The Indian Craze
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Author | : Elizabeth Hutchinson |
Publisher | : Duke University Press |
Total Pages | : 304 |
Release | : 2009-03-23 |
Genre | : Art |
ISBN | : 0822392097 |
In the early twentieth century, Native American baskets, blankets, and bowls could be purchased from department stores, “Indian stores,” dealers, and the U.S. government’s Indian schools. Men and women across the United States indulged in a widespread passion for collecting Native American art, which they displayed in domestic nooks called “Indian corners.” Elizabeth Hutchinson identifies this collecting as part of a larger “Indian craze” and links it to other activities such as the inclusion of Native American artifacts in art exhibitions sponsored by museums, arts and crafts societies, and World’s Fairs, and the use of indigenous handicrafts as models for non-Native artists exploring formal abstraction and emerging notions of artistic subjectivity. She argues that the Indian craze convinced policymakers that art was an aspect of “traditional” Native culture worth preserving, an attitude that continues to influence popular attitudes and federal legislation. Illustrating her argument with images culled from late-nineteenth- and early-twentieth-century publications, Hutchinson revises the standard history of the mainstream interest in Native American material culture as “art.” While many locate the development of this cross-cultural interest in the Southwest after the First World War, Hutchinson reveals that it began earlier and spread across the nation from west to east and from reservation to metropolis. She demonstrates that artists, teachers, and critics associated with the development of American modernism, including Arthur Wesley Dow and Gertrude Käsebier, were inspired by Native art. Native artists were also able to achieve some recognition as modern artists, as Hutchinson shows through her discussion of the Winnebago painter and educator Angel DeCora. By taking a transcultural approach, Hutchinson transforms our understanding of the role of Native Americans in modernist culture.
Author | : Elizabeth Hutchinson |
Publisher | : |
Total Pages | : 0 |
Release | : 2009 |
Genre | : Indian art |
ISBN | : |
In the early twentieth century, Native American baskets, blankets, and bowls could be purchased from department stores, “Indian stores,” dealers, and the U.S. government's Indian schools. Men and women across the United States indulged in a widespread passion for collecting Native American art, which they displayed in domestic nooks called “Indian corners.” Elizabeth Hutchinson identifies this collecting as part of a larger “Indian craze” and links it to other activities such as the inclusion of Native American artifacts in art exhibitions sponsored by museums, arts and crafts societies, and World's Fairs, and the use of indigenous handicrafts as models for non-Native artists exploring formal abstraction and emerging notions of artistic subjectivity. She argues that the Indian craze convinced policymakers that art was an aspect of “traditional” Native culture worth preserving, an attitude that continues to influence popular attitudes and federal legislation.Illustrating her argument with images culled from late-nineteenth- and early-twentieth-century publications, Hutchinson revises the standard history of the mainstream interest in Native American material culture as “art.” While many locate the development of this cross-cultural interest in the Southwest after the First World War, Hutchinson reveals that it began earlier and spread across the nation from west to east and from reservation to metropolis. She demonstrates that artists, teachers, and critics associated with the development of American modernism, including Arthur Wesley Dow and Gertrude Käsebier, were inspired by Native art. Native artists were also able to achieve some recognition as modern artists, as Hutchinson shows through her discussion of the Winnebago painter and educator Angel DeCora. By taking a transcultural approach, Hutchinson transforms our understanding of the role of Native Americans in modernist culture.
