Court Rejects American Indian Argument for Hemp Farming
Native
American arts daily news, presented by
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Rush to develop energy in West said risky
The federal government's rush to develop energy on millions of acres of federal land in the West has left vast natural and cultural resources to languish...Archaeological sites including Colorado's Canyons of the Ancients National Monument, which contains more than 6,000 recorded artifacts, and Utah's Nine Mile Canyon, dubbed the longest art gallery in the world with more than 10,000 American Indian petroglyphs, lie undocumented and unprotected...
Annual pow wow celebrates Native American culture
Powwow spotlights Native American culture
UW American Indian Studies Program Recognizes Students
Court Rejects American Indian Argument for Hemp Farming
Oversight Hearing on Suicide Prevention Programs and their Application in Indian Country
Pulitzer nominee to conduct workshop on Indian issues
Champion Hoop Dancer performs at Smoki Museum
One of America's Best Kept Secrets is The American Indians Exceptional Ability to Create Art
UNM students produce paper geared toward American Indian community
Haskell Indian Nations University president to retire
Celebration pow wow to be held in Marion
July 21-22, 2007
American Indian Intertribal Cultural Festival, July 21-22, 2007, Hampton, Va. -- Festival highlighting the contributions and cultures of Virginia Indians, with native foods, dances, traditional stories, arts and crafts and music
Now through May 20
Natrona County School District No. 1 schools will be hosting performances by Red Feather Woman, a Native American storyteller, singer, songwriter and author. There will also be a special public show at the Nicolaysen Art Museum, 400 E. Collins Dr., May 20, at 1 p.m., and then she will be at The Indians in Market Square, 232 East Second St., No. 104 at 3 p.m. for a CD signing. Info: 237-4228 or 261-6837 or visit www.thenic.org or{M3 www.redfeatherwoman.com
OCT. 5-6
Virginia Indian Symposium -- Williamsburg Hosted by Virginia's Indian tribes, the "400 Years of Survival" symposium will feature nationally known Native American speakers on topics such as sovereignty, federal recognition, health care, repatriation and education.
Museum of Indian Arts and Culture: "Elements of Earth and Fire: New Directions in Native American Ceramic Art: Color," second of three four-month installations, each focusing on one element of pottery-making. "Color" runs through June 18; series continues through Oct. 8. "Wondrous Works: Contemporary Art by Native American Women, through Jan. 14, 2007. 708 Camino Lejo, Santa Fe. Admission and hours: (505) 476-1250.
Taos Art Museum: "The Stark Legacy," paintings by members of the Taos Society of Artists. Through July 23. 227 Paseo del Pueblo Norte, Taos. Admission and hours: (505) 758-2690. The art market is a celebration of the contemporary and traditional Native American arts and culture. Activities include Hopi and Navajo dancers and performances by singer James Bilagody and flute player Aldean Ketchum. Food, pottery, arts, crafts and jewelry are available for purchase. For more information, please call 435-678-2238.
A Markova Tale – Yukaghir / Markova
The people of a village began to vanish, and nobody knew what happened to them. There was a shaman. He traveled through that country and came to the village. The people were quite sad and sorrowful. "What is the matter with you?"--"We do not know. Every night somebody vanished. We have tried to watch, but cannot discover anybody."--"Oh, is that so? Let me try to keep watch over you." Evening came, and it was time to go to sleep. The people were hiding in boxes and bags. "Oh, have no fear! I shall keep a vigilant watch over you." He took a sword and waited in the darkness. The people snored soundly, partly freed from their fear. All at once a black dog glided noiselessly in through the window and seized a workman, a fellow-traveler of the shaman. He struck the dog with his sword. The dog had torn off the man's one arm with the shoulder blade, and the shaman cut off the corresponding limb of the dog. In the hurry of the moment, the shaman took the limb of the dog and applied it to the body of the man, and it stuck to his body.
In the morning he saw that the new arm was not the leg of a dog, but a woman's arm, white of skin and with rings on the fingers. "Ah!" said the shaman, "let me try to find that dog." He went out and followed the bloody tracks. They led to the house of the chief of the village close to the church. It was the house of the parish priest. The shaman entered, and saluted the priest with civility. The priest looked sad, "Ah, my friend! please sit down! I am not able to treat you as is becoming. My wife is sick."--"Ah, is that so! And what is the cause of her suffering?"--"We do not know. She is alone in her room and does not want us to enter. All we know is that she is not well. Please do help her if you can!" The shaman went to the room of the patient. The entrance was locked; he said nothing and suddenly broke the door and entered.
