Hi, I'm Matika. I belong to the Swinemish and Tlailit people. I'm a photographer and the creator

of Project 5.62. And I'm Adrian. I'm a citizen of the Cherokee Nation, a scholar and the writer

behind the blog Native Appropriations. This is all my relations. We're glad you're here.

Thanks for joining us today. Today we're going to be talking about a topic that is near and

dear to my heart, something I have literally been writing about since I started writing publicly.

So it's been over eight years at this point. So we're going to talk about cultural appropriation,

about representations, about Native appropriations. Absolutely. I mean, I can't think of a better

topic for us to talk about Agent. You've written about it for years. I've upgraded my entire life

and live in a van for this topic. So we might say, you know, we feel a little passionate about

the subject slightly.

Sorry.

All my relations. The plan is we're going to start out by kind of reading some definitions of cultural

appropriation. And I pulled a bunch of them together from a lot of different types of writers.

They're not just Native writers to sort of get our heads around this concept and the ways that

we think about it. So from Lee Nore, Keeshing Tobias in 1990, taking from a culture that is not one

zone intellectual property, cultural expressions and artifacts, history, and ways of knowledge.

Just as a note, that's my kind of go-to definition that I use in most of my presentations because

Lee Nore Keeshing Tobias is a First Nations writer. And she also said this in 1990. A lot of folks

think that this conversation on cultural appropriation happened in the last four years. I think it's

important to note that Native writers, Native thinkers have been talking about this since at least

the 90s. And then in terms of cultural appropriation, the phrase, but have been thinking about these

issues of representations and cultural theft since contact, obviously. So this one comes from

...