Indigenous peoples / Indigeneity Books

Book SynopsisDispatches of radical political engagement from people taking a stand against the Dakota Access PipelineIt is prophecy. A Black Snake will spread itself across the land, bringing destruction while uniting Indigenous nations. The Dakota Access Pipeline is the Black Snake, crossing the Missouri River north of the Standing Rock Indian Reservation. The oil pipeline united communities along its path—from North Dakota, South Dakota, Iowa, and Illinois—and galvanized a twenty-first-century Indigenous resistance movement marching under the banner Mni Wiconi—Water Is Life! Standing Rock youth issued a call, and millions around the world and thousands of Water Protectors from more than three hundred Native nations answered. Amid the movement to protect the land and the water that millions depend on for life, the Oceti Sakowin (the Dakota, Nakota, and Lakota people) reunited. A nation was reborn with renewed power to protect the environment and support Indigenous grassroots education and organizing. This book assembles the multitude of voices of writers, thinkers, artists, and activists from that movement.Through poetry and prose, essays, photography, interviews, and polemical interventions, the contributors, including leaders of the Standing Rock movement, reflect on Indigenous history and politics and on the movement’s significance. Their work challenges our understanding of colonial history not simply as “lessons learned” but as essential guideposts for current and future activism.Contributors: Dave Archambault II, Natalie Avalos, Vanessa Bowen, Alleen Brown, Kevin Bruyneel, Tomoki Mari Birkett, Troy Cochrane, Michelle L. Cook, Deborah Cowen, Andrew Curley, Martin Danyluk, Jaskiran Dhillon, Roxanne Dunbar-Ortiz, Liz Ellis, Nick Estes, Marcella Gilbert, Sandy Grande, Craig Howe, Elise Hunchuck, Michelle Latimer, Layli Long Soldier, David Uahikeaikalei‘ohu Maile, Jason Mancini, Sarah Sunshine Manning, Katie Mazer, Teresa Montoya, Chris Newell, The NYC Stands with Standing Rock Collective, Jeffrey Ostler, Will Parrish, Shiri Pasternak, endawnis Spears, Alice Speri, Anne Spice, Kim TallBear, Mark L. Tilsen, Edward Valandra, Joel Waters, Tyler Young.Trade Review"As our songs and prayers echo across the prairie, we need the public to see that in standing up for our rights, we do so on behalf of the millions of Americans who will be affected by this pipeline."—David Archambault II, from the interior"There is no alternative to water. There is no alternative to this Earth. This fight has become my life, and it’s not over. I think this is only the beginning for me, for all of us. Do you want a future for your children and grandchildren? If you want them to have a future then stand with Standing Rock because this is just the beginning of a revolution."—Zaysha Grinnell, from the interior"We will put our best warriors in the front. We are the vanguard. We are the Hunkpapa Lakota. That means the horn of the buffalo. That’s who we are. We are protectors of our nation of Oceti Sakowin, the Seven Council Fires. Know who we are."—Phyllis Young "While the editors have written their own books on the subject and are active participants in modern indigenous movements, this contextual anthology gives recognition and voice to the many who participated in the #NoDAPL protests. Highly recommended for casting light on a landmark cultural movement."—Library Journal"The pages of references are a sort of road map, not just of a roadmap through the book, but a road map through time, and specifically through the time when Standing Rock camps were alive, pulsing with life, and giving birth to revolution and movement."—Censored News"An essential volume to understand the history and significance of the famous resistance action, combining everything from essays and interviews to poems and photography."—The Revelator"As a rejection of this dominant historiography, the volume demonstrates that the #NoDAPL is a legacy of ongoing Indigenous resistance and not a failure."—H-Net Reviews"Standing with Standing Rock represents a remarkable collection of original and previously published essays, interviews, poems,and personal reflections by those who were on the ground at the Dakota Access Pipeline standoff and others who acted in its support."—American Literary History "A concise and readable volume on the #NODAPL Movement and its connection to global Indigenous decolonization activism."—American Indian Quarterly"Standing with Standing Rock presents multiple vantage points and a plurality of perspectives to voice a common theme and a hopeful message."—Alternative Law "Standing with Standing Rock delivers on all that an edited collection promises, appealingly varied in its contributions while remaining cohesive and compelling in its core focus on Indigenous sovereignty."—ISLE"The book brings to life the voices of those who stood up at Standing Rock and enables the reader to experience the beauty, brutality and vision of a different future."—Against the Current

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Book SynopsisBringing fresh insight to a century of writing by Native AmericansThe Political Arrays of American Indian Literary History challenges conventional views of the past one hundred years of Native American writing, bringing Native American Renaissance and post-Renaissance writers into conversation with their predecessors. Addressing the political positions such writers have adopted, explored, and debated in their work, James H. Cox counters what he considers a “flattening” of the politics of American Indian literary expression and sets forth a new method of reading Native literature in a vexingly politicized context. Examining both canonical and lesser-known writers, Cox proposes that scholars approach these texts as “political arrays”: confounding but also generative collisions of conservative, moderate, and progressive ideas that together constitute the rich political landscape of American Indian literary history. Reviewing a broad range of genres including journalism, short fiction, drama, screenplays, personal letters, and detective fiction—by Lynn Riggs, Will Rogers, Sherman Alexie, Thomas King, Leslie Marmon Silko, Louise Erdrich, Winona LaDuke, Carole laFavor, and N. Scott Momaday—he demonstrates that Native texts resist efforts to be read as advocating a particular set of politicsMeticulously researched, The Political Arrays of American Indian Literary History represents a compelling case for reconceptualizing the Native American Renaissance as a literary–historical constellation. By focusing on post-1968 Native writers and texts, argues Cox, critics have often missed how earlier writers were similarly entangled, hopeful, frustrated, contradictory, and unpredictable in their political engagements.Trade Review"With his own array of historicist assiduity, keen sensitivity to contemporary issues, and a storyteller’s verve, James H. Cox uncovers the multitudes of political ambivalences that American Indian literature contains. He introduces a trove of unknown works and challenges us to make sense of them with our assumptions of what’s requisite for Native political perspectives. As he compellingly demonstrates, that’s a hard row to hoe."—Joshua B. Nelson, author of Progressive Traditions: Identity in Cherokee Literature and Culture"In this field-changing study, James H. Cox introduces the political array, a paradigm that allows him to demonstrate that Native texts and their authors are more politically complicated—more nuanced, more situational, more dynamic and fluid—than our all too often reductive generalizations indicate. More, he makes visible previously understudied connections between pre- and post-1968 Native writers. Elegantly researched, wonderfully lucid, and truly essential."—Eric G. Anderson, George Mason University"Cox’s monograph will prompt a variety of scholars to continue to add to and complicate what is an important and necessary endeavor—to understand the complexities and contradictions that shape and are shaped by Indigenous literary history in the United States."—Transmotion"What Cox’s text offers is a new paradigm from which to consider the study of American Indian literature, and for that alone he should be justly lauded."—Tribal College

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Book SynopsisBringing fresh insight to a century of writing by Native AmericansThe Political Arrays of American Indian Literary History challenges conventional views of the past one hundred years of Native American writing, bringing Native American Renaissance and post-Renaissance writers into conversation with their predecessors. Addressing the political positions such writers have adopted, explored, and debated in their work, James H. Cox counters what he considers a “flattening” of the politics of American Indian literary expression and sets forth a new method of reading Native literature in a vexingly politicized context. Examining both canonical and lesser-known writers, Cox proposes that scholars approach these texts as “political arrays”: confounding but also generative collisions of conservative, moderate, and progressive ideas that together constitute the rich political landscape of American Indian literary history. Reviewing a broad range of genres including journalism, short fiction, drama, screenplays, personal letters, and detective fiction—by Lynn Riggs, Will Rogers, Sherman Alexie, Thomas King, Leslie Marmon Silko, Louise Erdrich, Winona LaDuke, Carole laFavor, and N. Scott Momaday—he demonstrates that Native texts resist efforts to be read as advocating a particular set of politicsMeticulously researched, The Political Arrays of American Indian Literary History represents a compelling case for reconceptualizing the Native American Renaissance as a literary–historical constellation. By focusing on post-1968 Native writers and texts, argues Cox, critics have often missed how earlier writers were similarly entangled, hopeful, frustrated, contradictory, and unpredictable in their political engagements.Trade Review"With his own array of historicist assiduity, keen sensitivity to contemporary issues, and a storyteller’s verve, James H. Cox uncovers the multitudes of political ambivalences that American Indian literature contains. He introduces a trove of unknown works and challenges us to make sense of them with our assumptions of what’s requisite for Native political perspectives. As he compellingly demonstrates, that’s a hard row to hoe."—Joshua B. Nelson, author of Progressive Traditions: Identity in Cherokee Literature and Culture"In this field-changing study, James H. Cox introduces the political array, a paradigm that allows him to demonstrate that Native texts and their authors are more politically complicated—more nuanced, more situational, more dynamic and fluid—than our all too often reductive generalizations indicate. More, he makes visible previously understudied connections between pre- and post-1968 Native writers. Elegantly researched, wonderfully lucid, and truly essential."—Eric G. Anderson, George Mason University"Cox’s monograph will prompt a variety of scholars to continue to add to and complicate what is an important and necessary endeavor—to understand the complexities and contradictions that shape and are shaped by Indigenous literary history in the United States."—Transmotion"What Cox’s text offers is a new paradigm from which to consider the study of American Indian literature, and for that alone he should be justly lauded."—Tribal College

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Book SynopsisExamining the expansive nature of Indigenous gender representations in history, literature, and film Within Native American and Indigenous studies, the rise of Indigenous masculinities has engendered both productive conversations and critiques. Lisa Tatonetti intervenes in this conversation with Written by the Body by centering how female, queer, and/or Two-Spirit Indigenous people take up or refute masculinity, and, in the process, offer more expansive understandings of gender. Written by the Body moves from the eighteenth- and nineteenth-century archive to turn-of-the-century and late-twentieth-century fiction to documentaries, HIV/AIDS activism, and, finally, recent experimental film and literature. Across it all, Tatonetti shows how Indigenous gender expansiveness, and particularly queer and non-cis gender articulations, moves between and among Native peoples to forge kinship, offer protection, and make change. She charts how the body functions as a somatic archive of Indigenous knowledge in Native histories, literatures, and activisms—exploring representations of Idle No More in the documentary Trick or Treaty, the all-female wildland firefighting crew depicted in Apache 8, Chief Theresa Spence, activist Carole laFavor, S. Alice Callahan, Thirza Cuthand, Joshua Whitehead, Carrie House, and more.In response to criticisms of Indigenous masculinity studies, Written by the Body de-sutures masculinity from the cis-gendered body and investigates the ways in which female, trans, and otherwise nonconforming masculinities carry the traces of Two-Spirit histories and exceed the limitations of settler colonial imaginings of gender.Trade Review"‘Masculinity’ is a loaded word; it has become linked with violence, cruelty, and the hetero-normative male body. Lisa Tatonetti’s Written by the Body, however, unpacks the ways Indigenous peoples negotiate and refuse settler-colonial definitions of masculinity in texts, films, and lived experience—and in doing so, engage in the creation of life-affirming strategies for survival and thrivance. Tatonetti’s specific focus on the expression of Indigenous masculinities, in particular, is a breath of hope for those of us working to heal from damage inflicted by histories of colonial policing of gender alternatives. As she notes, ‘Indigenous gender articulations are expansive; held in variously gendered bodies rather than tethered to settler binaries, they shift in mode and meaning and hold real creative potential.’ It is this transformational creativity which Tatonetti’s work notices and celebrates, bringing into focus the ways that Indigenous concepts of masculinity manifest their own sovereignty and serve to nurture Indigenous identities."—Deborah A. Miranda, author of Altar for Broken Things and Bad Indians: A Tribal MemoirTable of ContentsContentsAcknowledgmentsIntroduction: Text, Archive, and Action: The Body in Motion1. Warrior Women in History and Early Indigenous Literatures2. Warriors, Indigenous Futures, and the Erotic: Anna Lee Walters and DanielHeath Justice 3. Big Moms, or The Body as Archive4. Body as Shield and Shelter: Indigenous Documentary Film5. HIV/AIDS Activism and the Indigenous Erotic: Carole laFavor6. An Erotics of Responsibility: Non-Cis Identities and Community AccountabilityCoda: “The Body as Conversation, The Body as Transformation”NotesBibliographyIndex

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Book SynopsisA foundational work of radical anticolonialism, back in print Originally published in 1974, The Fourth World is a critical work of Indigenous political activism that has long been out of print. George Manuel, a leader in the North American Indian movement at that time, with coauthor journalist Michael Posluns, presents a rich historical document that traces the struggle for Indigenous survival as a nation, a culture, and a reality. The authors shed light on alternatives for coexistence that would take place in the Fourth World—an alternative to the new world, the old world, and the Third World. Manuel was the first to develop this concept of the “fourth world” to describe the place occupied by Indigenous nations within colonial nation-states. Accompanied by a new Introduction and Afterword, this book is as poignant and provocative today as it was when first published.Trade Review"At the time of writing The Fourth World it would have been difficult (although not impossible) to predict the degree to which the recognition of Indigenous rights would come to serve as the cunning medium through which dispossession would be facilitated, not reversed, by the colonial state and international legal apparatus. In spite of his lifelong struggle, however, George Manuel's vision of decolonization for the Fourth World has yet to come to fruition, both nationally and globally. The Fourth World is nevertheless one of those rare examples of a book that continues to be relevant after forty-two years since its original publication"—Glen Sean Coulthard, from the Introduction

