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The arrival of European settlers in the Americas disrupted indigenous lifeways, and the effects of colonialism shattered Native communities. Forced migration and human trafficking created a diaspora of cultures, languages, and people. Gregory D. Smithers and Brooke N. Newman have gathered the work of leading scholars, including Bill Anthes, Duane Champagne, Daniel Cobb, Donald Fixico, and Joy Porter, among others, in examining an expansive range of Native peoples and the extent of their influences through reaggregation. These diverse and wide-ranging essays uncover indigenous understandings of self-identification, community, and culture through the speeches, cultural products, intimate relations, and political and legal practices of Native peoples. Native Diasporas explores how indigenous peoples forged a sense of identity and community amid the changes wrought by European colonialism in the Caribbean, the Pacific Islands, and the mainland Americas from the seventeenth through the twentieth century. Broad in scope and groundbreaking in the topics it explores, this volume presents fresh insights from scholars devoted to understanding Native American identity in meaningful and methodologically innovative ways.
When Indian University--now Bacone College--opened its doors in Indian Territory (now Oklahoma) in 1880, it was a small Baptist institution designed to train young Native Americans to be teachers and Christian missionaries among their own people and to act as agents of cultural assimilation. From 1927 to 1957, however, Bacone College changed course and pursued a new strategy of emphasizing the Indian identities of its students and projecting often-romanticized images of Indianness to the non-Indian public in its fund-raising campaigns. Money was funneled back into the school as administrators hired Native American faculty who in turn created innovative curricular programs in music and the arts that encouraged their students to explore and develop their Native identities. Through their frequent use of humor and inventive wordplay to reference Indianness--"Indian play"--students articulated the (often contradictory) implications of being educated Indians in mid-twentieth-century America. In this supportive and creative culture, Bacone became an "Indian school," rather than just another "school for Indians." In examining how and why this transformation occurred, Lisa K. Neuman situates the students' Indian play within larger theoretical frameworks of cultural creativity, ideologies of authenticity, and counterhegemonic practices that are central to the fields of Native American and indigenous studies today.
Biography of Kiowa photographer Horace Poolaw, with a study of the cultural and artistic significance of his works, ca. 1925-1945.
A far-reaching examination of exoticism, cultural internationalism and modernism's encounters with Indonesian tradition, Performing Otherness examines how Indonesia entered world stages through imperialism as an antimodern phantasm and through nationalism became a means of intercultural communication and cultural diplomacy.
Communicates information about the histories, contemporary presence, and various other facts of the Native peoples of the United States. From publisher description.
In 1938, Thomas Gilcrease, a native of Tulsa, Oklahoma, opened the first museum devoted to the art of the American West. A true visionary, Gilcrease was ahead of his time in understanding the importance of America’s own heritage. His passion for art and history, his Native American ancestry, and his oil revenues coincided in a rare alignment. His legacy is an astounding collection of paintings, sculptures, artifacts, rare books, and documents. This lavishly produced book, featuring nearly two hundred color reproductions, tells the story of Gilcrease and of the renowned museum that bears his name. Compiled by the museum’s curators, Treasures of Gilcrease exemplifies the beauty and breadth of the museum’s resources. The fine art collection alone boasts more than 10,000 American works, ranging in styles from classical to romantic to impressionist and by such master artists as George Catlin, Charles M. Russell, Thomas Moran, and Frederic Remington. The works by Native artists also span styles ranging from painted hides to twentieth-century flat-style. The artifacts—300,000-plus pieces housed in the galleries and vaults—include ceramics, clothing, pipes, and objects of utility, ceremony, and ornamentation. The archives collection contains some 100,000 manuscripts, books, photographs, maps, imprints, and broadsides. Treasures of Gilcrease offers a vivid and engaging tour through these collections in the company of the experts who know them best.
As the Great Depression touched every corner of America, the New Deal promoted indigenous arts and crafts as a means of bootstrapping Native American peoples. But New Deal administrators' romanticization of indigenous artists predisposed them to favor pre-industrial forms rather than art that responded to contemporary markets. In A New Deal for Native Art, Jennifer McLerran reveals how positioning the native artist as a pre-modern Other served the goals of New Deal programs—and how this sometimes worked at cross-purposes with promoting native self-sufficiency. She describes federal policies of the 1930s and early 1940s that sought to generate an upscale market for Native American arts and crafts. And by unraveling the complex ways in which commodification was negotiated and the roles that producers, consumers, and New Deal administrators played in that process, she sheds new light on native art’s commodity status and the artist’s position as colonial subject. In this first book to address the ways in which New Deal Indian policy specifically advanced commodification and colonization, McLerran reviews its multi-pronged effort to improve the market for Indian art through the Indian Arts and Crafts Board, arts and crafts cooperatives, murals, museum exhibits, and Civilian Conservation Corps projects. Presenting nationwide case studies that demonstrate transcultural dynamics of production and reception, she argues for viewing Indian art as a commodity, as part of the national economy, and as part of national political trends and reform efforts. McLerran marks the contributions of key individuals, from John Collier and Rene d’Harnoncourt to Navajo artist Gerald Nailor, whose mural in the Navajo Nation Council House conveyed distinctly different messages to outsiders and tribal members. Featuring dozens of illustrations, A New Deal for Native Art offers a new look at the complexities of folk art “revivals” as it opens a new window on the Indian New Deal.