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When Indian University--now Bacone College--opened its doors in Indian Territory (now Oklahoma) in 1880, it was a small Baptist institution designed to train young Native Americans to be teachers and Christian missionaries among their own people and to act as agents of cultural assimilation. From 1927 to 1957, however, Bacone College changed course and pursued a new strategy of emphasizing the Indian identities of its students and projecting often-romanticized images of Indianness to the non-Indian public in its fund-raising campaigns. Money was funneled back into the school as administrators hired Native American faculty who in turn created innovative curricular programs in music and the arts that encouraged their students to explore and develop their Native identities. Through their frequent use of humor and inventive wordplay to reference Indianness--"Indian play"--students articulated the (often contradictory) implications of being educated Indians in mid-twentieth-century America. In this supportive and creative culture, Bacone became an "Indian school," rather than just another "school for Indians." In examining how and why this transformation occurred, Lisa K. Neuman situates the students' Indian play within larger theoretical frameworks of cultural creativity, ideologies of authenticity, and counterhegemonic practices that are central to the fields of Native American and indigenous studies today.
A true American hero who earned a Purple Heart, a Bronze Star, and a Congressional Gold Medal, Brummett Echohawk was also a Pawnee on the European battlefields of World War II. He used the Pawnee language and counted coup as his grandfather had done during the Indian wars of the previous century. This first book-length biography depicts Echohawk as a soldier, painter, writer, humorist, and actor profoundly shaped by his Pawnee heritage and a man who refused to be pigeonholed as an “Indian artist.” Through his formative war service in the 45th Infantry Division (known as the Thunderbirds), Echohawk strove to prove himself both a patriot and a true Pawnee warrior. Pawnee history, culture, and spiritual belief inspired his courageous conduct and bolstered his confidence that he would return home. Echohawk’s career as an artist began with combat sketches published under such titles as “Death Shares a Ditch at Bloody Anzio.” His portraits of Allied and enemy soldiers, some of which appeared in the Detroit Free Press in 1944, included drawings of men from all over the world, among them British infantrymen, Gurkhas, and a Japanese American soldier. After the war, without relying on the GI Bill, Echohawk studied at the Art Institute of Chicago for three years. His persistence paid off, leading to work as a staff artist for several Chicago newspapers. Echohawk was also a humorist whose prodigious output includes published cartoons and several parodies of famous paintings, such as a Mona Lisa wearing a headband, turquoise ring, and beaded necklace. Featuring eight of Echohawk’s paintings in full color, this thoroughly researched biography shows how one unusual man succeeded in American Indian and mainstream cultures. World War II aficionados will marvel at Echohawk’s military feats, and American art enthusiasts will appreciate a body of work characterized by deep historical research, an eye for beauty, and a unique ability to capture tribal humor.
Author is an alumnus of Evanston Township High School, class of 1974.