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What is American Indian photography? At the turn of the twentieth century, Edward Curtis began creating romantic images of American Indians, and his works—along with pictures by other non-Native photographers—came to define the field. Yet beginning in the second half of the nineteenth century, American Indians themselves started using cameras to record their daily activities and to memorialize tribal members. Through a Native Lens offers a refreshing, new perspective by highlighting the active contributions of North American Indians, both as patrons who commissioned portraits and as photographers who created collections. In this richly illustrated volume, Nicole Dawn Strathman explores how indigenous peoples throughout the United States and Canada appropriated the art of photography and integrated it into their lifeways. The photographs she analyzes date to the first one hundred years of the medium, between 1840 and 1940. To account for Native activity both in front of and behind the camera, the author divides her survey into two parts. Part I focuses on Native participants, including such public figures as Sarah Winnemucca and Red Cloud, who fashioned themselves in deliberate ways for their portraits. Part II examines Native professional, semiprofessional, and amateur photographers. Drawing from tribal and state archives, libraries, museums, and individual collections, Through a Native Lens features photographs—including some never before published—that range from formal portraits to casual snapshots. The images represent multiple tribal communities across Native North America, including the Inland Tlingit, Northern Paiute, and Kiowa. Moving beyond studies of Native Americans as photographic subjects, this groundbreaking book demonstrates how indigenous peoples took control of their own images and distinguished themselves as pioneers of photography.
Here, in more than 250 extraordinary photographs, is a showcase of the fabled days of the British Raj. India was at the vanguard of the explosion of photography and the early photographers, both Indian and foreign, mainly British, who strove to document and reveal the landscapes, peoples, cultures, and architecture of the subcontinent. India Through the Lens reveals the history and importance of photography in India, from the appeal of the panorama to the documentation of people, places, and princes. The early Indian photographer, Lala Deen Dayal for example, was unique in being embraced by both worlds- that of the British and the world of Indian Maharajahs. This book appeals to specialists and non-specialists alike- all those who love early photography, British India and the romance of the Raj.
Manifest Destiny, as a term for westward expansion, was not used until the 1840s. Its predecessor was the Doctrine of Discovery, a legal tradition by which Europeans and Americans laid legal claim to the land of the indigenous people that they discovered. In the United States, the British colonists who had recently become Americans were competing with the English, French, and Spanish for control of lands west of the Mississippi. Who would be the discoverers of the Indians and their lands, the United States or the European countries? We know the answer, of course, but in this book, Miller explains for the first time exactly how the United States achieved victory, not only on the ground, but also in the developing legal thought of the day. The American effort began with Thomas Jefferson's authorization of the Lewis & Clark Expedition, which set out in 1803 to lay claim to the West. Lewis and Clark had several charges, among them the discovery of a Northwest Passage—a land route across the continent—in order to establish an American fur trade with China. In addition, the Corps of Northwestern Discovery, as the expedition was called, cataloged new plant and animal life, and performed detailed ethnographic research on the Indians they encountered. This fascinating book lays out how that ethnographic research became the legal basis for Indian removal practices implemented decades later, explaining how the Doctrine of Discovery became part of American law, as it still is today.
Indigenous Peoples around the world and our allies often reflect on the many challenges that continue to confront us, the reasons behind health, economic, and social disparities, and the best ways forward to a healthy future. This book draws on theoretical, conceptual, and evidence-based scholarship as well as interviews with scholars immersed in Indigenous wellbeing, to examine contemporary issues for Native Americans. It includes reflections on resilience as well as disparities. In recent decades, there has been increasing attention on how trauma, both historical and contemporary, shapes the lives of Native Americans. Indigenous scholars urge recognition of historical trauma as a framework for understanding contemporary health and social disparities. Accordingly, this book uses a trauma-informed lens to examine Native American issues with the understanding that even when not specifically seeking to address trauma directly, it is useful to understand that trauma is a common experience that can shape many aspects of life. Scholarship on trauma and trauma-informed care is integrated with scholarship on historical trauma, providing a framework for examining contemporary issues for Native American populations. It should be considered essential reading for all human service professionals working with Native American clients, as well as a core text for Native American studies and classes on trauma or diversity more generally.
Through powerful case studies, Adjusting the Lens addresses the ways that the historical photographic record of Indigenous peoples has been shaped by colonial practices, and explores how this legacy is being confronted by Indigenous art activism and contemporary renegotiations of the past. Contributors to this collection analyze the photographic practices and heritage of communities from North America, Europe, and Australia, revealing how Indigenous people are using old photographs in new ways to empower themselves, revitalize community identity, and decolonize the colonial record.
