Native American & Indigenous Studies

In 1972, the Bureau of Indian Affairs terminated its twenty-year-old Voluntary Relocation Program, which encouraged the mass migration of roughly 100,000 Native American people from rural to urban areas. At the time the program ended, many groups--from government leaders to Red Power activists--had already classified it as a failure, and scholars have subsequently positioned the program as evidence of America's enduring settler-colonial project. But Douglas K. Miller here argues that a richer story should be told--one that recognizes Indigenous mobility in terms of its benefits and not merely its costs. In their collective refusal to accept marginality and destitution on reservations, Native Americans used the urban relocation program to take greater control of their socioeconomic circumstances. Indigenous migrants also used the financial, educational, and cultural resources they found in cities to feed new expressions of Indigenous sovereignty both off and on the reservation. The dynamic histories of everyday people at the heart of this book shed new light on the adaptability of mobile Native American communities. In the end, this is a story of shared experience across tribal lines, through which Indigenous people incorporated urban life into their ideas for Indigenous futures.

Beginning with the tribes' devastating loss of land and the forced assimilation of their children at government-run boarding schools, he shows how the period of greatest adversity also helped to incubate a unifying Native identity. He traces how conscription in the US military and the pull of urban life brought Indians into the mainstream and modern times, even as it steered the emerging shape of their self-rule and spawned a new generation of resistance. The Heartbeat of Wounded Knee is an essential, intimate history - and counter-narrative - of a resilient people in a transformative era.

This book brings together diverse essays by leading Indian law scholars across the disciplines of indigenous and environmental law. The chapters reveal the difficulties encountered by Native American tribes in attempts to establish their own environmental standards within federal Indian law and environmental law structures. Gleaning new insights from a focus on tribal land and property law, the collection studies the practice of tribal sovereignty as experienced by Indians and non-Indians, with an emphasis on the development and regulatory challenges these tribes face in the wake of climate change.

During the past thirty years, Native American dance has emerged as a visible force on concert stages throughout North America. In this first major study of contemporary Native American dance, Jacqueline Shea Murphy shows how these performances are at once diverse and connected by common influences. Demonstrating the complex relationship between Native and modern dance choreography, Shea Murphy delves first into U.S. and Canadian federal policies toward Native performance from the late nineteenth through the early twentieth centuries, revealing the ways in which government sought to curtail authentic ceremonial dancing while actually encouraging staged spectacles, such as those in Buffalo Bill's Wild West shows. She then engages the innovative work of Ted Shawn, Lester Horton, and Martha Graham, highlighting the influence of Native American dance on modern dance in the twentieth century. Shea Murphy moves on to discuss contemporary concert dance initiatives, including Canada's Aboriginal Dance Program and the American Indian Dance Theatre. Illustrating how Native dance enacts, rather than represents, cultural connections to land, ancestors, and animals, as well as spiritual and political concerns, Shea Murphy challenges stereotypes about American Indian dance and offers new ways of recognizing the agency of bodies on stage.

Native America: A History, Second Edition offers a thoroughly revised and updated narrative history of American Indian peoples in what became the United States. The new edition includes expanded coverage of the period since the Second World War, including an updated discussion of the Red Power Movement, the legal status of native nations in the United States, and important developments that have transformed Indian Country over the past 75 years.  Also new to this edition are sections focusing on the Pacific Northwest.   Placing the experiences of native communities at the heart of the text, historian Michael Leroy Oberg focuses on twelve native communities whose histories encapsulate the principal themes and developments in Native American history and follows them from earliest times to the present. ? A single volume text ideal for college courses presenting the history of native peoples in the region that ultimately became the United States from ancient America to the present ? A work that illustrates the great diversity in the historical experience of native peoples and spotlights the importance of Native Americans in the history of North America ? A supplementary website (MichaelLeroyOberg.com) includes resources for teachers and students, including a resource guide, links to primary source documents, suggestions for additional readings, test and discussion questions, and an author's blog.

Unpacks the twenty-one most common myths and misconceptions about Native Americans In this enlightening book, scholars and activists Roxanne Dunbar-Ortiz and Dina Gilio-Whitaker tackle a wide range of myths about Native American culture and history that have misinformed generations. Tracing how these ideas evolved, and drawing from history, the authors disrupt long-held and enduring myths such as- "Columbus Discovered America" "Thanksgiving Proves the Indians Welcomed Pilgrims" "Indians Were Savage and Warlike" "Europeans Brought Civilization to Backward Indians" "The United States Did Not Have a Policy of Genocide" "Sports Mascots Honor Native Americans" "Most Indians Are on Government Welfare" "Indian Casinos Make Them All Rich" "Indians Are Naturally Predisposed to Alcohol" Each chapter deftly shows how these myths are rooted in the fears and prejudice of European settlers and in the larger political agendas of a settler state aimed at acquiring Indigenous land and tied to narratives of erasure and disappearance. Accessibly written and revelatory, "All the Real Indians Died Off" challenges readers to rethink what they have been taught about Native Americans and history.

