DOCSLIB.ORG

Oral History Interview with Vanessa Paukeigope Jennings

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Oral History Interview with Vanessa Paukeigope Jennings Oral History Interview with Vanessa Paukeigope Jennings Interview Conducted by Julie Pearson-Little Thunder April 14, 2016 Spotlighting Oklahoma Oral History Project Oklahoma Oral History Research Program Edmon Low Library ● Oklahoma State University © 2016 Spotlighting Oklahoma Oral History Project Interview History Interviewer: Julie Pearson-Little Thunder Transcriber: Madison Warlick Editors: Julie Pearson-Little Thunder, Emily Hull The recording and transcript of this interview were processed at the Oklahoma State University Library in Stillwater, Oklahoma. Project Detail The purpose of the Spotlighting Oklahoma Oral History Project is to document the development of the state by recording its cultural and intellectual history. This project was approved by the Oklahoma State University Institutional Review Board on April 15, 2009. Legal Status Scholarly use of the recordings and transcripts of the interview with Vanessa Paukeigope Jennings is unrestricted. The interview agreement was signed on April 14, 2016. 2 Spotlighting Oklahoma Oral History Project About Vanessa Paukeigope Jennings… Vanessa Jennings (Kiowa/Pima) sees herself as a traditional woman and her beadwork as a natural extension of that identity. Raised in Carnegie, Oklahoma by her grandparents, Jeannette Berry and Stephen Mopope, she makes a range of cultural items, from buckskin dresses to horse masks. Her cradleboards however, are perhaps her most sought after creations, and subject of a documentary video: Kiowa Cradleboard Maker: the Art and Tradition of Vanessa Jennings. An award winner at Santa Fe Indian Market, the beader was one of three Oklahomans to be named a National Heritage Fellow. She has also been designated a Living National Treasure by President Clinton and Honored One by the Red Earth Indian Arts Festival. In this interview, besides discussing her subject matter, creative approach and techniques, Jennings talks about Stephen Mopope’s artistic legacy and his strong work ethic. She recalls how she wore her Kiowa clothes to her high school graduation and explains the Kiowa class system and the status conveyed by beautiful cradleboards. She also shares her experiences of setting up a tipi on the Plaza during Santa Fe Indian Market. 3 Spotlighting Oklahoma Oral History Project Vanessa Paukeigope Jennings Oral History Interview Interviewed by Julie Pearson-Little Thunder April 14, 2016 Anadarko, Oklahoma Little Thunder My name is Julie Pearson Little Thunder. Today is Thursday, April 14, 2016, and I’m interviewing Kiowa-Apache-Gila River-Pima artist Vanessa Paukeigope Morgan at the Anadarko Public Library in Anadarko, Oklahoma… V. Jennings Jennings. Little Thunder Jennings. (Laughs) Of course. Thank you. We are—sponsored by the Oklahoma Oral History [Research] Program at Oklahoma State University. Vanessa, you have historic connections to art. Your grandfather was Stephen Mopope. V. Jennings Yes. Little Thunder And you’ve been in this business a long time. You’ve received a National Heritage Fellowship Award. You’ve won top awards at Santa Fe Indian Market and Red Earth for your beadwork, but you’re especially known for your cradleboards, which are featured in various museum collections and there’s one here at the library. Thank you for taking the time to talk with me today. Where were you born and where did you grow up? V. Jennings I was born in Tempe, Arizona. I’m a product of Relocation. My mother was a nurse and she traded a part of her education for working for Indian Health [Services]. I was born there in Arizona, and when I was just a few days old my grandmother came alone on a train and came to Arizona and brought me home. So this is my only home. Little Thunder So your grandma raised you over here in Anadarko area? 4 V. Jennings Yes. Little Thunder You told us a little bit about your mom. Anything you want to share about your dad? V. Jennings My dad, he was this big, strong, handsome man. He rodeoed and he got hurt after one of the rodeos and my mother was his nurse, one of his nurses. They met and they got married and I was born out there. Like I said, I was just a few days old and my grandmother came and got me and brought me back to Oklahoma. Little Thunder It wasn’t easy to take care of a little infant in those times, either. V. Jennings No, not during that time. Because you had to—it isn’t like the formula today. Everything’s ready-made and easy to do because you had to mix it, mix up the