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Book SynopsisEngaging a broad spectrum of ecological thought to articulate the ethical scale of global extinction As global rates of plant and animal extinctions mount, anxieties about the future of the earth’s ecosystems are fueling ever more ambitious efforts at conservation, which draw on Western scientific principles to manage species and biodiversity. In Revenant Ecologies, Audra Mitchell argues that these responses not only ignore but also magnify powerful forms of structural violence like colonialism, racism, genocide, extractivism, ableism, and heteronormativity, ultimately contributing to the destruction of unique life forms and ecosystems. Critiquing the Western discourse of global extinction and biodiversity through the lens of diverse Indigenous philosophies and other marginalized knowledge systems, Revenant Ecologies promotes new ways of articulating the ethical enormity of global extinction. Mitchell offers an ambitious framework—(bio)plurality—that focuses on nurturing unique, irreplaceable worlds, relations, and ecosystems, aiming to transform global ecological–political relations, including through processes of land return and critically confronting discourses on “human extinction.” Highlighting the deep violence that underpins ideas of “extinction,” “conservation,” and “biodiversity,” Revenant Ecologies fuses political ecology, global ethics, and violence studies to offer concrete, practical alternatives. It also foregrounds the ways that multi-life-form worlds are actively defying the forms of violence that drive extinction—and that shape global efforts to manage it. Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.Trade Review "Revenant Ecologies tackles the huge, widely resonating topic of extinction and blows it wide open with rigorous structural analysis from a broad base of humanities and social science traditions, engaging with Indigenous, feminist, and decolonial scholarship. Audra Mitchell challenges us to rethink how we use the concept of extinction and what ethical and justice issues we may have been missing all along."—Kyle Whyte, University of Michigan

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Book SynopsisWInner of the Best First Book from the Native American and Indigenous Studies Association Winner of the Labriola Center American Indian National Book Award Winner of the Ann Saddlemyer Award from the Canadian Association for Theatre ResearchReimagining how we understand and write about the Indigenous listening experience​Hungry Listening is the first book to consider listening from both Indigenous and settler colonial perspectives. A critical response to what has been called the “whiteness of sound studies,” Dylan Robinson evaluates how decolonial practices of listening emerge from increasing awareness of our listening positionality. This, he argues, involves identifying habits of settler colonial perception and contending with settler colonialism’s “tin ear” that renders silent the epistemic foundations of Indigenous song as history, law, and medicine. With case studies on Indigenous participation in classical music, musicals, and popular music, Hungry Listening examines structures of inclusion that reinforce Western musical values. Alongside this inquiry on the unmarked terms of inclusion in performing arts organizations and compositional practice, Hungry Listening offers examples of “doing sovereignty” in Indigenous performance art, museum exhibition, and gatherings that support an Indigenous listening resurgence.Throughout the book, Robinson shows how decolonial and resurgent forms of listening might be affirmed by writing otherwise about musical experience. Through event scores, dialogic improvisation, and forms of poetic response and refusal, he demands a reorientation toward the act of reading as a way of listening. Indigenous relationships to the life of song are here sustained in writing that finds resonance in the intersubjective experience between listener, sound, and space. Trade Review"In this brilliant and wide-ranging work, Dylan Robinson refuses to write about anything. Instead he demonstrates what it means at the practical, ethical, and political levels to write relationally with other living beings, including music, sound, belongings, languages, lands, ancestors, and readers. In method and content, Hungry Listening is a challenge to settler colonial sensory and political orders as well as a powerful affirmation of Indigenous thought, practice, and art."—Beth Piatote, author of The Beadworkers and Domestic Subjects"Hungry Listening is a necessary and creative confrontation of the consequences of settler colonialism for Indigenous music and sound territories. Offering a robust critique of inclusionary performance as settler mis-audation, Dylan Robinson forwards a transformative politics of listening, a practice of guest listening that refuses capture and certainty. At once playful and intensely serious, Hungry Listening experiments with affective event scores and forms of direct address to allow readers to imagine approaches to visiting with Indigenous sound and performance."—Eve Tuck, University of Toronto"Dylan Robinson employs a xwélméxw (Stó:lō) reading, listening, and thinking practice to enact a decolonial critique of the ‘sonic encounters’ between Indigenous vocal traditions and Western classical and popular music. Hungry Listening, by one of the field’s most generous, perceptive, visionary, and generative scholars, will be a game changer in the areas of Indigenous, sound, and performance studies."—Michelle Raheja, author of Reservation Reelism: Redfacing, Visual Sovereignty, and Representations of Native Americans in Film"As a form of address, Hungry Listening is profoundly conscious of its multiple audiences, and enacts ethics of appropriate relationship, modeling to readers how musical scholarship can approach Indigenous creators, performers and musics in ways that respect Indigenous sovereignty and value Indigenous creations on their own terms."—Amodern"Robinson manages to pose compelling arguments as to how much first needs to be unsettled whilst establishing the new ground needed for Indigenous sound studies to flourish."—Feminist Review "An exemplary text which forges space for Indigenous epistemological and ontological existence through decolonial critique in the realm of sound studies."—Canadian Association of Music Libraries "Hungry Listening is a powerful piece of listening through reading that not only critiques settler listening but also candidly address the ways in which settler colonialism has impacted Indigenous sonic spaces."—MUSICulturesTable of ContentsContentsIntroductionWriting Indigenous Space1. Hungry ListeningEvent Score for Guest Listening I2.Writing about Musical Intersubjectivityxwélalà:m, Raven Chacon’s Report3. Contemporary Encounters Between Indigenous and Early Music Event Score for those who hold our songs4. Ethnographic Redress, Compositional ResponsibilityEvent Score for Responsibility: “qimmit katajjaq / sqwélqwel tl’ sqwmá:y”5. Feeling ReconciliationEvent Score to ActAcknowledgmentsConclusionNotesBibliographyIndex

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Book SynopsisBringing to the fore the voices of Maya authors and what their poetry tells us about resistance, sovereignty, trauma, and regeneration In 1954, Guatemala suffered a coup d’etat, resulting in a decades-long civil war. During this period, Indigenous Mayans were subject to displacement, disappearance, and extrajudicial killing. Within the context of the armed conflict and the postwar period in Guatemala, K’iche’ Maya scholar Emil’ Keme identifies three historical phases of Indigenous Maya literary insurgency in which Maya authors use poetry to dignify their distinct cultural, political, gender, sexual, and linguistic identities.Le Maya Q’atzij / Our Maya Word employs Indigenous and decolonial theoretical frameworks to critically analyze poetic works written by ten contemporary Maya writers from five different Maya nations in Iximulew/Guatemala. Similar to other Maya authors throughout colonial history, these authors and their poetry criticize, in their own creative ways, the continuing colonial assaults to their existence by the nation-state. Throughout, Keme displays the decolonial potentialities and shortcomings proposed by each Maya writer, establishing a new and productive way of understanding Maya living realities and their emancipatory challenges in Iximulew/Guatemala.This innovative work shows how Indigenous Maya poetics carries out various processes of decolonization and, especially, how Maya literature offers diverse and heterogeneous perspectives about what it means to be Maya in the contemporary world.Trade Review "This book offers brilliantly conceptualized and well-grounded readings on the work of Maya poets in times of colonial, patriarchal, and racial violence in Guatemala. Emil’ Keme's critical journey is permeated by a powerful sense of anti-colonial resistance and an imaginary of Indigenous liberation that is both poetic and political."—Luis E. Cárcamo-Huechante, founding member of the Comunidad de Historia Mapuche "With Le Maya Q’atzij/Our Maya Word, Emil’ Keme has given us a brilliant analysis of how Maya literary production constitutes resistance to the ongoing imposition of settler capitalist colonization in Iximulew/Guatemala. From the perspective of a Maya scholar, Keme offers a sophisticated and insightful read of works by K’iche’, Kaqchikel, Q’eq’chi’, Q’anjob’al, and Pop’ti poets in their political context, guided throughout by a clear and decisive love of le Maya tzij, or the Maya word. This book makes a valuable contribution not only to Maya studies and literary studies, but also to Native and Indigenous studies hemispherically and globally."—Shannon Speed (Chickasaw), University of California, Los Angeles "Le Maya Q’atzij / Our Maya Word is an energetic attempt to recover and promote Mayan identity, culture, and language from over five hundred years of encroachment. The author critically analyzes poetry that delves into the challenges of the Mayan people in the land claimed as Mayan: Iximulew "—Studies in 20th & 21st Century Literature "It is clear both from the studied works and from Keme's analysis that contemporary Mayan literature has a complexity that seems not only to evolve but is constantly differentiating and diversifying itself."—The Canadian Journal of Native Studies Table of ContentsContentsIntroduction: Iximulew’s/Guatemala’s Indigenous Poetry since 19601. Kaqchikel Maya Identity: Francisco Morales Santos and Luis de Lión2. Strategic Essentialism against State Terrorism: Humberto Ak’abal, Victor Montejo, and Gaspar Pedro González3. Xib’alba and Globalism: Rosa Chávez, Pablo García, and Sabino Esteban Francisco4. Maya Feminism and Queer Poetics: Maya Cu and Manuel TzocConclusion: The Maya Word Will Never DieAcknowledgmentsNotesBibliographyIndex

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Book SynopsisMore than two dozen stories of Indigenous resistance to the privatization and allotment of Indigenous lands Land privatization has been a longstanding and ongoing settler colonial process separating Indigenous peoples from their traditional homelands, with devastating consequences. Allotment Stories delves into this conflict, creating a complex conversation out of narratives of Indigenous communities resisting allotment and other dispossessive land schemes.From the use of homesteading by nineteenth-century Anishinaabe women to maintain their independence to the role that roads have played in expropriating Guam’s Indigenous heritage to the links between land loss and genocide in California, Allotment Stories collects more than two dozen chronicles of white imperialism and Indigenous resistance. Ranging from the historical to the contemporary and grappling with Indigenous land struggles around the globe, these narratives showcase both scholarly and creative forms of expression, constructing a multifaceted book of diverse disciplinary perspectives. Allotment Stories highlights how Indigenous peoples have consistently used creativity to sustain collective ties, kinship relations, and cultural commitments in the face of privatization. At once informing readers while provoking them toward further research into Indigenous resilience, this collection pieces back together some of what the forces of allotment have tried to tear apart.Contributors: Jennifer Adese, U of Toronto Mississauga; Megan Baker, U of California, Los Angeles; William Bauer Jr., U of Nevada, Las Vegas; Christine Taitano DeLisle, U of Minnesota–Twin Cities; Vicente M. Diaz, U of Minnesota–Twin Cities; Sarah Biscarra Dilley, U of California, Davis; Marilyn Dumont, U of Alberta; Munir Fakher Eldin, Birzeit U, Palestine; Nick Estes, U of New Mexico; Pauliina Feodoroff; Susan E. Gray, Arizona State U; J. Kēhaulani Kauanui, Wesleyan U; Rauna Kuokkanen, U of Lapland and U of Toronto; Sheryl R. Lightfoot, U of British Columbia; Kelly McDonough, U of Texas at Austin; Ruby Hansen Murray; Tero Mustonen, U of Eastern Finland; Darren O’Toole, U of Ottawa; Shiri Pasternak, Ryerson U; Dione Payne, Te Whare Wānaka o Aoraki–Lincoln U; Joseph M. Pierce, Stony Brook U; Khal Schneider, California State U, Sacramento; Argelia Segovia Liga, Colegio de Michoacán; Leanne Betasamosake Simpson; Jameson R. Sweet, Rutgers U; Michael P. Taylor, Brigham Young U; Candessa Tehee, Northeastern State U; Benjamin Hugh Velaise, Google American Indian Network. Trade Review "At times devastating and at others deeply hopeful, every essay in the collection carries a weight atypical in scholarly anthologies; readers are made to feel a sense of responsibility and gratitude for the often-personal narratives."—TransmotionTable of ContentsContentsIntroduction: What’s Done to the People Is Done to the LandDaniel Heath Justice and Jean M. O’Brien$85 an AcreLeanne Betasamosake SimpsonPart I. Family Narrations of Privatizationtʸiptukɨłhɨ wa tʸiptutʸɨˀnɨ, where are you from and where are you going?: patterns, parcels, and place nitspu tiłhinSarah Biscarra DilleyNarrated Nationhood and Imagined Belonging: Fanciful Family Stories and Kinship Legacies of AllotmentDaniel Heath JusticeMaking Mahnomen Home: The Dawes Act and Ojibwe Mobility in Grandma’s StoriesJean M. O’BrienThe World of Paper, Restoring Relations, and the Lower Brule Sioux TribeNick Estes“What should we do?”: Returning Fractionated Allotments Back to the Tribes, One Family’s StorySheryl LightfootAllotment Speculations: The Emergence of Land MemoryJoseph M. PierceInterlude: KinscapeMarilyn DumontPart II. Racial and Gender TaxonomiesBlut und Boden: “Mixed-Bloods” and Métis in U.S. Allotment and Canadian Enfranchisement PoliciesDarren O’TooleExtinguishing the Dead: Colonial Anxieties and Metis Scrip at the Fringe of FocusJennifer AdeseMakhoìčhe Khiìpi: A Dakota Family Story of Race, Land, and Dispossession before the Dawes ActJameson R. SweetAnishnaabe Women and the Struggle for Indigenous Land Rights in Northern Michigan, 1836–1887Susan E. GrayᎪᎩ ᎤᏗᏞᎩ ᏗᏛᎪᏗ ᎾᏂᏪᏍᎬ ᎶᎶ: You can hear locusts in the heat of the summerCandessa TeheeInterlude: AmikodeLeanne Betasamosake SimpsonPart III. Privatization as State ViolenceItinerant Indigeneities: Navigating Guåhan’s Treacherous Roads Through CHamoru Feminist PathwaysChristine Taitano DeLisle and Vicente M. DiazSettler Colonial Purchase: Privatizing Hawaiian LandJ. Kēhaulani KauanuiThe Enduring Confiscation of Indigenous Allotments in the National Interest—Pōkaewhenua 1961–1969Dione Payne“Why does a hat need so much land?”Shiri PasternakStories of American Indian Freedom: The Privatization of American Indian Resources from Allotment to the PresentWilliam BauerThe Incorporation of Life and Land: The Alaska Native Claims Settlement ActBenjamin Hugh VelaiseInterlude: Long Live Deatnu and the Grand AllotmentRauna KuokkanenPart IV. Resistance and ResurgenceIndigenous and Traditional Rewilding in Finland and Sápmi: Enacting the Rights and Governance of North Karelian ICCAs and Skolt SámiTero Mustonen and Pauliina FeodoroffSettler Colonial Mexico and Indigenous Primordial TitlesKelly S. McDonough“Our Divine Right to Land”: The Struggle against Privatization of Nahua Communal LandsArgelia Segovia LigaAfter Property: The Sakhina Struggle in Late Ottoman and British-ruled Palestine, 1876–1948Munir Fakher EldinHow to Get a Home, How to Work, and How to LiveKhal SchneiderPetitioning Allotment: Collectivist Stories of Indigenous SolidarityMichael TaylorI do what I do for the language: Land and Choctaw Language and Cultural RevitalizationMegan BakerTse Wah Zha ZhiRuby Hansen MurrayAfterword: Indigenous Foresight Under Duress and the Modern Applicability of Allotment AgreementsStacy L. LeedsGlossaryContributorsIndex