Author | : Gordon M. Sayre |
Publisher | : Univ of North Carolina Press |
Total Pages | : 368 |
Release | : 2006-05-18 |
Genre | : History |
ISBN | : 0807877018 |
The leaders of anticolonial wars of resistance--Metacom, Pontiac, Tecumseh, and Cuauhtemoc--spread fear across the frontiers of North America. Yet once defeated, these men became iconic martyrs for postcolonial national identity in Canada, the United States, and Mexico. By the early 1800s a craze arose for Indian tragedy on the U.S. stage, such as John Augustus Stone's Metamora, and for Indian biographies as national historiography, such as the writings of Benjamin Drake, Francis Parkman, and William Apess. With chapters on seven major resistance struggles, including the Pueblo Revolt of 1680 and the Natchez Massacre of 1729, The Indian Chief as Tragic Hero offers an analysis of not only the tragedies and epics written about these leaders, but also their own speeches and strategies, as recorded in archival sources and narratives by adversaries including Hernan Cortes, Antoine-Simon Le Page du Pratz, Joseph Doddridge, Robert Rogers, and William Henry Harrison. Sayre concludes that these tragedies and epics about Native resistance laid the foundation for revolutionary culture and historiography in the three modern nations of North America, and that, at odds with the trope of the complaisant "vanishing Indian," these leaders presented colonizers with a cathartic reproof of past injustices.
Author | : Oliver Otis Howard |
Publisher | : |
Total Pages | : 584 |
Release | : 1907 |
Genre | : Biography & Autobiography |
ISBN | : |
Author | : Rob E. King, |
Publisher | : McFarland |
Total Pages | : 215 |
Release | : 2023-01-19 |
Genre | : Performing Arts |
ISBN | : 1476682089 |
This collection convenes diverse analyses of David Lynch's newly conceived, dreamlike neo-noir representations of the American West, a first in studies of regionalism and indigeneity in his films. Twelve essays and three interviews address Lynch's image of the American West and its impact on the genre. Fans and scholars of David Lynch's work will find a study of his interpretations of the West as place and myth, spanning from his first feature film, Eraserhead (1977), through the third season of Twin Peaks in 2017. Symbols of the West in Lynch's work can be as obvious as an Odessa, Texas street sign or as subtle as the visual themes rooted in indigenous artistry. Explorations of cowboy masculinity, violence, modern frontier narratives and representations of indigeneity are all included in this collection.
Author | : Daniel H. Usner, Jr. |
Publisher | : LSU Press |
Total Pages | : 131 |
Release | : 2023-09-20 |
Genre | : History |
ISBN | : 080718067X |
Though long neglected, the history and experiences of Indigenous women offer a deeper, more complex understanding of southern history and culture. In Native American Women and the Burdens of Southern History, Daniel H. Usner explores the dynamic role of Native American women in the South as they confronted waves of colonization, European imperial invasion, plantation encroachment, and post–Civil War racialization. In the process, he reveals the distinct form their means of adaptation and resistance took. While drawing attention to existing scholarship on Native American women, Usner also uses original research and diverse sources, including visual images and material culture, to advance a new line of inquiry. Focusing on women’s responses and initiatives across centuries, he shows how their agency shaped and reshaped their communities’ relations with non-Native southerners. Exploring basketry in the Lower Mississippi Valley and Gulf Coastal South, Usner emphasizes the essential role women played in ongoing efforts at resistance and survival, even in the face of epidemics, violence, and enslavement unleashed by early colonizers. Foods and medicines that Native women gathered, carried, stored, and peddled in baskets proved integral in forming the region’s frontier exchange economy. Later, as the plantation economy threatened to envelop their communities, Indigenous women adapted to change and resisted disappearance by perpetuating exchange with non-Native neighbors and preserving a deep attachment to the land. By the start of the twentieth century, facing a new round of lethal attacks on Indigenous territory, identity, and sovereignty in the Jim Crow South, Native women’s resilient and resourceful skill as makers of basketry became a crucial instrument in their nations’ political diplomacy. Overall, Usner’s work underscores how central Indigenous women have been in struggles for Native American territory and sovereignty throughout southern history.
