DOCSLIB.ORG

Thesis of Käsebier’S Typ Ical Child Subjects Who Delight in Exploring a Receptive World” (36)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Thesis of Käsebier’S Typ� Ical Child Subjects Who Delight in Exploring a Receptive World” (36) UvA-DARE (Digital Academic Repository) The native as image: art history, nationalism, and decolonizing aesthetics Caro, M.A. Publication date 2010 Document Version Final published version Link to publication Citation for published version (APA): Caro, M. A. (2010). The native as image: art history, nationalism, and decolonizing aesthetics. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:04 Oct 2021 THE NATIVE AS IMAGE ART HISTORY, NATIONALISM, AND DECOLONIZING AESTHETICS MARIO A. CARO Cover Image: Larry McNeil , Grandma, We Who are Your Children , 2001. THE NATIVE AS IMAGE: ART HISTORY, NATIONALISM, AND DECOLONIZING AESTHETICS ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. D.C. van den Boom ten overstaan van een door het college voor promoties ingestelde commissie, in het openbaar te verdedigen in de Agnietenkapel op woensdag 30 juni 2010, te 15:00 uur door Mario Andrés Caro geboren te Bogotá, Colombia Promotiecommissie Promotor: Prof. dr. M.G. Bal Overige Leden: Prof. dr. D.A. Cherry Dr. R. Esner Prof. dr. R. Kroes Dr. E. Peeren Prof. dr. C.J.M. Zijlmans Faculteit der Geesteswetenschappen Table of Contents Preface i Introduction 1 Chapter 1 Reading the Last Image and Beyond 14 A Nationalist Photographic Archive 15 Visualizing the Beginning and the End 22 Pictorialism and the Aesthetics of Nostalgia 33 Chapter 2 Curtis Today: Recuperating Nostalgia 49 Nostalgia and Nation 57 Photography’s Testimonial Effect 61 Conclusion 79 Chapter 3 Disciplining Art History: The Hopi, Aby Warburg, and Visual Studies 81 The Warburg Lecture: A Nostalgic Performance 84 Curtis and Bastian 90 Shifting the Third Man 99 Conclusion 106 Chapter 4 Infelicitous Sites of Exhibition: The Nostalgic Space of the Museum 108 Naming as Possessing 110 Enacting Infelicities 115 Essential Sites 122 Siting Reservation X 126 At Home: Permanence of Time and Place 144 Conclusion 151 Chapter 5 Decolonizing the Native Body: Reconsidering Native Self-Portraiture 154 The Syntax of Self-Portraiture 155 Postcolonial Time 162 Legibility and Irony of Avant-garde Aesthetics 170 Appropriating Postcolonial Theory 177 Native Self-portrait as Allo-portrait 189 Conclusion 194 Conclusion 195 Summary 201 Samenvatting 205 Acknowledgments 210 List of Illustrations 214 Works Cited 216 i Preface “¡No sea tan Indio!” This was an admonishment I heard now and then when I was a child in Colombia. “Don’t be such an Indian!” It was directed at me whenever I failed to observe proper etiquette. A more literal translation is “Don’t be so much the Indian!” This meaning is more telling of a certain anxiety the expression betrays, an unease about Native identity found in much of Latin America. In regions where racial categories are not as easily invoked as a stable marker of identity, Native identity is more often determined by cultural means, such as language, fashion, customs, manners, music, art, and food. Although these signifiers are themselves fairly slippery, it is their instability that produces such anxiety about, and vigilance against, behavior that may allude to Native identity. The difference in the ways in which racial categories function between South and North, between my place of birth, the source of initial cultural identity, and my current home and site of assimilation, has always framed the ways in which I examine culture. It was during a panel discussion held for the opening of “Anticipating the Dawn: Contemporary Art by Native American Women,” a show held at the Gardiner Art Gallery of Oklahoma State University in January of 2000, that, after some decades, I heard the admonishment again. This time it was part of an anecdote told by Ofelia Zepeda, the Tohono O’odham linguist and poet. She recounted how as a little girl she was scolded not to be “such an Indian” when she misbehaved. Unlike my experience, however, hers was part of a history of struggles that resisted, rather than embraced, assimilation. Her warn ing was against behaving like the figure of the savage that the dominant culture had constructed, a warning that highlighted and embraced the specificity of her Tohono O’odham ancestry. The Indian she was warned not to be like was the colonial stereotype of the wild Indian. My reprimand, on the other hand, was a Eurocentric negation of any possible trace of the Indigenous within. The difference between the vigilance practiced by Zepeda’s family and that