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Book SynopsisUnderstanding the processes and policies of urbanization and suburbanization in American Indian communities Nearly seven out of ten American Indians live in urban areas, yet studies of urban Indian experiences remain scant. Studies of suburban Natives are even more rare. Today’s suburban Natives, the fastest-growing American Indian demographic, highlight the tensions within federal policies working in tandem to move and house differing groups of people in very different residential locations. In American Indians and the American Dream, Kasey R. Keeler examines the long history of urbanization and suburbanization of Indian communities in Minnesota.At the intersection of federal Indian policy and federal housing policy, American Indians and the American Dream analyzes the dispossession of Indian land, property rights, and patterns of home ownership through programs and policies that sought to move communities away from their traditional homelands to reservations and, later, to urban and suburban areas. Keeler begins this analysis with the Homestead Act of 1862, then shifts to the Indian Reorganization Act in the early twentieth century, the creation of Little Earth in Minneapolis, and Indian homeownership during the housing bubble of the early 2000s.American Indians and the American Dream investigates the ways American Indians accessed homeownership, working with and against federal policy, underscoring American Indian peoples’ unequal and exclusionary access to the way of life known as the American dream. Cover alt text: Vintage photo of Native person bathing smiling child in the sink of a midcentury kitchen. Title in yellow.Trade Review "Crucial new insights on Indigenous place, space, and suburbanity fly off the pages of this thoroughly researched and beautifully written exploration of the intersection between federal Indian and housing policies and the lived experiences and purposeful actions of Native people in Minnesota from the mid-nineteenth to the early twenty-first centuries. American Indians and the American Dream inaugurates a paradigm shift in the field by transcending the urban/reservation binary."—Daniel M. Cobb, editor of Say We Are Nations: Documents of Politics and Protest in Indigenous America since 1887 "Kasey R. Keeler's book explores the history of Indigenous urbanization in the United States from the exciting and largely under-researched lens of suburbanization. Focusing on the state of Minnesota, she convincingly demonstrates American Indian individuals and families’ agency as they made pragmatic use of—but also, when necessary, grappled with the structural racism of—existing federal, state, and even municipal policy to make an Indigenously suburban place of their own."—Chris Andersen, coeditor of Indigenous in the City: Contemporary Identities and Cultural Innovation "I highly recommend this book for its poignant and honest approach."—UP Book Review

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Book SynopsisUnderstanding the processes and policies of urbanization and suburbanization in American Indian communities Nearly seven out of ten American Indians live in urban areas, yet studies of urban Indian experiences remain scant. Studies of suburban Natives are even more rare. Today’s suburban Natives, the fastest-growing American Indian demographic, highlight the tensions within federal policies working in tandem to move and house differing groups of people in very different residential locations. In American Indians and the American Dream, Kasey R. Keeler examines the long history of urbanization and suburbanization of Indian communities in Minnesota.At the intersection of federal Indian policy and federal housing policy, American Indians and the American Dream analyzes the dispossession of Indian land, property rights, and patterns of home ownership through programs and policies that sought to move communities away from their traditional homelands to reservations and, later, to urban and suburban areas. Keeler begins this analysis with the Homestead Act of 1862, then shifts to the Indian Reorganization Act in the early twentieth century, the creation of Little Earth in Minneapolis, and Indian homeownership during the housing bubble of the early 2000s.American Indians and the American Dream investigates the ways American Indians accessed homeownership, working with and against federal policy, underscoring American Indian peoples’ unequal and exclusionary access to the way of life known as the American dream. Cover alt text: Vintage photo of Native person bathing smiling child in the sink of a midcentury kitchen. Title in yellow.Trade Review "Crucial new insights on Indigenous place, space, and suburbanity fly off the pages of this thoroughly researched and beautifully written exploration of the intersection between federal Indian and housing policies and the lived experiences and purposeful actions of Native people in Minnesota from the mid-nineteenth to the early twenty-first centuries. American Indians and the American Dream inaugurates a paradigm shift in the field by transcending the urban/reservation binary."—Daniel M. Cobb, editor of Say We Are Nations: Documents of Politics and Protest in Indigenous America since 1887 "Kasey R. Keeler's book explores the history of Indigenous urbanization in the United States from the exciting and largely under-researched lens of suburbanization. Focusing on the state of Minnesota, she convincingly demonstrates American Indian individuals and families’ agency as they made pragmatic use of—but also, when necessary, grappled with the structural racism of—existing federal, state, and even municipal policy to make an Indigenously suburban place of their own."—Chris Andersen, coeditor of Indigenous in the City: Contemporary Identities and Cultural Innovation "I highly recommend this book for its poignant and honest approach."—UP Book Review

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Book SynopsisRecovering Kānaka Maoli (Native Hawaiian) relationality and belonging in the land, memory, and body of Native Hawai’i Hawaiian “aloha ʻāina” is often described in Western political terms—nationalism, nationhood, even patriotism. In Remembering Our Intimacies, Jamaica Heolimeleikalani Osorio centers in on the personal and embodied articulations of aloha ʻāina to detangle it from the effects of colonialism and occupation. Working at the intersections of Hawaiian knowledge, Indigenous queer theory, and Indigenous feminisms, Remembering Our Intimacies seeks to recuperate Native Hawaiian concepts and ethics around relationality, desire, and belonging firmly grounded in the land, memory, and the body of Native Hawai’i.Remembering Our Intimacies argues for the methodology of (re)membering Indigenous forms of intimacies. It does so through the metaphor of a ‘upena—a net of intimacies that incorporates the variety of relationships that exist for Kānaka Maoli. It uses a close reading of the moʻolelo (history and literature) of Hiʻiakaikapoliopele to provide context and interpretation of Hawaiian intimacy and desire by describing its significance in Kānaka Maoli epistemology and why this matters profoundly for Hawaiian (and other Indigenous) futures. Offering a new approach to understanding one of Native Hawaiians’ most significant values, Remembering Our Intimacies reveals the relationships between the policing of Indigenous bodies, intimacies, and desires; the disembodiment of Indigenous modes of governance; and the ongoing and ensuing displacement of Indigenous people.Trade Review"A stunning example of archival research, translation, and analysis, Remembering Our Intimacies is both a kāhea (call) and makana (gift), a truly inspiring offering to the lāhui and the fields of Native and queer studies. Jamaica Heolimeleikalani Osorio innovatively theorizes how Kānaka Maoli create multiple forms of pilina (intimacy) to manifest the responsibilities and possibilities of collective pleasure. This is the moʻolelo that queer Natives have been waiting for."—Lani Teves, author of Defiant Indigeneity: The Politics of Hawaiian Performance"With a fearless commitment to land-based love, Jamaica Heolimeleikalani Osorio channels the multi-bodied powers of Hi‘iaka to cast an intimate yet expansive net of relating that reaches across geography, generation, and gender. Poetically moving from Hawaiian language archives to Mauna movement memories, this book creates both a refuge for queer Indigenous politics and a map for remembered futures."—Ty P. Kāwika Tengan, University of Hawai‘i at Mānoa "[Remembering Our Intimacies] generously offers all readers a way to imagine intimate relations beyond the settler-capitalist constructions of land as property and love as patriarchy."—Lateral: Journal of the Cultural Studies AssociationTable of ContentsContentsHe Mele no Hōpoe: A Dedication Nā Mahalo: Acknowledgements A Note about Language Use ʻŌlelo Mua: Beginning to (Re)memberGathering Our Stories of Belonging 1. Aloha ʻĀina as Pilina2. Hawaiian Archives, Abundance, and the Problem of TranslationFor My Favorite Spring, “Puna” Leonetta Keolaokalani Kinard 3. The Ea of Pilina and ʻĀina4. ʻĀina, the Aho of our ʻUpenaKaimana: A Dismembered Home5. Kamaʻāina: Pilina and Kuleana in a Time of Removal Rise Like a Mighty Wave6. Kū Kiaʻi Mauna: How Kapu and Kānāwai Are Overthrowing Law and Order in HawaiʻiʻŌlelo Pīnaʻi: Epilogue NotesBibliographyIndex

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Book SynopsisA guide to the colonization and projected decolonization of Native America In The Colonial Construction of Indian Country, Eric Cheyfitz mounts a pointed historical critique of colonialism through careful analysis of the dialogue between Native American literatures and federal Indian law. Illuminating how these literatures indict colonial practices, he argues that if the decolonization of Indian country is to be achieved, then federal Indian law must be erased and replaced with independent Native nation sovereignty—because subordinate sovereignty, the historical regime, is not sovereignty at all. At the same time, Cheyfitz argues that Native American literatures, specifically U.S. American Indian literatures, cannot be fully understood without a knowledge of U.S. federal Indian law: the matrix of colonialism in Indian country. Providing intersectional readings of a range of literary and legal texts, he discusses such authors as Louise Erdrich, Frances Washburn, James Welch, Gerald Vizenor, Simon Ortiz, Leslie Marmon Silko, and others. Cheyfitz examines how American Indian writers and critics have responded to the impact of law on Native life, revealing recent trends in Native writing that build upon traditional modes of storytelling and governance. With a focus on resistance to the colonial regime of federal Indian law, The Colonial Construction of Indian Country not only elucidates how Native American literatures and federal Indian law are each crucial to any reading of the other, it also guides readers to better understand the genocidal assault on Indigenous peoples by Western structures of literacy, politics, and law. Trade Review "Through masterful readings, Eric Cheyfitz convincingly argues for federal Indian law as a necessary framework for understanding the political force of Native American literatures and their engagement with urgent issues such as land rights, sovereignty, and identity. A deeply informed and illuminating study, The Colonial Construction of Indian Country is essential reading for anyone interested in the connection between literature and society and the nature of Native resistance to ongoing settler colonialism."—Shari Huhndorf, University of California, Berkeley "Eric Cheyfitz masterfully exposes the imbrication of Native American literatures and federal Indian law. In the process, he reveals not only the jurispathic nature of federal law in the lives of Native peoples but also the truth in the jurisgenerative power of storytelling. In the words of the Acoma Pueblo poet, Simon J. Ortiz, ‘because of the insistence to keep telling and creating stories, Indian life continues, and it is this resistance against loss that has made life possible.’"—N. Bruce Duthu, author of Shadow Nations: Tribal Sovereignty and the Limits of Legal Pluralism

