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Cheyenne Tipi Notes is about a detailed description by anthropologist and ethnographer James Mooney of Southern Cheyenne women tanning cow hides for a historic reproduction of a 19th century hide tipi, between April 28th and June 2nd, 1903, at the Darlington Indian Agency, Oklahoma Territory. What sets this historical record apart from others is that the tipi still exists, perfectly preserved but buried away and virtually forgotten in the underground artifact catacombs of the Chicago Field Museum 115 years later. An experienced tanner himself, author Jaime Jackson not only found Mooney's extant notes at the Smithsonian Institution, and then transcribed them, but found his way to the Field Museum to examine the tipi himself. Putting the two together, Jackson has disentombed and interpreted what happened a century ago, bringing back to life an ancient craft that was central to Plains Indian culture. Cheyenne Tipi Notes is a companion monograph to Jackson's related work, Buckskin Tanner, which provides a step by step account of Plains Indian tanning, including what Indian tanners did to prepare bison hides for clothing and their tipis.
Two articles reprinted from the American Anthropologist, October-December, 1915; and January-March, 1927.
Presents a history of tipis, describing the different ways in which they were constructed, the many symbolic designs used to decorate them, and the practical and spiritual significance they had in the lives of Native Americans.
Reprinted from the American Anthropologist, October-December, 1915.
When the first edition of this book was published in 1957, the art of making a tipi was almost lost, even among American Indians. Since that time a tremendous resurgence of interest in the Indian way of life has occurred, resurgence due in part, at least, to the Laubins' life-long efforts at preservation and interpretation of Indian culture. As The Indian Tipi makes obvious, the American Indian is both a practical person and a natural artist. Indian inventions are commonly both serviceable and beautiful. Other tents are hard to pitch, hot in summer, cold in winter, poorly lighted, unventilated, easily blown down, and ugly to boot. The conical tipi of the Plains Indian has none of these faults. It can be pitched by one person. It is roomy, well ventilated at all times, cool in summer, well lighted, proof against high winds and heavy downpours, and, with its cheerful fire inside, snug in the severest winter weather. Moreover, its tilted cone, trim smoke flaps, and crown of poles, presenting a different silhouette from every angle, form a shapely, stately dwelling even without decoration. In this new edition the Laubins have retained all the invaluable aspects of the first edition, and have added a tremendous amount of new material on day-to-day living in the tipi: the section on Indian cooking has been expanded to include a large number and range of Indian foods and recipes, as well as methods of cooking over an open fire, with a reflector oven, and with a ground oven; there are new sections on making buckskin, making moccasins, and making cradle boards; there is a whole new section on child care and general household hints. Shoshoni, Cree, and Assiniboine designs have been added to the long list of tribal tipi types discussed. This new edition is richly illustrated with color and black and white photographs, and drawings to aid in constructing and living in the tipi. It is written primarily for the interested amateur, and will appeal to anyone who likes camping, the out-of-doors, and American Indian lore.
Northern Cheyenne Ledger Art by Fort Robinson Breakout Survivors presents the images of Native warriors—Wild Hog, Porcupine, and Left Hand, as well as possibly Noisy Walker (or Old Man), Old Crow, Blacksmith, and Tangled Hair—as they awaited probable execution in the Dodge City jail in 1879. When Sheriff Bat Masterson provided drawing materials, the men created war books that were coded to avoid confrontation with white authorities and to narrate survival from a Northern Cheyenne point of view. The prisoners used the ledger-art notebooks to maintain their cultural practices during incarceration and as gifts and for barter with whites in the prison where they struggled to survive. The ledger-art notebooks present evidence of spiritual practice and include images of contemporaneous animals of the region, hunting, courtship, dance, social groupings, and a few war-related scenes. Denise Low and Ramon Powers include biographical materials from the imprisonment and subsequent release, which extend the historical arc of Northern Cheyenne heroes of the Plains Indian Wars into reservation times. Sources include selected ledger drawings, army reports, letters, newspapers, and interviews with some of the Northern Cheyenne men and their descendants. Accounts from a firsthand witness of the drawings and composition of the ledgers themselves give further information about Native perspectives on the conflicted history of the North American West in the nineteenth century and beyond. This group of artists jailed after the tragedy of the Fort Robinson Breakout have left a legacy of courage and powerful art.
When the first edition of this book was published in 1957, the art of making a tipi was almost lost, even among American Indians. Since that time a tremendous resurgence of interest in the Indian way of life has occurred, resurgence due in part, at least, to the Laubins' life-long efforts at preservation and interpretation of Indian culture. As The Indian Tipi makes obvious, the American Indian is both a practical person and a natural artist. Indian inventions are commonly both serviceable and beautiful. Other tents are hard to pitch, hot in summer, cold in winter, poorly lighted, unventilated, easily blown down, and ugly to boot. The conical tipi of the Plains Indian has none of these faults. It can be pitched by one person. It is roomy, well ventilated at all times, cool in summer, well lighted, proof against high winds and heavy downpours, and, with its cheerful fire inside, snug in the severest winter weather. Moreover, its tilted cone, trim smoke flaps, and crown of poles, presenting a different silhouette from every angle, form a shapely, stately dwelling even without decoration. In this new edition the Laubins have retained all the invaluable aspects of the first edition, and have added a tremendous amount of new material on day-to-day living in the tipi: the section on Indian cooking has been expanded to include a large number and range of Indian foods and recipes, as well as methods of cooking over an open fire, with a reflector oven, and with a ground oven; there are new sections on making buckskin, making moccasins, and making cradle boards; there is a whole new section on child care and general household hints. Shoshoni, Cree, and Assiniboine designs have been added to the long list of tribal tipi types discussed. This new edition is richly illustrated with color and black and white photographs, and drawings to aid in constructing and living in the tipi. It is written primarily for the interested amateur, and will appeal to anyone who likes camping, the out-of-doors, and American Indian lore.
Tipis can be found all over the world in dozens of cultures. These fascinating dwellings are experiencing a resurgence in popularity because of their unique qualities: they are easy to transport, comfortable to live in for long periods of time, and weather resistant. Linda Holley explores the many different methods of tipi construction and includes dozens of drawings, photographs, illustrations, and diagrams that show how to construct, decorate, and transport a tipi.
In Wives and Husbands, distinguished anthropologist Loretta Fowler deepens readers’ understanding of the gendered dimension of cultural encounters by exploring how the Arapaho gender system affected and was affected by the encounter with Americans as government officials, troops, missionaries, and settlers moved west into Arapaho country. Fowler examines Arapaho history from 1805 to 1936 through the lens of five cohorts, groups of women and men born during different year spans. Through the life stories of individual Arapahos, she vividly illustrates the experiences and actions of each cohort during a time when Americans tried to impose gender asymmetry and to undermine the Arapahos’ hierarchical age relations. Fowler examines the Arapaho gender system and its transformations by considering the partnerships between, rather than focusing on comparisons of, women and men. She argues that in particular cohorts, partnerships between women and men — both in households and in the community — shaped Arapahos’ social and cultural transformations while they struggled with American domination. Over time Arapahos both reinforced and challenged Arapaho hierarchies while accommodating and resisting American dominance. Fowler shows how, in the process of reconfiguring their world, Arapahos confronted Americans by uniting behind strategies of conciliation in the early nineteenth century, of civilization in the late nineteenth century, and of confrontation in the early twentieth century. At the same time, women and men in particular cohorts were revamping Arapaho politico-religious ideas and organizations. Gender played a part in these transformations, giving shape to new leadership traditions and other adaptations.