enforced by mine motivates my discussion in the following study of the uses of the Native image in the production of art and its history. While the admonish ii ment Zepeda recalled invoked a colonial gaze that was immediately sup- planted by her Tohono O’odham perspective on civility, mine reinforced a nos- talgia for a Eurocentric perspective that denied the presence of the Native. My migration north was the kind that many of us have made, seeking eco- nomic stability, educational opportunities, and an overall improved quality of life. However, the successful traversal of the many borders created to maintain an in- frastructure that favors the north has required a great degree of assimilation, a process that distanced me from my Native self. This study is an intellectual journey back to that self. My quest began with my interest in art history, and that most European of cultural periods, the Dutch Golden Age. The analysis of this realistic, and, thus, high- ly effective, imagery allowed me a perspective on how the Native was imagined then, and to a great extent continues to be conceived today, within the project of empire. My engagement with the history of this way of looking was eventually sup- planted by an interest in contemporary visions of Indigeneity, particularly those produced by Native artists themselves. This study is intended as a contribution to the critical analysis of this contemporary vision of the Native. 1 Introduction The agency of the native cannot simply be imagined in terms of a resistance against the image—that is, after the image has been formed—nor in terms of a subjectivity that existed before , beneath, inside, or outside the image. It needs to be rethought as that which bears witness to its own demolition—in a form that is at once image and gaze, but a gaze that exceeds the moment of colonization. —Rey Chow (144) In this study, I attempt to identify various aesthetic strategies employed in the vis- ual representation of Native Americans as part of the function of nation building. Whether used in the ongoing production of the United States as a nation-state or as Native efforts toward decolonization, the discourses that contextualize the Native as image are constantly being reconfigured. 1 I examine the role of art his- tory and anthropology, academic disciplines intimately involved in defining Na- tive visual culture, in order to locate and analyze institutional sites where these discourses are produced, preserved, disseminated, and consumed, namely: the archive, the academy, and the museum. I focus my discussion on case studies that illustrate various efforts by Native artists to decolonize these discourses, ef- forts that often rely on visual self-representation. Ultimately, I analyze approaches to reading the image of the Native body, with particular attention to self-portraiture, as instances in which the body is produced as a sovereign site. My argument is that by considering these aes- thetic practices within the context of nationalism it is possible to recognize the production of a gaze that, as Rey Chow describes in the epigraph above, “ex- ceeds the moment of colonization.” I have limited the scope of my analysis to the investigation of discourses in which the Native as image is actively contested. Although there is much overlap among them, the three institutional sites of my analysis are locations that are de- 1 I am using Michel Foucault’s broad notion of discourse, which he defines as those signi- fying “practices that systematically form the objects of which they speak” (1972 49). 2 fined and organized by disciplinary, thus ideological, schemata. Within these in- stitutions, the Native body is often negotiated by means of an essentialist invoca- tion, whether by imperialist discourses seeking to reify the Native as subject or by avant-garde Native artists looking to disrupt the body’s articulation within the project of empire. Although there are many other sites where discursive produc- tions of Native subjectivity can be found (e.g., legal, popular, religious, medical), I have selected these three locations as primarily invested in defining Native vis- ual culture. My approach is indebted to Michel Foucault’s formulation of discourse. The idea that an object does not precede but is instead constituted by those signifying practices that define it is particularly useful for investigating the discursive produc- tion of the Native as the West’s fundamental other. In order to examine these prac- tices adequately, my study requires an interdisciplinary approach, one that can be categorized as belonging to the practice of visual studies.