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Book SynopsisA guide to the colonization and projected decolonization of Native America In The Colonial Construction of Indian Country, Eric Cheyfitz mounts a pointed historical critique of colonialism through careful analysis of the dialogue between Native American literatures and federal Indian law. Illuminating how these literatures indict colonial practices, he argues that if the decolonization of Indian country is to be achieved, then federal Indian law must be erased and replaced with independent Native nation sovereignty—because subordinate sovereignty, the historical regime, is not sovereignty at all. At the same time, Cheyfitz argues that Native American literatures, specifically U.S. American Indian literatures, cannot be fully understood without a knowledge of U.S. federal Indian law: the matrix of colonialism in Indian country. Providing intersectional readings of a range of literary and legal texts, he discusses such authors as Louise Erdrich, Frances Washburn, James Welch, Gerald Vizenor, Simon Ortiz, Leslie Marmon Silko, and others. Cheyfitz examines how American Indian writers and critics have responded to the impact of law on Native life, revealing recent trends in Native writing that build upon traditional modes of storytelling and governance. With a focus on resistance to the colonial regime of federal Indian law, The Colonial Construction of Indian Country not only elucidates how Native American literatures and federal Indian law are each crucial to any reading of the other, it also guides readers to better understand the genocidal assault on Indigenous peoples by Western structures of literacy, politics, and law. Trade Review "Through masterful readings, Eric Cheyfitz convincingly argues for federal Indian law as a necessary framework for understanding the political force of Native American literatures and their engagement with urgent issues such as land rights, sovereignty, and identity. A deeply informed and illuminating study, The Colonial Construction of Indian Country is essential reading for anyone interested in the connection between literature and society and the nature of Native resistance to ongoing settler colonialism."—Shari Huhndorf, University of California, Berkeley "Eric Cheyfitz masterfully exposes the imbrication of Native American literatures and federal Indian law. In the process, he reveals not only the jurispathic nature of federal law in the lives of Native peoples but also the truth in the jurisgenerative power of storytelling. In the words of the Acoma Pueblo poet, Simon J. Ortiz, ‘because of the insistence to keep telling and creating stories, Indian life continues, and it is this resistance against loss that has made life possible.’"—N. Bruce Duthu, author of Shadow Nations: Tribal Sovereignty and the Limits of Legal Pluralism

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Book SynopsisA necessary reexamination of Indigenous mounds, demonstrating their sustained vitality and vibrant futurity by centering Native voices Typically represented as unsolved mysteries or ruins of a tragic past, Indigenous mounds have long been marginalized and misunderstood. In Earthworks Rising, Chadwick Allen issues a compelling corrective, revealing a countertradition based in Indigenous worldviews. Alongside twentieth- and twenty-first-century Native writers, artists, and intellectuals, Allen rebuts colonial discourses and examines the multiple ways these remarkable structures continue to hold ancient knowledge and make new meaning—in the present and for the future.Earthworks Rising is organized to align with key functional categories for mounds (effigies, platforms, and burials) and with key concepts within mound-building cultures. From the Great Serpent Mound in Ohio to the mound metropolis Cahokia in Illinois to the generative Mother Mound in Mississippi, Allen takes readers deep into some of the most renowned earthworks. He draws on the insights of poets Allison Hedge Coke and Margaret Noodin, novelists LeAnne Howe and Phillip Carroll Morgan, and artists Monique Mojica and Alyssa Hinton, weaving in a personal history of earthwork encounters and productive conversation with fellow researchers.Spanning literature, art, performance, and built environments, Earthworks Rising engages Indigenous mounds as forms of “land-writing” and as conduits for connections across worlds and generations. Clear and compelling, it provokes greater understanding of the remarkable accomplishments of North America’s diverse mound-building cultures over thousands of years and brings attention to new earthworks rising in the twenty-first century.Trade Review"This eye-opening book calls attention to earthworks as monumental achievements in science and aesthetics, bringing together geometrical and mathematical knowledge, precise observations of natural phenomena, and feats of engineering. Bearing witness to thousands of years of Indigenous habitation, they continue to flourish in contemporary performances across multiple genres and media. A must-read for all students of American culture."—Wai Chee Dimock, author of Weak Planet: Literature and Assisted Survival"While addressing the long line of academic and popular texts that ‘capture Indigenous earthworks within the white imaginary,’ Chadwick Allen moves far beyond them to center Indigenous writers, artists, and a process of collaborative experiential and embodied engagement to show how earthworks are dynamic participants in creating Indigenous futures."—Lisa Brooks, author of Our Beloved Kin: A New History of King Philip’s War "With engaging prose and calculated analysis, Allen’s Earthworks Rising entices readers away from the static diorama and the black-and-white textbook page and toward earthworks themselves."—H-Net ReviewsTable of ContentsAcknowledgmentsIntroduction: Indigenous Earthworks within (and without) the White ImaginaryPart I. Effigies // Crossing Worlds // Above and Below1. Serpent Sublime, Serpent Subliminal2. River RevereCoda 1: Earth Bodies in MotionPart II. Platforms // Networking Systems // Cardinal Directions3. Walking the MoundsCoda 2: Walking the Mounds at AztalanPart III. Burials // Gathering Generations // Center4. Wombed Hollows, Sacred Trees5. Secured VaultsCoda 3: Trans-worlds PerformanceConclusion: Earthworks UprisingNotesBibliographyIndex

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Book SynopsisA necessary reexamination of Indigenous mounds, demonstrating their sustained vitality and vibrant futurity by centering Native voices Typically represented as unsolved mysteries or ruins of a tragic past, Indigenous mounds have long been marginalized and misunderstood. In Earthworks Rising, Chadwick Allen issues a compelling corrective, revealing a countertradition based in Indigenous worldviews. Alongside twentieth- and twenty-first-century Native writers, artists, and intellectuals, Allen rebuts colonial discourses and examines the multiple ways these remarkable structures continue to hold ancient knowledge and make new meaning—in the present and for the future.Earthworks Rising is organized to align with key functional categories for mounds (effigies, platforms, and burials) and with key concepts within mound-building cultures. From the Great Serpent Mound in Ohio to the mound metropolis Cahokia in Illinois to the generative Mother Mound in Mississippi, Allen takes readers deep into some of the most renowned earthworks. He draws on the insights of poets Allison Hedge Coke and Margaret Noodin, novelists LeAnne Howe and Phillip Carroll Morgan, and artists Monique Mojica and Alyssa Hinton, weaving in a personal history of earthwork encounters and productive conversation with fellow researchers.Spanning literature, art, performance, and built environments, Earthworks Rising engages Indigenous mounds as forms of “land-writing” and as conduits for connections across worlds and generations. Clear and compelling, it provokes greater understanding of the remarkable accomplishments of North America’s diverse mound-building cultures over thousands of years and brings attention to new earthworks rising in the twenty-first century.Trade Review"This eye-opening book calls attention to earthworks as monumental achievements in science and aesthetics, bringing together geometrical and mathematical knowledge, precise observations of natural phenomena, and feats of engineering. Bearing witness to thousands of years of Indigenous habitation, they continue to flourish in contemporary performances across multiple genres and media. A must-read for all students of American culture."—Wai Chee Dimock, author of Weak Planet: Literature and Assisted Survival"While addressing the long line of academic and popular texts that ‘capture Indigenous earthworks within the white imaginary,’ Chadwick Allen moves far beyond them to center Indigenous writers, artists, and a process of collaborative experiential and embodied engagement to show how earthworks are dynamic participants in creating Indigenous futures."—Lisa Brooks, author of Our Beloved Kin: A New History of King Philip’s War "With engaging prose and calculated analysis, Allen’s Earthworks Rising entices readers away from the static diorama and the black-and-white textbook page and toward earthworks themselves."—H-Net ReviewsTable of ContentsAcknowledgmentsIntroduction: Indigenous Earthworks within (and without) the White ImaginaryPart I. Effigies // Crossing Worlds // Above and Below1. Serpent Sublime, Serpent Subliminal2. River RevereCoda 1: Earth Bodies in MotionPart II. Platforms // Networking Systems // Cardinal Directions3. Walking the MoundsCoda 2: Walking the Mounds at AztalanPart III. Burials // Gathering Generations // Center4. Wombed Hollows, Sacred Trees5. Secured VaultsCoda 3: Trans-worlds PerformanceConclusion: Earthworks UprisingNotesBibliographyIndex

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Book SynopsisThe vital role of dance in enacting the embodied experiences of Indigenous peoples In Dancing Indigenous Worlds, Jacqueline Shea Murphy brings contemporary Indigenous dance makers into the spotlight, putting critical dance studies and Indigenous studies in conversation with one another in fresh and exciting new ways. Exploring Indigenous dance from North America and Aotearoa (New Zealand), she shows how dance artists communicate Indigenous ways of being, as well as generate a political force, engaging Indigenous understandings and histories.Following specific dance works over time, Shea Murphy interweaves analysis, personal narrative, and written contributions from multiple dance artists, demonstrating dance’s crucial work in asserting and enacting Indigenous worldviews and the embodied experiences of Indigenous peoples. As Shea Murphy asserts, these dance-making practices can not only disrupt the structures that European colonization feeds upon and strives to maintain, but they can also recalibrate contemporary dance. Based on more than twenty years of relationship building and research, Shea Murphy’s work contributes to growing, and largely underreported, discourses on decolonizing dance studies, and the geopolitical, gendered, racial, and relational meanings that dance theorizes and negotiates. She also includes discussions about the ethics of writing about Indigenous knowledge and peoples as a non-Indigenous scholar, and models approaches for doing so within structures of ongoing reciprocal, respectful, responsible action.Trade Review "This remarkable text effectively establishes Indigenous dance studies as a vibrant time-based field of inquiry. Crafting theoretical models in direct relationship to repeated practices of witnessing and experiencing, Jacqueline Shea Murphy models a rich future for scholarship as a shared encounter among stakeholders to performance. Urgent, important, and written to endure as a document of continued creativity, Dancing Indigenous Worlds confirms the intellectual possibilities of translating gesture to text and of moving with care."—Thomas F. DeFrantz, Northwestern University "In Dancing Indigenous Worlds, Jacqueline Shea Murphy performs a deeply ethical, deliberate ‘witnessing’ of Indigenous dance making. In these stories of how to create radical relationality between bodies, land, history, food—and milk as more than food—the reader should be aware they are being readied; a space has been prepared, the invocations have been made, contemporary movements connected to dance genealogies, past brutalities cast in the surrounding shadows, the spotlight is on bright, and you must step into this world that has been danced for you. There is room for all, and everything, as Shea Murphy reminds us, begins with respect."—Michelle Erai, author of Girl of New Zealand: Colonial Optics in Aotearoa "The widely varied contexts within Dancing Indigenous Worlds demonstrates the vibrancy of current respectful, relational, Indigenous choreographies."—CHOICE Table of Contents Contents Preface Introduction Choreographing Relationality Modern Dance and Modernity/Coloniality Recalibrations of Relational Exchange Intersections of Dance and Indigenous Studies 1. Choreographies of Relational Reciprocity Hosts and Visitors, Aotearoa, 2009 Manaakitanga in Motion: Choreographies of Possibility With Jack Gray Hashtag Mitimiti: Where You At? With Andrew Kendall, Diane Kendall, Tia Reihana-Morunga, Deborah Cocker, and Toni Temehana Pasion 2. Choreographies of Perspectival Relationality Dance Workshop, Riverside, California, 2006 With Rulan Tangen Expansive Relationality/Of Bodies of Elements Identities and Accountabilities, 2019 With Rulan Tangen Interlude/Pause/Provocation Refuge Rock: Otonabee River, Ontario, 2010 With Tanya Lukin Linklater 3. Choreographies of Relational Abun-dance Precarity Abundance and Abun-dance Emily Johnson/Catalyst 4. Choreographies of Relational Refusings Yirramboi, Melbourne, Australia, 2017 Facing Refusal Teachings in Listening Indigenous Dance Works/Indigenous Dance Making/Indigenous Writing With Rosy Simas, Mishuana Goeman, Tanya Lukin Linklater, and Daystar/Rosalie Jones Conclusion: Closing and Opening Acknowledgments Notes Bibliography Index

