The 1830s forced removal of Cherokees from their southeastern homeland became the most famous event in the Indian history of the American South, an episode taken to exemplify a broader experience of injustice suffered by Native peoples. In this book, Andrew Denson explores the public memory of Cherokee removal through an examination of memorials, historic sites, and tourist attractions dating from the early twentieth century to the present. White southerners, Denson argues, embraced the Trail of Tears as a story of Indian disappearance. Commemorating Cherokee removal affirmed white possession of southern places, while granting them the moral satisfaction of acknowledging past wrongs. During segregation and the struggle over black civil rights, removal memorials reinforced whites' authority to define the South's past and present. Cherokees, however, proved capable of repossessing the removal memory, using it for their own purposes during a time of crucial transformation in tribal politics and U. S. Indian policy. In considering these representations of removal, Denson brings commemoration of the Indian past into the broader discussion of race and memory in the South.

In this ethnography of Navajo (Dine) popular music culture, Kristina M. Jacobsen examines questions of Indigenous identity and performance by focusing on the surprising and vibrant Navajo country music scene. Through multiple first-person accounts, Jacobsen illuminates country music's connections to the Indigenous politics of language and belonging, examining through the lens of music both the politics of difference and many internal distinctions Dine make among themselves and their fellow Navajo citizens. As the second largest tribe in the United States, the Navajo have often been portrayed as a singular and monolithic entity. Using her experience as a singer, lap steel player, and Navajo language learner, Jacobsen challenges this notion, showing the ways Navajos distinguish themselves from one another through musical taste, linguistic abilities, geographic location, physical appearance, degree of Navajo or Indian blood, and class affiliations. By linking cultural anthropology to ethnomusicology, linguistic anthropology, and critical Indigenous studies, Jacobsen shows how Navajo poetics and politics offer important insights into the politics of Indigeneity in Native North America, highlighting the complex ways that identities are negotiated in multiple, often contradictory, spheres.

The Pacific Northwest was one of the most populated regions for Native Americans before the coming of the white man. By the mid-1800s, measles and smallpox decimated the Indian population, and the remaining tribes were forced to give up their ancestral lands. This book tells the story of these tribes' fight for survival.

"The first biography of this important American Indian artist"

Artist, teacher, and Red Progressive, Angel De Cora (1869-1919) painted "Fire Light" to capture warm memories of her Nebraska Winnebago childhood. In this biography, Linda M. Waggoner draws on that glowing image to illuminate De Cora's life and artistry, which until now have been largely overlooked by scholars.

One of the first American Indian artists to be accepted within the mainstream art world, De Cora left her childhood home on the Winnebago reservation to find success in the urban Northeast at the turn of the twentieth century. Despite scant documentary sources that elucidate De Cora's private life, Waggoner has rendered a complete picture of the woman known in her time as the first "real Indian artist." She depicts De Cora as a multifaceted individual who as a young girl took pride in her traditions, forged a bond with the land that would sustain her over great distances, and learned the role of cultural broker from her mother's Metis family.

After studying with famed illustrator Howard Pyle at his first Brandywine summer school, De Cora eventually succeeded in establishing the first "Native Indian" art department at Carlisle Indian School. A founding member of the Society of American Indians, she made a significant impact on the American Arts and Crafts movement by promoting indigenous arts throughout her career.

Waggoner brings her broad knowledge of Winnebago culture and history to this gracefully written book, which features more than forty illustrations. "Fire Light" shows us both a consummate artist and a fully realized woman, who learned how to traverse the borders of Red identity in a white man's world.