formula. The diapers, they didn’t have the kind of disposable diapers that they have now. It was really—babies were hard work. Little Thunder (Laughter) And you were supposed to be a grandma’s girl. V. Jennings Well, my mother was out there without really a support system. She was working, so it was really hard trying to find a babysitter for me. Her hours were—she worked the three-to-midnight or the midnight-to- eight o’clock shift. It was really difficult getting up—getting someone to watch me. It was just easier for my grandmother to come and get me. If my grandmother had not came and brought me home, I would’ve been disconnected. I wouldn’t have had a connection to my grandfather, my grandmother, with her beadworking, and with his painting, and their singing, their dancing, taking part. I would’ve missed out on all that. Little Thunder Right. You’ve talked a little bit already now about your exposure to Kiowa language and culture growing up. Anything you want to add to that? They gave you a good, strong base. V. Jennings Oh, it did. I would like to think that I could pass that along to my children and my grandchildren. Although, my grandchildren, it’s kind of a tossup. (Laughter) We have this wonderful little grandson, but he comes walking through the house, and one time he’s blonde, another time he’s got blue hair. I think last night it was kind of a rust. It’s just what he called “artistic expression, Grandma.” Little Thunder Right. V. Jennings I would prefer that he expressed himself by braids and pierced ears, you know? 5 Little Thunder Different generation. You explained that your grandma, of course, was doing beadwork. You were exposed to her bead art early. Any other family members that were an influence? V. Jennings No, it was just my grandparents. They—with my grandfather, what he was doing was recording a part of Kiowa culture that doesn’t exist anymore. At that time there was a really strong influence because of his uncles. Silver Horn and Ontigh—they were at the beginning of ledger art. They were recording after the free days onto the reservation. Then my grandfather, he started his artwork at the end of—I guess it’s the reservation period. He recorded through World War I, World War II, Korea, Vietnam, until he passed away in 1974. He was prolific and he had this really strong work ethic. He would get up. Right after breakfast, he would start painting. Then he would take a break about nine o’clock, drink coffee. After his fifteen-minute break, then he’d start right back in and start working again. He would break for lunch and then he would work until after ten o’clock at night. He was always, always—it seemed like everything was a creative process for him. Little Thunder It was really his calling. He really took it seriously. Yeah. When did you make your first art of any kind? V. Jennings (Laughs) He fixed a—he found my missal. It was actually my mother’s missal and I was drawing flowers. I had this big, humongous print. I was just now learning how to write my name, Anyway, he has it. He’s got it. He’s my organizer. He organizes everything and it takes me no time to pull everything apart and throw it out of order. Little Thunder Now this is your husband, Carl, that found your missal. V. Jennings Oh, yes. He’s very patient and he’ll go back in and reorganize. I didn’t know—when I first started beadworking, I was beading for my children. I’ve never thought of myself as an artist. I’ve always identified myself as a traditional woman. I didn’t know that you were supposed to have a resume. I didn’t know you were supposed to keep copies of your work. Carl is the one who organized all of that into a resume for me, and collected all of my articles. He takes care of me. (Laughter) Little Thunder That’s wonderful. So when did you start beading? V. Jennings I was just a little girl. One of the first assignments is you pick Grandma’s beads up. Nothing’s ever wasted. If the beads drop on the floor, you pick them up. You put them on a string. Nothing was wasted. So you have this one big jar and there’s all of these beads. They’re all different sizes and colors. You just—you didn’t waste it. That was your 6 first assignment. My grandmother couldn’t get down and pick stuff off the floor, so that was your assignment. Little Thunder How about school? What was school like for you? Did you get any encouragement for any painting or drawing? V. Jennings No, no. In fact, I got in trouble with my mother. I used to wear—I went to school with my hair braided. I wore leggings. I didn’t realize that just being a traditional woman—I mean it was already…the seed was already planted.