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Book SynopsisThe vital role of dance in enacting the embodied experiences of Indigenous peoples In Dancing Indigenous Worlds, Jacqueline Shea Murphy brings contemporary Indigenous dance makers into the spotlight, putting critical dance studies and Indigenous studies in conversation with one another in fresh and exciting new ways. Exploring Indigenous dance from North America and Aotearoa (New Zealand), she shows how dance artists communicate Indigenous ways of being, as well as generate a political force, engaging Indigenous understandings and histories.Following specific dance works over time, Shea Murphy interweaves analysis, personal narrative, and written contributions from multiple dance artists, demonstrating dance’s crucial work in asserting and enacting Indigenous worldviews and the embodied experiences of Indigenous peoples. As Shea Murphy asserts, these dance-making practices can not only disrupt the structures that European colonization feeds upon and strives to maintain, but they can also recalibrate contemporary dance. Based on more than twenty years of relationship building and research, Shea Murphy’s work contributes to growing, and largely underreported, discourses on decolonizing dance studies, and the geopolitical, gendered, racial, and relational meanings that dance theorizes and negotiates. She also includes discussions about the ethics of writing about Indigenous knowledge and peoples as a non-Indigenous scholar, and models approaches for doing so within structures of ongoing reciprocal, respectful, responsible action.Trade Review "This remarkable text effectively establishes Indigenous dance studies as a vibrant time-based field of inquiry. Crafting theoretical models in direct relationship to repeated practices of witnessing and experiencing, Jacqueline Shea Murphy models a rich future for scholarship as a shared encounter among stakeholders to performance. Urgent, important, and written to endure as a document of continued creativity, Dancing Indigenous Worlds confirms the intellectual possibilities of translating gesture to text and of moving with care."—Thomas F. DeFrantz, Northwestern University "In Dancing Indigenous Worlds, Jacqueline Shea Murphy performs a deeply ethical, deliberate ‘witnessing’ of Indigenous dance making. In these stories of how to create radical relationality between bodies, land, history, food—and milk as more than food—the reader should be aware they are being readied; a space has been prepared, the invocations have been made, contemporary movements connected to dance genealogies, past brutalities cast in the surrounding shadows, the spotlight is on bright, and you must step into this world that has been danced for you. There is room for all, and everything, as Shea Murphy reminds us, begins with respect."—Michelle Erai, author of Girl of New Zealand: Colonial Optics in Aotearoa "The widely varied contexts within Dancing Indigenous Worlds demonstrates the vibrancy of current respectful, relational, Indigenous choreographies."—CHOICE Table of Contents Contents Preface Introduction Choreographing Relationality Modern Dance and Modernity/Coloniality Recalibrations of Relational Exchange Intersections of Dance and Indigenous Studies 1. Choreographies of Relational Reciprocity Hosts and Visitors, Aotearoa, 2009 Manaakitanga in Motion: Choreographies of Possibility With Jack Gray Hashtag Mitimiti: Where You At? With Andrew Kendall, Diane Kendall, Tia Reihana-Morunga, Deborah Cocker, and Toni Temehana Pasion 2. Choreographies of Perspectival Relationality Dance Workshop, Riverside, California, 2006 With Rulan Tangen Expansive Relationality/Of Bodies of Elements Identities and Accountabilities, 2019 With Rulan Tangen Interlude/Pause/Provocation Refuge Rock: Otonabee River, Ontario, 2010 With Tanya Lukin Linklater 3. Choreographies of Relational Abun-dance Precarity Abundance and Abun-dance Emily Johnson/Catalyst 4. Choreographies of Relational Refusings Yirramboi, Melbourne, Australia, 2017 Facing Refusal Teachings in Listening Indigenous Dance Works/Indigenous Dance Making/Indigenous Writing With Rosy Simas, Mishuana Goeman, Tanya Lukin Linklater, and Daystar/Rosalie Jones Conclusion: Closing and Opening Acknowledgments Notes Bibliography Index

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Book SynopsisAn extraordinary illustrated biography of a Métis man and Anishinaabe woman navigating great changes in their homeland along the U.S.–Canada border in the early twentieth century John Linklater, of Anishinaabeg, Cree, and Scottish ancestry, and his wife, Tchi-Ki-Wis, of the Lac La Croix First Nation, lived in the canoe and border country of Ontario and Minnesota from the 1870s until the 1930s. During that time, the couple experienced radical upheavals in the Quetico–Superior region, including the cutting of white and red pine forests, the creation of Indian reserves/reservations and conservation areas, and the rise of towns, tourism, and mining. With broad geographical sweep, historical significance, and biographical depth, Making the Carry tells their story, overlooked for far too long.John Linklater, a renowned game warden and skilled woodsman, was also the bearer of traditional ecological knowledge and Indigenous heritage, both of which he was deeply committed to teaching others. He was sought by professors, newspaper reporters, museum personnel, and conservationists—among them Sigurd Olson, who considered Linklater a mentor. Tchi-Ki-Wis, an extraordinary craftswoman, made a sweeping array of necessary yet beautiful objects, from sled dog harnesses to moose calls to birch bark canoes. She was an expert weaver of large Anishinaabeg cedar bark mats with complicated geometric designs, a virtually lost art.Making the Carry traces the routes by which the couple came to live on Basswood Lake on the international border. John’s Métis ancestors with deep Hudson’s Bay Company roots originally came from Orkney Islands, Scotland, by way of Hudson Bay and Red River, or what is now Winnipeg. His family lived in Manitoba, northwest Ontario, northern Minnesota, and, in the case ofJohn and Tchi-Ki-Wis, on Isle Royale. A journey through little-known Canadian history, the book provides an intimate portrait of Métis people.Complete with rarely seen photographs of activities from dog mushing to guiding to lumbering, as well as of many objects made by Tchi-Ki-Wis, such as canoes, moccasins, and cedar mats, Making the Carry is a window on a traditional way of life and a restoration of two fascinating Indigenous people to their rightful place in our collective past.Trade Review "Well researched and touching, at the heart of Timothy Cochrane’s story of the north—of the deep woods, the Indigenous people, the settlers, and the fur trade—is the marriage of Tchi-Ki-Wis and John Linklater, a true traditional Ojibwe nabem gaye wiw partnership. The accompanying photographs admit the reader further into the lives and times of the Linklaters and the history of Minnesota’s Arrowhead region."—Linda LeGarde Grover, author of Gichigami Hearts: Stories and Histories from Misaabekong "This deep dive into the story of Jack and Tchi-Ki-Wis Linklater, a Métis and Anishinaabe couple, brings our beloved border north woods to life like nothing I've ever read. This remarkable pair were a living bridge a century back as the canoe country transformed during the twentieth century. You'll see the Boundary Waters in a whole new light."—Paul Schurke, founder and director, Wintergreen Adventures "I heard stories about Jack Linklater while I was growing up in Ely, Minnesota. The man I heard about was the consummate guide, hunter, trapper, musher, and game warden: all things that, as a boy, I aspired to. But all I heard were stories. Now, here is Timothy Cochrane’s biography, adding to the legendary Linklater’s extraordinary career. Jack, as revealed, was a commercial fisherman at Isle Royale, worked at the sawmills in Winton, and contributed his knowledge of the area’s biodiversity to science. His Lac La Croix Ojibwe wife, Tchi-Ki-Wis emerges in Cochrane’s book as Jack’s industrious helpmate and an extraordinary artist. Making the Carry is a valued contribution to Minnesota’s Indigenous history."—Carl Gawboy, artist and author "Local author Tim Cochrane hits all of the right notes with this book, a love story about a couple who lived through many hardships and significant changes that occurred in Canada, Minnesota, and Michigan’s Isle Royale. "—Cook County News Herald "Cochrane's rich depiction of the north country and the material conditions of this couple's life is greatly enhanced by dozens of illuminating photographs."—The Star Tribune "A meticulously researched and carefully documented microhistory of Indigenous presence and influence on the Boundary Waters region and beyond."—World History Encyclopedia "This fascinating biography also includes rarely seen photographs, maps, and the Linklater family tree, giving the reader a deeper look at the lives and time of the Linklaters and their place in history. "—Northern Wilds "Cochrane's storytelling is rich in historical facts, photographs and maps. His writing is conversational, easy to follow."—Chronicle Journal "Besides being well written, the book is generously illustrated — with 65 black-and-white period-piece photos, 21 colour plates and four historical regional maps. "—Winnipeg Free Press "A gripping biography that details the amazing lives of John Linklater and his wife Tchi-Ki-Wis."—Anishinabek News

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Book SynopsisConfronting the rifts created by our common conceptual vocabulary for North American colonial studies How can we tell colonial histories in ways that invite intercultural conversation within humanistic fields that are themselves products of colonial domination? Beginning with a famous episode of failed communication from the narrative of the freed slave Olaudah Equiano, The Silence of the Miskito Prince explores this question by looking critically at five concepts frequently used to imagine solutions to the challenges of cross-cultural communication: understanding, cosmopolitanism, piety, reciprocity, and patience. Focusing on the first two centuries of North American colonization, Matt Cohen traces how these five concepts of cross-cultural relations emerged from, and continue to evolve within, colonial dynamics. Through a series of revealing archival explorations, he argues the need for a new vocabulary for the analysis of past interactions drawn from the intellectual and spiritual domains of the colonized, and for a historiographical practice oriented less toward the illusion of complete understanding and scholarly authority and more toward the beliefs and experiences of descendant communities. The Silence of the Miskito Prince argues for new ways of framing scholarly conversations that use past interactions as a site for thinking about intercultural relations today. By investigating the colonial histories of these terms that were assumed to promote inclusion, Cohen offers both a reflection on how we got here and a model of scholarly humility that holds us to our better or worse pasts.Trade Review"I remember the bold, proud, and highfalutin terms we used to toss about in early American studies, so proud of our own ‘discoveries’ and ‘understandings.’ Because that’s the model we inherited. Because we did not know any better. But now we do—thanks to Matt Cohen’s rigorous and powerful remodulation of our scholarly language. This book points us in the direction of better scholarship, by which I mean greater care, awe, patience, and accountability. A model work of literary criticism for our chastened and tender times."—Joanna Brooks, author of Why We Left: Untold Stories and Songs of America’s First Immigrants"The Silence of the Miskito Prince is almost alchemical in its ability to draw new insights from familiar texts. Matt Cohen’s work will be a model for literary scholars, and maybe even some historians, of the power of scholarship that considers the work that words can and cannot do."—Jonathan Beecher Field, Clemson University

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Book SynopsisConfronting the rifts created by our common conceptual vocabulary for North American colonial studies How can we tell colonial histories in ways that invite intercultural conversation within humanistic fields that are themselves products of colonial domination? Beginning with a famous episode of failed communication from the narrative of the freed slave Olaudah Equiano, The Silence of the Miskito Prince explores this question by looking critically at five concepts frequently used to imagine solutions to the challenges of cross-cultural communication: understanding, cosmopolitanism, piety, reciprocity, and patience. Focusing on the first two centuries of North American colonization, Matt Cohen traces how these five concepts of cross-cultural relations emerged from, and continue to evolve within, colonial dynamics. Through a series of revealing archival explorations, he argues the need for a new vocabulary for the analysis of past interactions drawn from the intellectual and spiritual domains of the colonized, and for a historiographical practice oriented less toward the illusion of complete understanding and scholarly authority and more toward the beliefs and experiences of descendant communities. The Silence of the Miskito Prince argues for new ways of framing scholarly conversations that use past interactions as a site for thinking about intercultural relations today. By investigating the colonial histories of these terms that were assumed to promote inclusion, Cohen offers both a reflection on how we got here and a model of scholarly humility that holds us to our better or worse pasts.Trade Review"I remember the bold, proud, and highfalutin terms we used to toss about in early American studies, so proud of our own ‘discoveries’ and ‘understandings.’ Because that’s the model we inherited. Because we did not know any better. But now we do—thanks to Matt Cohen’s rigorous and powerful remodulation of our scholarly language. This book points us in the direction of better scholarship, by which I mean greater care, awe, patience, and accountability. A model work of literary criticism for our chastened and tender times."—Joanna Brooks, author of Why We Left: Untold Stories and Songs of America’s First Immigrants"The Silence of the Miskito Prince is almost alchemical in its ability to draw new insights from familiar texts. Matt Cohen’s work will be a model for literary scholars, and maybe even some historians, of the power of scholarship that considers the work that words can and cannot do."—Jonathan Beecher Field, Clemson University

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Book SynopsisConsiders colonial school–prison systems in relation to the self-determination of Native communities, nations, and peoplesThe School–Prison Trust describes interrelated histories, ongoing ideologies, and contemporary expressions of what the authors call the “school–prison trust”: a conquest strategy encompassing the boarding school and juvenile prison models, and deployed in the long war against Native peoples. At its heart, the book is a constellation of stories of Indigenous self-determination in the face of this ongoing conquest.Following the stories of an incarcerated young man named Jakes, the authors consider features of school–prison relations for young Native people to ask urgent questions about Indigenous sovereignty, conquest, survivance, and refusal.

