DOCSLIB.ORG

State of Enchantment

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
State of Enchantment My needle always settles between west and southwest. The future lies that way to me, and the earth seems more unexhausted and richer on that side. —Henry David Thoreau Living in a State of Enchantment We live in the right place. It’s ironic that the very things that make New Mexico I know it when I’m here, but I know it even more marvelous and unique—dramatic climate, sere country, a keenly whenever I fly back to New Mexico after a trip to sharp diversity of peoples—were the very things that so pretty much anywhere else in America. Gazing out the many bewhiskered windbags in Washington found loath- window as the plane begins its long descent, I contemplate some when they were pondering statehood candidates in the endless space, the wrinkled blue mountains, and the the late 1800s. To many back East, this place seemed a SCHALLAU ADAM merciful dearth of human scars on the land. After Dallas, crazy-quilt of weird religions, unintelligible languages, and It’s about time, it’s after Phoenix, after any of those Bubba Gumped, Mattress warring tribes, all set in a forbidding moonscape. Some about space: From Firmed, Olive Gardened, La Quinta-fied rat warrens of politicians vowed that New Mexico should remain a Ter- the futuristic Very Large Array in the modern America, I often find myself literally breathing a ritory forever; others contended that the U.S. should just south to ancient sigh of relief: Home! I remember all over again why I came give it all back to Mexico and be done with the place. Chaco Canyon up here, and why I stay. But New Mexico is rather like cholla cactus: It has north, New Mexico The contradictions of New Mexico never cease to a way of sticking to people. It worked its way into the constantly inspires astound me—and they lie at the root of why I love this national imagination and eventually won over those poli- appreciation of the ineffable. place so much. Who can make sense of it? Here we are, ticians back East. On January 6, 1912, America welcomed one of the youngest states in the Union, constructed her 47th member of the Union. on the ruins of some of North America’s most ancient Yet even with statehood, I’m not sure New Mexico was civilizations. Dry but high, vast in size but puny in popu- ever fully conquered or assimilated, and that’s something lation, we’re a great state that suffers from an inferiority I’ve always loved about this place. It’s still very much its complex. Yet people the world over fantasize about own land, at the crossroads of myriad cultures, where the coming and living here—somehow, some day, some way. desert meets the mountains meet the plains. Living here is We’re an oasis of high culture (Santa Fe Opera), but also probably the closest one can come to an expat experience of high kitsch (Roswell’s UFO Festival—“a great place in the Lower 48. We’re in the United States, but not to crash!”). We’re a place with deep strains of humility entirely of it. (penitents on the road to Chimayó), and also of cosmic So, happy 100th birthday, New Mexico. There is arrogance (nuclear interlopers at Los Alamos). We’re a nowhere else quite like you. You offer a sense of space and state that’s tied to the old ways, for better and worse— possibility stretching to the horizons. And you keep remind- cockfighting was declared illegal only a few years ago. And ing me, whenever I leave you: I live in the right place. yet we’re also poised on the furthest frontiers of futurism Hampton Sides, the author of Blood and Thunder: The Epic Story and technology—home of the Virgin Galactic Spaceport, TINNETT of Kit Carson and the Conquest of the American West, is featured S Intel, and the Very Large Array. in “Storytellers,” on page 7. KEN By Hampton Sides 26 NEW MEXICO | JANUARY 2012 nmmagazine.com | JANUARY 2012 27 NEW MEXICO STATEHOOD ONE HUNDRED YEARS February 11, 1916: Bandelier National Monument, named after anthropologist 1920: Los Cinco Pintores (The Five N VENTFUL EBUT 1915: Ernest L. Adolph F. A.Bandelier, opens. Evidence of Painters)—Josef Bakos, Will Shuster, Walter A E D human inhabitation as early as 1150 B.C. is Blumenschein (right) Mruk, Willard Nash, and Fremont Ellis— and Bert G. Phillips found in pit houses, cave dwellings carved hold their first exhibit in Santa Fe. 1912–1922 decided to stay in into volcanic tuff, and later, pueblo-like Taos after having their structures in canyons near Los Alamos. wagon wheel repaired MHM/DCA), #040423 N New Mexicans celebrated ( there in 1898. They S MHM/DCA), #023027 