Load more

Recommended publications
  • Drawing the Lines: Indigenous American Ledger Drawings and the Decolonization of Rhetorical Knowledge Spaces
    DRAWING THE LINES: INDIGENOUS AMERICAN LEDGER DRAWINGS AND THE DECOLONIZATION OF RHETORICAL KNOWLEDGE SPACES BY Chelsea J. Murdock Copyright 2017 Submitted to the graduate degree program in English and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ______________________________________ Dr. Frank Farmer, Chairperson ______________________________________ Dr. Stephanie Fitzgerald, Committee Member ______________________________________ Dr. Mary Jo Reiff, Committee Member ______________________________________ Dr. Lisa King, Committee Member ______________________________________ Dr. Norman Akers, Committee Member Date Defended: 3 May 2017 The dissertation committee for Chelsea J. Murdock certifies that this is the approved version of the following dissertation: DRAWING THE LINES: INDIGENOUS AMERICAN LEDGER DRAWINGS AND THE DECOLONIZATION OF RHETORICAL KNOWLEDGE SPACES ______________________________________ Dr. Frank Farmer, Chairperson Date Approved: 3 May 2017 ii ABSTRACT DRAWING THE LINES: INDIGENOUS AMERICAN LEDGER DRAWINGS AND THE DECOLONIZATION OF RHETORICAL KNOWLEDGE SPACES By Chelsea J. Murdock This project explores the transrhetorical conversations that take place between the material presences of ledger art across three discursive spaces. Ledger art is a visually-based narrative art form of expression that originated among Native American Plains tribes. Often characterized by its materiality, historical and contemporary ledger artists use a variety
    [Show full text]
  • The Szwedzicki Portfolios: Native American Fine Art and American Visual Culture 1917-1952
    1 The Szwedzicki Portfolios: Native American Fine Art and American Visual Culture 1917-1952 Janet Catherine Berlo October 2008 2 Table of Contents Introduction . 3 Native American Painting as Modern Art The Publisher: l’Edition d’Art C. Szwedzicki . 25 Kiowa Indian Art, 1929 . .27 The Author The Subject Matter and the Artists The Pochoir Technique Pueblo Indian Painting, 1932 . 40 The Author The Subject Matter and the Artists Pueblo Indian Pottery, 1933-36 . 50 The Author The Subject Matter Sioux Indian Painting, 1938 . .59 The Subject Matter and the Artists American Indian Painters, 1950 . 66 The Subject Matter and the Artists North American Indian Costumes, 1952 . 81 The Artist: Oscar Howe The Subject Matter Collaboration, Patronage, Mentorship and Entrepreneurship . 90 Conclusion: Native American Art after 1952 . 99 Acknowledgements . 104 About the Author . 104 3 Introduction In 1929, a small French art press previously unknown to audiences in the United States published a portfolio of thirty plates entitled Kiowa Indian Art. This was the most elegant and meticulous publication on American Indian art ever offered for sale. Its publication came at a time when American Indian art of the West and Southwest was prominent in the public imagination. Of particular interest to the art world in that decade were the new watercolors being made by Kiowa and Pueblo artists; a place was being made for their display within the realm of the American “fine arts” traditions in museums and art galleries all over the country. Kiowa Indian Art and the five successive portfolios published by l’Edition d’Art C.