Load more

Recommended publications
  • Fools Crow, James Welch
    by James Welch Model Teaching Unit English Language Arts Secondary Level with Montana Common Core Standards Written by Dorothea M. Susag Published by the Montana Office of Public Instruction 2010 Revised 2014 Indian Education for All opi.mt.gov Cover: #955-523, Putting up Tepee poles, Blackfeet Indians [no date]; Photograph courtesy of the Montana Historical Society Research Center Photograph Archives, Helena, MT. by James Welch Model Teaching Unit English Language Arts Secondary Level with Montana Common Core Standards Written by Dorothea M. Susag Published by the Montana Ofce of Public Instruction 2010 Revised 2014 Indian Education for All opi.mt.gov #X1937.01.03, Elk Head Kills a Buffalo Horse Stolen From the Whites, Graphite on paper, 1883-1885; digital image courtesy of the Montana Historical Society, Helena, MT. Anchor Text Welch, James. Fools Crow. New York: Viking/Penguin, 1986. Highly Recommended Teacher Companion Text Goebel, Bruce A. Reading Native American Literature: A Teacher’s Guide. National Council of Teachers of English, 2004. Fast Facts Genre Historical Fiction Suggested Grade Level Grades 9-12 Tribes Blackfeet (Pikuni), Crow Place North and South-central Montana territory Time 1869-1870 Overview Length of Time: To make full use of accompanying non-fiction texts and opportunities for activities that meet the Common Core Standards, Fools Crow is best taught as a four-to-five week English unit—and history if possible-- with Title I support for students who have difficulty reading. Teaching and Learning Objectives: Through reading Fools Crow and participating in this unit, students can develop lasting understandings such as these: a.
    [Show full text]
  • Indigenous People of Western New York
    FACT SHEET / FEBRUARY 2018 Indigenous People of Western New York Kristin Szczepaniec Territorial Acknowledgement In keeping with regional protocol, I would like to start by acknowledging the traditional territory of the Haudenosaunee and by honoring the sovereignty of the Six Nations–the Mohawk, Cayuga, Onondaga, Oneida, Seneca and Tuscarora–and their land where we are situated and where the majority of this work took place. In this acknowledgement, we hope to demonstrate respect for the treaties that were made on these territories and remorse for the harms and mistakes of the far and recent past; and we pledge to work toward partnership with a spirit of reconciliation and collaboration. Introduction This fact sheet summarizes some of the available history of Indigenous people of North America date their history on the land as “since Indigenous people in what is time immemorial”; some archeologists say that a 12,000 year-old history on now known as Western New this continent is a close estimate.1 Today, the U.S. federal government York and provides information recognizes over 567 American Indian and Alaskan Native tribes and villages on the contemporary state of with 6.7 million people who identify as American Indian or Alaskan, alone Haudenosaunee communities. or combined.2 Intended to shed light on an often overlooked history, it The land that is now known as New York State has a rich history of First includes demographic, Nations people, many of whom continue to influence and play key roles in economic, and health data on shaping the region. This fact sheet offers information about Native people in Indigenous people in Western Western New York from the far and recent past through 2018.
    [Show full text]
  • Photographic Presence in New Mexico
    Past, Present and Future: Photographic Presence in New Mexico Devorah Romanek A thesis submitted for the degree of Doctor of Philosophy in Anthropology, Department of Anthropology, University College London (UCL), 2019 I, Devorah Romanek Confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Photograph on frontispiece: Will Wilson (2012). “Zig Jackson, Citizen of the Mandan, Hidatsa, and Arikara Nation, Professor of Photography, Savannah College of Art and Design.” Label text from the 2013 exhibition Toward a Critical Indigenous Photographic Exchange: Will Wilson’s CIPX at the Maxwell Museum of Anthropology, University of New Mexico: “Critical Indigenous Photographic Exchange, New Mexico Museum of Art, Santa Fe Indian Market, 2012. Archival pigment print from wet plate collodion scan. Jackson takes a picture of an Indian taking a picture of an Indian as Andrew Smith protects his soul from theft.” Photo credit: © Will Wilson, courtesy of the artist. ii Abstract This thesis investigates the relationship between historical ethnographic photographs of Native Americans, their disposition in archives and collections, and the relationship of those images to their contemporary circulation and use by Native American artists, and others, particularly in New Mexico. Having undertaken original research into mid-19th century photographs in archives internationally, pertaining to Native America in the American Southwest, new histories and a re- framing of the photographs in question has been assembled. This portion of the research was undertaken both as a starting point for further investigation, and as a return to the people of New Mexico, particularly the Indigenous inhabitants of that place.
