2017-2018 Annual Report
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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 -
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. -
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. -
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. -
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. -
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. -
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UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE AN ETHNOHISTORY OF THE AMERICAN INDIAN EXPOSITION AT ANADARKO OKLAHOMA: 1932-2003 A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By E. R. GAEDE JR. Norman, Oklahoma 2009 AN ETHNOHISTORY OF THE AMERICAN INDIAN EXPOSITION AT ANADARKO, OKLAHOMA: 1932-2003 A DISSERTATION APPROVED FOR THE DEPARTMENT OF ANTHROPOLOGY BY ________________________________ Dr. Gus Palmer, Jr. “Chair” ________________________________ Dr. Paula J. Conlon ________________________________ Dr. Jason Baird Jackson ________________________________ Dr. Sean P. O’Neill ________________________________ Dr. Don G. Wyckoff © Copyright by E. R. GAEDE JR. 2009 All Rights Reserved. DEDICATION This dissertation is dedicated to my mother, Patricia J. (Leslie) Davis. For more than five decades she has given her unconditional love, encouragement and support to me. My mother was raised in Anadarko, Oklahoma, and was the first person to introduce to me the idea that anything worth cherishing also required hard work, diligence, and commitment. The life lessons my mother imparted to me, her first-born, during my formative years have continued to serve me well as I have navigated my way through this journey called life. Thus, it is to my mother that I now extend my sincerest gratitude and thanks for all her love, her sacrifices, and her prayers on my behalf. ACKNOWLEDGMENTS It is with the greatest gratitude and pleasure that I offer the following acknowledgements. First, I want to extend my deepest appreciation to members of my advisory committee: Dr. Paula Conlon, Dr. Jason Jackson, Dr. Sean O’Neill, Dr. Gus Palmer, and Dr. -
Court Issue Register Now the Hard Rock Hotel and Casino Has Arranged a Room Rate of S Limited $117 for Those Golfers Wanting to Space I Stay Closer to the Course
Volume 90 — No. 10 — 5/18/2019 Court Issue Register Now The Hard Rock Hotel and Casino has arranged a room rate of s Limited $117 for those golfers wanting to Space i stay closer to the course. Hopefully, this will make early check in on Thursday morning a and filling up fast little less painful. It is 7.6 miles from the Hard Rock to the Patriot. Call 1-800-760-6700 and mention “Oklahoma Bar Association – OKC” to receive the special group rate by May 29, 2019. If you are planning to attend the M C L E C R E D I T 2/2 2019 Solo & Small Firm Conference ... or would just like to take advantage of our special $99 room rate on Wednesday night at the River Spirit Casino Resort, please call 1.888.748.8731 and refer to the Solo & Small Firm Conference by May 30. program planner/moderator: Joe Balkenbush, OBA Ethics Counsel Get some fresh air and a fresh perspective on legal ethics with all new questions and scenarios IN in a unique outdoor CLE format. ETHICS Your “classroom” is the great outdoors at The Patriot Golf Club. Eighteen ethics scenarios and a set of multiple-choice answers are your course materials. Discuss each scenario and possible answers as you play or ride to each hole. After you finish, head to the “19th Hole” for a buffet lunch 18 HOLES and ethics discussion. SPACE IS LIMITED. Register now to guarantee you or your team a place at this special CLE event! The event is set up for no mulligans, a max of bogey, and prizes will be given for 1st and 2nd place. -
Teacher Resource Packet
Teacher Resource Packet Tipi: Heritage of the Great Plains February 18–May 15, 2011 About the Exhibition Tipi: Heritage of the Great Plains focuses on the tipi as the center of Plains culture and social, religious, and creative traditions from the early nineteenth Tipi: Heritage of the century to the present. The exhibition examines the tipi as an architectural form, an expression of Plains artistic and cultural identity, and an interior Great Plains space for domestic and ritual use. Representing a large number of tribes from the Northern, Central, and Southern Plains, the exhibition features three full-size tipis (two with furnished interiors), objects from the Brooklyn Museum’s collection of historical Plains material, selected works from other museums, and objects by contemporary Plains artists. In addition to historical and contemporary objects, Tipi includes photographs of contemporary Plains family and community life and images of contemporary Native American architecture inspired by the tipi form. Organized thematically, Tipi explores the traditional role of women, who were the owners and makers of the tipi itself as well as the furnishings, clothing, and accessories kept within it; the traditional role of men as warriors, whose military exploits are depicted on tipi covers and liners; and the tipi as the center of childhood and family life. Background Information The Kiowa tribe is one of more than fifty Native American tribes that reside on the Great Plains, an expansive region on the North American continent that extends as far south as Texas and reaches northward into Canada. Native Americans of the Plains once lived a nomadic lifestyle, following herds of buffalo, their main source of food, and other grazing animals. -
Jakobsson Upptäcker Amerika
Särtryck ur: Årsbok 2015 KVHAA Stockholm 2015 (isbn 978-91-7402-441-8, issn 0083-6796) GUNLÖG FUR Jakobsson upptäcker Amerika svenskar möter kiowaindianer 1915–2015 rån 1840-talet fram till de första decennierna på 1900-talet utvandrade nära 1,5 miljoner svenskar till USA och Kanada – F en åderlåtning av befolkningen utan motstycke i historien. En mycket stor del av dessa utvandrare hamnade på Nordamerikas norra slättområden, så som min morfar Sigfrid Jakobsson och hans bror gjor- de under 1900-talets allra första år. Där, längs Mississippi-floden och dess biflöden, på de vidsträckta slätterna som tar sin början i Illinois, Iowa och Kansas och sträcker sig ända upp till Saskatchewan och Mani- toba, samt i skogar och vid sjöar i Minnesota, Wisconsin och Michigan, kunde svenskarna ”återfinna sina klara romantiska sjöar, Skånes sädes- rika slätter och Norrlands dalar” som Fredrika Bremer skrev 1853.1 Där blev de också mer eller mindre medvetet redskap för två nationers koloniala expansion västerut över kontinenten, vilken kostade hundra- tusentals liv och tvingade flera hundra urfolksnationer i diaspora, ofta i sitt eget land. Trots att det skrivits hyllmeter om den svenska och öv- riga nordiska emigrationen, nämns detta sällan eller aldrig. Det är som om alla dessa utvandrare aldrig mötte indianer, trots att de ofta befann sig samtidigt på samma platser. Varför skrivs så enormt mycket om emi- grationen, och så försvinnande lite om möten, kontakter, samtidigheter mellan svenskar och amerikanska urfolk? Är det för att, som den nor- 132 föredrag ske emigrationshistorikern Orm Øverland föreslagit, dessa kontakter är en alltför obehaglig påminnelse om skandinavernas medverkan i ”the ethical ambiguities of immigrant homemaking”?2 Detta är en fråga som engagerat min forskning under lång tid.