The woman was lying on the bed well wrapped up in a thick blanket. He pulled that off, and she lay before them quite naked. Her right arm was gone, along with the shoulder blade. Close to her side lay the bloody arm of a man, which would not stick to her body. "Ah, here you are!" said the shaman. "Reverend father, it is your wife who destroyed half of the village. Had it not been for me, she would have taken you also."--"Ah, ah!" exclaimed the priest, "Mother what is the matter with you. Now, I understand it. She would give me of her enchanted drink, so that I slept throughout the night like one dead, and she would steal away in the darkness." So they took her and tore her in two.
Told by Mary Alin, a Russianized Chuvantzi woman. Recorded by Mrs. Sophie Bogoras, in the village of Markova, the Anadyr country, winter of 1900.
Tales of Yukaghir, Lamut, and Russianized Natives of Eastern Siberia by Waldemar Bogoras
[1918] and is now in the public domain
http://groups.msn.com/KeeperofStories/
Reprinted by permission
A Legend of Pilot Knob - Cherokee
In the old town of Känuga, on Pigeon river, there was a lazy fellow named Tsuwe'nähï, who lived from house to house among his relatives and never brought home any game, although he used to spend nearly all his time in the woods. At last his friends got very tired of keeping him, so he told them to get some parched corn ready for him and he would go and bring back a deer or else would never trouble them again. They filled his pouch with parched corn, enough for along trip, and he started off for the mountains. Day after day passed until they thought they had really seen the last of him, but before the month was half gone he was back again at Känuga, with no deer, but with a wonderful story to tell.
He said that he had hardly turned away from the trail to go up the ridge when he met a stranger, who asked him where he was going. Tsuwe'nähï answered that his friends in the settlement had driven him out because he was no good hunter, and that if he did not find a deer this time he would never go back again. "Why not come with me?" said the stranger, "my town is not far from here, and you have relatives there." Tsuwe'nähï was very glad of the chance, because he was ashamed to go back to his own town; so he went with the stranger, who took him to Tsuwa`tel'da (Pilot knob). They came to a cave, and the other said, "Let us go in here;" but the cave ran clear to the heart of the mountain, and when they were inside the hunter found there an open country like a wide bottom land, with a great settlement and hundreds of people. They were all glad to see him. and brought him to their chief, who took him into his own house and showed him a seat near the fire. Tsuwe'nähï sat down, but he felt it move under him, and when he looked again he saw that it was a turtle, with its head sticking out from the shell. He jumped up, but the chief said, "It won't hurt you; it only wants to see who you are." So he sat down very carefully, and the turtle drew in its head again. They brought food of the same kind that he had been accustomed to at home, and when he had eaten the chief took him through the settlement until he had seen all the houses and talked with most of the people. When he had seen everything and had rested some days, he was anxious to get back to his home, so the chief himself brought him to the mouth of the cave and showed him the trail that led down to the river. Then he said, "You are going back to the settlement, but you will never be satisfied there any more. Whenever you want to come to us, you know the way." The chief left him, Tsuwe'nähï went down the mountain and along the river until he came to Känuga.
He told his story, but no one believed it and the people only laughed at him. After that he would go away very often and be gone for several days at a time, and when he came back to the settlement he would say he had been with the mountain people. At last one man said he believed the story and would go with him to see. They went off together to the woods, where they made a camp, and then Tsuwe'nähï went on ahead, saying he would be back soon, The other waited for him, doing a little hunting near the camp, and two nights afterwards Tsuwe'nähï was back again. He seemed to be alone, but was talking as he came, and the other hunter heard girls' voices, although he could see no one. When he came up to the fire he said, "I have two friends with me, and they say there is to be a dance in their town in two nights, and if you want to go they will come for you." The hunter agreed at once, and Tsuwe'nähï called out, as if to some one close by, "He says he will go." Then he said, "Our sisters have come for some venison." The hunter had killed a deer and had the meat drying over the fire, so he said, "What kind do they want?" The voices answered, "Our mother told us to ask for some of the ribs," but still he could see nothing. He took down some rib pieces and -gave them to Tsuwe'nähï, who took them and said, "In two days we shall come again for you." Then he started off, and the other heard the voices going through the woods until all was still again.