    [Show full text]
  • Many Voices Press Flathead Valley Community College Table of Contents
    New Poets of the American West -An anthology of poets from eleven Western states- Uni Gottingen 230 r to 2, ft 341 Many Voices Press Flathead Valley Community College Table of Contents Editor's Note: "In This Spirit I Gathered These Poems" by Lowell Jaeger 1 Introduction: "Many Voices, Many Wests" by Brady Harrison 7 Arizona Dick Bakken Going into Moonlight 20 Sherwin Bitsui (excerpted from: Flood Song) 21 Jefferson Carter Match Race 22 A Centaur 22 Virgil Chabre Wyoming Miners 23 David Chorlton Everyday Opera 24 Jim Harrison Blue 25 Rene Char II 25 Love 26 Larson's Holstein Bull 26 Cynthia Hogue That Wild Chance of Living (2001) 27 Will Inman The Bones that Humans Lacked 28 given names 28 mesquite mother territory 29 To Catch the Truth 29 James Jay Mars Hill 30 Hershman John Two Parts Hydrogen, One Part Oxygen 31 Jane Miller xii (excerpted from Midnights) 32 Jim Natal The Half-Life of Memory 33 Sean Nevin The Carpenter Bee 34 Wildfire Triptych 34 Losing Solomon 37 Simon J. Ortiz just phoenix 38 Michael Rattee Spring 39 II David Ray The Sleepers 40 Illegals 41 Arizona Satori 41 The White Buffalo 42 Judy Ray These Days 43 Alberto Rfos Border Lines (Lineas Fronterizas) 44 Rabbits and Fire 45 Refugio's Hair 46 Mi Biblioteca Publica (My Public Library) 47 Rebecca Seiferle Ghost Riders in the Sky 48 Apache Tears 49 Leslie Marmon Silko How to Hunt Buffalo 50 Laurel Speer Buffalo Stones 52 Candyman 52 Luci Tapahonso After Noon in Yooto 53 Miles Waggener Direction 54 Nicole Walker Canister and Turkey Vulture 55 California Kim Addonizio Yes 58 In the Evening, 59 William Archila Blinking Lights 60 Ellen Bass GateC22 61 Women Walking 62 Ode to Dr.
    [Show full text]
  • The Native American Fine Art Movement: a Resource Guide by Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba
    2301 North Central Avenue, Phoenix, Arizona 85004-1323 www.heard.org The Native American Fine Art Movement: A Resource Guide By Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba HEARD MUSEUM PHOENIX, ARIZONA ©1994 Development of this resource guide was funded by the Nathan Cummings Foundation. This resource guide focuses on painting and sculpture produced by Native Americans in the continental United States since 1900. The emphasis on artists from the Southwest and Oklahoma is an indication of the importance of those regions to the on-going development of Native American art in this century and the reality of academic study. TABLE OF CONTENTS ● Acknowledgements and Credits ● A Note to Educators ● Introduction ● Chapter One: Early Narrative Genre Painting ● Chapter Two: San Ildefonso Watercolor Movement ● Chapter Three: Painting in the Southwest: "The Studio" ● Chapter Four: Native American Art in Oklahoma: The Kiowa and Bacone Artists ● Chapter Five: Five Civilized Tribes ● Chapter Six: Recent Narrative Genre Painting ● Chapter Seven: New Indian Painting ● Chapter Eight: Recent Native American Art ● Conclusion ● Native American History Timeline ● Key Points ● Review and Study Questions ● Discussion Questions and Activities ● Glossary of Art History Terms ● Annotated Suggested Reading ● Illustrations ● Looking at the Artworks: Points to Highlight or Recall Acknowledgements and Credits Authors: Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba Special thanks to: Ann Marshall, Director of Research Lisa MacCollum, Exhibits and Graphics Coordinator Angelina Holmes, Curatorial Administrative Assistant Tatiana Slock, Intern Carrie Heinonen, Research Associate Funding for development provided by the Nathan Cummings Foundation. Copyright Notice All artworks reproduced with permission.