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Book SynopsisA collective memoir in poetry of an Ojibwe family and tribal community, from creation myth to this day, updated with new poems Reaching from the moment of creation to the cry of a newborn, The Sky Watched gives poetic voice to Ojibwe family life. In English and Ojibwe, those assembled here—voices of history, of memory and experience, of children and elders, Indian boarding school students, tribal storytellers, and the Manidoog, the unseen beings who surround our lives—come together to create a collective memoir in poetry as expansive and particular as the starry sky.This world unfolds in the manner of traditional Ojibwe storytelling, shaped by the seasons and the stages of life, marking the significance of the number four in the Ojibwe worldview. Summoning spiritual and natural lore, award-winning poet and scholar Linda LeGarde Grover follows the story of a family, a tribe, and a people through historical ruptures and through intimate troubles and joys—from the sundering of Ojibwe people from their land and culture to singular horrors like the massacre at Wounded Knee to personal trauma suffered at Indian boarding schools. Threaded throughout are the tribal traditions and knowledge that sustain a family and a people through hardship and turmoil, passed from generation to generation, coming together in the manifold power and beauty of the poet’s voice.Trade Review "The Sky Watched bears witness to Native experience. In Linda LeGarde Grover’s work, time runs backward through Ojibwe creation myths and explanation tales to find strength for the later years of boarding school and all the upheavals of the new world. Family plays a major role as does the roundness of moon, owl nest, gratitude, and the ‘grace of this merciful earth.’ There is heaven and hell in these heavenly poems."—Diane Glancy, author of Pushing the Bear "This book of poems is much more than a collection of poetry: it is documentation of our existence as Ojibwe people, of our historical struggles and our strong resilience. Linda LeGarde Grover creates beauty, using words to form pictures and evoke emotion about our past and give vision to our future as a people. This collection is a testament to the fact that when our elders say, 'we are each given a song,' Grover was given, and gives to us, many songs. Read each word as a gift."—Marcie Rendon, author of the Cash Blackbear Mystery series "Just as moonlight is a reflection of the sun, The Sky Watched is a reflection Anishinaabe being and becoming. Reading these poems is a journey through times of birth, growth, challenge, and wisdom. Linda LeGarde Grover writes of words uncoiling, words that lead to laughter, words as ‘lifeblood linking ancestors and descendants,’ and the most important word ‘miigwech,’ which becomes a prayer through use and repetition. Gimiigwechiwigo, Linda, gaa-ozhibii’aman o’o mazina’igan ji-mikawaamiyaang ezhi-giizhigong gaagige waabamiyangid. This book is a gift given to remind us that the sky is always watching us."—Margaret O’Donnell Noodin, author of What the Chickadee Knows: Poems in Anishinaabemowin and English "Linda LeGarde Grover’s The Sky Watched is a beautiful litany of poems about Anishinaabe lives. She weaves English and Anishinaabemowin in lovely and innovative ways, and what is left at the end of the collection is a heartbreaking symphony full of many voices, all coming together with their own sorrowing but merciful hands."—Erika Wurth, author of Crazy Horse’s Girlfriend "This is the first bilingual poetry book in English/Ojibwe. Not translations but poems using both languages. Linda LeGarde Grover’s The Sky Watched is a poetic reaction, in a wonderfully realistic voice, of spirit and essence of the Ojibwe people. Read it and be transformed, as readers of Beowulf and El Cid and other national epics have been throughout the ages."—Geary Hobson, author of Plain of Jars "Remember, remember, remember, Linda LeGarde Grover’s wonderful book demands. And she does. Again and again. Old tales from the Ojibwe tradition and new stories from mission schools and relocations where ‘a tangle of children smell home in their dreams.’ She captures the taste of recipes and the feel of beading bracelets alongside injustices minor as a navy bean and major as a lost language. These are poems as sad and essential as a field of cotton flowers. You will remember them."—Jeffrey Thompson, author of Birdwatching in Wartime and Fragile "Linda LeGarde Grover tells of a calico flowered beanbag that when ‘split it spilled the past,’ just as her poems spill extraordinary perceptions infused with Ojibwe spirituality along with haunting insight of raw boarding school memories that house a continent of pain and despair. The Sky Watched is an intuitive voice of reverence that understands the power of the spirit."—Denise Lajimodiere, author of Stringing Rosarie "Her formal innovation is to include poems written partly or completely in Ojibwe. In a collection about the systematic eradication of Indian language, this subtly tells a powerful story about resistance and survival."—Star Tribune "The Sky Watched is a book of and for community. It is a book of witness. It testifies to survivance as, according to its last lines, ‘a continuing song / since long before the memory of mortals.’"—Kenyon Review "A sort of collective memoir in poetry form of the Great Lakes region's Anishinaabe/Ojibwe people, shaped by the seasons and stages of their lives."—Minnesota Alumni "A bilingual poetry book, laying out and braiding the English and Ojibwemowin in poems that explore linguistic intention, ethics, and definition."—Asymptote "Each poem reads like a story with vivid imagery and thought-provoking subjects. This is a great book for anyone wanting to learn more about Indigenous history."—Northern Wilds "The Sky Watched is truly a gift of collective memory through generations broken by genocide and colonization. "—Colors of Influence

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Book SynopsisWhat happens when American Indians take over an institution designed to eliminate them? The Bureau of Indian Affairs was hatched in the U.S. Department of War to subjugate and eliminate American Indians. Yet beginning in the 1970s, American Indians and Alaska Natives took over and now run the agency. Choctaw anthropologist Valerie Lambert argues that, instead of fulfilling settler-colonial goals, the Indians in the BIA have been leveraging federal power to fight settler colonialism, battle white supremacy, and serve the interests of their people. Although the missteps and occasional blunders of the Indians in the BIA have at times damaged the federal–Indian relationship and fueled the ire of their people, and although the BIA is massively underfunded, Indians began crafting the BIA into a Native agency by reformulating the meanings of concepts that lay at its heart—concepts such as tribal sovereignty, treaties, the trust responsibility, and Indian land. At the same time, they pursued actions to strengthen and bolster tribes, to foster healing, to fight the many injustices Indians face, and to restore the Indian land base.This work provides an essential national-level look at an intriguing and impactful form of Indigenous resistance. It describes, in great detail, the continuing assaults made on Native peoples and tribal sovereignty in the United States during the twenty-first century, and it sketches the visions of the future that Indians at the BIA and in Indian Country have been crafting for themselves.Trade Review"Punch line for Native humor, punching bag for Native anger, the Bureau of Indian Affairs has long been staffed by Indians. In this fascinating and groundbreaking study, Valerie Lambert details how BIA leaders and employees have transformed a colonial institution through Indigenous creativity and commitment. Native Agency: rarely has a title captured its subject with such complexity and crystalline clarity!"—Philip J. Deloria, author of Becoming Mary Sully: Toward an American Indian Abstract"In this much-needed book, Valerie Lambert provides a fine-grained examination of the role of American Indians in the Bureau of Indian Affairs. By highlighting their agency, her analysis contests notions of acquiescence or cooptation of Natives in the BIA, and her nuanced look at the complexities of Native participation challenges simplistic renderings of the workings of settler state power. Native Agency is a powerful book, certain to reshape our understandings of Native engagement with the BIA and, ultimately, with the settler state."—Shannon Speed (Chickasaw Nation), author of Incarcerated Stories: Indigenous Women Migrants and Violence in the Settler-Capitalist State

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Book SynopsisWhat happens when American Indians take over an institution designed to eliminate them? The Bureau of Indian Affairs was hatched in the U.S. Department of War to subjugate and eliminate American Indians. Yet beginning in the 1970s, American Indians and Alaska Natives took over and now run the agency. Choctaw anthropologist Valerie Lambert argues that, instead of fulfilling settler-colonial goals, the Indians in the BIA have been leveraging federal power to fight settler colonialism, battle white supremacy, and serve the interests of their people. Although the missteps and occasional blunders of the Indians in the BIA have at times damaged the federal–Indian relationship and fueled the ire of their people, and although the BIA is massively underfunded, Indians began crafting the BIA into a Native agency by reformulating the meanings of concepts that lay at its heart—concepts such as tribal sovereignty, treaties, the trust responsibility, and Indian land. At the same time, they pursued actions to strengthen and bolster tribes, to foster healing, to fight the many injustices Indians face, and to restore the Indian land base.This work provides an essential national-level look at an intriguing and impactful form of Indigenous resistance. It describes, in great detail, the continuing assaults made on Native peoples and tribal sovereignty in the United States during the twenty-first century, and it sketches the visions of the future that Indians at the BIA and in Indian Country have been crafting for themselves.Trade Review"Punch line for Native humor, punching bag for Native anger, the Bureau of Indian Affairs has long been staffed by Indians. In this fascinating and groundbreaking study, Valerie Lambert details how BIA leaders and employees have transformed a colonial institution through Indigenous creativity and commitment. Native Agency: rarely has a title captured its subject with such complexity and crystalline clarity!"—Philip J. Deloria, author of Becoming Mary Sully: Toward an American Indian Abstract"In this much-needed book, Valerie Lambert provides a fine-grained examination of the role of American Indians in the Bureau of Indian Affairs. By highlighting their agency, her analysis contests notions of acquiescence or cooptation of Natives in the BIA, and her nuanced look at the complexities of Native participation challenges simplistic renderings of the workings of settler state power. Native Agency is a powerful book, certain to reshape our understandings of Native engagement with the BIA and, ultimately, with the settler state."—Shannon Speed (Chickasaw Nation), author of Incarcerated Stories: Indigenous Women Migrants and Violence in the Settler-Capitalist State

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Book SynopsisA beautiful collection of the art and life stories of regional Native painters Dreaming Our Futures features twenty-eight Native painters, primarily Dakota and Ojibwe, who live in the Midwest or have family or tribal connections here. The artists represent a range of generations, professional experience, and genres—including traditional, historical, contemporary, and conceptual themes. The volume presents full-color reproductions of art by each painter, along with bilingual artist statements, biographies, and essays on the representation of Indigenous people in historical context; storytelling and the creative process; and scholarship on several specific artists. The renowned Grand Portage Ojibwe artist George Morrison declared, “I have never tried to prove that I was Indian through my art. Yet, there may remain deeply hidden some remote suggestion of the rock whence I was hewn, the preoccupation of the textural surface, the mystery of the structural and organic element, the enigma of the horizon, or the color of the wind.” The variety of images painted by this gathering of artists demonstrates that the strong heritage and powerful traditions of Indigenous painting remain vital and dynamic today. Dreaming Our Futures accompanies an exhibition at the Katherine E. Nash Gallery in 2024, produced in association with the George Morrison Center for Indigenous Arts at the University of Minnesota. Artists: Frank Big Bear, David Bradley, Awanigiizhik Bruce, Andrea Carlson, Avis Charley, Fern Cloud, Michelle DeFoe, Jim Denomie, Patrick DesJarlait, Sam English, Carl Gawboy, Joe Geshick, Sylvia Houle, Oscar Howe, George Morrison, Steven Premo, Rabbett Before Horses Strickland, Cole Redhorse Taylor, Roy Thomas, Jonathan Thunder, Thomasina Topbear, Moira Villiard, Kathleen Wall, Star WallowingBull, Dyani White Hawk, Bobby Dues Wilson, Wanbli Mayasleca/Francis J. Yellow, Leah H. Yellowbird, Holly Young. Contributors: Patricia Marroquin Norby, Metropolitan Museum of Art; Christopher Pexa, U of Minnesota; Mona Susan Power; Diane Wilson.

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Book SynopsisAn exploration of the winter wonders and entangled histories of Scandinavia’s northernmost landscapes—now back in print with a new afterword by the author After many years of travel in the Nordic countries—usually preferring to visit during the warmer months—Barbara Sjoholm found herself drawn to Lapland and Sápmi one winter just as mørketid, the dark time, set in. What ensued was a wide-ranging journey that eventually spanned three winters, captivatingly recounted in The Palace of the Snow Queen. From observing the annual construction of the Icehotel in Jukkasjärvi, Sweden, to crossing the storied Finnmark Plateau in Norway, to attending a Sámi film festival in Finland, Sjoholm dives deep into the rich traditions and vibrant creative communities of the North. She writes of past travelers to Lapland and contemporary tourists in Sápmi, as well as of her encounters with Indigenous reindeer herders, activists, and change-makers. Her new afterword bears witness to the perseverance of the Sámi in the face of tourism, development, and climate change. Written with keen insight and humor, The Palace of the Snow Queen is a vivid account of Sjoholm’s adventures and a timely investigation of how ice and snow shape our imaginations and create a vision that continues to draw visitors to the North.

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Book SynopsisIn the pages of this book, you will read of the efforts of many to fearlessly audit the state of education in Nunavik. To diligently seek improvement of an already good system. To fix what is not necessarily broken so that those who come after us will have it even better than we did. The various tensions and differences of opinion are, to me, not contentious at all. The status quo, however good or excellent, is no place to stay. I think all recognize this. Zebedee Nungak, from the Foreword.As a history of the development of self-government in education, this book provides Native perspectives on formal education in Nunavik while offering readers a unique view into contemporary Inuit society. This book documents the development of education from the arrival of the first traders and missionaries in the mid-nineteenth century through the creation of the Kativik School Board and the evaluation of its operations by the Nunavik Education Task Force in the 1990s.Nunavik takes a detailed look at the complex debate of the Inuit of Northern Quebec about the purposes, achievements, and failures of the public schools in their communities, the first Inuit-controlled school district in Canada. Participants in these debates included elders who were educated traditionally, their children with a few years of education in mission and government schools, their grandchildren who attended southern high schools or residential schools, and current students and recent graduates of the Kativik schools. Qallunaat (non-Inuit) were also participants, as residents of Nunavik communities, parents of Inuit children, teachers, administrators, and expert consultants.Illustrated with rich historical photographs (many in colour) and maps from the collections of the Avataq Cultural Institute and the Makivik Corporation, Nunavik provides a uniquely Native perspective on school change in indigenous communities.