In two days Tsuwe'nähï came, and this time he had two girls with him. As they stood near the fire the hunter noticed that their feet were short and round, almost like dogs' paws, but as soon as they saw him looking they sat down so that he could not see their feet. After supper the whole party left the camp and went up along the creek to Tsuwa`tel'da. They went in through the cave door until they got to the farther end and could see houses beyond, when all at once the hunter's legs felt as if they were dead and he staggered and fell to the ground. The others lifted him up, but still he could not stand, until the medicineman brought some "old tobacco" and rubbed it on his legs and made him smell it until he sneezed. Then he was able to stand again and went in with the others. He could not stand at first, because he had not prepared himself by fasting before he started.
The dance had not yet begun and Tsuwe'nähï took the hunter into the townhouse and showed him a seat near the fire, but it had long thorns of honey locust sticking out from it and he was afraid to sit down. Tsuwe'nähï told him not to be afraid, so he sat down and found that the thorns were as soft as down feathers. Now the drummer came. in and the dancers, and the dance began. One man followed at the end of the line, crying Kû! Kû! all the time, but not dancing. The hunter wondered, and they told him, "This man was lost in the mountains and had been calling all through the woods for his friends until his voice failed and he was only able to pant Kû! Kû! and then we found him and took him in."
When it was over Tsuwe'nähï and the hunter went back to the settlement. At the next dance in Känuga they told all they had seen at Tsuwa`tel'da, what a large town was there and how kind everybody was, and this time--because there were two of them--the people believed it. Now others wanted to go, but Tsuwe'nähï told them they must first fast seven days, while he went ahead to prepare everything, and then he would come and bring them. He went away and the others fasted, until at the end of seven days he came for them and they went with him to Tsuwa`tel'da, and their friends in the settlement never saw them again.
MYTHS OF THE CHEROKEE
By James Mooney
From Nineteenth Annual Report of the Bureau of American Ethnology 1897-98, Part I. [1900] and is now in the public domain
http://groups.msn.com/KeeperofStories/
Reprinted by permission
Books and Articles
Dorothy Dunn On Primitive Art
Excerpt
Anthropologists use the term "primitive" as a general category to describe cultures which had not achieved a certain standard (define modernity). For Dunn, a primitive was not a certain type of culture, but described individuals and objects indigenous to any, every, culture. The primitive subject was that gifted individual, or "seer" whom was able to discern the primitive objects relevant to their culture. These objects were also primitives, and represented the signs, icons, or symbols of a culture. Thus, for Dunn, primitive art was the one to one relationship between the seer and the perceived set of primitive objects of their culture. Primitive was not a certain type of culture, but a certain set of variables occurring in every culture, and primitive art was an event that portrayed the values, or what was of importance in that culture. Thus, Dunn encouraged her students to carry on the tradition into the Modernist era.
Essay on the Zuni World View
Excerpt(Complete article is available in PDF)
In Signs from the Ancestors, a study of Zuni cultural symbolism and perceptions in rock art, M. Jane Young cites the "dialectics of the beautiful and the dangerous" noted by Barbara Tedlock and states that "Tedlock posits an underlying aesthetic framework that informs cosmology, whereas I posit an underlying cosmological principle that informs aesthetics". From the perspective of this paper and its conclusions it would appear that Young is perhaps partially correct in her ascertainment although the confluence of the two principles makes it difficult to discern logical priority in either the beautiful (tso’ya) or the dangerous (attanni), for the multireferential finds manifestation of beauty in the "aesthetic of accumulation, an elaborate redundancy of symbolism in Zuni sacred and secular environments" and informs cosmological principles of the preconditions of the rational, while aesthetic license premises pragmatics where proper interpretation of context ensures that rational thought of the "perspective-taker" attains objectivity as a "personal accomplishment" in the success of "reciprocal public intentions". This is because the principle of the “base metaphor” cited by Young is inclusive of a body of conceptual presuppositions which include the notion of an interrelatedness of all things, which is seen here as a cosmological precept akin to notions of identity and individuation, and the notion of a predetermined harmony as indicative of the aesthetic. Young notes that the “very generality of the metaphor lends its ambiguity--an ambiguity quite characteristic of the Zuni view of the world. Zuni ritual symbols, whether expressed verbally or visually, are frequently multivalent or multireferential, standing for both themselves and something else at the same time; yet all of the meanings are bound together, so that the Zunis say, as do the Mescalero Apache: "They’re all the same thing".
