Decolonizing the Medium: How Indigenous Creators are Defying “Sidekickery” and Centering Indigenous Stories and Characters in the Comics Landscape

Morris, Amanda

doi:10.1111/jacc.13095

Cited by 1 publication

(3 citation statements)

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“…Only then will the narrative begin to transform into a more authentic representation. Furthermore, Morris (2019) states, "Clearly, the comics and comics scholarship landscape are changing alongside the industry and reader expectations" (p. 328), as comic books are a "great way to show the dynamic nature and diversity of Indigenous peoples" (Callison et al, 2019, p. 141). RED defies traditional genre and reader expectations through its particular artistic style: Haida Manga.…”

Section: Discussionmentioning

confidence: 99%

“…One of the potential ways to do so is to integrate Indigenous comic books into the popular culture and literary canon (Henzi, 2019). Morris (2019) continues to explain:…”

Section: Comic Books As An Educational Toolmentioning

confidence: 99%

“…(p. 326) An overlooked strength of the comic book is its combination of text and image, which allows the genre to extend its reach, as it is "more accessible not only for youth, but for those who may not want to, or cannot, read at length about the history of colonialism" (Henzi, 2019, p. 25). Therefore, the insertion of Indigenous comic books into the curriculum can be done at all levels, whether it be university or grade school (Morris, 2019). Images also directly impact the reading of the story as they have the ability to elicit a greater emotional response from the reader (Bladow, 2019).…”

Section: Comic Books As An Educational Toolmentioning

confidence: 99%

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The Space Between Us: Exploring Colonization And Injustice Through Red: A Haida Manga

Tiemens¹

2022

Preprint

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RED: A Haida Manga is an Indigenous comic book based on a traditional Haida narrative, and it was created by Michael Nicoll Yahgulanaas, who is of Haida descent. This major research paper examines RED from three different perspectives: 1) how RED functions as a comic book in terms of its format and structure; 2) how it challenges contemporary ideas of indigeneity presented in the mainstream media; and 3) how it defies genre and reader expectations. These three analyses demonstrate how Yahgulanaas uses the structure, narrative, and artistic style of RED to create a political statement about colonization, as well as a social commentary on injustice faced by Indigenous peoples in Canada. This is mainly done through Yahgulanaas’ use of formlines in place of traditional comic book gutters, the inter-tribal storyline, as well as the combination of Manga and Haida art. These elements work together to illustrate a worldview that focuses on the whole, rather than the individual self, while communicating Yahgulanaas’ “unwavering belief that, beyond differences in Indigenous and Western ways of thinking, people of all backgrounds can find common ground in shared concerns” (Mauzé, 2018, para. 6). RED provides non-Indigenous readers an opportunity to familiarize themselves with the “Indigenous experience in a postcolonial world” (Chavarria, 2009, p. 48), while allowing Indigenous readers to reclaim a sense of identity and autonomy through an authentic representation.

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Section: Discussionmentioning

confidence: 99%

“…One of the potential ways to do so is to integrate Indigenous comic books into the popular culture and literary canon (Henzi, 2019). Morris (2019) continues to explain:…”

Section: Comic Books As An Educational Toolmentioning

confidence: 99%