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Highly regarded by Native Americans as well as Anglo and Hispanic historians, Sando's book covers the origins and development of Pueblo civilization, the Spanish conquest, the Pueblo Revolt, the influence of the United States government in Pueblo history, and the issues of land and water rights so vital to the survival of Pueblo people today.
"Pueblo Indians and Spanish Colonial Authority in Eighteenth-Century New Mexico investigates the tactics that Pueblo Indians used to negotiate Spanish colonization and the ways in which the negotiation of colonial power impacted Pueblo individuals and communities"--Provided by publisher.
Southwestern archaeology has long been fascinated with the scale and frequency of movement in Pueblo history, from great migrations to short-term mobility. By collaborating with Pueblo communities, archaeologists are learning that movement was—and is—much more than the result of economic opportunity or a response to social conflict. Movement is one of the fundamental concepts of Pueblo thought and is essential in shaping the identities of contemporary Pueblos. The Continuous Path challenges archaeologists to take Pueblo notions of movement seriously by privileging Pueblo concepts of being and becoming in the interpretation of anthropological data. In this volume, archaeologists, anthropologists, and Native community members weave multiple perspectives together to write histories of particular Pueblo peoples. Within these histories are stories of the movements of people, materials, and ideas, as well as the interconnectedness of all as the Pueblo people find, leave, and return to their middle places. What results is an emphasis on historical continuities and the understanding that the same concepts of movement that guided the actions of Pueblo people in the past continue to do so into the present and the future. Movement is a never-ending and directed journey toward an ideal existence and a continuous path of becoming. This path began as the Pueblo people emerged from the underworld and sought their middle places, and it continues today at multiple levels, integrating the people, the village, and the individual.
An authoritative treatment of the social, cultural, and ethnohistorical data on both the Eastern and Western Pueblos! The information contained in this case study is the result of the author's lifetime spent among the Pueblos. "I have lived in or visited every village small and large from the Hopi towns of lower and upper Moencopi in Arizona to the double apartment buildings of Taos Pueblo in northern New Mexico," writes the author in his preface. He writes not of a single people and their culture but of a group of related peoples and their adaptation through time to their changing physical, socioeconomic, and political environments. A rare, inside view of native life and culture by an anthropologist who is himself a Pueblo Indian.
Attracted to the rich ceremonial life and unique architecture of the New Mexico pueblos, many early-twentieth-century artists depicted Pueblo peoples, places, and culture in paintings. These artists’ encounters with Pueblo Indians fostered their awareness of Native political struggles and led them to join with Pueblo communities to champion Indian rights. In this book, art historian Sascha T. Scott examines the ways in which non-Pueblo and Pueblo artists advocated for American Indian cultures by confronting some of the cultural, legal, and political issues of the day. Scott closely examines the work of five diverse artists, exploring how their art was shaped by and helped to shape Indian politics. She places the art within the context of the interwar period, 1915–30, a time when federal Indian policy shifted away from forced assimilation and toward preservation of Native cultures. Through careful analysis of paintings by Ernest L. Blumenschein, John Sloan, Marsden Hartley, and Awa Tsireh (Alfonso Roybal), Scott shows how their depictions of thriving Pueblo life and rituals promoted cultural preservation and challenged the pervasive romanticizing theme of the “vanishing Indian.” Georgia O’Keeffe’s images of Pueblo dances, which connect abstraction with lived experience, testify to the legacy of these political and aesthetic transformations. Scott makes use of anthropology, history, and indigenous studies in her art historical narrative. She is one of the first scholars to address varied responses to issues of cultural preservation by aesthetically and culturally diverse artists, including Pueblo painters. Beautifully designed, this book features nearly sixty artworks reproduced in full color.
Brody also explores the role played by the individuals who supported and promoted the Pueblo artists' work, including writers Mary Austin and Alice Corbin Henderson, archaeologist Edgar Lee Hewett, artist and scholar Kenneth M. Chapman, painter John Sloan, and art patrons Mabel Dodge Luhan and Amelia Elizabeth White.
Celluloid Pueblo tells the story of Western Ways Features and its role in the invention of the Southwest of the imagination. The story closely follows the boom and bust arc of this region in the mid-twentieth century and the constantly evolving representations of an exotic--but safe and domesticated--frontier and the landscape, regional development, and diverse cultures of Arizona and the Southwest.
Aby M. Warburg (1866-1929) is recognized not only as one of the century's preeminent art and renaissance historians but also as a founder of twentieth-century methods in iconology and cultural studies in general. Warburg's 1923 lecture, first published in German in 1988 and now available in the first complete English translation, offers at once a window on his career, a formative statement of his cultural history of modernity, and a document in the ethnography of the American Southwest. This edition includes thirty-nine photographs, many of them originally presented as slides with the speech, and a rich interpretive essay by the translator. The presentation grew out of Warburg's 1895 encounter with the Hopi Indians, an experience he claimed generated his theory of the Renaissance. In this powerfully written piece, Warburg investigates the relationships among ethnography, iconography, and cultural studies to develop a multicultural history of modernity. As an independent scholar in Hamburg, Warburg led the intellectual circle that included Erwin Panofsky and Ernst Cassirer, pioneers in the investigation of cultural history through the analysis of visual art and the interpretation of symbols. When Warburg wrote this exposition, however, he was a mental patient in a Kreuzlingen sanatorium. Warburg's vulnerable state of mind lends urgency and passion to his discussion of human rationality and cultural demons.
The rich religious beliefs and ceremonials of the Pueblo Indians of Arizona and New Mexico were first synthesized and compared by ethnologist Elsie Clews Parsons. Prodigious research and a quarter-century of fieldwork went into her 1939 encyclopedic two-volume work, Pueblo Indian Religion. The author gives an integrated picture of the complex religious and social life in the pueblos, including Zuni, Acoma, Laguna, Taos, Isleta, Sandia, Jemez, Cochiti, Santa Clara, San Felipe, Santa Domingo, San Juan, and the Hopi villages. In volume I she discusses shelter, social structure, land tenure, customs, and popular beliefs. Parsons also describes spirits, cosmic notions, and a wide range of rituals. The cohesion of spiritual and material aspects of Pueblo culture is also apparent in volume II, which presents an extensive body of solstice, installation, initiation, war, weather, curing, kachina, and planting and harvesting ceremonies, as well as games, animal dances, and offerings to the dead. A review of Pueblo ceremonies from town to town considers variations and borrowings. Today, a half century after its original publication, Pueblo Indian Religion remains central to studies of Pueblo religious life.