In his new preface to this paperback edition, the author observes, "The Indian world has changed so substantially since the first publication of this book that some things contained in it seem new again." Indeed, it seems that each generation of whites and Indians will have to read and reread Vine Deloria’s Manifesto for some time to come, before we absorb his special, ironic Indian point of view and what he tells us, with a great deal of humor, about U.S. race relations, federal bureaucracies, Christian churches, and social scientists. This book continues to be required reading for all Americans, whatever their special interest.

It is little known that the Revolutionary War and the writing of the United States Constitution and Bill of Rights were strongly influenced by Native American traditions. European philosophers of the Enlightenment such as Jean Jacques Rousseau had begun pressing for democratic reforms in Europe on the basis of glowing reports by early settlers about the New World and its native inhabitants. The founding fathers of the United States, in turn, were inspired to fight for independence and to create the great American documents of freedom through contact with Native American statesmen and exposure to American Indian societies based on individual freedom, representative government and the democratic union of tribes. Yet American Indians have never been acknowledged for their many contributions to the founding of the United States of America, and they have never been permitted to fully share the benefits of the freedoms they helped establish. Exiled in the Land of the Free is a dramatic recounting of early American history and an eloquent call for reform that will not be ignored. Written by eight prominent Native American leaders and scholars, each a specialist in his area of expertise, Exiled in the Land of the Free: Democracy, Indian Nations and the U. S. Constitution is a landmark volume, sure to be read by generations to come. An aspect of American history that has been ignored and denied for centuries is the extent to which we are indebted to Native Americans for the principles and practices on which our democratic institutions are based. This is the first work to recognize that legacy and trace our model of participatory democracy to its Native American roots. This book, which was written into the Congressional Record, has major implications for future relations between Indian tribes and the governments of the United States and other nations. It presents the strongest case ever made for Native American sovereignty. American history has finally been written--not from the European point of view--but from an Indian perspective. Exiled in the Land of the Free has been adopted for courses in twelve universities, to date.

In the face of a new lightly romanticized view of Native Americans, Killing the White Man's Indian bravely confronts the current myths and often contradictory realities of tribal life today. Following two centuries of broken treaties and virtual government extermination of the "savage redmen," Americans today have recast Native Americans into another, equally stereotyped role, that of eternal victims, politically powerless and weakened by poverty and alcoholism, yet whose spiritual ties with the natural world form our last, best hope of salvaging our natural environment and ennobling our souls. The truth, however, is neither as grim , nor as blindly idealistic, as many would expect. The fact is that a virtual revolution is underway in Indian Country, an upheaval of epic proportions. For the first time in generations, Indians are shaping their own destinies, largely beyond the control of whites, reinventing Indian education and justice, exploiting the principle of tribal sovereignty in ways that empower tribal governments far beyond most American's imaginations. While new found power has enriched tribal life and prospects, and has made Native Americans fuller participants in the American dream, it has brought tribal governments into direct conflict with local economics and the federal government. Based on three years of research on the Native American reservations, and written without a hidden conservative bias or politically correct agenda, Killing the White Man's Indian takes on Native American politics and policies today in all their contradictory--and controversial-guises."

Vine Deloria, Jr., leading Native American scholar and author of the best-selling God is Red, addresses the conflict between mainstream scientific theory about our world and the ancestral worldview of Native Americans. Claiming that science has created a largely fictional scenario for American Indians in prehistoric North America, Deloria offers an alternative view of the continent's history as seen through the eyes and memories of Native Americans. Further, he warns future generations of scientists not to repeat the ethnocentric omissions and fallacies of the past by dismissing Native oral tradition as mere legends.

Joy Harjo's play Wings of Night Sky, Wings of Morning Light is the centerpiece of this collection that includes essays and interviews concerning the roots and the reaches of contemporary Native Theater. Harjo blends storytelling, music, movement, and poetic language in Wings of Night Sky, Wings of Morning Light--a healing ceremony that chronicles the challenges young protagonist Redbird faces on her path to healing and self-determination. This text is accompanied by interviews with Native theater artists Rolland Meinholtz and Randy Reinholz, as well as an interview with Harjo, conducted by Page. The interviews highlight the lives and contributions of Meinholtz, a theater artist and educator who served as the drama instructor at the Institute of American Indian Arts from 1964-70 and a close mentor and friend to Harjo; and Reinholz, producing artistic director of Native Voices at the Autry, the nation's only Equity theater company dedicated exclusively to the development and production of new plays by Native American, First Nations, and Alaska Native playwrights. The new interview with Harjo focuses on her experiences working in theater. Essays on Harjo's work are provided by Mary Kathryn Nagle--an enrolled citizen of the Cherokee nation, playwright, and attorney who shares her insights on the legal and historical frameworks through which we can better understand the significance of Harjo's play; and Priscilla Page--writer, performer, and educator (of Wiyot heritage), who looks at indigenous feminism, jazz, and performance as influences on Harjo's theatrical work.