This book challenges long-accepted historical orthodoxy about relations between the Spanish and the Indians in the borderlands separating what are now Mexico and the United States. While most scholars describe the decades after 1790 as a period of relative peace between the occupying Spaniards and the Apaches, Mark Santiago sees in the Mescalero Apache attacks on the Spanish beginning in 1795 a sustained, widespread, and bloody conflict. He argues that Commandant General Pedro de Nava's coordinated campaigns against the Mescaleros were the culmination of the Spanish military's efforts to contain Apache aggression, constituting one of its largest and most sustained operations in northern New Spain. A Bad Peace and a Good War examines the antecedents, tactics, and consequences of the fighting. This conflict occurred immediately after the Spanish military had succeeded in making an uneasy peace with portions of all Apache groups. The Mescaleros were the first to break the peace, annihilating two Spanish patrols in August 1795. Galvanized by the loss, Commandant General Nava struggled to determine the extent to which Mescaleros residing in ""peace establishments"" outside Spanish settlements near El Paso, San Elizario, and Presidio del Norte were involved. Santiago looks at the impact of conflicting Spanish military strategies and increasing demands for fiscal efficiency as a result of Spain's imperial entanglements. He examines Nava's yearly invasions of Mescalero territory, his divide-and-rule policy using other Apaches to attack the Mescaleros, and his deportation of prisoners from the frontier, preventing the Mescaleros from redeeming their kin. Santiago concludes that the consequences of this war were overwhelmingly negative for Mescaleros and ambiguous for Spaniards. The war's legacy of bitterness lasted far beyond the end of Spanish rule, and the continued independence of so many Mescaleros and other Apaches in their homeland proved the limits of Spanish military authority. In the words of Viceroy Bernardo de Galvez, the Spaniards had technically won a ""good war"" against the Mescaleros and went on to manage a ""bad peace.

Born in 1922, Kenny Thomas Sr. has been a trapper, firefighter, road builder, river-freight hauler, and soldier. Today he is a respected elder and member of a northern Athabaskan tribal group residing in Tanacross, Alaska. As a song and dance leader for the Tanacross community, Thomas has been teaching village traditions at an annual culture camp for more than twenty years. Over a three-year period, folklorist Craig Mishler conducted a series of interviews with Thomas about his life experiences. Crow Is My Boss is the fascinating result of this collaboration. Written in a style that reflects the dialogue between Thomas and Mishler, Crow Is My Boss retains the authenticity of Thomas's voice, capturing his honesty and humor. Thomas reveals biographical details, performs and explains traditional folktales and the potlatch tradition, and discusses ghosts and medicine people. One folktale is presented in both English and Tanacross, Thomas's native language. A compelling personal story, Crow Is My Boss provides insight into the traditional and contemporary culture of Tanacross Athabaskans in Alaska.

An anthology of essays on the new syncretic, or 'fusion', styles of music of the indigenous peoples of the Pacific region, who have adopted forms of popular music as an expression of their cultural identity. Its strength lies in the layering up of a sense of community of inquiry, and the fostering of an intertextual head of steam, grounded in a set of empirical, rather than theoretical, concerns. It considers the interrelation between music, popular culture, politics and (national) identity, but also looks at the business aspect of producing and distributing music in the Pacific region.

Samuel Wesley Gathing: A Closer Look is the moving true story of Sam and Beatrice Gathing and the struggles they faced rearing their fourteen children during the era of the Jim Crow laws. These laws meant that both society and the system enforced the damaging view that their children were just stupid black kids. In this climate of institutionalized discrimination, Sam had to maneuver his way through a massive minefield of irrational hatred intended to destroy him and his family.

Sam and Beatrice began their life together in December 1929, in Desoto County, Mississippi, taking the gift of a mule named Rock and a big red cow to start their farm. Over the years, as their family expanded, so did the land that they farmed. Sam learned to live by the rules of the day but was always a true leader to both his family and to his friends. Through all the challenges that Sam encountered, his faith in God never wavered-he believed that the truth could be found in God's words and actions, not in the laws that were meant to harm him and his people.

Here is the most comprehensive guide to making your own Native American tools and weapons. This reference takes you through the steps of the basic flint-knapping of arrowheads and scrapers to the most complex decorating and finishing techniques of painting and fletching. Fully illustrated with photographs and line illustrations, this is the perfect book for the survivalist, historian, student, or Native American enthusiast.