Native American and Indigenous Studies

Duncan McCue's Decolonizing Journalism is the only text in Canada that teaches aspiring journalists how to build respectful, reciprocal relationships with Indigenous communities when researching and sharing their stories. It is a textbook adaptation of an online guide from one of Canada's leading Indigenous journalists. Decolonizing Journalism guides students through building critical consciousness vis-à-vis Indigenous people and communities, teaches them how to apply their journalistic skills and minds to working with communities, and offers 9 exclusive interviews with Canada's leading Indigenous journalists and podcasters to provide students insight into the histories, processes, and obstacles central to decolonizing journalism and media from the inside out." -- Provided by publisher.
"Recent events including the Truth and Reconciliation Commission and the discovery of mass graves at the sites of former residential schools have brought increased coverage of Indigenous Peoples to Canada's mainstream media outlets. However, there is no guide for current and aspiring journalists to building respectful and reciprocal relationships with Indigenous people and communities when researching and sharing their stories. Written by a leading Indigenous journalist, Duncan McCue, specifically for journalism students in Canada, Decolonizing Journalism delivers practical, up-to-date advice in a guidebook-like text that students will use throughout their studies and careers. Readers will learn how to develop a critical consciousness when engaging with and reporting on Indigenous communities, and will draw insights into the histories, processes, and obstacles central to decolonizing journalism from exclusive interviews with 9 leading Indigenous journalists.

A powerful, poetic memoir of an Indigenous woman's coming of age on the Seabird Island Band in the Pacific Northwest--this New York Times bestseller and Emma Watson Book Club pick is "an illuminating account of grief, abuse and the complex nature of the Native experience . . . at once raw and achingly beautiful (NPR). Having survived a profoundly dysfunctional upbringing only to find herself hospitalized and facing a dual diagnosis of post traumatic stress disorder and bipolar II disorder, Terese Marie Mailhot is given a notebook and begins to write her way out of trauma. The triumphant result is Heart Berries, a memorial for Mailhot's mother, a social worker and activist who had a thing for prisoners; a story of reconciliation with her father―an abusive drunk and a brilliant artist―who was murdered under mysterious circumstances; and an elegy on how difficult it is to love someone while dragging the long shadows of shame. Mailhot trusts the reader to understand that memory isn't exact, but melded to imagination, pain, and what we can bring ourselves to accept. Her unique and at times unsettling voice graphically illustrates her mental state. As she writes, she discovers her own true voice, seizes control of her story, and, in so doing, reestablishes her connection to her family, to her people, and to her place in the world.

The organizing principle for this anthology is the common Native American heritage of its authors; and yet that thread proves to be the most tenuous of all, as the experience of indigeneity differs radically for each of them. While many experience a centripetal pull toward a cohesive Indian experience, the indications throughout these essays lean toward a richer, more illustrative panorama of difference. What tends to bind them together are not cultural practices or spiritual attitudes per se, but rather circumstances that have no exclusive province in Indian country: that is, first and foremost, poverty, and its attendant symptoms of violence, substance abuse, and both physical and mental illness.... Education plays a critical role in such lives: many of the authors recall adoring school as young people, as it constituted a place of escape and a rare opportunity to thrive.... While many of the writers do return to their tribal communities after graduation, ideas about 'home' become more malleable and complicated."from the IntroductionI Am Where I Come From presents the autobiographies of thirteen Native American undergraduates and graduates of Dartmouth College, ten of them current and recent students. Twenty years ago, Cornell University Press published First Person, First Peoples: Native American College Graduates Tell Their Life Stories, also about the experiences of Native American students at Dartmouth College. I Am Where I Come From addresses similar themes and experiences, but it is very much a new book for a new generation of college students.Three of the essays from the earlier book are gathered into a section titled "Continuing Education," each followed by a shorter reflection from the author on his or her experience since writing the original essay. All three have changed jobs multiple times, returned to school for advanced degrees, started and increased their families, and, along the way, continuously revised and refined what it means to be Indian.The autobiographies contained in I Am Where I Come From explore issues of native identity, adjustment to the college environment, cultural and familial influences, and academic and career aspirations. The memoirs are notable for their eloquence and bravery.

