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Photography. Native American Studies. Edited by Hulleah J. Tsinhnahjinnie and Veronica Passalacqua. Whether probing personal identity or exploring the world around them, twenty-six indigenous photographers present images that are fresh, provocative, iconoclastic, surprising, and--in the broadest and deepest meaning of the word--authentic. Their works range from the artful studio portraits of Benjamin A. Haldane (Tsimshian), who photographed Native communities throughout southeast Alaska and British Columbia in the late 1800s and early 1900s, to the cutting-edge digital photographs of contemporary Native artists. Their cameras variously capture startled eyes, hidden laughter, misappropriated icons, and neon signs of cultural change.
In As We See It, Suzanne Newman Fricke invites readers to explore the work and careers of ten contemporary Native American photographers: Jamison Banks, Anna Hoover, Tom Jones, Larry McNeil, Shelley Niro, Wendy Red Star, Beverly Singer, Matika Wilber, William Wilson, and Tiffiney Yazzie. Inspired by As We See It, an exhibition of these artists’ work cocurated by Fricke in 2015, the book showcases the extraordinary achievements of these groundbreaking photographers. As We See It presents dialogues in which the artists share their unique perspectives about the history and current state of photography. Each chapter includes an overview of the photographer’s career as well as examples of the artist’s work. For added context, Fricke includes an introduction, a preface that explores the original exhibition of the same name, and an essay that challenges the ghost of Edward S. Curtis, whose work serves as a counterpoint to the photography of contemporary Native Americans. The text is designed to be read as a whole or in sections for anyone teaching Native American photography. As We See It is an invaluable addition to the library of anyone interested in Native American photography and will be the key source for teachers, researchers, and lovers of photography for years to come.
The epic biography Starring Red Wing! brings the exciting career, dedicated activism, and noteworthy legacy of Ho-Chunk actress Lilian Margaret St. Cyr vividly to life. Known to film audiences as "Princess Red Wing," St. Cyr emerged as the most popular Native American actress in the pre-Hollywood and early studio-system era in the United States. Today St. Cyr is known for her portrayal of Naturich in Cecile B. DeMille's The Squaw Man (1914); although DeMille claimed to have "discovered the little Indian girl," the viewing public had already long adored her as a petite, daredevil Indian heroine. She befriended and worked with icons such as Mary Pickford, Jewell Carmen, Tom Mix, Max Sennett, and William Selig. Born on the Winnebago Reservation in 1884 and orphaned in 1888, she spent ten years in Indian boarding schools before graduating from the Carlisle Indian Industrial School in 1902. She married James Young Johnson, and in 1907 the couple reinvented themselves as the stage personas "Princess Red Wing" and "Young Deer," performing in Wild West shows around New York and beginning their film careers. As their popularity grew, St. Cyr and Johnson decamped from the East Coast and helped establish the second motion picture company in Southern California, where Red Wing became a Native American leading lady in westerns until her career waned in 1917. After returning to the reservation to work as a housekeeper, she took her show on a two-year tour to educate the public about Native culture and lived out her life in New York, performing, educating, and crafting regalia. Starring Red Wing! is a sweeping narrative of St. Cyr's evolution as America's first Native American film star, from her childhood and performance career to her days as a respected elder of the multi-tribal New York City Indian Community.
"Women have long been the creative force behind Native American art, yet their individual contributions have been largely unrecognized, instead treated as anonymous representations of entire cultures. 'Hearts of Our People: Native Women Artists' explores the artistic achievements of Native women and establishes their rightful place in the art world. This lavishly illustrated book, a companion to the landmark exhibition, includes works of art from antiquity to the present, made in a variety of media from textiles and beadwork to video and digital arts. It showcases more than 115 artists from the United States and Canada, spanning over one thousand years, to reveal the ingenuity and innovation fthat have always been foundational to the art of Native women."--Page 4 of cover.
