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A tribute toe enduring and thriving Native artistic traditions.
In this in-depth interdisciplinary study, Jenny Tone-Pah-Hote reveals how Kiowa people drew on the tribe's rich history of expressive culture to assert its identity at a time of profound challenge. Examining traditional forms such as beadwork, metalwork, painting, and dance, Tone-Pah-Hote argues that their creation and exchange were as significant to the expression of Indigenous identity and sovereignty as formal political engagement and policymaking. These cultural forms, she argues, were sites of contestation as well as affirmation, as Kiowa people used them to confront external pressures, express national identity, and wrestle with changing gender roles and representations. Combatting a tendency to view Indigenous cultural production primarily in terms of resistance to settler-colonialism, Tone-Pah-Hote expands existing work on Kiowa culture by focusing on acts of creation and material objects that mattered as much for the nation's internal and familial relationships as for relations with those outside the tribe. In the end, she finds that during a time of political struggle and cultural dislocation at the turn of the twentieth century, the community's performative and expressive acts had much to do with the persistence, survival, and adaptation of the Kiowa nation.
Argues that Indigenous hip hop is the latest and newest assertion of Indigenous sovereignty throughout Indigenous North America. Expressive culture has always been an important part of the social, political, and economic lives of Indigenous people. More recently, Indigenous people have blended expressive cultures with hip hop culture, creating new sounds, aesthetics, movements, and ways of being Indigenous. This book documents recent developments among the Indigenous hip hop generation. Meeting at the nexus of hip hop studies, Indigenous studies, and critical ethnic studies, Hip Hop Beats, Indigenous Rhymes argues that Indigenous people use hip hop culture to assert their sovereignty and challenge settler colonialism. From rapping about land and water rights from Flint to Standing Rock, to remixing “traditional” beading with hip hop aesthetics, Indigenous people are using hip hop to challenge their ongoing dispossession, disrupt racist stereotypes and images of Indigenous people, contest white supremacy and heteropatriarchy, and reconstruct ideas of a progressive masculinity. In addition, this book carefully traces the idea of authenticity; that is, the common notion that, by engaging in a Black culture, Indigenous people are losing their “traditions.” Indigenous hip hop artists navigate the muddy waters of the “politics of authenticity” by creating art that is not bound by narrow conceptions of what it means to be Indigenous; instead, they flip the notion of “tradition” and create alternative visions of what being Indigenous means today, and what that might look like going forward. “This book is incredibly important and will change the fields of Native American, African American, gender, and sound studies. It is the first full-length monograph on the rich, diverse, and complex field of Indigenous hip hop. This is the text against which all other studies in the field will be compared.” — Michelle Raheja, University of California, Riverside
American Indians and the American Imaginary considers the power of representations of Native Americans in American public culture. The book's wide-ranging case studies move from colonial captivity narratives to modern film, from the camp fire to the sports arena, from legal and scholarly texts to tribally-controlled museums and cultural centres. The author's ethnographic approach to what she calls "representational practices" focus on the emergence, use, and transformation of representations in the course of social life. Central themes include identity and otherness, indigenous cultural politics, and cultural memory, property, performance, citizenship and transformation. American Indians and the American Imaginary will interest general readers as well as scholars and students in anthropology, history, literature, education, cultural studies, gender studies, American Studies, and Native American and Indigenous Studies. It is essential reading for those interested in the processes through which national, tribal, and indigenous identities have been imagined, contested, and refigured.
This Companion is comprised of 27 original contributions by leading scholars in the field and summarizes the state of anthropological knowledge of Indian peoples, as well as the history that got us to this point. Surveys the full range of American Indian anthropology: from ecological and political-economic questions to topics concerning religion, language, and expressive culture Each chapter provides definitive coverage of its topic, as well as situating ethnographic and ethnohistorical data into larger frameworks Explores anthropology’s contribution to knowledge, its historic and ongoing complicities with colonialism, and its political and ethical obligations toward the people 'studied'
Arts and crafts offer a window into Native American cultures, reflecting their histories, technologies, beliefs, and everyday life. Every piece of Native American art tells us something about the environment and the culture in which it was developed, so that we can see how and why people make their art. The World Art & Culture series looks at cultures around the world, using artifacts as primary sources to explain how and what we can learn about a culture through its art. From painting to sculpture, textiles to metalwork, architecture to musical instruments, the series explores a fascinating and thought-provoking variety of arts, crafts, designs, and styles. Book jacket.
"For thousands of years astonishingly rich and diverse forms of tattooing have been produced by the Indigenous peoples of North America. Long neglected by anthropologists and art historians, tattooing was a time-honoured traditional practice that expressed the patterns of tribal social organization and religion, while also channelling worlds inhabited by deities, spirits, and the ancestors. This book explores the many facets of indelible Indigenous body marking across every cultural region of North America. As the first book on the subject, it breaks new ground on one of the least-known mediums of Amerindian expressive culture that nearly disappeared from view in the twentieth century, until it was reborn in recent decades"--Page 4 of cover.
The story of the Native peoples of the Great Plains--including the Arapaho, Cheyenne, Lakota, Shoshone, Blackfeet, Kiowa, Pawnee, Arikara, Gros Ventre, Assiniboine, Mandan, Hidatsa, and Crow tribes-- is integral to the history and heritage of the American West. These buffalo-hunting and horticultural people once dominated the vast open region of the Great Plains, west of the Mississippi River and east of the Rocky Mountains, that stretches from present-day Canada to Texas. The Native people of the Plains found this vast, harsh land rich in resources, with tall grass prairies abundant with herds of buffalo and other grazing animals and fertile river valleys that supported farming. Economic practices were intertwined with spiritual ceremonial activities and core beliefs about the people's relationships to the land, sky, and universe. The magnificent arts of Plains Indian people also had such spiritual underpinnings, which, together with their historical and cultural contexts, can provide greater insight into and appreciation of their tribal significances. Lavishly illustrated with more than 300 images of objects from traditional feather bonnets to war shirts, bear claw necklaces, pipe tomahawks, beadwork, and quillwork, as well as archival photographs of historical events and individuals and photographs of contemporary Native life, Memory and Vision is a comprehensive examination of the environments and historic forces that forged these cultures, and a celebration of their ongoing presence in our national society.