Images and ideas about Indigenous men, women and children abound in EuroAmerican humanities and arts. In the Americas, indigeneity figures prominently in national narratives of identity, usually as ghostly symbols, sometimes idyllic and other times horrific and abject. When synchronized with scientific explanations, such symbolism has helped fix formerly more fluid community relations into the categories operationalized by the colonial and then state institutions to structure territorial dispossession and the ‘development’ of a ‘disappearing people.’ Geographical imaginations of indigeneity also profitably brand commodities such as artwork, travel and entertainment experience, real estate, franchises, and tobacco. In response to these caricatures and economic opportunities, diverse Peoples have appropriated and reworked state and scholarly categories to identify communities, political struggles, and cultural heritage.

Most recently, historically marginalized social groups have rallied relatively new multimedia and broadband technologies to articulate alternative (to massive, commercial, hegemonic, ‘whitestream’) visualizations of the(ir) world. This chapter suggests materials and strategies for teaching about the aims, content and production of Indigenous videos. How and by whom are video technologies accessed and used to mediate Indigenous geographies? How can Indigenous videos help decolonize geographic knowledge production? How about geographic curricula? With the concept of visual sovereignty this chapter emphasizes lessons that center the ways Indigenous media makers re/claim territory, place and agency in settler colonial spaces. Students are invited to explore how Indigenous videos help disrupt the colonialist hierarchies of knowledge production that have historically shaped both scholarly and popular knowledge about Indigenous geographies.