Internationally renowned photographer Lucian Niemeyer and National Park Service historian Art G?mez have combined talents in a new presentation on New Mexico. Niemeyer's more than 150 color photographs encompass the entire state throughout the seasons presenting New Mexico's people, cultures, and magnificent scenery at the millennium. G?mez's sweeping history views the state in terms of corridors, geographic as well as cultural. New Mexico's mountains, deserts, and rivers form natural corridors that migrating birds and animals have traditionally used for survival. Navigating these same corridors across the state, human cultures of Paleo, Plains and Pueblo Indians, Hispanos, and Anglos forged viable communities on the astringent New Mexican landscape. Pueblo ancestors migrated from austere environments throughout the Southwest to more inviting surroundings on the Rio Grande. Plains Indians from the north and Hispano tradesmen from the south converged via the Camino Real. American settlers migrated west along the Santa Fe Trail, the southernmost corridor around the formidable Rocky Mountains. Improved transportation such as the railroad and later Route 66, precursors to the interstate highway system, annually lured new inhabitants to this compelling land called New Mexico.
Illuminating the First Nations struggles against the Canadian state, It’s All about the Land exposes how racism underpins and shapes Indigenous-settler relationships. Renowned Kahnawà:ke Mohawk activist and scholar Taiaiake Alfred explains how the Canadian government’s reconciliation agenda is a new form of colonization that is guaranteed to fail. Bringing together Alfred’s speeches and interviews from over the past two decades, the book shows that Indigenous peoples across the world face a stark choice: reconnect with their authentic cultures and values or continue following a slow road to annihilation. Rooted in ancestral spirit, knowledge, and law, It’s All about the Land presents a passionate argument for Indigenous Resurgence as the pathway toward justice for Indigenous peoples.
Living Our Cultures, Sharing Our Heritage: The First Peoples of Alaska features more than 200 objects representing the masterful artistry and design traditions of twenty Alaska Native peoples. Based on a collaborative exhibition created by Alaska Native communities, the Smithsonian's National Museum of Natural History, the Smithsonian's National Museum of the American Indian, and the Anchorage Museum at Rasmuson Center, this richly illustrated volume celebrates both the long-awaited return of ancestral treasures to their native homeland and the diverse cultures in which they were created. Despite the North's transformation through globalizing change, the objects shown in these pages are interpretable within ongoing cultural frames, articulated in languges still spoken. They were made for a way of life on the land that is carried on today throughout Alaska. Dialogue with the region's First Peoples evokes past meanings but focuses equally on contemporary values, practices, and identities. Objects and narratives show how each Alaska Native nation is unique—and how all are connected. After introductions to the history of the land and its people, universal themes of “Sea, Land, Rivers,” “Family and Community,” and “Ceremony and Celebration” are explored referencing exquisite masks, parkas, beaded garments, basketry, weapons, and carvings that embody the diverse environments and practices of their makers. Accompanied by traditional stories and personal accounts by Alaska Native elders, artists, and scholars, each piece featured in Living Our Cultures, Sharing Our Heritage evokes both historical and contemporary meaning, and breathes the life of its people.
In the seventeenth century the English were often depicted as a nation of barbarians, fanatics, and king-killers. Two hundred years later they were more likely to be seen as the triumphant possessors of a unique political stability, vigorous industrial revolution, and a world-wide empire.These may have been British achievements; but the virtues which brought about this transformation tended to be perceived as specifically English. Ideas of what constituted Englishness changed from a stock notion of waywardness and unpredictability to one of discipline and dedication. The evolutionof the so-called national character - today once more the subject of scrutiny and debate - is traced through the impressions and analyses of foreign observers, and related to English ambitions and anxieties during a period of intense change.
A Planetary Lens delves into the history of the photo-book, the materiality of the photographic image on the page, and the cultural significance of landscape to reassess the value of print, to locate the sites where stories resonate, and to listen to western women’s voices. From foundational California photographers Anne Brigman and Alma Lavenson to contemporary Native poets and writers Leslie Marmon Silko and Joy Harjo, women artists have used photographs to generate stories and to map routes across time and place. A Planetary Lens illuminates the richness and theoretical sophistication of such composite texts. Looking beyond the ideologies of wilderness, migration, and progress that have shaped settler and popular conceptions of the region, A Planetary Lens shows how many artists gather and assemble images and texts to reimagine landscape, identity, and history in the U.S. West. Based on extensive research into the production, publication, and circulation of women’s photo-texts, A Planetary Lens offers a fresh perspective on the entangled and gendered histories of western American photography and literature and new models for envisioning regional relations.