    [Show full text]
  • Read Ebook {PDF EPUB} Circle of Nations by John Gattuso
    Read Ebook {PDF EPUB} Circle of Nations by John Gattuso NEEL, David 1960- PERSONAL: Native American name, Tlat'lala'wis'; born 1960, in Vancouver, British Columbia, Canada; son of Dave Neel, Sr. (a carver). Education: Attended Mount Royal College, Calgary, Alberta, Canada, 1978-80, and University of Kansas, 1980-82. ADDRESSES: Agent— c/o Author Mail, University of Washington Press, P.O. Box 50096, Seattle, WA 98145-5096. CAREER: Professional photographer and artist in Texas and Mexico, 1982-86, and in British Columbia, Canada, 1986—. Also multimedia artist, carver, and lecturer. Exhibitions: Work represented at Museum of Anthropology, University of British Columbia, National Archives of Canada, Vancouver Museum, and Canadian Museum of Contemporary Photography; also represented in touring exhibitions in United States, Guatemala, Russia, and Korea; work collected at Art Gallery of Greater Victoria, Canada Council ArtBank, Canadian Embassy in Guatemala City, Canadian Museum of Civilization, National Museum of the American Indian, and elsewhere. AWARDS, HONORS: Mungo Martin Memorial Award, 1987; Arness Foundation grant, 1987; BC Indian Arts and Crafts Society grant, 1988; Mungo Martin Memorial Award, 1988; Canada Council grants, 1988; Kodak Canada funding, 1989; Canada Council Explorations Grant: Contemporary Mask series, 1991; artist assistance grant, Canadian Ministry of Municipal Affairs, 1991; community scholar grant, Smithsonian Institution, 1992; British Columbia Arts Council grant, 2002. WRITINGS: (Editor and photographer) Our Chiefs
    [Show full text]
  • American Book Awards 2004
    BEFORE COLUMBUS FOUNDATION PRESENTS THE AMERICAN BOOK AWARDS 2004 America was intended to be a place where freedom from discrimination was the means by which equality was achieved. Today, American culture THE is the most diverse ever on the face of this earth. Recognizing literary excel- lence demands a panoramic perspective. A narrow view strictly to the mainstream ignores all the tributaries that feed it. American literature is AMERICAN not one tradition but all traditions. From those who have been here for thousands of years to the most recent immigrants, we are all contributing to American culture. We are all being translated into a new language. BOOK Everyone should know by now that Columbus did not “discover” America. Rather, we are all still discovering America—and we must continue to do AWARDS so. The Before Columbus Foundation was founded in 1976 as a nonprofit educational and service organization dedicated to the promotion and dissemination of contemporary American multicultural literature. The goals of BCF are to provide recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. BCF has always employed the term “multicultural” not as a description of an aspect of American literature, but as a definition of all American litera- ture. BCF believes that the ingredients of America’s so-called “melting pot” are not only distinct, but integral to the unique constitution of American Culture—the whole comprises the parts. In 1978, the Board of Directors of BCF (authors, editors, and publishers representing the multicultural diversity of American Literature) decided that one of its programs should be a book award that would, for the first time, respect and honor excellence in American literature without restric- tion or bias with regard to race, sex, creed, cultural origin, size of press or ad budget, or even genre.