The teachings of the Native Americans provide a connection with the land, the environment, and the simple beauties of life. This collection of writings from revered Native Americans offers timeless, meaningful lessons on living and learning. Taken from writings, orations, and recorded observations of life, this book selects the best of Native American wisdom and distills it to its essence in short, digestible quotes — perhaps even more timely now than when they were first written. In addition to the short passages, this edition includes the complete Soul of an Indian, as well as other writings by Ohiyesa (Charles Alexander Eastman), one of the great interpreters of American Indian thought, and three great speeches by Chiefs Joseph, Seattle, and Red Jacket.
This fall, as debates around nationalism and borders in North America reach a fever pitch, Aperture magazine releases "Native America," a special issue about photography and Indigenous lives, guest edited by the artist Wendy Red Star. "Native America" considers the wide-ranging work of photographers and lens-based artists who pose challenging questions about land rights, identity and heritage, and histories of colonialism. Several contributors revisit or reconfigure photographic archives--from writer Rebecca Bengal's look at the works of Richard Throssel and Horace Poolaw, to artist Duane Linklater's intervention in a 1995 issue of Aperture, "Strong Hearts," the magazine's first volume devoted to Native American photographers. "I was thinking about young Native artists," says Red Star, "and what would be inspirational and important for them as a road map." That map spans a diverse array of intergenerational image-making, counting as lodestars the meditative assemblages of Kimowan Metchewais and installation works of Alan Michelson, the stylish self-portraits of Martine Gutierrez, and the speculative mythologies of Karen Miranda Rivadeneira and Guadalupe Maravilla. "Native America" also features contributions by distinguished writers and curators, including strikingly personal reflections from acclaimed poets Tommy Pico and Natalie Diaz. With additional essential contributions from Rebecca Belmore and Julian Brave NoiseCat, as well as a portfolio from Red Star, the issue looks into the historic, often fraught relationship between photography and Native representation, while also offering new perspectives by emerging artists who reimagine what it means to be a citizen in North America today.
Photographs of Texas’ frontier past are valuable as both art and artifact. Recording not only the lives and surroundings of days gone by, but also the artistry of those who captured the people and their times on camera, the rare images in Lens on the Texas Frontier offer a documentary record that is usually available to only a few dedicated collectors. In this book, prominent collector Lawrence T. Jones III showcases some of the most interesting and historically important glimpses of Texas history included among the five thousand photographs in the collection that bears his name at the DeGolyer Library of Southern Methodist University. One of the nation’s most comprehensive and valuable Texas-related photography collections, the Lawrence T. Jones III Collection documents all aspects of Texas photography from the years 1846–1945, including rare examples of the various techniques practiced from its earliest days in the state: daguerreotypes, ambrotypes, tintypes, and paper print photographs in various formats. The selections in the book feature cartes de visite, cabinet cards, oversized photographs, stereographs, and more. The subjects of the photos include Confederate and Union soldiers and officers in the Civil War; Mexicans, including ranking military officials from the Mexican Revolution; and a wide spectrum of Texan citizens, including African American, Native American, Hispanic, and Caucasian women, men, and children.
The NNEST Lens invites you to imagine how the field of TESOL and applied linguistics can develop if we use the multilingual, multicultural, and multinational perspectives of a NNEST (Non Native English Speakers in TESOL) lens to re-examine our assumptions, practices, and theories in the field. The NNEST lens as described in and developed through this volume is a lens of multilingualism, multinationalism, and multiculturalism through which NNESTs and NESTs—as classroom practitioners, researchers, and teacher educators—take diversity as a starting point in their understanding and practice of their profession. The 16 original contributions to this volume include chapters that question theoretical frameworks and research approaches used in studies in applied linguistics and TESOL, as well as chapters that share strategies and approaches to classroom teaching, teacher education, and education management and policy. As such, this volume will be of interest to a wide range of students, practitioners, researchers, and academics in the fields of education and linguistics.
Street photographers will never tire of New York as a subject. It is the perfect setting for the genre, the world's most evocative cityscape, against which candid, memorable moments play themselves out every day. Nearly a decade ago, Vivienne Gucwa began walking the streets of the city with the only camera she could afford a sub-$100 point-and-shoot and started taking pictures. Choosing a direction and going as far as her feet would take her, she noticed lines, forms and structures that had previously gone unnoticed, but which resonated, embodying a sense of home. Having limited equipment forced her to learn about light, composition and color, and her burgeoning talent won her blog millions of readers and wide recognition in the photographic community. New York Through the Lens showcases the stunning results of her ongoing quest. Filled with spectacular photographs and illuminated by Vivienne's own insightful commentary, NY Through the Lens acts as a beautiful travel guide to the city; it will be a must-read for her many fans and for any lover of street photography.