the long-awaited news of N ( S went on to form the 1922: The Inter-Tribal statehood with great fanfare Taos Society of Indian Ceremonial begins in on January 6, 1912. Drivers Artists, one of the E GOVERNOR Gallup. The event includes th honked their horns, people E GOVERNOR most influential groups a parade through town, E OF th Native dances, and an art in the history of New AC danced in the streets, and L A E OF Mexican art. P fair. Navajos, Comanches, patriotic parades were held in AC L Kiowas, Apaches, Zunis, and A P communities across the new 1913: The official state seal is adapted from the Taos Puebloans, among state. Nine days later, seven territorial seal, which featured a Mexican brown many other U.S. tribes and thousand New Mexicans cheered when January 6, 1912: eagle with a snake in its mouth, resting on a first nations from other William C. McDonald took the oath of President William cactus plant. In the new seal, an American countries, attended the event Howard Taft signs a then and continue to do so. office as the state’s first governor. eagle spreads its wings and clutches an arrow, proclamation making representing the change in sovereignty from T The 90th annual Ceremonial Filled with enthusiasm, state leaders New Mexico the 47th Mexico to the U.S. The seal bears the Latin REN will be held in August. A promoted New Mexico at the Panama- state in the Union. phrase “Crescit eundo” (It grows as it goes), P E C California Exposition in San Diego—and now the state motto. UREN A won the prize for the best state exhibit. L Silent movies filmed here, with stars like Mary Pickford and Tom Mix, also drew 1912 1913 1914 1915 1916 1917 1918 1919 1920 1921 1922 attention to the state. The jubilation suddenly ended in 1916, when the Mexican Revolution 1910s: The Santa 1916: Elephant Butte Dam, the second 1918: New Yorker Mabel Dodge 1920s: With the spilled over the border and Pancho Fe County Assessor Stern leaves Park Avenue for largest irrigation dam in the world, opens popular rise Villa destroyed much of Columbus, records some 200 remote Taos, where she marries creating one of the largest bodies of water of films, small New Mexico. “Black Jack” Pershing and burros on the tax in the state. The lake becomes a destina- Taos Pueblo native Antonio rolls. These creatures theaters arose his Punitive Expedition chased Villa tion for fishing and boating. Other popular Lujan. Thereafter, Mabel are highly valued as Dodge Luhan lures other such as the in Mexico for nearly a year, but never water-recreation areas in the state include tourist attractions, writers and artists, including Shuler in Ratón, caught him. described by the Santa Eagle Nest Lake, Navajo Lake, and the San the KiMo in MHM/DCA), #169615 D. H. Lawrence and Ansel Adams, N ( Juan River; the last provides some of North When the United States entered S Fe New Mexican to join her salons, at which Albuquerque, the Great War in 1917, more than as “the saints of America’s best fly-fishing. she promoted modern art, and the Yam in 15,000 New Mexicans served in the the desert” or the bohemian culture, and Native Portales. All are E GOVERNOR “Rocky Mountain American rights. Taos has drawn still open today. armed forces; 501 men lost their lives. th canaries.” artists and luminaries as diverse Soldiers and civilians alike perished E OF as heiress Millicent Rogers AC L in the terrible Spanish flu epidemic of A (whose museum you can see in 1922: The School of American P 1918. In that same year, New Mexicans Taos today), and actor-director Research and the Museum of celebrated the end of World War I with Dennis Hopper. New Mexico host the Southwest 1920s: As as much fervor as they had celebrated Indian Fair, now Santa Fe Indian tuberculosis Market. Today, the August market statehood less than seven years earlier. becomes the celebrates excellence in Native art —Richard Melzer 1917: The Art Gallery of the Museum of New country’s most and is one of the largest events March 9, 1916: Francisco “Pancho” Villa, 1920: The U.S. census shows 5,733 Mexico (now the New Mexico Museum of fatal disease, in the state, drawing more than along with a contingent of other Mexican African Americans living in the state. Historian Richard Melzer is featured in Art) opens in Santa Fe. Carlos Vierra helped New Mexico’s 100,000 attendees each year. revolutionaries, leads a raid on Columbus, At the time, several hundred African- “Storytellers,” on page 7. Timeline compiled design the Museum, using the 1630 San sanitoriums New Mexico. On March 16, General John American citizens lived in Blackdom, by Ashley M.
