Kyle T. Mays – författare

In July 2013, Detroit became the largest city in U.S. history to declare bankruptcy. The underlying causes were decades of deindustrialization, white flight, and financial mismanagement. More recently it has been heralded a comeback city as wealthy white residents resettle there. Yet, as Kyle T. Mays argues, we cannot understand the current state of Detroit without also understanding the longer history of Native American and African American dispossession that has defined the city since its founding.How has dispossession impacted the development of modern U.S. cities? And how does comparing the historical experiences of Native Americans and African Americans in an urban context help us comprehend histories of race, sovereignty, and colonialism? Using archives, oral and family histories, and community documents, City of Dispossessions is a cultural, intellectual, and social history that argues that physical and symbolic forms of dispossession of Native Americans and African Americans, and their reactions to dispossession, have been central to Detroit's modern development.The book begins with the first settlement by the Frenchman Cadillac in 1701 and chronicles how the logic of dispossession has continued into the present, through a wide range of forms that include memorialization of the "disappearing Indian," the physical dispossession of African Americans through urban renewal, and gentrification. Mays also chronicles the wide-ranging forms of expression through which Black and Indigenous Detroiters have contested dispossession, such as the Red and Black Power movements and culturally relevant education.Through lively, accessible prose as well as historical and contemporary examples, City of Dispossessions will be of interest to readers of urban studies, Indigenous Studies, and critical ethnic studies.

Rethinking the Red Power Movement examines Red Power ideology with a focus on its many forms of solidarity with African Americans, the role of gender in shaping the movement, its international expansion, and its current meaning in contemporary activism.The Red Power Movement is often considered the apex of Indigenous activism in the twentieth century. While diverse, the movement is typically told through four actions. Beginning with the occupation of Alcatraz in 1969, followed by the Trail of Broken Treaties in 1972, Wounded Knee in 1973, then culminating with the Longest Walk in 1978, there is a clear jumpstart, middle, and end to the Red Power Movement. Through a chronological approach, this study makes the case that Red Power never died—and neither did Indigenous activism. Instead, it shows how Indigenous peoples found many ways to push forward Indigenous sovereignty and continue to call on the United States to value Indigenous possibilities for justice, freedom, and power.This book is useful for students and scholars interested in twentieth century America, social movements, and the history of Indigenous activism.

Rethinking the Red Power Movement examines Red Power ideology with a focus on its many forms of solidarity with African Americans, the role of gender in shaping the movement, its international expansion, and its current meaning in contemporary activism.The Red Power Movement is often considered the apex of Indigenous activism in the twentieth century. While diverse, the movement is typically told through four actions. Beginning with the occupation of Alcatraz in 1969, followed by the Trail of Broken Treaties in 1972, Wounded Knee in 1973, then culminating with the Longest Walk in 1978, there is a clear jumpstart, middle, and end to the Red Power Movement. Through a chronological approach, this study makes the case that Red Power never died—and neither did Indigenous activism. Instead, it shows how Indigenous peoples found many ways to push forward Indigenous sovereignty and continue to call on the United States to value Indigenous possibilities for justice, freedom, and power.This book is useful for students and scholars interested in twentieth century America, social movements, and the history of Indigenous activism.

Argues that Indigenous hip hop is the latest and newest assertion of Indigenous sovereignty throughout Indigenous North America.Expressive culture has always been an important part of the social, political, and economic lives of Indigenous people. More recently, Indigenous people have blended expressive cultures with hip hop culture, creating new sounds, aesthetics, movements, and ways of being Indigenous. This book documents recent developments among the Indigenous hip hop generation. Meeting at the nexus of hip hop studies, Indigenous studies, and critical ethnic studies, Hip Hop Beats, Indigenous Rhymes argues that Indigenous people use hip hop culture to assert their sovereignty and challenge settler colonialism. From rapping about land and water rights from Flint to Standing Rock, to remixing "traditional" beading with hip hop aesthetics, Indigenous people are using hip hop to challenge their ongoing dispossession, disrupt racist stereotypes and images of Indigenous people, contest white supremacy and heteropatriarchy, and reconstruct ideas of a progressive masculinity. In addition, this book carefully traces the idea of authenticity; that is, the common notion that, by engaging in a Black culture, Indigenous people are losing their "traditions." Indigenous hip hop artists navigate the muddy waters of the "politics of authenticity" by creating art that is not bound by narrow conceptions of what it means to be Indigenous; instead, they flip the notion of "tradition" and create alternative visions of what being Indigenous means today, and what that might look like going forward.

Argues that Indigenous hip hop is the latest and newest assertion of Indigenous sovereignty throughout Indigenous North America.Expressive culture has always been an important part of the social, political, and economic lives of Indigenous people. More recently, Indigenous people have blended expressive cultures with hip hop culture, creating new sounds, aesthetics, movements, and ways of being Indigenous. This book documents recent developments among the Indigenous hip hop generation. Meeting at the nexus of hip hop studies, Indigenous studies, and critical ethnic studies, Hip Hop Beats, Indigenous Rhymes argues that Indigenous people use hip hop culture to assert their sovereignty and challenge settler colonialism. From rapping about land and water rights from Flint to Standing Rock, to remixing "traditional" beading with hip hop aesthetics, Indigenous people are using hip hop to challenge their ongoing dispossession, disrupt racist stereotypes and images of Indigenous people, contest white supremacy and heteropatriarchy, and reconstruct ideas of a progressive masculinity. In addition, this book carefully traces the idea of authenticity; that is, the common notion that, by engaging in a Black culture, Indigenous people are losing their "traditions." Indigenous hip hop artists navigate the muddy waters of the "politics of authenticity" by creating art that is not bound by narrow conceptions of what it means to be Indigenous; instead, they flip the notion of "tradition" and create alternative visions of what being Indigenous means today, and what that might look like going forward.

A bold vision for a Black and Indigenous future rooted in real solidarity, a future that exists beyond the confines of the liberal imaginationCurrent advocates of reparations for slavery and land back often fail to scrutinize racial capitalism and settler colonialism, instead accepting that their destinies will forever be tied to US empire. But as scholar Kyle T. Mays insists in When We Are Kin, we can and should demand a kind of repair that goes beyond a white supremacist idea of what justice can be. In a series of short essays, Mays traces the history of alliances between Black and Indigenous movements; outlines the limitations of certain demands for reparations, including cash payments, that do not fundamentally critique racial-settler capitalism; and interrogates contemporary land back initiatives that fail to fully address decolonization. Along the way, he asks, What does solidarity look like between Black and Indigenous peoples in the United States? Can we find ways to co-belong and co-resist on Turtle Island?Drawing on the Anishinaabe philosophy of mino-bimaadiziwin (the good life), Mays argues that we can resist as kin only when we center the land in building our collective futures.