Opening July 4, 1969, on the Pine Ridge Reservation, The RedBird All-Indian Traveling Band begins with a raucous Fourth ofJuly gig that abruptly ends with the Red Birds ducking out of theperformance in a hilarious hail of beer bottles. Buffalo Ames is dead,presumed to be murdered, just outside the bar. Sissy Roberts, theband's sassy lead singer and rhythm guitarist, is drawn into aninvestigation by an FBI agent. Ames's death is just an example ofthe violence and passions that run through this fast-moving novel.The Red Bird All-Indian Traveling Band is the story of IndianCountry on the verge of historic change and a woman unwilling to letchange pass her by.

A Clan Mother story for the twenty-first century, Sacred Wilderness explores the lives of four women of different eras and backgrounds who come together to restore foundation to a mixed-up, mixed-blood woman--a woman who had been living the American dream, and found it a great maw of emptiness. These Clan Mothers may be wisdom-keepers, but they are anything but stern and aloof--they are women of joy and grief, risking their hearts and sometimes their lives for those they love. The novel swirls through time, from present-day Minnesota to the Mohawk territory of the 1620s, to the ancient biblical world, brought to life by an indigenous woman who would come to be known as the Virgin Mary. The Clan Mothers reveal secrets, the insights of prophecy, and stories that are by turns comic, so painful they can break your heart, and perhaps even powerful enough to save the world. In lyrical, lushly imagined prose, Sacred Wilderness is a novel of unprecedented necessity.

Including stories from the 1700s to today, Choctaw Tales showcases the mythic, the legendary and supernatural, the prophecies and histories, the animal fables and jokes that make up the rich and lively Choctaw storytelling tradition. The stories display intelligence, artistry, and creativity as Choctaw narrators, past and present, express and struggle with beliefs, values, humor, and life experiences. Photographs of the storytellers complement the text. For sixteen tales, the Choctaw-language version appears in addition to the English translation. Many of these stories, passed down through generations, address the Choctaw sense of isolation and tension as storytellers confront eternal, historical, and personal questions about the world and its inhabitants. Choctaw Tales, the first book to collect these stories, creates a comprehensive gathering of oral traditions from the Mississippi Band of Choctaw Indians. Each story brings to life the complex and colorful world of the Choctaw tribe and its legend and lore. The shukha anumpa include tall tales, jokes, and stories of rabbit and turtle and bear. The stories of the elders are populated by spirits that bring warnings and messages to the people. As a whole, these tales provide a spectrum of legend and a glimpse of a vibrant, thriving legacy.

The Road to the Spring is the first book publication of Mary Austin's (1868-1934) poems. Best known for her prose book The Land of Little Rain (1903), Austin was in fact a poet from the beginning of her career to the end, even though she never published a volume dedicated to her own original poetry. Instead, Austin's work came to light in collections of poetry and in prestigious journals such as Poetry, the Nation, the Forum, Harper's, and Saturday Review of Literature, among many others. The Road to the Spring contains more than 200 poems, most of which can only be found in out-of-print books, magazines, and periodicals, and her unpublished manuscripts archived at the Huntington Library. This singular publication includes her original work, poems she claimed to have written with her grammar school pupils at the end of the nineteenth century, and her translations and "re-expressions" of Native American songs, which often diverge greatly from any other known sources. Warren includes an introduction, laying out Austin's place in American literature and situating her writings in feminist, environmentalist, regionalist, and Native American contexts. He also includes notes for those new to Austin's work, glossing Native terms, geographical names, and the ethnological sources of the Native songs she re-creates.