Load more

Recommended publications
  • English 233: Tradition and Renewal in American Indian Literature
    ENGLISH 233 Tradition and Renewal in American Indian Literature COURSE DESCRIPTION English 233 is an introduction to North American Indian verbal art. This course is designed to satisfy the General Education literary studies ("FSLT") requirement. FSLT courses are supposed to concentrate on textual interpretation; they are supposed to prompt you to analyze how meaning is (or, at least, may be) constructed by verbal artists and their audiences. Such courses are also supposed to give significant attention to how texts are created and received, to the historical and cultural contexts in which they are created and received, and to the relationship of texts to one another. In this course you will be doing all these things as you study both oral and written texts representative of emerging Native American literary tradition. You will be introduced to three interrelated kinds of "text": oral texts (in the form of videotapes of live traditional storytelling performances), ethnographic texts (in the form of transcriptions of the sorts of verbal artistry covered above), and "literary" texts (poetry and novels) written by Native Americans within the past 30 years that derive much of their authority from oral tradition. The primary focus of the course will be on analyzing the ways that meaning gets constructed in these oral and print texts. Additionally, in order to remain consistent with the objectives of the FSLT requirement, you will be expected to pay attention to some other matters that these particular texts raise and/or illustrate. These other concerns include (a) the shaping influence of various cultural and historical contexts in which representative Native American works are embedded; (b) the various literary techniques Native American writers use to carry storyteller-audience intersubjectivity over into print texts; and (c) the role that language plays as a generative, reality-inducing force in Native American cultural traditions.
    [Show full text]
  • Leslie Marmon Silko's Use of Photography in Storyteller And
    Disrupting White Settler Colonial Narratives: Leslie Marmon Silko’s use of Photography in Storyteller and Sacred Water. Chelsea Ann Hernandez A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts University of Washington 2019 Committee: Rae Paris David Shields Program Authorized to Offer Degree: Creative Writing and Poetics ©Copyright 2019 Chelsea Ann Hernandez University of Washington Abstract Disrupting White Settler Colonial Narratives: Leslie Marmon Silko’s use of Photography in Storyteller and Sacred Water. Chelsea Ann Hernandez Chair of the Supervisory Committee: Rae Paris Department of Creative Writing This history of photography of Indigenous communities and individuals in the United States of America is plagued with power imbalances, violence, dehumanization, appropriation, and cultural inconsistencies that stem from White settler colonialist practices. In Leslie Marmon Silko’s Storyteller and Sacred Water, Silko responds to this history through the composition, organization, and placement of her Indigenous photographs within her text. The composition of the photographs re-centers Indigenous voices through camera angle, perspective, and form. The placement within the texts mimic Laguna Pueblo oral storytelling and worldview. The organization of the photographs possibly respond to and subvert the history of invasive ethnographic studies and the tradition of surveillance, humanist, and commercial photography. Hernandez 1 1. Family Photographs In my household my father controlled the narrative and definition of art. The walls of my home were decorated with paintings and prints from Artists with a capital A. There were no family photographs in the public areas of our home, they didn’t fit my Dad’s definition of interior design.
    [Show full text]
  • Leslie Marmon Silko's Almanac of the Dead
    Writing Counter-Histories of the Americas: Leslie Marmon Silko’s Almanac Of The Dead A thesis submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy University of Wollongong by Glenda Moylan-Brouff, B. A. Hons. School of Social Sciences, Media and Communications 2004 i This thesis is all my own work and has not been submitted for a degree to any other institution or university. Glenda Moylan-Brouff December, 2004. ii Contents Abstract i Acknowledgements ii Introduction 1 Chapter One: Re-evaluating Dominant Representations of Geronimo and the Apache Nation; Mapping the Politics of Colonial 14 Recuperation Chapter Two: Re-figuring Geronimo: Story/History and the Politics of Cultural Difference 71 Chapter Three: Photography and the Politics of Visual Representation 122 Chapter Four: Native American Interventions in the Politics of Photographic Representation 168 Chapter Five: Writing Indigenous Histories: The Politics of Genre and Cultural Difference in Leslie Marmon Silko’s Almanac Of The Dead 218 Chapter Six: Re-articulating the Politics of Native American Prophecy: Temporality and Resistance in Leslie Marmon Silko’s Almanac Of The Dead 261 Conclusion 308 Appendix 315 Works Cited 327 iii Abstract Writing Counter-histories of the Americas: Leslie Marmon Silko’s Almanac Of The Dead This thesis stages a critical interrogation of the colonial politics that have shaped and continue to shape representations of Native Americans in a North American context. This critical interrogation is based on a reading of Leslie Marmon Silko's landmark text Almanac Of The Dead. I argue that Silko's deployment of Native American counter-discourses of history and story-telling contests Eurocentric epistemologies and ideologies and their entrenched colonial relations of power/knowledge.
