, colonialism, and dispossession. Star Trek has been described as "Wagon Train to the stars", and like its western genre counterpart, Star Trek is built on the exploration, and exploitation of native lands (worlds). In this paper I will explore how Alien encounters are configured as native-newcomer or Indigenous-coloniser engagements and what this means for the imagined futures. I will argue that Star Trek as canonical text represents an important popular culture moment allowing reflection on the role of sovereignty and Indigenous rights. In this context, the Prime Directive (Star Fleet General Order 1, or the non-interference directive) can be read as a utopian model for coloniser-settler-Indigenous relations.
David Haworth (Monash University)
Paper short abstract:
Star Wars has appropriated from and stereotyped Indigenous cultures. Yet its major themes — anti-imperialism and the bond between living things — resonate with many Indigenous artists. Recently, Star Wars has engaged with Indigenous Futurisms by incorporating Indigenous authorship and perspectives.
Paper long abstract:
In this paper, I examine the history of encounters between global Indigenous peoples and the space opera franchise Star Wars. I argue that this complex and shifting relationship can be seen to cohere into three distinct stories, or episodes.
Episode I: Raiders of the Mask. The early Star Wars films were inspired by Joseph Campbell’s universalising ‘monomyth’ theory of the hero’s journey, yet they sometimes perpetuate stereotypes of the noble versus the barbaric savage, while also raiding global Indigenous cultures for their narratives, beliefs, hairstyles, clothing, and use of puppetry and masks.
Episode II: A New Resonance. Despite such universalising, stereotyping and appropriative tendencies, Star Wars is at its heart a story about resistance to imperialism, and the belief that all living things are connected. These themes have resonated deeply with many global Indigenous artists, particularly in North America and Oceania. These artists often reclaim and subvert the visual iconography of Star Wars to tell stories of Indigenous resilience and survivance.
Episode III: The Rise of Temuera. Rather than thinking of Star Wars and Indigenous peoples as entirely separate entities — one producing, the other responding — recent and upcoming entries to the franchise invoke notions of Indigenous Futurisms, through the marshalling of Indigenous directors, authors, and performers. Notably, in recent Disney+ series The Mandalorian and The Book of Boba Fett, Māori actor Temuera Morrison has reshaped the role of Boba Fett by incorporating Māori concepts, traditions, combat techniques and weapons into his performance.