    [Show full text]
  • Powell Street (Japantown) Historical and Cultural Review
    HISTORICAL AND CULTURAL REVIEW POWELL STREET (JAPANTOWN) Prepared for the City of Vancouver by: Birmingham & Wood Architects and Planners Dr. Michiko Midge Ayukawa Helen Cain Michael Clague Denise Cook Design Terry Hunter and Savannah Walling Patrick Kelly Dr. Patricia Roy Historical and Cultural Review Historical and Cultural Review Powell Street (Japantown) Powell Street (Japantown) Table of Contents Oppenheimer Park VPL Archive 6645 2 Birmingham & Wood Ayukawa • Cain • Clague • Cook • Hunter & Walling • Kelly • Roy Historical and Cultural Review Historical and Cultural Review Powell Street (Japantown) Powell Street (Japantown) Report 1 Acknowledgements . 4 2 Executive Summary . 6 3 Introduction . 10 4 Historical Context Statement - overview . 18 5 Historical Themes . 26 6 Places of Heritage Value . 34 7 Cultural Activities That Celebrate Heritage . 72 8 Management Tools and Register Upgrade . 74 9 Future Planning . 78 10 Conclusion, Next Steps . 82 Appendices A Orthography, Terminology B Surveys and Interviews C Planning Context, Figures 1 and 2 D Historical Context Statement E Management Tools F Written Research Sources Birmingham & Wood 3 Ayukawa • Cain • Clague • Cook • Hunter & Walling • Kelly • Roy Historical and Cultural Review Historical and Cultural Review Powell Street (Japantown) Powell Street (Japantown) 1 Acknowledgements Oppenheimer Park BCA c_07965 4 Birmingham & Wood Ayukawa • Cain • Clague • Cook • Hunter & Walling • Kelly • Roy Historical and Cultural Review Historical and Cultural Review Powell Street (Japantown)
    [Show full text]
  • FROELICK GALLERY Joe Feddersen Born 1953 Omak, WA
    FROELICK GALLERY Joe Feddersen Born 1953 Omak, WA Tribal Affiliation The Confederated Tribes of The Colville Reservation (Okanagan and Lakes) Education 1989 Master of Fine Arts, University of Wisconsin, Madison, WA 1983 BFA Printmaking, University of Washington, Seattle, WA 1979 A.A. Applied Arts, Wenatchee Valley College, Wenatchee, WA Solo Exhibitions 2021 Inhabited Landscapes, Froelick Gallery, Portland, OR 2020 Two Generations: Joe Feddersen and Wendy Red Star, Schneider Museum of Art, Southern Oregon University, Ashland, OR 2019 Echo, Froelick Gallery, Portland, OR Echo, Pacific Northwest College of Art, Portland, OR 2018 Cultural Abstractions, curated by Todd Clark, Umpqua Valley Arts Association, Roseburg, OR Joe Feddersen, Graves Gallery, Wenatchee Valley College, Wenatchee, WA 2017 Flotilla, Froelick Gallery, Portland, OR 2015 Canoe Journeys, Froelick Gallery, Portland, OR 2014 Matrix, Spokane Falls Community College, Spokane ,WA 2013 Charmed, Froelick Gallery, Portland, OR 2012 Role Call, Froelick Gallery, Portland, OR Terrain, Larson Gallery, Yakima Valley Community College, Yakima, WA (catalogue) Transitions, MAC Gallery, Wenatchee Valley College, Wenatchee, WA 2010 Codex, Froelick Gallery, Portland, OR Codex, Evergreen Gallery, TESC, Olympia WA, (catalogue) Vital Signs, Hallie Ford Museum, Willamette University, Salem, OR 2009 Vital Signs, Tacoma Art Museum, Tacoma, WA, organized by Hallie Ford Museum of Art Codex, Evergreen Gallery, Evergreen State College, Olympia, WA 2008 Vital Signs, Missoula Art Museum, Missoula, MT,
    [Show full text]
  • Lewis and Clark: the Unheard Voices
    Curriculum Connections A free online publication for K-12 educators provided by ADL’s A WORLD OF DIFFERENCE® Institute. www.adl.org/lesson-plans © 1993 by George Littlechild FALL 2004 Lewis and Clark: The Unheard Voices CURRICULUM CONNECTIONS | FALL 2004 2 In This Issue The disadvantage of [people] not knowing the past is that they do Contents not know the present. History is a hill or high point of vantage, from which alone [they] see the town in which they live or the age Alignment of Lessons to Common —G. K. Chesterson, author (1874–1936) in which they are living. Core Anchor Standards Each year classrooms across the U.S. study, re-enact, and celebrate the Lewis and Clark expedition, a journey that has become an emblematic symbol of Lessons American fortitude and courage. While there are many aspects of the “Corps of Elementary School Lesson Discovery” worthy of commemoration—the triumph over geographical obstacles, the appreciation and cataloging of nature, and the epic proportions Middle School Lesson of the journey—this is only part of the history. High School Lesson While Lewis and Clark regarded the West as territory “on which the foot of civilized man had never trodden,” this land had been home for centuries to Resources millions of Native Americans from over 170 nations. For the descendants of Tribal Nations Whose Homeland these people, celebrations of the Corps of Discovery mark the onset of an era Lewis and Clark Explored of brutal repression, genocide and the destruction of their culture. Resources for Educators and Students The lesson plans in this issue of Curriculum Connections take an in-depth look at the history of U.S.
