Long the capital of the art world, New York City is also home to the largest concentration of Indian people in the United States. New Tribe: New York focuses on New York-based Native artists who have maintained a sense of tribal or cultural identity while drawing inspiration from modern, urban culture. Officially Indian explores the symbolic importance of American Indians in the visual language of U.
In the first in-depth study of this extraordinary archive—including maps, monuments and architectural features, stamps, and currency—the author argues that these representations are not empty symbols but reflect how official and semi-official government institutions, from the U. Army and the Department of the Treasury to the patriotic fraternal society Sons of Liberty, have attempted to define what the country stands for. American Indian imagery—almost invariably distorted and bearing little relation to the reality of Native American—U. Seven leading thinkers on the presentation of Native American history and contemporary cultures discuss how the essential ideas behind the creation of the National Museum of the American Indian initially were implemented and potentially could evolve.
Richard West, Jr. Through words and images, Remix challenges readers interested in art and criticism to question the meaning of cultural identity in our complex, fluid age. This collection of essays examines the work of Robert Davidson Haida , a pivotal figure in the Northwest Coast Native art renaissance since , when he erected the first totem pole in his ancestral Massett village since the s. Davidson mastered Haida art traditions by studying the great works of his great-grandfather Charles Edenshaw and others.
Well known for his work in wood sculpture, ceremonial arts, jewelry, and prints, his recent works are abstract interpretations of the traditional forms—boldly minimalist easel paintings, graphic works, and sculpture, where images are pared to essential lines, elemental shapes, and strong colors. This title features work created since , as well as key images from earlier in the artist's career.
American Indian cultures, especially those of the Great Plains, have a rich relationship with their horses. Far more than a beast of burden, the horse is for Native people a friend and a spiritual companion.
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Nowhere is this bond more spectacularly illustrated than in the beautiful equipment Native horses wear and the tribal clothing, tools, and other objects that incorporate horse motifs. Filled with photographs of objects from the unparalleled collections of the National Museum of the American Indian, as well as historical photographs of North American Indians and their horses, this book documents the central role horses play in Native cultures.
Native Americans have been among the most popular subjects of photography since the invention of the medium more than years ago.
Whether depicting runaway Wyandot girls being returned to their boarding school, a Seminole woman sitting at a sewing machine, or a Yaqui man sporting a pair of bandoliers, these photographs attest to the adaptive strength of Native Americans in the face of profound economic, political, social, and spiritual change.
Native Americans from six diverse cultures—Northern Plains, Tuscarora, Cherokee, Makah, Quechua, and Western Apache—share personal accounts of their origins, the effects of European-American settlement on their communities, and their commitment to preserving cultural values for future generations. This book unites compelling narratives with archival photographs and a rich selection of objects chosen by the authors from the collections of the National Museum of the American Indian. Pottery, baskets, textiles, beadwork, and other items highlight the beauty of Native artistic expression while they represent a spiritual quality that transcends the purely aesthetic dimension.
Fifteen Native artists representing a range of cultural backgrounds and artistic media created an installation exhibition based on their travels to sites representing the four cardinal directions, where they conceived works reflecting the traditions and sensibilities of indigenous peoples. The artists present statements about the project, accompanied by brief profiles of their lives and works. This Path We Travel reflects the strong thread of cultural and artistic continuity that binds contemporary Native American artists to their artistic forebears—a testament to the survival of indigenous innovation and tradition, despite overwhelming historical obstacles.
Noted museum professionals, artists, critics, and scholars from around the world explore indigenous artistic and curatorial practices in relation to the ever-changing realities of the contemporary art scene and discuss new strategies to frame the ways Native contemporary artists are regarded in the international art world. A respected elder of the Crow people narrates a fascinating tale in which mother Thunderbird calls on human help to save her chicks from a monster who is trying to snatch them from their nest at the top of a cliff. Children will cheer as the hunter Brave Wolf, using fire, water, rocks, and buffalo hide, defeats the monster with an ingenious plan.
Sihumana, a young Hopi girl, is a member of the Rabbit Clan. Like her mother and grandmother before her, she is getting ready to take part in the traditional Butterfly Dance, performed late each summer to bring rain to the dry lands, to make the corn grow, and to bring back the butterflies. Although she has practiced very hard for weeks, Sihumana is feeling nervous as she puts on the beautiful headdress her partner has made for her.
Then the singers and the drummer march into the plaza, singing the Butterfly Song, and the dance begins. But he is always homesick, so he goes up to the top of the tower to enjoy the quiet night skies.
One night he spots a star more beautiful than all of the others. Long ago, the only light on earth came from campfires because a greedy chief kept the stars, moon, and sun locked up in elaborately carved boxes. This traditional Tlingit story tells how the trickster Raven transforms himself and sets out to steal the celestial lights for the people—and reveals what happens to his snow-white feathers…. Go fishing at the lake with Christopher and his brothers, hear him play the trombone in music class, and learn the Osage language as he learns it too.
Learn the stories of his Osage ancestors, those who hunted buffalo and lived in hide-covered lodges, and those who first learned to drive and pilot airplanes.
