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Examines the history, culture, and changing fortunes of the Arapaho Indians.
First published in three parts in 1902, 1904, and 1907, The Arapaho quickly established itself as a model of description of Indian culture. Its discussion of Arapaho dance andødesign provides one of the most thorough studies of Indian symbolism ever written. Alfred L. Kroeber was sent in 1899 to study the Southern Arapaho in western Indian Territory (present Oklahoma). In 1900 he lived in the camp of the Northern Arapaho in Wyoming, and in 1901 he visited the Gros Ventre, a related tribe, in Montana. He researched his subject at first hand, speaking with Arapaho men and women of all ages about their customs, beliefs, and ceremonies. The Arapaho touches upon nearly every imaginable facet of the Indians' culture. Careful attention is paid to ceremonies, games, religion and stories of the supernatural, tribal organization, kinship, decorative art and regalia, and the articles of everyday life: clothes, pottery, utensils, tens, and the all-important pipe.
In what is now Colorado and Wyoming, the Northern Arapahos thrived for centuries, connected by strong spirituality and kinship and community structures that allowed them to survive in the rugged environment. By the mid-nineteenth century, however, as Anglo-Americans pushed west, Northern Arapaho life changed dramatically. Although forced to relocate to a reservation, the people endured and held on to their traditions. Today, tribal members preserve the integrity of a society that still fosters living ni'iihi', as they call it, "in a good way." Award-winning photographer Sara Wiles captures that life on film and in words in Arapaho Journeys, an inside look at thirty years of Northern Arapaho life on the Wind River Indian Reservation in central Wyoming. Through more than 100 images and 40 essays, Wiles creates a visual and verbal mosaic of contemporary Northern Arapaho culture. Depicted in the photographs are people Wiles met at Wind River while she was a social worker, anthropology student, and adopted member of an Arapaho family. Among others pictured are Josephine Redman, an older woman wrapped in a blanket, soft light illuminating its folds, and rancher-artist Eugene Ridgely, Sr., half smiling as he intently paints a drum. Interspersed among the portraits are images of races, basketball teams, and traditional games. Wiles's essays weave together tribal history, personal narratives, and traditional knowledge to describe modern-day reservation life and little-known aspects of Arapaho history and culture, including naming ceremonies and cultural revitalization efforts. This work broaches controversial topics, as well, including the 1864 Sand Creek Massacre of Cheyenne and Arapaho Indians. Arapaho Journeys documents not only reservation life but also Wiles's growth as a photographer and member of the Wind River community from 1975 through 2005. This book offers readers a journey, one that will enrich their understanding of Wiles's art—and of the Northern Arapahos' history, culture, and lived experience.
“The sun, the moon, the seasons, our Arapaho way of life,” writes foreworder Jordan Dresser. “When you look around, you see circles everywhere. And that includes the lens Sara Wiles uses to capture these intimate moments of our Arapaho journeys.” In The Arapaho Way, Wiles returns to Wyoming’s Wind River Indian Reservation, whose people she so gracefully portrayed in words and photographs in Arapaho Journeys (2011). She continues her journey of discovery here, photographing the lives of contemporary Northern Arapaho people and listening to their stories that map the many roads to being Arapaho. In more than 100 pictures, taken over the course of thirty-five years, and Wiles’s accompanying essays, the history of individuals and their culture unfold, revealing a continuity, as well as breaks in the circle. Mixing traditional ways with new ideas—Catholicism, ranching, cowboying, school learning, activism, quilting, beadwork, teaching, family life—the people of Wind River open a rich world to Wiles and her readers. These are people like Helen Cedartree, who artfully combines Arapaho ways with the teaching of the mission boarding schools she once attended; like the Underwood family, who live off the land as gardeners and farmers and value family and hard work above everything; and like Ryan Gambler and Fred Armajo, whose love of horses and ranching keep them close to home. And there are others who have ventured into the non-Indian world, people like James Large, who brings home tenets of Indian activism learned in Denver. There are also, inevitably, visions of violence and loss as The Arapaho Way depicts the full life of the Wind River Indian Reservation, from the traditional wisdom of the elder to the most forward-looking youth, from the outer reaches of an ancient culture to the last-minute challenges of an ever-changing world.
