Employing anthropology, field research, and humanities methodologies as well as digital cartography, and foregrounding the voices of Indigenous scholars, this text examines digital projects currently underway, and includes alternative modes of "mapping" Native American, Alaskan Native, Indigenous Hawaiian and First Nations land. The work of both established and emerging scholars addressing a range of geographic regions and cultural issues is also represented. Issues addressed include the history of maps made by Native Americans; healing and reconciliation projects related to boarding schools; language and land reclamation; Western cartographic maps created in collaboration with Indigenous nations; and digital resources that combine maps with narrative, art, and film, along with chapters on archaeology, place naming, and the digital presence of elders. This text is of interest to scholars working in history, cultural studies, anthropology, Native American studies, and digital cartography.

Against the understanding of Jacques Derrida, who initiated analysis of archives as an expression of state power, the archive can be seen as a disruption or break in the standard presentation and operation of power. In this text the author employs a family archive-consisting of correspondence, diaries, interviews, journalistic accounts, records, photographs, artwork and maps-as well as archival and historical material from the Osage to document a unique relationship among white settlers, the Osage, and African Americans in Oklahoma. Settler/occupier histories are often homogenized or discussed solely in the context of the cultural erasure of, and centuries of violence perpetuated against American Indian peoples and black individuals who were enslaved. Older documentation of the settlement/relocation experience provides a vision, partially romanticized, of occupants of “Indian Territory” which often conclude with colonial conquest, or include accounts of white settlement that slight their own experience and suffering. This text employs an anthropological framework that examines lived experience, nuanced and intersecting relationships, and histories as they took place in specific work contexts and spaces in Oklahoma, providing an account of interactions among settlers, African Americans, and the Osage in the voices of those who were there. It argues that identities are mutually arising, even in the context of oppression and violence, and that architecture, art, body ornamentation, sacred objects, ceremonies, and performances-as well as exhibition practices-reflect such intersectional cultures and identities.

Employing anthropology, field research, and humanities methodologies as well as digital cartography, and foregrounding the voices of Indigenous scholars, this text examines digital projects currently underway, and includes alternative modes of "mapping" Native American, Alaskan Native, Indigenous Hawaiian and First Nations land. The work of both established and emerging scholars addressing a range of geographic regions and cultural issues is also represented. Issues addressed include the history of maps made by Native Americans; healing and reconciliation projects related to boarding schools; language and land reclamation; Western cartographic maps created in collaboration with Indigenous nations; and digital resources that combine maps with narrative, art, and film, along with chapters on archaeology, place naming, and the digital presence of elders. This text is of interest to scholars working in history, cultural studies, anthropology, Native American studies, and digital cartography.

The struggle of African nations to achieve independence from colonial rule was a momentous event in world history, and among the most influential features of the independence era was the art that it produced. With decolonization, Africa was thrust into nation building and into the related process of negotiating its popular culture, integrating modernism while simultaneously sustaining native tradition, and thereby producing a form of uniquely transitional art. This work examines the complexity of popular artistic culture in the era of African nationalism, with a special focus on the influential independence era in Ghana. Chapters One and Two consider the ideologies of the Convention People's Party and the National Liberation Movement in Ghana and their respective effects on colonial artistic production. Chapters Three through Six discuss the relationship between architecture, museum exhibitions, and political displays and the growing nationalist ideologies, revealing the extent to which African art has since its inception been a medium for political, social, and historical commentary.~ Chapter Seven investigates artistic practices associated with bodily expression and explores the manner in which these practices were influenced by post-colonial authority, while the final chapters focus on the intangible forms of art, such as the communal performance, that have been so endemic to African art history.