#1 NEW YORK TIMES BESTSELLER * A twisting, haunting true-life murder mystery about one of the most monstrous crimes in American history, from the author of The Wager and The Lost City of Z, "one of the preeminent adventure and true-crime writers working today."--New York Magazine * NATIONAL BOOK AWARD FINALIST * NOW A MARTIN SCORSESE PICTURE "A shocking whodunit...What more could fans of true-crime thrillers ask?"--USA Today "A masterful work of literary journalism crafted with the urgency of a mystery." --The Boston Globe In the 1920s, the richest people per capita in the world were members of the Osage Nation in Oklahoma. After oil was discovered beneath their land, the Osage rode in chauffeured automobiles, built mansions, and sent their children to study in Europe. Then, one by one, the Osage began to be killed off. The family of an Osage woman, Mollie Burkhart, became a prime target. One of her relatives was shot. Another was poisoned. And it was just the beginning, as more and more Osage were dying under mysterious circumstances, and many of those who dared to investigate the killings were themselves murdered. As the death toll rose, the newly created FBI took up the case, and the young director, J. Edgar Hoover, turned to a former Texas Ranger named Tom White to try to unravel the mystery. White put together an undercover team, including a Native American agent who infiltrated the region, and together with the Osage began to expose one of the most chilling conspiracies in American history. Look for David Grann's latest bestselling book, The Wager!

For thousands of years the Kumeyaay have interacted with the unique vegetation in the lands now known as Baja and Alta California. In the convergence of landscapes between the Pacific Coast, the great Colorado River desert and the Baja California peninsula, these hunting, gathering, and fishing peoples forged a way of life based on a profound knowledge of the area's rich and varied environments. Over the centuries, they continuously refined this botanical knowledge and transmitted it to subsequent generations. Spanish explorers and missionaries provided the first written descriptions of the Kumeyaay and their environments through vivid accounts of mobile bands seasonally utilizing locally available plant foods and producing ceramics, baskets, bows and arrows, and fiber nets. Only two and a half centuries ago, Spain began to occupy their land, and by 1848, Kumeyaay territory had been divided into two distinct nation states--Mexico and the United States--imposing on the region an international boundary as well as separate political and economic structures, cultures, and languages.

Making History: The IAIA Museum of Contemporary Native Arts is a unique contribution to the fields of visual culture, arts education, and American Indian studies. Written by scholars actively producing Native art resources, this book guides readers-students, educators, collectors, and the public-in how to learn about Indigenous cultures as visualized in our creative endeavors. By highlighting the rich resources and history of the Institute of American Indian Arts, the only tribal college in the nation devoted to the arts whose collections reflect the full tribal diversity of Turtle Island, these essays present a best-practices approach to understanding Indigenous art from a Native-centric point of view. Topics include biography, pedagogy, philosophy, poetry, coding, arts critique, curation, and writing about Indigenous art. Featuring two original poems, ten essays authored by senior scholars in the field of Indigenous art, nearly two hundred works of art, and twenty-four archival photographs from the IAIA's nearly sixty-year history, Making History offers an opportunity to engage the contemporary Native Arts movement.

In Native Foods: Agriculture, Indigeneity, and Settler Colonialism in American History, Michael D. Wise confronts four common myths about Indigenous food history: that most Native communities did not practice agriculture; that Native people were primarily hunters; that Native people were usually hungry; and that Native people never developed taste or cuisine. Wise argues that colonial expectations of food and agriculture have long structured ways of seeing (and of not seeing) Native land and labor. Combining original historical research with interdisciplinary perspectives and informed by the work of Indigenous food sovereignty advocates and activists, this study sheds new light on the historical roles of Native American cuisine in American history and the significance of ongoing colonial processes in present-day discussions about the place of Native foods and Native history in our evolving worlds of taste, justice, and politics.  