    [Show full text]
  • Kari Schleher, Published by UNM Press in 2017
    CURRICULUM VITAE KARI L. SCHLEHER Curator of Archaeology and Assistant Professor of Anthropology, Maxwell Museum and Department of Anthropology, University of New Mexico, Albuquerque, NM Phone: (505) 269-4475; Email: [email protected] Education Ph.D. Anthropology, with honors, University of New Mexico. May 2010. Dissertation: The Role of Standardization in Specialization of Ceramic Production at San Marcos Pueblo, New Mexico M.A. Anthropology, University of New Mexico. May 2000. B.A. Anthropology, Summa Cum Laude, University of Arizona. May 1998. Areas of Expertise . Prehispanic and Historic period Southwestern material culture with a focus on Pueblo people, especially the Colonial contact period in New Mexico and the Basketmaker through Pueblo periods in the central Mesa Verde region of Colorado . Cultural interpretation and cultural heritage education . Object-based research and interpretation . Collaborative archaeology . Communication for diverse audiences around Southwestern material culture and history . Public and participatory field and lab research . Curation of historic photography and ephemera . Database design (MS Access) . Grant writing Grants, Honors & Awards (total: $845,706.02) External: Nov. 2018 The best 2018 Anthropology/Archaeology book by the New Mexico-Arizona Book Award for The archaeology and history of Pueblo San Marcos, New Mexico. Edited by Ann Ramenofsky and Kari Schleher, published by UNM Press in 2017. Jan. – Dec. 2016 Colorado State Historic Fund Grant, Project Title: Pueblo Landscapes: 700 Years in the Mesa Verde Region, Co-PIs: Kari Schleher, Susan Ryan, and Shirley Powell; Amount awarded: $199,597 Jan. – Dec. 2015 Colorado State Historic Fund Grant, Project Title: The Basketmaker Landscapes Project: Community and Environmental Impacts through Time, Co-PIs: Kari Schleher, Susan Ryan, and Shirley Powell; Amount awarded: $199,111 Jan.
    [Show full text]
  • University of New Mexico Press Spring 2015 Spring
    university of new mexico press Nonprofit Org. MSC05 3185 U . S . POSTAGE 1 University of New Mexico PAID Albuquerque, NM 87131-0001 Albuquerque, NM Permit No. 667 RETURN SERVICE REQUESTED university of new mexico press mexico new of university spring 2015 university of new mexico press spring 2015 university of new mexico press 505-277-3495 • FAX 800-622-8667 OR 505-272-7778 [email protected] unmpress.com The University of New Mexico Press, founded in 1929, plays a vital role in preserving the cultures, languages, and histories of New Mexico and the Southwest. Our purpose is to advance and disseminate knowledge through the publication of books and electronic media, educate present and future generations, and further the mission of the University of New Mexico, supporting research, education, and community service. Your financial support matters! UNM Press is an internationally known and respected publisher and, like all nonprofit university presses, we need outside financial support from generous individuals and foundations to meet our publishing objectives. Gifts to the Press enable us to • Pursue creative initiatives that reflect the dynamic changes in today’s publishing industry • Disseminate educational content for children and for future generations • Produce important works of scholarship that may not recover their costs To discuss funding opportunities at the Press, including financial gifts to individual books, publication series, or our general endowment, please contact: John Byram, director [email protected] Gifts to the University of New Mexico Press are tax deductible as charitable contributions. The Internal Revenue Service Code requires nonprofit organizations to provide donors with a good faith estimate of the value of any benefits provided as a result of their gifts.