The great Native American Novel of a battered veteran returning home to heal his mind and spirit. More than thirty-five years since its original publication, Ceremony remains one of the most profound and moving works of Native American literature, a novel that is itself a ceremony of healing. Tayo, a World War II veteran of mixed ancestry, returns to the Laguna Pueblo Reservation. He is deeply scarred by his experience as a prisoner of the Japanese and further wounded by the rejection he encounters from his people. Only by immersing himself in the Indian past can he begin to regain the peace that was taken from him. Masterfully written, filled with the somber majesty of Pueblo myth, Ceremony is a work of enduring power. The Penguin Classics Deluxe Edition contains a new preface by the author and an introduction by Larry McMurtry. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

The Fast Red Road--A Plainsong is a novel which plunders, in a gleeful, two-fisted fashion, the myth and pop-culture surrounding the American Indian. It is a story fueled on pot fumes and blues, borrowing and distorting the rigid conventions of the traditional western. Indians, cowboys, and outlaws are as interchangeable as their outfits; men strike poses from Gunsmoke, and horses are traded for Trans-Ams. Pidgin, the half-blood protagonist, inhabits a world of illusion--of aliens, ghosts, telekinesis, and water-pistol violence--where television offers redemption, and "the Indian always gets it up the ass." Having escaped the porn factories of Utah, Pidgin heads for Clovis, NM to bury his father, Cline. But the body is stolen at the funeral, and Pidgin must recover it. With the aid of car thief Charlie Ward, he criscrosses a wasted New Mexico, straying through bars, junkyards, and rodeos, evading the cops, and tearing through barriers "Dukestyle." "Charlie Ward slid his thin leather belt from his jeans and held it out the window, whipping the cutlass faster, faster, his dyed black hair unbraiding in the fifty mile per hour wind, and they never stopped for gas." Along the way, Pidgin escapes a giant coyote, survives a showdown with Custer, and encounters the remnants of the Goliard Tribe--a group of radicals to which Cline belonged. Pidgin's search allows him to reconcile the death of his father with five hundred years of colonial myth-making, and will eventually place him in a position to rewrite history. Jones tells his tale in lean, poetic prose. He paints a bleak, fever-burnt west--a land of strip-joints, strip-malls, and all you can eat beef-fed-beef stalls, where the inhabitants speak a raw, disposable lingo. His vision is dark yet frighteningly recognizable. In the tradition of Gerald Vizenor's Griever, The Fast Red Road--A Plainsong blazes a trail through the puppets and mirrors of myth, meeting the unexpected at every turn, and proving that the past--the texture of the road--can and must be changed.

Sixteen-year-old Omishto is torn between the world of her Westernized mother and the traditions of her Native American ancestors.

It is February 1839, and the survivors of the Cherokee Trail of Tears have just arrived in Fort Gibson, Indian Territory. A quarter of the removed Indian population have died along the way, victims of cold, disease, and despair. Now the Cherokee people confront an unknown future. How will they build anew from nothing? How will they plow fields of unbroken sod, full of rocks too heavy to lift? Can they put aside the pain and anger of Removal and find peace? Pushing the Bear: After the Trail of Tears tells the story of the Cherokees' resettlement in the hard years following Removal, a story never before explored in fiction. In this sequel to her popular 1996 novel Pushing the Bear: A Novel of the Trail of Tears, author Diane Glancy continues the tale of Cherokee brothers O-ga-na-ya and Knobowtee and their families, as well the Reverend Jesse Bushyhead, a Cherokee Christian minister. The book follows their travails in Indian Territory as they attempt to build cabins, raise crops, and adjust to new realities. The novel begins with a nation defeated--displaced, starving, broken, still walking that hated Trail in their dreams. Debate rages between followers of the old ways and converts to Christianity, and conflict between those who opposed and those who authorized resettlement eventually erupts into violence. In the aftermath of confusion, despair, and turmoil, a new nation emerges.

A novel about a Vietnam veteran confined to a mental hospital after murdering his girlfriend. His body is later found in a river. While the mystery is unfolding, the novel also takes on a magical-realist element, with ghosts and nature and spirits inhabiting its world. A harrowing and gut-wrenching novel.

Eight-year-old Kahu craves her great-grandfather's love and attention. But he is focused on his duties as chief of a Maori tribe in Whangara, on the East Coast of New Zealand - a tribe that claims descent from the legendary 'whale rider'. In every generation since the whale rider, a male has inherited the title of chief. But now there is no male heir - there's only kahu. She should be the next in line for the title, but her great-grandfather is blinded by tradition and sees no use for a girl. Kahu will not be ignored. And in her struggle she has a unique ally: the whale rider himself, from whom she has inherited the ability to communicate with whales. Once that sacred gift is revealed, Kahu may be able to re-establish her people's ancestral connections, earn her great-grandfather's attention and lead her tribe to a bold new future.

In these poems, the joys and struggles of the everyday are played against the grinding politics of being human. Beginning in a hotel room in the dark of a distant city, we travel through history and follow the memory of the Trail of Tears from the bend in the Tallapoosa River to a place near the Arkansas River. Stomp dance songs, blues and jazz ballads echo throughout. Lost ancestors are recalled. Resilient songs are born, even as they grieve the loss of their country. Called a "magician and a master" (San Francisco Chronicle), Joy Harjo is at the top of her form in Conflict Resolution for Holy Beings.