Bibliography of the Zuni Language
Excerpt
The Zuni, or Shiwi language, is now generally considered a language isolate. The Encyclopedia Britannica categorizes it as a Penutian language, and Bertha Dutton once posed the hypothetical that according to the Swadesh list, "If the Zuni language is a member of the Penutian language family, then it is a distant relative of the Tanoan languages (Tewi)." The Penutian hypothesis was advanced by Alfred Kroeber and Roland B. Dixon, and later refined by Edward Sapir, and was an attempt to reduce the number of unrelated language families in a culturally diverse area that was centered in California's central coast. While this theory was plausible for some of the languages, the problem of verification of this theory was that to find any evidence of any cognates between the California languages and Zuni, one would possibly have to trace the languages' lineage by as much as 3000-5000 years or more.
Indian Ledger Art-Resources and Information
Excerpt
Ledger art is traditionally a male American Indian pictographic art form, and historically has been characterized as such by researchers. Chronologically its stylistic development belongs to the Proto-Modern era of the Native American Fine Arts Movement and was a major influence, through trade routes and the patronage of white art collectors, on Modern Indian Art as its elements diffused to the schools of New Mexico, Oklahoma, and the Northwest Coast. Its more explicit expression, however, yielded to the styles that developed in these schools and culminated in the early 1960's during a period of the Movement referred to as the First Generation Modernists. Only recently have the researchers of Ledger art recognized Virginia Stroud as the Native American Woman artist who, as a Second Generation Modernist and a member of the so-called "New Indian Art Movement", revitalized a traditionally male form of art expression with her pictographic images in the late 1960's to the early 1980's. Influence on Stroud's stylistic achievements can be attributed to her Kiowa upbringing centered in Oklahoma, which is the major geographic center of the Southern Plains school, and her attendance at Bacone under the direction and influence of Dr. Richard West.
AEQ Book Review of
Making Dictionaries: Preserving Indigenous Languages of the Americas .
Frawley, William, Kenneth C. Hill, and Pamela Munro, eds. Berkeley: University of California Press, 2002. 450 pp. ISBN 0520229967, $34.95.
© 2004 American Anthropological Association Book Review
of Making Dictionaries: Preserving Indigenous Languages of the Americas .
Reviewed for the Anthropology & Education Quarterly by Catherine S. Fowler
University of Nevada
csfowler@unr.nevada.edu
To Order this book
THE FOURTH WORLD
W. Tussinger has written his first novel which was released in December, 2004.
W. Tussinger is a member of the Wyandotte Nation of Oklahoma and has lived on several reservations including the Yuroks of Northern California and the Yakamas of Washington State where he attended college.
To Order this book
An Overview of Pacific Northwest Native Indian Art
Free downloadable e-book
American Indian Women's Activism in the 1960s and 1970s
by Donna Hightower Langston
Complete article
THE WOMEN/Edward S. Curtis
"THE WOMEN/Edward S. Curtis," by Christopher Cardozo; foreword by Louise Erdrich (Bulfinch Press, $35) — Cardozo, who lives in Minneapolis, is the world's foremost expert on, and collector of, photos of American Indians taken by turn-of-the-century photographer Edward S. Curtis. Cardozo went through 1,000 photos to find the 100 sepia-toned images in this book, which show the daily lives of American Indian women at a time when most were already on reservations. Minneapolis novelist and poet Erdrich discusses women's work in her foreword: " … although Edward Curtis believed that he was documenting a vanishing culture, it is in these humble arts that the strength of Native culture lives on."
Linguists Find the Words, and Pocahontas Speaks Again
By JOHN NOBLE WILFORD
Hero, Hawk, and Open Hand, The Book
Early tribal artifacts put in spotlight at the Smithsonian National Museum of
Natural History
"Communing with Bears"
By Sara Wright
Communing with Bears is the story of a joyful encounter between one woman and a black bear.
Web Sites:
Native American Links Page
Indigenous Peoples Literature
Native Voice
Wisdom of the Old People
By David Whitney
National Association of Tribal Historic Preservation
Inuit film to tell story of last great shaman
My Two Beads Worth: Indigenous News Online
Northern California Indian Development Council
Native Village
Smudge Ceremony
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Literacy in Indigenous Communities by L. David van Broekhuizen, Ph.D. (2000)
HTML Format (70K)
PDF Format(117K)
Literacy in first languages in indigenous communities is a complex
topic that generates lively discussion. This research synthesis
explores the notions of national, mother-tongue, multiple, and
biliteracies. It presents important information pertaining to
threatened languages, language shift, and language loss. Examples of
culturally relevant uses of literacy in indigenous communities and
issues related to first-language literacy instruction are also
provided.
posted by Amerindian Arts at 4:08 PM
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