    [Show full text]
  • G 1997 Contents
    G 1997 CONTENTS FROM LYRES TO LARIATS Cowboy Songs & Range Ballads sets the standard lor preserving a uniquely American genre of lolklore. REMINGTON ARMS RETROSPECTIVE The Arms and Art ol the Remington Arms Company are spotlighted in a new exhibition opening in May. THE YELLOWSTONE PARTNERSHIP As America's lirst national park celebrates its t25th anniversary. the Buffalo Bill Historical Center collaborates on an educational exhibition of the park's bison herd. 11 NI'llHl': lN A GOOD WAY lmages by cultural anthropologist Sara Wiles are leatured in a new photo exhibition on the Arapaho people of Wyoming. 12 THE FEATHERED CAPE AND PAINTED PROOF A painting solves the mystery of the origins ol unusual leathered capes. 1 5 PUBLT. suPPoRr'e6 Development initiarives enjoy srrong backing in 1q96. 1 B FAM]LY FUN Ambitious schedule ol children's and lamily programs planned for 1997. DEPARTMENTS I he Buffalo Bill Historical Center's Director's Report ........................ 3 stellar dedication to the preservation Recent Gifts .............. ... I 6 and perpetuation oi occupalional songs is New Acquisitions ............. .20 one of the best things about the museum, Planned Gifts/Calendar...... 2i signiiying a well-reasoned, well rounded generating, maintaining, and POINTS WESI is published quarrerly as a benefir of membership in the approach to Bulfalo Brll Hrsroncal Center For in[ormatton about membership contact disseminating public interesl in a precious, Jane Sanders, Director ol Membership. Buffalo Bill Historical Center. perishable legacy. To incorporate songs and 720 Sheridan Avenue. Cody. wY 82414 or call (107) 587'477t. ext.'1032. srories at such a high level into the galaxy ol Request permission to copy, reprinl or distribute arlicles in any mediunr or lor- mai.
    [Show full text]
  • Automobiles Performing the Trickster in Modern and Contemporary Work by Artists
    Not Your Grandfather’s Horse: Automobiles Performing the Trickster in Modern and Contemporary Work by Artists from Plains Cultures By AARON MOSES Bachelor of Arts in History A&M University Corpus Christi Corpus Christi, Texas 2014 Submitted to the Faculty of the Graduate College of Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS May, 2017 NOT YOUR GRANDFATHER’S HORSE: AUTOMOBILES PERFORMING THE TRICKSTER IN MODERN AND CONTEMPORARY WORK BY ARTISTS FROM PLAINS CULTURES Thesis Approved: Dr. Louise Siddons Thesis Adviser Dr. Irene Backus Dr. Douglas Miller *--Delete this paragraph before submission—Type Committee Member names on the Approval page of the electronic copy. If Dr. is used for one name, a similar title must appear on all names. ii ACKNOWLEDGEMENTS A special thanks to Dr. Louise Siddons, Dr. Douglas Miller, and the entire Art History department of Oklahoma State University for supporting the creation of this thesis; to my father and grandfather, for inspiring my interest in automobiles at a young age; and to my Jeep, whose regular maintenance issues never ceased to promote an appreciation for the importance of mobility. iii Acknowledgements reflect the views of the author and are not endorsed by committee members or Oklahoma State University. Name: Aaron Moses Date of Degree: May, 2017 Title of Study: Not Your Grandfather’s Horse: Automobiles Performing the Trickster in Modern Modern and Contemporary Work by Artists from Plains Cultures Major Field: Art History Abstract: The automobile is a recurring motif among modern and contemporary Native American artists that has gone severely understudied.
    [Show full text]
  • Descendants‟ Organizations, Historical
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE RECLAIMING THE PAST: DESCENDANTS‟ ORGANIZATIONS, HISTORICAL CONSCIOUSNESS, AND INTELLECTUAL PROPERTY IN KIOWA SOCIETY A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By MICHAEL P. JORDAN Norman, Oklahoma 2011 RECLAIMING THE PAST: DESCENDANTS‟ ORGANIZATIONS, HISTORICAL CONSCIOUSNESS, AND INTELLECTUAL PROPERTY IN KIOWA SOCIETY A DISSERTATION APPROVED FOR THE DEPARTMENT OF ANTHROPOLOGY BY __________________________ Dr. Daniel C. Swan, Chair __________________________ Dr. Morris Foster __________________________ Dr. Gus Palmer, Jr. __________________________ Dr. Sean O‟Neill __________________________ Dr. Richard Lupia © Copyright by MICHAEL P. JORDAN 2011 All Rights Reserved. To my Mother, JoAnn Batte Jordan, and the memory of my Father, Paul Nelson Jordan ACKNOWLEDGEMENTS I owe a tremendous debt to the people of the Kiowa Tribe of Oklahoma, whose generous assistance made this project possible. Since my first trip to southwestern Oklahoma as an undergraduate in 1998, countless Kiowa people have taken the time to share their knowledge with me. I am especially thankful for the many community members who assisted me with my dissertation research. Space prevents me from acknowledging each of them by name, but I would particularly like to thank the members of the Chief Satanta (White Bear) Descendants, the Old Chief Lonewolf Descendants, and Satethieday Khatgomebaugh. Without their help this project would not have been possible. Dr. Daniel C. Swan invested tremendous time and energy in my scholarly development. I am thankful for all that he has taught me, including what it means to be a mentor. Dr. Morris Foster has always been a source of sound advice.