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Book Synopsis From the dawn of cinema, images of Indigenous peoples have been dominated by Hollywood stereotypes and often negative depictions from elsewhere around the world. With the advent of digital technologies, however, many Indigenous peoples are working to redress the imbalance in numbers and counter the negativity. The contributors to Reverse Shots offer a unique scholarly perspective on current work in the world of Indigenous film and media. Chapters focus primarily on Canada, Australia, and New Zealand and cover areas as diverse as the use of digital technology in the creation of Aboriginal art, the healing effects of Native humour in First Nations documentaries, and the representation of the pre-colonial in films from Australia, Canada, and Norway. Table of Contents Reverse Shots: Indigenous Film and Media in an International Context, edited by Wendy Gay Pearson and Susan Knabe Part I. Dream Makers Introduction: Globalizing Indigenous Film and Media Wendy Gay Pearson and Susan Knabe 1. He Who Dreams: Reflections on an Indigenous Life in Film Michael Greyeyes Part II. Decolonizing Histories 2. Speakin' Out Blak: New and Emergent Aboriginal Filmmakers Finding Their Voices Ernie Blackmore 3. Taking Pictures B(l)ack: The Work of Tracey Moffatt Susan Knabe 4. The Journals of Knud Rasmussen: Arctic History as Post/Colonial Cinema Kerstin Knopf 5. Australian Indigenous Short Film as a Pedagogical Device: Introducing Wayne Blair's The Djarn Djarns and Black Talk Colleen McGloin 6.""Once upon a Time in a Land Far, Far Away"": Representations of the Pre-Colonial World in Atanarjuat, Ofelas and 10 Canoes Wendy Gay Pearson Part III. Mediating Practices 7. Ka Whawhai Tonu Mātou: Indigenous Television in Aotearoa/New Zealand Jo Smith and Sue Abel 8. Superhighway across the Sky ... Aboriginal New Media Arts in Australia: A Remix and Email Conversation between Adam Szymanski and Jenny Fraser Jenny Fraser and Adam Szymanski 9. On Collectivity and the Limits of Collaboration: Caching Igloolik Video in the South Erin Morton and Taryn Sirove Part IV. Documentary Approaches 10. The Prince George Métis Elders Documentary Project: Matching Product with Process in New Forms of Documentary Stephen Foster and Mike Evans 11. ""Whacking the Indigenous Funny Bone"": Native Humour and Its Healing Powers in Drew Hayden Taylor's Redskins, Tricksters, and Puppy Stew Ute Lischke 12. Situating Indigenous Knowledges: The Talking Back of Alanis Obomsawin and Shelley Niro Maeghan Pirie 13. ""I Wanted to Say How Beautiful We Are"": Cultural Politics in Loretta Todd's Hands of History Gail Vanstone Part V. Other Perspectives 14. Filming Indigeneity as Flânerie: Dialectic and Subtext in Terrance Odette's Heater Tanis MacDonald 15. Playing with Land Issues: Subversive Hybridity in The Price of Milk Davinia Thornley Glossary Bibliography Index

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Book SynopsisIndigenous Poetics in Canada broadens the way in which Indigenous poetry is examined, studied, and discussed in Canada. Breaking from the parameters of traditional English literature studies, this volume embraces a wider sense of poetics, including Indigenous oralities, languages, and understandings of place. Featuring work by academics and poets, the book examines four elements of Indigenous poetics. First, it explores the poetics of memory: collective memory, the persistence of Indigenous poetic consciousness, and the relationships that enable the Indigenous storytelling process. The book then explores the poetics of performance: Indigenous poetics exist both in written form and in relation to an audience. Third, in an examination of the poetics of place and space, the book considers contemporary Indigenous poetry and classical Indigenous narratives. Finally, in a section on the poetics of medicine, contributors articulate the healing and restorative power of Indigenous poetry and narratives.Trade Review"'Indigenous Poetics in Canada' is that rare book of scholarship that speaks to the heart and spirit as well as the mind. The selections in this collection offer powerful individual and collective insight into the ways that diverse traditions of Indigenous poetics animate our imaginative possibilities and extend our cultural understandings across time, space, and difference. To study Indigenous poetics is to be forcefully reminded of both our historical traditions and their continuing significance, and the poets, writers, scholars, and story-makers featured in this volume are among the most eloquent and insightful voices on the topic today. This is a transformative intervention in Indigenous literary studies as well as the broader canon of Canadian literature, reminding us that questions of aesthetics are always in dynamic relationship with the lived experience of our politicized imaginations in the world." -- Daniel Heath Justice (Cherokee Nation), Canada Research Chair in Indigenous Literature and Expressive Culture, University of British Columbia"Conversations about Indigenous literatures will be forever enriched by this stunning new collection. Here, the leading voices in Indigenous literary studies draw upon deep currents of inspiration--both ancient and contemporary--as they reflect upon and powerfully perform the act of re-making the world through language. Joyful, humbling, and wonderfully diverse, 'Indigenous Poetics in Canada' welcomes readers and writers into a re-indigenized rhetorical landscape-and I cannot wait to see what takes place there." -- Keavy Martin, Department of English and Film, University of Alberta; author of 'Stories in a New Skin: Approaches to Inuit Literature' (2012)``In a fine introduction, McLeod does an admirable job of framing the essays and interviews to come while giving readers less familiar with indigenous poetics insight into some of the tropes and rhetorical strategies practitioners use, including kiskino ('things...pointed to, but never completely articulated'), kakêskihkêmowina ('counselling narratives'), and aniskwâcimopicikêwin ('the process of connecting stories together'). That this collection exists is at once a challenge to the white publishing world that has long refused to recognize indigenous poetic practices as 'poetry' and a testament to the health and vibrancy of the living word of indigenous consciousness.... Summing up: Highly recommended.'' -- B. Carson, Bridgewater State University -- Choice, December 2014, 201412Table of ContentsTable of Contents for Indigenous Poetics in Canada , edited by Neal McLeod Introduction | Neal McLeod Poetics of Memory 1 Achimo | Duncan Mercredi 2 Interview with Armand Garnet Ruffo | Conducted by Neal McLeod 3 Edgework: Indigenous Poetics as Re-placement | Warren Cariou 4 Pauline Passed Here | Janet Marie Rogers 5 Writer-Reader Reciprocity and the Pursuit of Alliance through Indigenous Poetry | Sam McKegney 6 Remembering the Poetics of Ancient Sound kistêsinâw/wîsahkêcâhk's maskihkiy (Elder Brother's Medicine) | Tasha Beeds 7 On Reading Basso | David Newhouse 8 The Pemmican Eaters | Marilyn Dumont 9 Cree Poetic Discourse | Neal McLeod Poetics of Place 10 âBubbling Like a Beating Heartâ: Reflections on Nishnaabeg Poetic and Narrative Consciousness | Leanne Simpson 11 Getting (Back) to Poetry: A Memoir | Daniel David Moses 12 Kwadây KwaÅdur-Our Shagóon | Alyce Johnson 13 âPimuteuat/ Ils marchent/ They Walkâ: A Few Observations on Indigenous Poetry and Poetics in French | Michèle Lacombe 14 Iskigamizigan (The Sugarbush): A Poetics of Decolonization | Waaseyaa'sin Christine Sy 15 The Power of Dirty Waters: Indigenous Poetics | Niigaanwewidam James Sinclair 16 A Poetics of Place and Apocalypse: Conflict and Contradiction in Poetry of the Red River Resistance and the Northwest Resistance | Jesse Rae Archibald-Barber 17 My Poem Is an Indian Woman | Rosanna Deerchild Poetics of Performance 18 Interview with Marvin Francis | Conducted by Rosanna Deerchild and Shayla Elizabeth 19 Blood Moves with UsâStory Poetry Lives Inside | Janet Rogers 20 Revitalizing Indigenous Swagger: Poetics from a Plains Cree Perspective | Lindsay âEekwolâ Knight 21 A Conversation of Influence, Tradition, and Indigenous Poetics: An Interview with Kateri Akiwenzie-Damm | Conducted by Rhiannon Johnson 22 The âNerve of Cree,â the Pulse of Africa: Sound Identities in Cree, Cree-Métis, and Dub Poetries in Canada | Susan Gingell 23 Poetics of Renewal: Indigenous PoeticsâMessage or Medium? | Lillian Allen Poetics of Medicine 24 Indigenous Poetry and the Oral | Lee Maracle 25 Poems as Healing Bundles | Gregory Scofield 26 Small Birds/Songs Out of Silence | Joanne Arnott 27 Stretching through Our Watery Sleep: Feminine Narrative Retrieval of cihcipistikwân in Louise Halfe's The Crooked Good | Lesley Belleau 28 âLearning to Listen to a Quiet Way of Tellingâ: A Study of Cree Counselling Discourse Patterns in Maria Campbell's Halfbreed | Gail MacKay About the Contributors Index

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Book SynopsisAround 800 BC, the Eurasian steppe underwent a profound cultural transformation that was to shape world history for the next 2,500 years: the nomadic herdsmen of Inner Asia invented cavalry which, with the use of the compound bow, gave them the means to terrorize first their neighbors and ultimately, under Chingis Khan and his descendants, the whole of Asia and Europe. Why and how they did so and to what effect are the themes of this history of the nomadic tribes of Inner Asia - the Mongols, Turks, Uighurs and others, collectively dubbed the Barbarians by the Chinese and the Europeans. This two-thousand year history of the nomadic tribes is drawn from a wide range of sources and told with unprecedented clarity and pace. The author shows that to describe the tribes as barbaric is seriously to underestimate their complexity and underlying social stability. He argues that their relationship with the Chinese was as much symbiotic as parasitic and that they understood their dependence on a strong and settled Chinese state. He makes sense of the apparently random rise and fall of these mysterious, obscure and fascinating nomad confederacies.Trade Review"An excellent piece of work ... Barfield writes clearly, with a gratifyingly total absence of social scientific jargon ... his case is put with impressive cogency." Journal of the Royal Asiatic Society "Barfield's significant and demanding book brings to a general audience a challenging new interpretation of relations between China and her northern neighbours ... provocative and persuasive ... Highly recommended." Choice "Barfield's study is rich and provocative." Graham E. Johnson, University of British Columbia "A welcome addition to the literature on the relations between Central Asian empires and China in premodern times. Thomas J. Barfield provides us with stimulating interpretations." American Historical Review "Excellent study of Chinese-nomadic relations. Weaves a fascinating and detailed tapestry. This excellent work awakens the reader to another level affected by the emerging world system in the nineteenth century." The International History Review "The appearance in paperback of this book is welcome. Breaking moulds." Asian Affairs "Fine study. A most welcome addition to the literature." Bulletin School of Oriental and African StudiesTable of ContentsEditor's Preface. Preface. Acknowledgements. Notes on Transliterations. 1. Introduction: The Steppe Nomadic World. 2. The Steppe Tribes United: The Hsiung-nu Empire. 3. The Collapse of Central Order: The Rise of Foreign Dynasties. 4. The Turkish Empires and T'ang China. 5. The Manchurian Candidates. 6. The Mongol Empire. 7. Steppe Wolves and Forest Tigers: The Ming, Mongols and Manchus. 8. The Last of the Nomad Empires: The Ch'ing Incorporation of Mongolia and Zungharia. 9. Epilogue: On the Decline of the Mongols. Bibliography. Index.

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Book SynopsisThis is a comprehensive account of the five tribes - Onandagas, Senecas, Mohawks, Oneidas and Cayugas - who together made up the Iriquois nation, form their origins in prehistory to their dispersal and confinement after the American Revolution. This accessible account by the leading schlolar in the filed draws on the widest possible range of archaeological evidence to provide a narrative interpretation of a people whose beliefs and culture have remained to Americans matters of mystery.Trade Review"In this informative and highly readable study, Snow has produced an impressive synthesis of Iroquois history from its antecedents in Northeastern Archaic cultures to the present. The text blends archaeological, historical and oral traditions into a tapestry of the significant role the Iroquois have played, and continue to play, in American society." R. L. Haan, Choice "There is no better introduction to the history and culture of the people. The book confirms Snow's reputation as one of North America's leading historical anthropologists." Bruce G. Trigger, Professor of Anthropology, McGill University "Here finally is an accurate, readable, general book on the complex prehistory, history, and culture of the Iroquois. Such a work could only be produced by an author deeply involved in recent research on these topics. For years to come it will surely be the source of first resort on these important peoples of Eastern North America." William C. Sturtevant, Curator of North American Ethnology, and General Editor, Handbook of North American Indians, Museum of Natural History, Smithsonian Institution "While he contributes fresh and significant analysis of their early, precolonial history and of Iroquois material culture - insights based on his important archaeological investigations - Snow falls well short of providing the "vivid and moving history" that his book jacket advertises. Although designed for a general audience, the book reads too often like a dull, technical research report... Dean Snow's The Iroquois ... succeeds in providing brief and insightful analysis of changing Iroquois culture and experience." The Journal of American HistoryTable of ContentsPreface. 1. Origins: A. D. 900-1150: The Midwinter Moon. 2. Owasco: A. D. 1150-1350: The Sugar Moon. 3. The Development of Northern Iroquoian: The Fishing Moon. 4. The Rise of the League: 1525-1600: The Planting Moon. 5. The Coming of Europeans: 1600-1634: The Strawberry Moon. 6. The Year of Death: 1634: The Lost Moon. 7. The Struggle for Hearts and Minds: 1635-1700: The Green Bean Moon. 8. Iroquoia in the Balance: 1700-1750: The Green Corn Moon. 9. The Loss of Independence: 1750-1800: The Fresh Moon. 10. Revival and Subjection: 1800-1850: The Harvest Moon. 11. The Worst of Times: 1850-1900: The Hunting Moon. 12. The Rise of Modern Iroquois: 1900-1950: The Cold Moon. 13. The Contemporary Scene: 1950-2000: The Very Cold Moon. End Notes. References Cited.