    [Show full text]
  • Nieman Reports Fall 2005 Vol. 59 No. 3
    NIEMAN REPORTS THE NIEMAN FOUNDATION FOR JOURNALISM AT HARVARD UNIVERSITY VOL. 59 NO. 3 FALL 2005 Five Dollars Covering Indian Country Journalist’s Trade Changing Newspapers, Changing News Comparing National and Local Campaign Coverage Words & Reflections War Photography to Opinion Journalism “… to promote and elevate the standards of journalism” —Agnes Wahl Nieman, the benefactor of the Nieman Foundation. Vol. 59 No. 3 NIEMAN REPORTS Fall 2005 THE NIEMAN FOUNDATION FOR JOURNALISM AT HARVARD UNIVERSITY Publisher Bob Giles Editor Melissa Ludtke Assistant Editor Lois Fiore Editorial Assistant Sarah Hagedorn Design Editor Diane Novetsky Nieman Reports (USPS #430-650) is published Editorial in March, June, September and December Telephone: 617-496-6308 by the Nieman Foundation at Harvard University, E-Mail Address: One Francis Avenue, Cambridge, MA 02138-2098. [email protected] Subscriptions/Business Internet Address: Telephone: 617-496-2968 www.nieman.harvard.edu E-Mail Address: [email protected] Copyright 2005 by the President and Fellows of Harvard College. Subscription $20 a year, $35 for two years; add $10 per year for foreign airmail. Single copies $5. Second-class postage paid at Boston, Back copies are available from the Nieman office. Massachusetts and additional entries. Please address all subscription correspondence to POSTMASTER: One Francis Avenue, Cambridge, MA 02138-2098 Send address changes to and change of address information to Nieman Reports, P.O. Box 4951, Manchester, NH 03108. P.O. Box 4951, ISSN Number 0028-9817
    [Show full text]
  • Adam Clark Vroman PLATINUM PRINTS –
    Adam Clark Vroman PLATINUM PRINTS – Essays by J A. W A S Travel Diaries by A C V MICHAEL DAWSON GALLERY ANDREW SMITH GALLERY, INC. North Larchmont Boulevard W. San Francisco Street Los Angeles, California Santa Fe, New Mexico Tel: () - Fax: () - Tel: () - Fax: () - www.michaeldawsongallery.com www.andrewsmithgallery.com Contents Preface Adam Clark Vroman: The Inquisitive Eye by Jennifer A. Watts Adam Clark Vroman: A Modern Photographer by Andrew Smith Adam Clark Vroman Travel Diaries and transcribed by Austin Lamont Plates Checklist of Photographs Bibliography F : Clouds Near Enchanted Mesa, . Inquiries about purchasing original A. C. Vroman prints may be directed to: M D G A S G, I. www.michaeldawsongallery.com www.andrewsmithgallery.com [email protected] [email protected] () - () - Preface T of book collecting in the nineteenth century included the appreciation of illustrated books and albums. For many of us in the photography world, the twentieth century antiquarian book stores were the centers of art and culture (photography). This is where collections were found, sold, appreciated, and preserved. This was the source of education about the artists, the times they worked in, the written and visual presentations of photography until the late s. Glen Dawson at Dawson’s Book Shop (Los Angeles), Jake Zeitlin at Zeitlin and Ver Brugge (Los Angeles), Warren Howell at John Howell Bookseller (San Francisco), Fred Rosenstock at Rosenstocks (Denver) and Jack Potter and Nicholas Potter (Santa Fe) were giants in the trade whose connoisseurship and curiosity helped launch the present day photography business out west. These individuals were our role models. Their shops were the most likely places to find fine historic photographs; usually photography albums and books with works by William Henry Fox Talbot, William Henry Jackson, Hill & Adamson, Felix Tenyard, the Exchange Club, Francis Frith, Eadweard Muybridge, Carleton Watkins, Timothy O’Sullivan, Edward Curtis, Ansel Adams, and many others.