    [Show full text]
  • Squaw? Valley Public Service District
    EXHIBIT F-2 36 pages SQUAW? VALLEY PUBLIC SERVICE DISTRICT DISTRICT NAME CHANGE DATE: August 25, 2020 TO: District Board Members FROM: Mike Geary, General Manager SUBJECT: District Name Change BACKGROUND: The name of the District is currently under consideration due to the meaning and origin of the word “Squaw” which is considered derogatory and offensive. Spurred most recently by the murder of George Floyd on May 25, 2020 in Minneapolis, MN at the hands of an on‐duty police officer, there currently are calls throughout the country against racial injustice and many major brands and sports teams have initiated rebranding efforts in response. Notably, Alterra Mountain Company is considering changing the name of the Squaw Valley Ski Resort. In September of 2018, the U.S. Board of Geographic Names formally renamed Squaw Ridge on the northern border of the Mokelumne Wilderness in the Eldorado National Forest to Hungalelti Ridge, in consultation with the Washoe Tribe of Nevada and California, after the U.S. Forest Service policy said that the word “squaw” was derogatory and should no longer be used. The Squaw Valley Academy was recently renamed to Lake Tahoe Prep. In February 2019, the Squaw Valley Municipal Advisory Committee reported on the formal request from the Washoe Tribe of Nevada and California asking that the name of County assets be changed from “Squaw Valley” to “Olympic Valley” because of the negative connotation of “squaw.” Minnesota, Montana, Maine, Oklahoma, Idaho, South Dakota, and Oregon have enacted laws to change the names of geographical features with the word “squaw” in them.
    [Show full text]
  • “We Do Not Talk About Our History Here”: the Department of Indian Affairs, Musqueam-Settler Relations, and Memory in a Vancouver Neighbourhood
    “We Do Not Talk About Our History Here”: The Department of Indian Affairs, Musqueam-Settler Relations, and Memory in a Vancouver Neighbourhood by Alexandra Sanya Pleshakov B.A., McGill University, 2003 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (History) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2010 © Alexandra Sanya Pleshakov, 2010 ABSTRACT The Musqueam Indian Reserve is one of the few in North America located within the boundaries of a major city. Although historical narratives have long silenced the experiences of urban Aboriginal people, this case study draws attention to the many contexts in which Aboriginal and non-Aboriginal people interacted across legal boundaries that supposedly kept reserve space and urban space separate. This thesis argues that the Department of Indian Affairs was the principal actor in both facilitating and constraining Musqueam and non-Musqueam relations in early-twentieth-century Vancouver though its control of land, resources, and the consumer economy. Furthermore, this thesis argues that the policies and practices of the state were so pervasive that they have come to dominate any memory of those relations today. Using an extensive collection of oral histories recently carried out for a local community history project in Vancouver, this study explores the processes through which the history of Musqueam and non-Musqueam interactions have been both remembered and erased. In doing so, this thesis makes clear the relationship of social history to social memory, and contributes to recent scholarly work in documenting how Aboriginal histories are necessarily urban histories.
    [Show full text]