Abstract:Digital Songlines is a software toolkit being developed by the Australasian Cooperative Research Centre for Interaction Design. It consists of an applied set of protocols, methodologies and a software program for the collection and sharing of indigenous cultural heritage knowledge. Regular consultation with indigenous traditional owners and representative groups is an essential component of the development process. This article provides an overview of the components of the Digital Songlines toolkit, and illust… Show more
“…With game engines and new media technologies in the field of cultural heritage expanding, digital platforms have already become important tools for recording and representing historically, culturally, and sociologically significant places, infrastructure, and artifacts, as well as the stories associated with them (Leavy, 2007: 261). Moreover, game and app development for the purposes of language learning has been an important element of Indigenous language revitalization for over a decade.…”
Section: Interactive Nature Of Indigenous Storytelling Traditionsmentioning
This article examines how digital games on Sami culture can draw attention to Indigenous issues when produced in collaboration with Sami community members. Through a case study that probes the design, game mechanics, and user experience of Gufihtara eallu (2018), this article frames Indigenous digital games and game development as a form of digital storytelling that is able to educate players on Indigenous knowledge systems and intangble cultural heritage. By looking at the way Gufihtara eallu engages Sami oral traditions in particular, this article demonstrates how digital games are capable of embodying Indigenous methodologies in such a way as to not flatten understandings of Indigenous traditions to a mythologized historical moment; instead, games produced by and for Indigenous people are capable of presenting storytelling traditions as contemporary, interactive, and constantly evolving, incorporating traditional themes as much as contemporary issues that are being perpetually redefined by modern Sami experience and new technologies.
“…With game engines and new media technologies in the field of cultural heritage expanding, digital platforms have already become important tools for recording and representing historically, culturally, and sociologically significant places, infrastructure, and artifacts, as well as the stories associated with them (Leavy, 2007: 261). Moreover, game and app development for the purposes of language learning has been an important element of Indigenous language revitalization for over a decade.…”
Section: Interactive Nature Of Indigenous Storytelling Traditionsmentioning
This article examines how digital games on Sami culture can draw attention to Indigenous issues when produced in collaboration with Sami community members. Through a case study that probes the design, game mechanics, and user experience of Gufihtara eallu (2018), this article frames Indigenous digital games and game development as a form of digital storytelling that is able to educate players on Indigenous knowledge systems and intangble cultural heritage. By looking at the way Gufihtara eallu engages Sami oral traditions in particular, this article demonstrates how digital games are capable of embodying Indigenous methodologies in such a way as to not flatten understandings of Indigenous traditions to a mythologized historical moment; instead, games produced by and for Indigenous people are capable of presenting storytelling traditions as contemporary, interactive, and constantly evolving, incorporating traditional themes as much as contemporary issues that are being perpetually redefined by modern Sami experience and new technologies.
“…An alternative approach focuses on the ways in which indigenous cultural practices shape IT (Salazar, 2007). A new wave of research concerned with IT and indigenous people addresses issues like cultural preservation and revitalization (Auld, 2007;Holton et al, 2007;Keegan et al, 2007;Leavy, 2007) IT and GIS transformation of communities (Eglash, 2007;Palmer, 2007;Turk, 2007), access to IT (Betts, 2007;Daly, 2007), indigenous media, cultural politics and social movements (Ginsburg, 1997;Smith, 2005Smith, , 2006Wilson & Stewart, 2008), and educational uses of IT (Donovan, 2007;Goodwin-Gomez, 2007), and indigenous knowledge (Dyson, 2007;Leclair & Warren, 2007;Salazar, 2007). Lacking in this rich body of literature is research on indigenous peoples, virtual communities, social networks, and GIS.…”
This article describes advantages and disadvantages of federal government centralized geographic information networks and decentralized peer-to-peer geographic information networks as they pertain to North American Indian tribal governments and communities. Geographic information systems (GIS) are used by indigenous groups for natural resource management, land claims, water rights, and cultural revitalization activities on a global-scale. North American groups use GIS for the same reasons, but questions regarding culturally appropriate GIS, cross-cultural understandings of geographic knowledge, and cultural assimilation through Western digital technologies have been raised by scholars. Two network models are germane to American Indian government operations and community organizations. The first is a prescriptive top-down network emanating from federal government agencies. Federal agencies are responsible for the diffusion of nationwide GIS programs throughout indigenous communities in the United States. A second, potentially more inclusive model is a decentralized peer-to-peer network in which all nodes are responsible for the success of the network.
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