Red Cloud's War ended with victory for the Lakota. Robes made from the furred hide of a bison were often worn in winter. Speed was necessary, and any slip could be fatal. Morgan -- a true villain who financed the project and whose company eventually stripped Curtis of all rights to his own work. Cultural Events: photographs folder 3 of 16 Physical Description: 10 photographic prints. Polaroid I. Fort Van Buren was a short-lived trading post in existence from —
Travel with Lydia to the coastal communities where her family has lived for generations, and learn about Tlingit traditions of weaving robes, catching and preserving salmon, and carving totem poles. The reader journeys with Mindy, a Hopi girl from Arizona, through her coming-of-age ceremony, her daily life at high school, and her participation in the Yah-ne-wah Dance.
Vibrant photographs document Mindy and her family as they continue the Hopi traditions of growing corn, carving katsinas, and making clay pots. The uplifting, sometimes aching, responses of these poets, who range in age from nine to seventeen, invite readers into a world colored by joy, sadness, and memory.
Explore the different ways that contemporary American Indian artists use their imaginations to draw where they live. This anthology of hymns and songs from American Indian communities throughout the United States demonstrates how music has helped to preserve and perpetuate Native languages.
The Native Writers Series of readings at the museum features some of the most engaging and provocative Native writers working today. Alternately funny and moving, angry and contemplative, the readings address the Native American experience, as well as universal themes of love, death, and family bonds.
American Indian musicians, as well as musicians inspired by Native history and culture, have been active in contemporary popular music for nearly a century. The signature artists featured on this CD represent the diversity of Native achievement in American mainstream music. Mohawk guitarist Derek Miller harnessed the energy and dynamic self-expression of these artists to create this compilation of classic hits.
Their stories are not just one-hit wonders in Native history, but a backstage pass to music history. The NMAI's annual Indian Summer Showcase series brings the compelling sounds of Indian Country to a wide audience, through the creativity of performers who demonstrate the astonishing wealth of Native talent. Influenced by a diversity of Native and non-Native traditions—from Inuit and Greenlandic chants and Aymara instrumental music to gospel and rock and roll—the 12 individual artists and groups presented on this live music CD offer listeners a new understanding of the ways in which Native people draw from and add to the increasingly interwoven world of contemporary music.
The dramatic signature film of the National Museum of the American Indian, A Thousand Roads follows the fictional lives of four contemporary Native Americans as they confront the crises that arise in a single day. With epic settings that include the Andean highlands, northernmost Alaska, the mesas of New Mexico, and the concrete canyons of Manhattan, this minute film is a celebration of Native peoples and communities.
To commemorate the historic occasion, Welcome Home vividly captures an array of Grand Opening events. The remarkable Native Nations procession, Opening Ceremony, and week-long First Americans Festival are featured on an intimate scale, allowing the visitor to enjoy the beauty and diversity of Native America and experience the heartfelt tributes to this cultural landmark. The first recordings ever to use this most popular of instruments as a way to explore the great variety and creativity of Indian musical traditions—from Chicken Scratch and Santiago dances to indigenous Apache fiddle—this anthology expresses the capacity of Native cultures to adapt and synthesize non-Native influences.
Twenty memorable color and black-and-white postcards pay tribute to the Native American experience—past and present—in New York City.
Twenty striking color postcards of the interior and exterior of the National Museum of the American Indian in Washington, D. Books All Roads Are Good: Native Voices on Life and Culture Respected singers, storytellers, artists, elders, and scholars from Native cultures throughout the Americas were invited to the museum to choose objects of personal meaning to them.
Vollman's latest installment in his Dream series is a long, delicious read Defrauded and intimidated at every turn, the Nez Perces finally went on the warpath in , subjecting the U. Army to its greatest defeat since Little Big Horn as they fled from northeast Oregon across Montana to the Canadian border. Curtis's caption: "Medicine-pipes, of which the Piegan have many, are simply long pipe-stems variously decorated with beads, paint, feathers, and fur. Volume 17, plate Curtis's caption: "Feather offerings are deposited in numerous shrines, buried in the earth near the pueblo, and placed in springs, streams, and lakes, for the purpose of winning the favor of the cloud-gods.
Volume 16, plate Curtis's caption: "This is doubtless the trail built under the supervision of Fray Juan Ramirez, who established himself at Acoma in and subsequently built a church and a trail which horses could ascend. Curtis's caption: "The Arapaho are divided into Northern and a Southern tribe, the former living on the Wind River reservation in Wyoming and the latter on the reservation assigned to them in the present Oklahoma in Curtis's caption: "This young chief of an almost extinct tribe resident on Quatsino sound, near the northwestern end of Vancouver island, is wearing one of the nose-ornaments formerly common among Kwakiutl nobility.
Curtis's caption: "Old Sarsi, as the subject of this plate is colloquially known, was ninety-eight years of age when the photograph was made in In spite of his years, he was still agile and keen. Curtis Beginning in and continuing over the next thirty years, Edward Sheriff Curtis, or the "Shadow Catcher" as he was later called, took over 40, photographic images and recorded rare ethnographic information from over eighty American Indian tribal groups, ranging from the Eskimo or Inuit people of the far north to the Hopi people of the Southwest.
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