    [Show full text]
  • Laguna Spirit & Identity
    LAGUNA SPIRIT & IDENTITY: STORIES OF CIRCULATION AND SURVIVANCE IN THE ART OF LAGUNA PUEBLO by Sarah Beth Webb Associate of Arts, 2016 Enterprise State Community College Enterprise, Alabama Bachelor of Arts in Art History, 2018 Auburn University Auburn, Alabama A Thesis Submitted to the Faculty of College of Fine Arts Texas Christian University in partial fulfillment of the requirements for the degree of Master of Arts May 2021 APPROVAL LAGUNA SPIRIT & IDENTITY: STORIES OF CIRCULATION AND SURVIVANCE IN THE ART OF LAGUNA PUEBLO by Sarah Beth Webb Thesis approved: Major Professor, Dr. Lori Boornazian Diel, Professor of Art History and Associate Dean for Research and Faculty Development 'Dr. Dave Aftandilian, Associate Professor of Anthropology and Director of Human- Animal Relationships (HARE) minor ACKNOWLEGEMENTS I would like to express my deepest gratitude to Marla Allison and Dr. Lee Francis IV for interviewing with me in support of this project. Conversations with you both were invaluable and foundational to the creation of my thesis. I want to thank Marla especially for sharing your creations with me and Dr. Francis for introducing me to Indigenous Futurisms. I hope that this scholarship can do justice to your inspiring words. I owe a thousand thank-you’s to the members of my committee: Dr. Lori Diel, Dr. Kristine Ronan, and Dr. Dave Aftandilian for your endless support and coaching throughout the past two years. Thank you also to Dr. Gabi Kirilloff for your encouragement and insight and to Elysia Poon at the School for Advanced Research for your guidance as I began to reach out to the Laguna community.
    [Show full text]
  • NMAI-WINTER-2001.Pdf
    Americann NATIONAL MUSEUM of the -rrIndian -n# Winter 2001 Celebrating Native Traditions & Communities ACOMA MISSION CHURCH • KEEPERS of the LOOM • LANGUAGE PRESERVATION É 3 Smithsonian National Museum of the American Indian Smithsonian Southwest Adventures Where Families Get Together Share a memorable vacation experience when your family visits the families of Hopi, riavajo and Pueblo Indians on a summer adventure with the Smithsonian Study Tours. Specially designed for intergenerational travel, our 9-day tour, A Native American Adventure For Families (August 4-12), features festive ceremonial dances, a meal with a Navajo family and a rafting trip on the Rio Grande River. On our 7-day Grand Canyon Family Adventure (June 25- July 1 ) experience 2 days at the South Rim of the Grand Meet the Begay children on the Canyon and explore Arizona's Native American culture at riavajo Reservation. Wupatki, Montezuma Castle and Lake Powell. Also available: New Mexico: native Land and People (June 8-16), a 9-day tour tracing the roots of the Navajo and Pueblo Indians from ancient times to the present day. Join study leader Bruce Bernstein, assistant director of the National Museum of American Indian's Cultural Resource Center. Study Leader Jennifer Beltz at the Grand Canyon. About the Smithsonian Study Tours: For more than 30 years, the Smithsonian Study Tours has been offering the Finest educational expe­ riences. Discover the difference in traveling with curi­ ous, likeminded people who share your interest in Mesa Verde. learning about our Native American people. Call 1-877-EDU-TOUR (1-877-338-8687) For information and free brochures on these and other tours offered by the Smithsonian Study Tours, or visit our website Smithsonian Study Tours at SmithsonianStudyTours.org ® CONTENTS Volume 2, Number 1, Winter 2001 FEATURES DEPARTMENTS PERSPECTIVES...........................................
    [Show full text]
  • Eagle Dancers #1 (1962). Lee Marmon's Laguna Pueblo
    Eagle Dancers #1 (1962). Lee Marmon’s Laguna Pueblo embraced the modern world, but dance remained among the most sacred and widely respected of the Pueblo’s traditional rituals. 46 NEW MEXICO | MAY 2015 LEE MARMON AN EYE FOR CHANGE It’s hard to keep a straight face learn- he’s sold thousands of copies on T-shirts, posters, and prints. Since then, the quarter-Laguna “blue-eyed Indian” has been ing that 89-year-old photographer Lee very much in the public view. He spent some time in southern Marmon wished he’d done more to California shooting golf tournaments and celebs, took pictures capture the old people and the old ways for the Nixons, and saw his work celebrated by the Smithson- at Laguna and Acoma Pueblos. This is, ian, London’s Barbican, and the Southwestern Association for Indian Arts, which presented him with a Lifetime Achieve- after all, the man who recently sold his ment Award in 2006. He also published a steady stream of work collection of up to 100,000 negatives to in Time magazine and the New York Times. the University of New Mexico. And now But it’s the Laguna photos Marmon took in the three decades after his return from Alaska that populate this book. They with his new book, Laguna Pueblo: A capture a disappearing world, one busily adjusting to modern Photographic History (University of New influences—as Sousea’s choice of footwear suggests. Not, as Cor- Mexico Press, 2015), co-authored with bett notes, that change was anything new to Laguna.