The most enduring feature of U.S. history is the presence of Native Americans, yet most histories focus on Europeans and their descendants. This practice of ignoring Indigenous history is changing, however, as a new generation of scholars insists that any full American history address the struggle, survival, and resurgence of American Indian nations. Indigenous history is essential to understanding the evolution of modern America. Ned Blackhawk interweaves five centuries of Native and non-Native histories, from Spanish colonial exploration to the rise of Native American self-determination in the late twentieth century. In this transformative synthesis he shows that: European colonization in the 1600s was never a predetermined success; Native nations helped shape England's crisis of empire; the first shots of the American Revolution were prompted by Indian affairs in the interior; California Indians targeted by federally funded militias were among the first casualties of the Civil War; the Union victory forever recalibrated Native communities across the West; twentieth-century reservation activists refashioned American law and policy. Blackhawk's retelling of U.S. history acknowledges the enduring power, agency, and survival of Indigenous peoples, yielding a truer account of the United States and revealing anew the varied meanings of America.

Religion and Culture in Native America presents an introduction to a diverse array of Indigenous religious and cultural practices in North America, focusing on those issues in which tribal communities themselves are currently invested. These topics include climate change, water rights, the protection of sacred places, the reclaiming of Indigenous foods, health and wellness, social justice, and the safety of Indigenous women and girls. Locating such contemporary challenges within their historical, religious, and cultural contexts illuminates how Native communities' responses to such issues are not simply political, but deeply spiritual, informed by sacred traditions, ethical principles, and profound truths. In collaboration with renowned ethnographer and scholar of Native American religious traditions Inés Talamantez, Suzanne Crawford O'Brien abandons classical categories typically found in religious studies textbooks and challenges essentialist notions of Native American cultures to explore the complexities of Native North American life. Key features of this text include: Consideration of Indigenous religious traditions within their historical, political, and cultural contexts Thematic organization emphasizing the concerns and commitments of contemporary tribal communities Maps and images that help to locate tribal communities and illustrate key themes. Recommendations for further reading and research Written in an engaging narrative style, this book makes an ideal text for undergraduate courses in Native American Religions, Religion and Ecology, Indigenous Religions, and World Religions.

Before there was such a thing as "California," there were the People and the Land. Manifest Destiny, the Gold Rush, and settler colonial society drew maps, displaced Indigenous People, and reshaped the land, but they did not make California. Rather, the lives and legacies of the people native to the land shaped the creation of California. We Are the Land is the first and most comprehensive text of its kind, centering the long history of California around the lives and legacies of the Indigenous people who shaped it. Beginning with the ethnogenesis of California Indians, We Are the Land recounts the centrality of the Native presence from before European colonization through statehood-paying particularly close attention to the persistence and activism of California Indians in the late twentieth and early twenty-first centuries. The book deftly contextualizes the first encounters with Europeans, Spanish Missions, Mexican secularization, the devastation of the Gold Rush and statehood, genocide, efforts to reclaim land, and the organization and activism for sovereignty that built today's casino economy. A text designed to fill the glaring need for an accessible overview of California Indian history, We Are the Land will be a core resource in a variety of classroom settings, as well as for casual readers and policy-makers interested in a history that centers the native experience

This exhibition was initially conceived by Frank LaPena, a key figure in California's Native fine art movement since the 1960's. Co-organized with Mark Johnson, and with the assistance of curatorial staff at the Crocker Art Museum and the Autry Museum, the catalogue will feature profiles of the artists, an art historical timeline, and contextual essays by Native American scholars including FrankLaPena, Julian Lang, Franklin Tuele, and Janeen Antoine. The exhibition and its accompanying catalogue will spotlight the activisit dimension in California Indian art since the 1960's. Exhibition themes include: a political interest to address history and confront erasure, an environmental postionality that considers the subtle force of balance in nature in relation to contemporary imbalances; activist employment of symbols and language that signal indigenous difference in world view; an engagement with reanimating ideas drawn from myth and ritual; and a commitment to reflecting the real issues in contemporary society and the struggle to overcome internalized trauma. The catalogue will feature the work of 20 artists and will include discussion of an additional 20 artists within the essay content.