尤物视频

Assistant Professor

Jas Morgan

I am an Assistant Professor of Indigenous Communication, Identity and Community at the School of Communications at 尤物视频. My expertise includes kinship, futures, Indigenous Internet, art criticism, digital publishing, Indigenous policy and justice, transfeminist theory, and literary and cultural theory.

My digital policy platform Deadly Collective supports Indigenous women鈥檚, queer, and trans leadership and governance at the intersections of unceded, Treaty, and modern Treaty processes in Western Canada.

I began my professional media career as an award-nominated Editor-at-Large for Canadian Art, and an award-winning freelance writer.

In 2022, I was awarded a Canada Research Chair in Digital Wahkohtowin and Cultural Governance. My research lab shared 2LGBTIA+ Indigenous stories to counter stigma in media and policy.

My book 苍卯迟颈蝉芒苍补办 (Metonymy Press, 2018) won the 2019 Dayne Ogilive Prize and a 2019 Quebec Writer鈥檚 Federation first book prize, and has been nominated for a Lambda Literary Award and an Indigenous Voices Literary Award.

I focus my academic service on creating professional standards for peer-review and quality of digital outputs. I am the owner of Sewing Circle productions, an Indigenous production company that produces films and series centering the stories of Indigenous 2LGBTIA+ characters. I am part of the editorial board that revived and rebranded the feminist digital magazine GUTS in 2021. My column 鈥淚 Saw Some Art鈥� appears in GUTS regularly.

I am Cree-M茅tis-Saulteaux and a registered member of Tootinaowaziibeeng First Nation. My M茅tis relatives are too numerous to name but my closest kin are the McKays from around Prince Albert, Saskatchewan and the Demerias from around Brandon and Winnipeg, Manitoba.

BOOKS

• Nixon, Lindsay. (2017). N卯tisan芒k. Montreal, Quebec, Canada: Metonymy Press. ISBN: 0994047177

BOOK CHAPTERS

• Morgan, Jas. (2024). 鈥溾�業 Was Jumped:鈥� 鈥楺ueer鈥� and Trans Indigenous Feminist Micro-Influence on TikTok.鈥� In 鈥淭he Women, They Hold the Ground鈥�: Indigenous Women鈥檚 Digital Media in North America. Minneapolis, Minnesota, United States: University of Minnesota Press. (Forthcoming)
• Morgan, Jas. (2022). 鈥淎 Circle of Rocks: Cannibal Culture, Kinship, and Indigenous Youth in the Saskatchewan Public School System.鈥� In White Benevolence: Racism and Colonial Violence in the Helping Professions. Halifax, Nova Scotia, Canada: Fernwood Publishing. ISBN: 9781773635224
• Nixon, Lindsay. (2020). "Toward an Indigenous Relational Aesthetics: Making Native Love, Still." In Good Relation: History, Gender, and Kinship in Indigenous Feminisms. Winnipeg, Manitoba, Canada: University of Manitoba Press. ISBN: 978-0-88755-851-1
• Nixon, Lindsay. (2020). 鈥淐ultures of Indigenous Futurism.鈥� Otherwise Worlds: Against Settler Colonialism and Anti-Blackness. Black Outdoors, Durham, United States: Duke University Press. DOI: 10.1215/9781478012023.

PAPERS

• Nixon, Lindsay. (2019). 鈥淒istorted Love: Mapplethorpe, the Neo/Classical Sculptural Black Nude, and Visual Cultures of Transatlantic Enslavement.鈥� Imaginations 10(1), 295-324. DOI: 10.17742/IMAGE.CR.10.1.10.
• Nixon, Lindsay. (2019). 鈥淥n 鈥榯he Reconciliation Year鈥�.鈥� FIELD: A Journal of Socially-Engaged Criticism 12/13. ISSN 2694-0094.
• Nixon, Lindsay. (2018). 鈥溾�業 Wonder Where They Went鈥�: Post-Reality Multiplicities and Counter-Resurgent Narratives in Thirza Cuthand鈥檚 Lessons in Baby Dyke Theory.鈥� Canadian Theatre Review 175, 47鈥�51. DOI: 10.3138/ctr.175.009.