"I Saw a REAL Indian on TV Last Night!" Historical Thinking for Social Justice

• In Event: Critical Perspectives on Teaching Difficult History

Abstract

Across forms of visual media, Indigenous peoples are frequently depicted in stereotypical ways (Hoffman, 2012; Kilpatrick, 1999). Given the influence of media on student thinking about historical events (Marcus, Paxton, & Meyerson, 2006; Wineburg, 2001) and Native experiences (Seixas, 2007), it is important to carefully evaluate the role of film within the social studies classroom. This paper describes two case studies that highlight the potential for film to guide historical thinking about Indigenous experiences. Project #1 describes an application of film to consider reader/viewer positionality and context. Project #2 considers filmmaking as a tool to develop awareness of historical complexity and dynamism.

Theoretical Framework
The projects draw upon the importance of historical thinking (Wineburg, 2001) and the use of counter-narratives to reclaim Indigenous experiences (Brayboy, 2005). Historical thinking recognizes the complexity and contextual nature of events, the influence of reader/viewer bias, and the continued shaping of historical understanding (Wineburg, 2001). Unfortunately, today’s youth tend to view historical accounts as static, factual, and simplistic (Wineburg, 2001). In response, Native scholars advocate for inclusion of Indigenous perspectives to advance historical thinking and social justice (Brayboy, 2005).

Objectives
Three objectives frame this paper: 1) introduce educators to the legacy of assimilation that shapes representations of Indigenous experiences in film, 2) share strategies to expand historical thinking for social justice, and 3) offer examples from practice.

Methods and Data Sources
Given the importance of counter-narrative for historical thinking, the projects draw upon discourse analysis, narrative inquiry, and critical ethnographic methodologies. Additionally, they apply participatory and autoethnographic paradigms to consider the influence of positionality on historical thinking.
Project #1 situates thematic elements from film within the participant-researcher’s own identity narrative. Project #2 draws upon discourse analysis and critical ethnography to identify counter-narratives within discussions and student-created documentaries.

Results
The projects tell different, yet related, stories of using film to provoke historical thinking about Indigenous experiences. Project #1 demonstrates the use of film to deepen awareness of Indigenous identity through comparison of film representations to cultural experience. Project #2 illustrates the potential for reclaiming of histories through creation of digital counter-narratives.

Together, the projects advance social justice by normalizing questioning processes, honoring cultural identity throughout the learning process, and encouraging participation within the creation and dissemination of counter-narratives.

Significance
The projects provide models to teach awareness of positionality and recognition of historical complexity. They also offer examples of methodological and pedagogical application through their use of participatory approaches. Additionally, this paper contributes to the limited body of scholarship that evaluates the potential for film and Indigenous counter-narratives to advance historical thinking for social justice.

Authors

• Christine Rogers Stanton, Montana State University

• Amanda LeClair-Diaz, The University of Arizona

• Brad R Hall, Blackfeet Community College

• Lucia Ricciardelli, Montana State University