    [Show full text]
  • Native American Culture: Smoke Signals
    1 n to a class- om the book (1993) by Kenneth aken by Lee Marmon om the Laguna Pueblo tribe in mate and share ideas. This photograph is fr Indi’n Humor Lincoln. T fr New Mexico, it is called “White Moccasins.” What thoughts Man’s and feelings does it evoke for you? Think about the setting, the mood, Consider the and the point of view. following questions: How do you think this man feels about his cloth- ing and footwear (sneakers)? Why do you suppose he is not wearing traditional moccasins? Does wearing shoes make him more white man’s assimilated? Freewrite in your film notebook, and then tur 1 Culture: Smoke Signals Native American Setting the Scene: Freewriting and Discussion Courtesy of Oxford University Press 2 • • • Seeing the Big Picture Sneak Preview About the Film Smoke Signals (1998) is a film about Indians,1 but it may not be what you expect, especially since the title suggests that it could be just another standard Western so popular in cinematic history. If you’ve seen even a few of the more than 2,000 Westerns made since the early 1900s, you know that Indians are usually depicted in stereotypical fashion—as bloodthirsty renegades, stoic warriors, noble savages, or buckskin-clad princesses. Except for historical figures such as Geronimo and Cochise, Indians in western films rarely have names or individual personalities; they speak neither English nor any other language (though they do grunt and whoop), and they spend a lot of time ambushing whites. In the typical cowboy-and-Indian scenario, hand- some, rugged heroes like John Wayne play the parts of men charged with bringing civilization to the Wild West and protecting women and children settlers from the warriors’ arrows and tomahawks.
    [Show full text]
  • Tribal Food Sovereignty in the American Southwest
    Journal of Food Law & Policy Volume 11 Number 1 Article 7 2015 Tribal Food Sovereignty in the American Southwest Julia Guarino Getches-Wilkinson Center for Natural Resources, Energy, and the Environment Follow this and additional works at: https://scholarworks.uark.edu/jflp Part of the Agriculture Law Commons, Food and Drug Law Commons, Food Security Commons, Food Studies Commons, Indigenous, Indian, and Aboriginal Law Commons, Indigenous Studies Commons, Public Policy Commons, and the Social Policy Commons Recommended Citation Guarino, J. (2021). Tribal Food Sovereignty in the American Southwest. Journal of Food Law & Policy, 11(1). Retrieved from https://scholarworks.uark.edu/jflp/vol11/iss1/7 This Article is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Journal of Food Law & Policy by an authorized editor of ScholarWorks@UARK. For more information, please contact [email protected]. TRIBAL FOOD SOVEREIGNTY IN THE AMERICAN SOUTHWEST Julia Guarino* I. INTRODUCTION: AMERICAN INDIAN CONCEPTIONS OF LAND, FOOD, AND IDENTITY.......................................................84 II. AGRICULTURAL PRACTICES IN THE AMERICAN SOUTHWEST PRIOR TO EURPOEAN CONTACT. ....................................... ...... 87 A. Indigenous Teachings about the Origin ofPeoples in the Southwest.........................................88 B. Archeological Evidence of the Ancient Occupants of the American Southwest.........................................90 C. AgriculturalPractices in the Southwest Priorto European Contact..........................................92 III. EURO-AMERICAN POLICIES OF ASSIMILATION AND THEIR EFFECT ON THE TRIBAL RELATIONSHIP TO LAND...........................94 A. Reservations, Allotment, and General PoliciesofAssimilation: An Attack on the Native Land Base..........................95 B. The Effects ofAssimilationist Policies on the Tribes of the American Southwest............... .................. 98 IV. MODERN DIETS AND CHRONIC DISEASE.........................100 V.
    [Show full text]