This is the first biography of Chief Left Hand, diplomat, linguist, and legendary of the Plains Indians. Working from government reports, manuscripts, and the diaries and letters of those persons—both white and Indian—who knew him, Margaret Coel has developed an unusually readable, interesting, and closely documented account of his life and the life of his tribe during the fateful years of the mid-1800s. It was in these years that thousands of gold-seekers on their way to California and Oregon burst across the plains, first to traverse the territory consigned to the Indians and then, with the discovery of gold in 1858 on Little Dry Creek (formerly the site of the Southern Arapaho winter campground and presently Denver, Colorado), to settle. Chief Left Hand was one of the first of his people to acknowledge the inevitability of the white man’s presence on the plain, and thereafter to espouse a policy of adamant peacefulness —if not, finally, friendship—toward the newcomers. Chief Left Hand is not only a consuming story—popular history at its best—but an important work of original scholarship. In it the author: Clearly establishes the separate identities of the original Left Hand, the subject of her book, and the man by the same name who succeeded Little Raven in 1889 as the principal chief of the Southern Arapahos in Oklahoma—a longtime source of confusion to students of western history; Lays to rest, with a series of previously unpublished letters by George Bent, a century-long dispute among historians as to Left Hand’s fate at Sand Creek; Examines the role of John A. Evans, first governor of Colorado, in the Sand Creek Massacre. Colonel Chivington, commander of the Colorado Volunteers, has always (and justly) been held responsible for the surprise attack. But Governor Evans, who afterwards claimed ignorance and innocence of the colonel’s intentions, was also deeply involved. His letters, on file in the Colorado State Archives, have somehow escaped the scrutiny of historians and remain, for the most part, unpublished. These Coel has used extensively, allowing the governor to tell, in his own words, his real role in the massacre. The author also examines Evans’s motivations for coming to Colorado, his involvement with the building of the transcontinental railroad, and his intention of clearing the Southern Arapahos from the plains —an intention that abetted Chivington’s ambitions and led to their ruthless slaughter at Sand Creek.
More than a hundred years ago, anthropologists and other researchers collected and studied hundreds of examples of quillwork once created by Arapaho women. Since that time, however, other types of Plains Indian art, such as beadwork and male art forms, have received greater attention. In Arapaho Women’s Quillwork, Jeffrey D. Anderson brings this distinctly female art form out of the darkness and into its rightful spotlight within the realms of both art history and anthropology. Beautifully illustrated with more than 50 color and black-and-white images, this book is the first comprehensive examination of quillwork within Arapaho ritualized traditions. Until the early twentieth century and the disruption of removal, porcupine quillwork was practiced by many indigenous cultures throughout North America. For Arapahos, quillwork played a central role in religious life within their most ancient and sacred traditions. Quillwork was manifest in all life transitions and appeared on paraphernalia for almost all Arapaho ceremonies. Its designs and the meanings they carried were present on many objects used in everyday life, such as cradles, robes, leanback covers, moccasins, pillows, and tipi ornaments, liners, and doors. Anderson demonstrates how, through the action of creating quillwork, Arapaho women became central participants in ritual life, often studied as the exclusive domain of men. He also shows how quillwork challenges predominant Western concepts of art and creativity: adhering to sacred patterns passed down through generations of women, it emphasized not individual creativity, but meticulous repetition and social connectivity—an approach foreign to many outside observers. Drawing on the foundational writings of early-nineteenth-century ethnographers, extensive fieldwork conducted with Northern Arapahos, and careful analysis of museum collections, Arapaho Women’s Quillwork masterfully shows the importance of this unique art form to Arapaho life and honors the devotion of the artists who maintained this tradition for so many generations.
For more than a century, the Northern Arapaho people have lived on the Wind River Reservation in Wyoming—the fourth largest reservation in the country. In The Four Hills of Life, Jeffrey D. Anderson masterfully draws together aspects of the Northern Arapahos’ world—myth, language, art, ritual, identity, and history—to offer a vivid picture of a culture that has endured and changed over time. Anderson shows that Northern Arapaho unity and identity from the nineteenth century on derive primarily from a shared system of ritual practices that transmit vital cultural knowledge. He also provides an in-depth study of the problems that Euro-American society continues to impose on reservation life and of the responses of the Northern Arapahos.
Sherman Sage (ca. 1844?1943) was an unforgettable Arapaho man who witnessed profound change in his community and was one of the last to see the Plains black with buffalo. As a young warrior, Sage defended his band many times, raided enemy camps, saw the first houses go up in Denver, was present at Fort Laramie for the signing of the 1868 treaty, and witnessed Crazy Horse?s surrender. Later, he visited the Ghost Dance prophet Wovoka and became a link in the spread of the Ghost Dance religion to other Plains Indian tribes. As an elder, Old Man Sage was a respected, vigorous leader, walking miles to visit friends and family even in his nineties. One of the most interviewed Native Americans in the Old West, Sage was a wellspring of information for both Arapahos and outsiders about older tribal customs.ø ø Anthropologist Jeffrey D. Anderson gathered information about Sage?s long life from archives, interviews, recollections, and published sources and has here woven it into a compelling biography. We see different sides of Sage?how he followed a traditional Arapaho life path; what he learned about the Rocky Mountains and Plains; what he saw and did as outsiders invaded the Arapahos? homeland in the nineteenth century; how he adjusted, survived, and guided other Arapahos during the early reservation years; and how his legacy lives on today. The remembrances of Old Man Sage?s relatives and descendants of friends make apparent that his vision and guidance were not limited to his lifetime but remain vital today in the Northern Arapaho tribe.