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A discussion of each medium, ranging from wood to basketry complemented by an outline of the regional styles, history and the social and symbolic significance of many of the artefacts.
Brochure for an exhibit held at the Southern Plains Indian Museum and Crafts Center, June 11-Sept. 30, 1989.
The third edition of this landmark work adds forty new documents, which cover the significant developments in American Indian affairs since 1988. Among the topics dealt with are tribal self-governance, government-to-government relations, religious rights, repatriation of human remains, trust management, health and education, federal recognition of tribes, presidential policies, and Alaska Natives.
During the past thirty years, Native American dance has emerged as a visible force on concert stages throughout North America. In this first major study of contemporary Native American dance, Jacqueline Shea Murphy shows how these performances are at once diverse and connected by common influences. Demonstrating the complex relationship between Native and modern dance choreography, Shea Murphy delves first into U.S. and Canadian federal policies toward Native performance from the late nineteenth through the early twentieth centuries, revealing the ways in which government sought to curtail authentic ceremonial dancing while actually encouraging staged spectacles, such as those in Buffalo Bill’s Wild West shows. She then engages the innovative work of Ted Shawn, Lester Horton, and Martha Graham, highlighting the influence of Native American dance on modern dance in the twentieth century. Shea Murphy moves on to discuss contemporary concert dance initiatives, including Canada’s Aboriginal Dance Program and the American Indian Dance Theatre. Illustrating how Native dance enacts, rather than represents, cultural connections to land, ancestors, and animals, as well as spiritual and political concerns, Shea Murphy challenges stereotypes about American Indian dance and offers new ways of recognizing the agency of bodies on stage. Jacqueline Shea Murphy is associate professor of dance studies at the University of California, Riverside, and coeditor of Bodies of the Text: Dance as Theory, Literature as Dance.
Beginning in the 1920s anthropologists, traders, and other admirers of traditional Native American cultures--appalled by the degradation of fine crafts into tourist trinkets--began cultivating a fine-arts market for indigenous textiles, jewelry, ceramics, and basketry. In More Than Curiosities, Susan Labry Meyn explores how this grassroots revival led to the founding of the Indian Arts and Crafts Board in 1935. Meyn demonstrates how the Board and its activities--such as development and marketing of quality arts and crafts, targeted loan programs, and the creation of artisans' cooperatives--not only aided in the development of a source of sustained income for Native artists, but also were pivotal in overcoming the larger Euro-American indifference toward Native culture. Under the leadership of René d'Harnoncourt, the Board facilitated cross-cultural understanding and provided the mechanisms that allowed Native American artists to revive traditional practices and adapt them to an Anglo market. Meyn's novel study will become an invaluable contribution to scholars of the period, artists, and anyone interested in Native American studies.