    [Show full text]
  • Horace Poolaw, Photographer of American Indian Modernity / Laura E
    HORACE POOLAW Photographer of American Indian Modernity HORACE POOLAW Photographer of American Indian Modernity Laura E. Smith · Foreword by Linda Poolaw University of Nebraska Press Lincoln and London © 2016 by the Board of Regents of the University of Nebraska Acknowledgments for the use of copyrighted material appear on page xvi, which constitutes an extension of the copyright page. All rights reserved Manufactured in the United States of America Library of Congress Cataloging- in- Publication Data Names: Smith, Laura E. (Laura Elizabeth), 1962– author. Title: Horace Poolaw, photographer of American Indian modernity / Laura E. Smith; foreword by Linda Poolaw. Description: Lincoln: University of Nebraska Press, [2016] | Includes bibliographical references and index. Identifiers: lccn 2015034795 isbn 9780803237858 (cloth: alk. paper) isbn 9780803288072 (pdf) Subjects: lcsh: Poolaw, Horace, 1906– 1984. | Kiowa Indians — Biography. | Indian photographers — Biography. | Kiowa Indians — Social life and customs — 20th century. | Indians of North America — Great Plains — Social life and customs — 20th century. | Kiowa Indians — Ethnic identity. | Indians of North America — Great Plains — Ethnic identity. | Documentary photography — United States — History — 20th century. Classification: lcc e99.k5 s58 2016 | ddc 978.004/974920092 — dc23 lc record available at http://lccn.loc.gov/2015034795 Set in Arno by L. Auten. Designed by N. Putens. Contents List of Illustrations vii Foreword by Linda Poolaw xiii Acknowledgments xv Introduction xvii 1. Homeland 1 2. Family 17 3. History and Pageantry 47 4. Warbonnets 71 5. Postcards 93 6. Art 115 Epilogue 137 Notes 141 Bibliography 175 Index 189 Illustrations 1. Joseph K. Dixon. Plenty 5. Horace Poolaw. Kaw- au- on- Coups (Crow) and wife tay and great- grandson Jerry in car, c.
    [Show full text]
  • Guide to the Acee Blue Eagle Papers, 1907-1975
    Guide to the Acee Blue Eagle papers, 1907-1975 Bonnie Wheatley 1976 National Anthropological Archives Museum Support Center 4210 Silver Hill Road Suitland 20746 [email protected] http://www.anthropology.si.edu/naa/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 3 Arrangement note............................................................................................................ 4 Biographical / Historical.................................................................................................... 2 Bibliography...................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Personal, 1935-1972 (bulk 1935-1958).................................................... 6 Series 2: Collections, 1923-1960........................................................................... 15 Series 3: Artwork, 1953-1971................................................................................