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Book SynopsisDrawing comparisons with such established Native American writers as N. Scott Momaday and James Welch as well as with Generation X peers, Grassian presents Alexie’s work as equally informed by Native American culture and generic, mainstream influences.

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Book SynopsisInvestigates the significance of a range of digital technologies in contemporary Indigenous musical performance, exploring interdisciplinary issues of music production, representation, and transmission. The essays in this volume offer rich and diverse perspectives on the encounter between Indigenous music and digital technologies. They explore how digital media -- whether on CD, VCD, the Internet, mobile technology, or in the studio -- have transformed and become part of the fabric of Indigenous cultural expression across the globe. Communication technologies have long been tools for nation building and imperial expansion, but these studies reveal how over recent decades digital media have become a creative and political resource for Indigenous peoples, often nurturing cultural revival, assisting activism, and complicating earlier hegemonic power structures. Bringing together thework of scholars and musicians across five continents, the volume addresses timely issues of transnationalism and sovereignty, production and consumption, archives and transmission, subjectivity and ownership, and virtuality and the posthuman. Music, Indigeneity, Digital Media is essential reading for scholars working on topics in ethnomusicology, Indigeneity, and media studies while also offering useful resources for Indigenous musicians and activists. The volume provides new perspectives on Indigenous music, refreshes and extends debates about digital culture, and points to how digital media shape what it means to be Indigenous in the twenty-first century. Contributors: Linda Barwick, Beverley Diamond, Thomas R. Hilder, Fiorella Montero-Diaz, John-Carlos Perea, Henry Stobart, Shzr Ee Tan, Russell Wallace Thomas R. Hilder is postdoctoral fellow in musicology at the University of Bergen. Henry Stobart is reader in music at Royal Holloway, University of London. Shzr Ee Tan is senior lecturer at Royal Holloway, University of London.Trade Review[A]n important new source for ethnomusicologists, media studies scholars, and any scholars and practitioners working in Indigenous studies. It is a richly documented volume, with a range of significant sources in the chapter endnotes lists, as well as in a helpful selected bibliography at the end of the volume. . . . I strongly recommend this book. Collectively and individually, the authors articulate important new perspectives within which to view how music, Indigeneity and digital media interact, thereby inspiring scholars of multiple disciplines and interests to discover new pathways of understanding around Indigenous ways of knowing. -- Gordon E. Smith * CANADIAN ASSOCIATION OF MUSIC LIBRARIES *Table of ContentsMusic, Indigeneity, Digital Media: An Introduction Taiwan's Aboriginal Music on the Internet Recording Technology, Traditioning, and Urban American Indian Powwow Performance YouTubing the "Other": Lima's Upper Classes and Andean Imaginaries An Interview with Russell Wallace Mixing It Up: A Comparative Approach to Sámi Audio Production Creative Pragmatism: Competency and Aesthetics in Bolivian Indigenous Music Video (VCD) Production Keepsakes and Surrogates: Hijacking Music Technology at Wadeye (Northwest Australia) The Politics of Virtuality: Sámi Cultural Simulation through Digital Musical Media Selected Bibliography List of Contributors Index

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Book SynopsisThis reprinting makes available again the only book of its kind to be focused upon the prehistoric Indians of Mississippi. Although written expressly for the layreader, it has continued for more than eighty years to appeal to a wide audience that ranges from professional archeologists and scholars to weekend artifact collectors.Published originally in 1926, Archeology of Mississippi details Brown's records collected during more than a decade of research. Anyone wishing to investigate archeology in Mississippi must start with this book. As early as 1912 Brown, a professor of romance languages at the University of Mississippi, began taking photographs of Mississippi Indian mounds. His are the only photographic records of certain cultural sites that have since then been drastically altered.

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Book SynopsisWhen it comes to American Indian treaties, the American polity too often forgets the realities of history. Prevailing perceptions are often not only inaccurate but also premised on outright falsehoods. Treaty-making was profoundly influenced by tribal conceptions of diplomacy. Colonial and early U.S. treaties especially were clothed in ritual, metaphor, and covenants that emphasized the sacred nature and purpose of diplomacy and represented a time when tribal nations were equal partners. To understand the nature and meaning of tribal treaties one needs to read them and recognize their sacred pledges and meaning, which are still relevant today.This volume examines intertribal treaties and treaty-making and provides understanding of both the agreements and the diplomatic protocols in which they were enmeshed. It summarizes colonial Indian treaty discourse, intertribal treaties and diplomacy, the different eras of ratified and unratified U.S. treaties, foreign and state treaties with Indian nations, and the Indian agreements that followed the cessation of official treaty-making. It provides extensive lists of over 1,500 Indian treaties from all tribal diplomatic eras and includes dates, participants, purposes, and references.Trade Review“This volume stands out not only for the additional entries of Indian documents supplementing the earlier works of Deloria Jr., Prucha, DeMallie, and Fixico, but also because DeJong draws the reader into his lengthy discussion of traditional Indian agreement protocols and rituals for successful bilateral negotiations.” —Blue Clark, author of Lone Wolf v Hitchcock: Treaty Rights and Indian Law at the End of the Nineteenth Century “This set of appendices alone will be worth the price of the book, as it is indeed the most detailed list I have seen. They reflect careful attention to detail and years of patient collection and collating of documents.” —David E. Wilkins, coauthor of American Indian Politics and the American Political System “Combines solid and concise analysis with thoroughly researched reference material… Dejong has made a strong contribution to the field of American Indian history and provides scholars an invaluable reference that will no doubt spawn future comparative scholarship on American Indian treaties.” —New Mexico Historical Review “While the catalogs of treaties make up the bulk of this work, DeJong also provides an excellent overview of the history of Native treaty making…. Scholars interested in a comprehensive list of Native treaties and students looking for a cogent history of treaty making should consider including this work in their libraries.” —Pacific Northwest Quarterly “David DeJong’s collection of Indian treaties fills an important gap in legal research and scholarship on the formal, and sometimes tortured, relationship between Indian tribes and other governments…. The text provides the necessary thorough background for any reader to understand the importance of Indian treaties, the context in which they were made, and the various ways in which treaties were broken and enforced as the nation’s perception of American Indians evolved.”—Great Plains Quarterly “Even though the book is a legal history, DeJong never gets bogged down in legal jargon and does a superior job of distilling the complexities of tribal law cases.… American Indian Treaties is a worthwhile reference work for anyone conducting research related to American Indian treaties.” —The Chronicle of Oklahoma “DeJong has created a user-friendly reference book for scholars conducting research on treaties and the treaty relationship between the United States and American Indian tribes. American Indian Treaties serves both as an introduction to the history of American Indian treaties and as a quick reference for essential information for individual treaties that will benefit scholars working within American Indian studies.”—American Indian Quarterly

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Book SynopsisSondra Jones traces the metamorphosis of the Ute people from a society of small, interrelated bands of mobile hunter-gatherers to sovereign, dependent nations—modern tribes who run extensive business enterprises and government services. Weaving together the history of all Ute groups—in Colorado, Utah, and New Mexico—the narrative describes their traditional culture, including the many facets that have continued to define them as a people. Jones emphasizes how the Utes adapted over four centuries and details events, conflicts, trade, and social interactions with non-Utes and non-Indians. Being and Becoming Ute examines the effects of boarding—and public—school education; colonial wars and commerce with Hispanic and American settlers; modern world wars and other international conflicts; battles over federally instigated termination, tribal identity, and membership; and the development of economic enterprises and political power. The book also explores the concerns of the modern Ute world, including social and medical issues, transformed religion, and the fight to perpetuate Ute identity in the twenty-first century. Neither a portrait of a people frozen in a past time and place nor a tragedy in which vanishing Indians sank into oppressed oblivion, the history of the Ute people is dynamic and evolving. While it includes misfortune, injustice, and struggle, it reveals the adaptability and resilience of an American Indian people.Trade ReviewThe author has created a superb Ute Indian history. I know of no other works in the fields of anthropology, sociology, and history that present an overview of the Ute Nation with the depth and breadth of Being and Becoming Ute."" - Gregory C. Thompson, author of The Southern Utes: A Tribal History""Decades in the making, this sweeping narrative charts the history of the Ute people from prehistoric times into the twenty-first century, showcasing their pragmatic adaptive strategies and exploring their challenges. Jones helps readers to understand tensions and differences of opinion within Ute society between full-bloods and mixed-bloods, modernizers and traditionalists, and the difficulty of maintaining a Ute identity and cultural essence in the face of mainstreaming material and cultural forces."" - Brian Cannon, author of The Awkward State of Utah: Coming of Age in the Nation, 1896-1945

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Book SynopsisThe Lacandon Maya are a small-scale forest society currently on the brink of extinction. Small groups of Northern Lacandon escaped evangelization by dispersing into the jungle, moving from the Guatemalan Petén to Chiapas in southern Mexico during the seventeenth, eighteenth, and nineteenth centuries. Several groups maintained their traditional religion until the late twentieth century. Their cult of incense burners, based on the veneration of Maya ruins and funerary caves and the deities these effigy censers represented, remained free of any Christian influence. Some ceremonies were vestiges of more complex rituals believed to date back to pre-Columbian times. In this volume, Didier Boremanse explores Lacandon beliefs and traditions he observed during the many months of fieldwork he did, spanning four decades. Throughout the book Boremanse makes Lacandon values and worldviews accessible to readers from western cultures. Rituals are described and explained with extracts of the celebrants’ prayers that were tape-recorded, transcribed, and translated. Other elements of religious oral tradition are included, including incantations, chants, and the myths and beliefs that sustain the rites. Boremanse also discusses how larger social change influences religious change, both through economic means and outside influences. Most of the myths retold in this book have never been published in English. Photographs show rites that are no longer performed and shrines that no longer exist.Trade ReviewBuilds on more than a century of ethnographic research and is written by one of the last ethnographers who could do so, as the ritual practice described has disappeared. It also complements the author's previous published research and provides a synthesis of all work done on Lacandon myth and ritual.” —Charles Andrew Hofling, author of the Lacandon Maya-Spanish-English Dictionary“The detailed cultural information and explanations make this book so important and so different from similar works on Maya myths and folktales. The author’s knowledge of Lacandon culture and his insights on their myths and religion are truly admirable. His descriptions and analyses are nuanced and complete." — Joel Palka, professor of anthropology and department head, University of Illinois at Chicago

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Book SynopsisPatriots and Indians examines relationships between elite South Carolinians and Native Americans through the colonial, Revolutionary, and early national periods. Eighteenth-century South Carolinians interacted with Indians in business and diplomatic affairs, as enemies and allies during times of war and less frequently in matters of scientific, religious, or sexual interest. Jeff W. Dennis elaborates on these connections and their seminal effects on the American Revolution and the establishment of the state of South Carolina.Dennis illuminates how southern Indians and South Carolinians contributed to and gained from the intercultural relationship, which subsequently influenced the careers, politics, and perspectives of leading South Carolina patriots and informed Indian policy during the Revolution and early republic. In eighteenth-century South Carolina, what it meant to be a person of European American, Native American, or African American heritage changed dramatically. People lived in transition; they were required to find solutions to an expanding array of sociocultural, economic, and political challenges. Ultimately their creative adaptations transformed how they viewed themselves and others.While Native Americans were not the only “others” of the Revolutionary world, they were nonwhite, nonslave, and non-Christian allies of Britain who inhabited many millions of acres of highly arable land. For radical spokesmen such as William Henry Drayton, along with many white people on the frontier, Indians were viewed as a defining enemy during the American Revolution. Dennis contends that the stronger the attachment these men felt to the Whig cause and their aversion to the British, the harsher their attitudes toward Indians. In contrast the closer they were to Indians, socially and psychologically, the more lenient they appeared toward Native Americans. This difference of opinion carried over into national policies toward Native Americans. Following independence, some South Carolina patriots such as Andrew Pickens imagined an American identity broad and honorable enough to include Indians.

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