Author | : Michael A. Amundson |
Publisher | : University of Oklahoma Press |
Total Pages | : 209 |
Release | : 2017-04-13 |
Genre | : History |
ISBN | : 0806157771 |
Many associate early western music with the likes of Roy Rogers and Gene Autry, but America’s first western music craze predates these “singing cowboys” by decades. Written by Tin Pan Alley songsters in the era before radio, the first popular cowboy and Indian songs circulated as piano sheet music and as cylinder and disc recordings played on wind-up talking machines. The colorful fantasies of western life depicted in these songs capitalized on popular fascination with the West stoked by Buffalo Bill’s Wild West shows, Owen Wister’s novel The Virginian, and Edwin S. Porter’s film The Great Train Robbery. The talking machine music industry, centered in New York City, used state-of-the-art recording and printing technology to produce and advertise songs about the American West. Talking Machine West brings together for the first time the variety of cowboy, cowgirl, and Indian music recorded and sold for mass consumption between 1902 and 1918. In the book’s introductory chapters, Michael A. Amundson explains how this music reflected the nostalgic passing of the Indian and the frontier while incorporating modern ragtime music and the racial attitudes of Jim Crow America. Hardly Old West ditties, the songs gave voice to changing ideas about Indians and assimilation, cowboys, the frontier, the rise of the New Woman, and ethnic and racial equality. In the book’s second part, a chronological catalogue of fifty-four western recordings provides the full lyrics and history of each song and reproduces in full color the cover art of extant period sheet music. Each entry also describes the song’s composer(s), lyricist(s), and sheet music illustrator and directs readers to online digitized recordings of each song. Gorgeously illustrated throughout, this book is as entertaining as it is informative, offering the first comprehensive account of popular western recorded music in its earliest form.
Author | : Das Gupta |
Publisher | : Pearson Education India |
Total Pages | : 1230 |
Release | : 1900 |
Genre | : India |
ISBN | : 8131753751 |
Science and Modern India: An Institutional History, c.1784-1947: Project of History of Science, Philosophy and Culture in Indian Civilization, Volume XV, Part 4 comprises chapters contributed by eminent scholars. It discusses the historical background of the establishment of science institutes that were established in pre-Independence India, and still exist, their functions and their present status. This volume discusses Indian science institutes that specialize in a particular field. It also delves into the area of engineering sciences.
Author | : Gaylord Torrence |
Publisher | : Metropolitan Museum of Art |
Total Pages | : 233 |
Release | : 2018-10-01 |
Genre | : Art |
ISBN | : 1588396622 |
This landmark publication reevaluates historical Native American art as a crucial but under-examined component of American art history. The Charles and Valerie Diker Collection, a transformative promised gift to The Metropolitan Museum of Art, includes masterworks from more than fifty cultures across North America. The works highlighted in this volume span centuries, from before contact with European settlers to the early twentieth century. In this beautifully illustrated volume, featuring all new photography, the innovative visions of known and unknown makers are presented in a wide variety of forms, from painting, sculpture, and drawing to regalia, ceramics, and baskets. The book provides key insights into the art, culture, and daily life of culturally distinct Indigenous peoples along with critical and popular perceptions over time, revealing that to engage Native art is to reconsider the very meaning of America. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}
Author | : Kiara M. Vigil |
Publisher | : Cambridge University Press |
Total Pages | : 379 |
Release | : 2015-07-15 |
Genre | : History |
ISBN | : 131635217X |
In the United States of America today, debates among, between, and within Indian nations continue to focus on how to determine and define the boundaries of Indian ethnic identity and tribal citizenship. From the 1880s and into the 1930s, many Native people participated in similar debates as they confronted white cultural expectations regarding what it meant to be an Indian in modern American society. Using close readings of texts, images, and public performances, this book examines the literary output of four influential American Indian intellectuals who challenged long-held conceptions of Indian identity at the turn of the twentieth century. Kiara M. Vigil traces how the narrative discourses created by these figures spurred wider discussions about citizenship, race, and modernity in the United States. Vigil demonstrates how these figures deployed aspects of Native American cultural practice to authenticate their status both as indigenous peoples and as citizens of the United States.