    [Show full text]
  • Modernity, Multiples, and Masculinity: Horace Poolaw's Postcards of Elder
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Spring 2011 MODERNITY, MULTIPLES, AND MASCULINITY HORACE POOLAW'S POSTCARDS OF ELDER KIOWA MEN Laura E. Smith Michigan State University Follow this and additional works at: http://digitalcommons.unl.edu/greatplainsquarterly Part of the American Studies Commons, Cultural History Commons, and the United States History Commons Smith, Laura E., "MODERNITY, MULTIPLES, AND MASCULINITY HORACE POOLAW'S POSTCARDS OF ELDER KIOWA MEN" (2011). Great Plains Quarterly. 2681. http://digitalcommons.unl.edu/greatplainsquarterly/2681 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. MODERNITY, MULTIPLES, AND MASCULINITY HORACE POOLAW'S POSTCARDS OF ELDER KIOWA MEN LAURA E. SMITH Many Indians in the late nineteenth and Poolaw printed some of his photographs on early twentieth century commodified aspects postcard stock to sell at local fairs in the early of their cultures in order to make a living and to mid twentieth century. In order for the sometimes present their identities, history, and postcards to appeal to the greatest number artworks in ways that were satisfying to them. of consumers, he had to compose his images Ten vintage postcards from the Oklahoma and select subject matter that fit into common Historical Society by Kiowa photographer visual assumptions and expectations of Indian Horace Poolaw (1906-1984) indicate that he identity, such as the "chief." recognized popular tastes for Plains Indian On the other hand, Poolaw created these male imagery while both participating in that postcards in an intense period in Oklahoma production and working independently of it.
    [Show full text]
  • Dudleyla2013.Pdf (4.817Mb)
    THE LEGACY OF ARTHUR AND SHIFRA SILBERMAN: AN UNPARALLELED COLLECTION OF AMERICAN INDIAN PAINTING AND SCHOLARSHIP by LEIGH A. DUDLEY A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS IN HISTORY-MUSEUM STUDIES University of Central Oklahoma May 2013 ii ABSTRACT Arthur Silberman (1924-95) and his wife, Shifra Silberman (1932-90), spent the majority of their lives collecting, preserving, and promoting the unique beauty of American Indian art. From the early establishment of American Indian works on paper to the more modern and disciplined adaptation of Indian artistic traditions, this collection, now in the possession of the National Cowboy and Western Heritage Museum (NCWHM), encompasses an important evolution not only in Native American painting, but in American painting in general. The Silbermans labored to inspire an appreciation for Indian art in others by increasing public awareness through lectures, publications, and exhibits. Their dedication to collecting and studying American Indian art and culture in addition to their gathering of research materials, including oral history interviews with Traditional artists and those that knew them, enabled a flood of knowledge on the subject and influenced the world of art including the scope of the collections at the NCWHM. Listening to the voices of Native Americans in the interviews conducted by the Silbermans, one begins to understand not only the ancestral traditions which served as the foundation for Native art, but also the artists’ need to conform and mold their creative visions to early twentieth-century political and monopolistic demands in order to sustain the American Indian economy and maintain their cultural customs.
    [Show full text]
  • Kiowa Six the Kiowa Six Is a Group of Six Kiowa Artists from Oklahoma in the 20Th Century
    Kiowa Six The Kiowa Six is a group of six Kiowa artists from Oklahoma in the 20th century. They were Spencer Asah, James Auchiah, Jack Hokeah, Stephen Mopope, Lois Smoky, and Monroe Tsatoke. Stephen Mopope, the oldest in the group, was born in 1898 on the Kiowa Reservation in Oklahoma Territo- ry. His relatives, including his great-uncles Silver Horn Oklahoma and Fort Marion ledger artist Ohettoint, recognized his artistic talent at an early age and taught him traditional Kiowa painting techniques Spotlight Jack Hokeah was born around 1900 and was or- phaned at a young age and raised by his grandmother. Later in life, San Ildefonso Pueblo potter Maria Marti- nez adopted him as a son and he lived with her family for a decade in New Mexico. Monroe Tsatoke was born in 1904 near Saddle Mountain, Okla- homa. His father, Tsatokee “Hunting Horse,” was his first artistic influ- ence. James Auchiah was born in 1906 near present-day Medicine Park, Oklahoma. One of his grandfather was Red Tipi, a ledger artist, medi- cine man, and bundle keeper the other was Satanta. Spencer Asah was born around 1905 in Carnegie, Oklahoma. His father, a buffalo medicine man, provided Asah with the traditional cul- tural background to inspire his art. Lois Smoky was born in 1907 near Anadarko; she was the youngest of the group and the only woman. Five of the artists attended the St. Patrick’s Mission School in Anadarko, serving Kiowa, Comanche, and Apache children. Operating from 1872 to 1996, the school — also known as the Anadarko Boarding School — was the longest lived of the seven schools for Native Ameri- can children in Oklahoma operated by St.
