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Northern Cheyenne Ledger Art by Fort Robinson Breakout Survivors presents Dodge City ledger-art images and biographies that document a Native perspective at the cusp of reservation life in 1879.
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.
For over 35 years, the dominant histories of the American West have been narratives of horrific conflicts. As dark and as bloody as western grounds have often been however, there were also important episodes of concord, instances of barriers breached, accords reached, and of people overcoming their differences as opposed to being overcome by them. Peace and Friendship highlights the instances of cohabitation, deepening our understanding of how the West came to be: through colonization, violence, misunderstanding, and, surprisingly, at times, peace.
Although ledger art has long been considered a male art form, Women and Ledger Art calls attention to the extraordinary achievements of four contemporary female Native artists—Sharron Ahtone Harjo (Kiowa), Colleen Cutschall (Oglala Lakota), Linda Haukaas (Sicangu Lakota), and Dolores Purdy Corcoran (Caddo). The book examines these women's interpretations of their artwork and their thoughts on tribal history and contemporary life.
References to the Indian Wars, those conflicts that accompanied US continental expansion, suffuse American military history. From Black Hawk helicopters to the exclamation "Geronimo" used by paratroopers jumping from airplanes, words and images referring to Indians have been indelibly linked with warfare. In Indian Wars Everywhere, Stefan Aune shows how these resonances signal a deeper history, one in which the Indian Wars function as a shadow doctrine that influences US military violence. The United States' formative acts of colonial violence persist in the actions, imaginations, and stories that have facilitated the spread of American empire, from the "savage wars" of the nineteenth century to the counterinsurgencies of the Global War on Terror. Ranging across centuries and continents, Indian Wars Everywhere considers what it means for the conquest of Native peoples to be deemed a success that can be used as a blueprint for modern warfare.
"An innovative collection of docupoetry, Houses of Grace, House of Blood weaves images and documents from the 1782 massacre of pacifist Delawares in Gnadenhutten, Ohio into poems that explore contradictions: settler colonists and Indigenous perspectives; violence and reconciliation; body and spirit; history and silence. Ultimately, these poems not only reconstruct an important historical event, they put pressure on the archive, asking us to question not only what is remembered, but how history is remembered-and who is forgotten from it"--
The largest known collection of ledger art ever acquired by one individual is Mark Lansburgh’s diverse assemblage of more than 140 drawings, now held by the Hood Museum of Art at Dartmouth College and catalogued in this important book. The Cheyennes, Crows, Kiowas, Lakotas, and other Plains peoples created the genre known as ledger art in the mid-nineteenth century. Before that time, these Indians had chronicled the heroic achievements of their warriors and chiefs on rock, buffalo robes, and tipi covers. As they came into increasing contact with American traders, the artists recorded their experiences in pencil and crayon drawings on paper bound in ledger or account books. The drawings became known as ledger art. This volume presents in full color the Lansburgh collection in its entirety. The drawings are narratives depicting Plains lifeways through Plains eyes. They include landscapes and scenes of battle, hunting, courting, ceremony, incarceration, and travel by foot, horse, train, and boat. Ledger art also served to prompt memories of horse raids and heroic exploits in battle. In addition to showcasing the Lansburgh collection, Ledger Narratives augments the growing literature on this art form by providing seven new essays that suggest some of the many stories the drawings contain and that look at them from innovative perspectives. The authors—scholars of art history, anthropology, history, and Native American studies—touch on such themes as gender, social status, sovereignty, tribal and intertribal politics, economic exchange, and confinement and space in a changing world. The Lansburgh collection includes some of the most arresting examples of Plains Indian art, and the essays in this volume help us see and hear the multiple narratives these drawings relate.
The first book to feature Dwayne Wilcox's incredible ledger drawings of Native life.
"Denise Low recovers the life and times of her grandfather, Frank Bruner (1889-1963), whose expression of Lenape identity was largely discouraged by mainstream society."--Provided by publisher.