    [Show full text]
  • 2017-2018 Annual Report
    2017-2018NAISI Annual Report NATIVE AMERICAN AND INDIGENOUS STUDIES INITIATIVE The Native American and Indigenous Studies Initiative Brown University 67 George Street Providence, Rhode Island 02912 Tel: (401) 863-3693 Email: [email protected] www.facebook.com/NAISatBrown To join our email list, learn about our initiative, or stay informed of upcoming events visit: brown.edu/go/naisab STEERING COMMITTEE TABLE OF CONTENTS Paja Faudree Associate Professor, Anthropology LETTER FROM THE STEERING COMMITTEE 4 NEWS 7 Linford Fisher POST-DOCTORAL AND GRADUATE FELLOWS 9 Associate Professor, History LECTURES + DISCUSSION 12 EVENTS SUPPORTED BY NAISI 15 NAIS RELATED CAMPUS EVENTS 16 Elizabeth Hoover NAIS COHORT PUBLICATIONS 17 Assistant Professor, American Studies NATIVE AMERICAN AND INDIGENOUS 19 ORGANIZATIONS AT BROWN Joseph Meisel Joukowsky Family University Librarian Adjunct Associate Professor, History ABOUT NAISI Robert Preucel Native American and Indigenous Studies is an Professor, Anthropology interdisciplinary initiative of faculty and students Director, Haffenreffer Museum of interested in teaching and research that Anthropology explores, and increases the understanding of, the cultural traditions and political experiences of Indigenous Peoples (especially in the Western Neil Safier Hemisphere) through historical and contemporary Associate Professor, History lenses. Beatrice and Julio Mario Santo Domingo Director and Librarian at The John Courses offered by NAIS affiliated faculty explore Carter Brown Library American Indian historic and contemporary lifeways; the history of contact between European and Native peoples; environmental health and research in Native STAFF communities; historic and contemporary peoples of Niyolpaqui Moraza-Keeswood Central and South America; indigenous knowledge Coordinator, Native American and and the sciences; and Native American religion, Indigenous Studies literature, and media.
    [Show full text]
  • NMAI-SPRING-2001 0.Pdf
    American Indian Spring 2001 Celebrating Native Traditions & Communities On the Powwow Keeping Traditions Alive ê 3 Smithsonian National Museum of the American Indian I he Spirit St ries rh<* Crow buffalo legacy blanket is the second in live Æ Spirit Series lour double saddle blankets created bv prominent Native American artists to honor the spirit ol Iile tlval runs through a tribe and its people. gR" 1 he Crow buffalo blanket Mi* measures ob x 30 • Iq learn m tm>re about this blanket and other Spirit Series blankets, please visit our Web site at wvvw.college(unil.fug or call 1 Hoo-880 -;887. î ? y '■* This blanket has a story to tell. On a day one hundred and fifty years Inspired by this legacy, Crow master ago, the Crow people came to be surrounded by artist Kevin Red Star has designed this signed a fearsome, seemingly insurmountable enemy. and numbered, limited-edition blanket made Plenty Coups, our leader, found all exclusively by Pendleton Woolen Mills for the his tactics and wisdom of no use against these American Indian College Fund. i . S s ■. imposing warriors. Our people’s destruction 70% of the proceeds from the sale of seemed certain, when from the south we heard this blanket go to fund our colleges and schol­ a rumbling and saw an approaching dust cloud arship programs, crucial in helping our people on the horizon. learn the skills they need to be self-sufficient. The enemy watched in awe as a huge The Crow buffalo legacy is not myth herd of buffalo stampeded towards the battle or legend.
    [Show full text]