Arizona Tribal Public Health Emergency Preparedness Programs
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
(Huichol) of Tateikita, Jalisco, Mexico
ETHNO-NATIONALIST POLITICS AND CULTURAL PRESERVATION: EDUCATION AND BORDERED IDENTITIES AMONG THE WIXARITARI (HUICHOL) OF TATEIKITA, JALISCO, MEXICO By BRAD MORRIS BIGLOW A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2001 Copyright 2001 by Brad Morris Biglow Dedicated to the Wixaritari of Tateikita and the Centro Educativo Tatutsi Maxa Kwaxi (CETMK): For teaching me the true meaning of what it is to follow in the footsteps of Tatutsi, and for allowing this teiwari to experience what you call tame tep+xeinuiwari. My heart will forever remain with you. ACKNOWLEDGMENTS I would like to thank my committee members–Dr. John Moore for being ever- supportive of my work with native peoples; Dr. Allan Burns for instilling in me the interest and drive to engage in Latin American anthropology, and helping me to discover the Huichol; Dr. Gerald Murray for our shared interests in language, culture, and education; Dr. Paul Magnarella for guidance and support in human rights activism, law, and intellectual property; and Dr. Robert Sherman for our mutual love of educational philosophy. Without you, this dissertation would be a mere dream. My life in the Sierra has been filled with countless names and memories. I would like to thank all of my “friends and family” at the CETMK, especially Carlos and Ciela, Marina and Ángel, Agustín, Pablo, Feliciano, Everardo, Amalia, Rodolfo, and Armando, for opening your families and lives to me. In addition, I thank my former students, including los chavos (Benjamín, Salvador, Miguel, and Catarino), las chicas (Sofía, Miguelina, Viviana, and Angélica), and los músicos (Guadalupe and Magdaleno). -
2011 ACS PUMS DATA DICTIONARY August 7, 2015 HOUSING RECORD
2011 ACS PUMS DATA DICTIONARY August 7, 2015 HOUSING RECORD RT 1 Record Type H .Housing Record or Group Quarters Unit SERIALNO 7 Housing unit/GQ person serial number 0000001..9999999 .Unique identifier DIVISION 1 Division code 0 .Puerto Rico 1 .New England (Northeast region) 2 .Middle Atlantic (Northeast region) 3 .East North Central (Midwest region) 4 .West North Central (Midwest region) 5 .South Atlantic (South region) 6 .East South Central (South region) 7 .West South Central (South Region) 8 .Mountain (West region) 9 .Pacific (West region) PUMA 5 Public use microdata area code (PUMA) 00100..08200 .Public use microdata area codes 77777 .Combination of 01801, 01802, and 01905 in Louisiana Note: Public use microdata areas (PUMAs) designate areas of 100,000 or more population. Use with ST for unique code. REGION 1 Region code 1 .Northeast 2 .Midwest 3 .South 4 .West 9 .Puerto Rico ST 2 State Code 01 .Alabama/AL 02 .Alaska/AK 04 .Arizona/AZ 05 .Arkansas/AR 06 .California/CA 08 .Colorado/CO 09 .Connecticut/CT 10 .Delaware/DE 11 .District of Columbia/DC 12 .Florida/FL 13 .Georgia/GA 1 15 .Hawaii/HI 16 .Idaho/ID 17 .Illinois/IL 18 .Indiana/IN 19 .Iowa/IA 20 .Kansas/KS 21 .Kentucky/KY 22 .Louisiana/LA 23 .Maine/ME 24 .Maryland/MD 25 .Massachusetts/MA 26 .Michigan/MI 27 .Minnesota/MN 28 .Mississippi/MS 29 .Missouri/MO 30 .Montana/MT 31 .Nebraska/NE 32 .Nevada/NV 33 .New Hampshire/NH 34 .New Jersey/NJ 35 .New Mexico/NM 36 .New York/NY 37 .North Carolina/NC 38 .North Dakota/ND 39 .Ohio/OH 40 .Oklahoma/OK 41 .Oregon/OR 42 .Pennsylvania/PA 44 .Rhode -
Indian Country Women Leading in Prescribed Fire
U.S. Department of the Interior Branch of Wildland Fire Management Bureau of Indian Affairs National Interagency Fire Center Tweet us @BIAFireForestry Boise, ID. 83705 Facebook: @BIAFireForestry https://www.bia.gov/bia/ots/dfwfm/bwfm First-of-its-kind Project for the Southern Border Fuels Management Initiative Underway at Cocopah Indian Reservation July, 2019 Located along the Colorado River 13 miles south of Yuma, Arizona, and 15 miles north of San Luis, Mexico is the Cocopah Reservation. Its unique boundaries border Mexico, Arizona and California. Thriving along the banks is an invasive and dangerous plant called salt cedar. Its roots drink deeply, helping to lower the water table and adding large deposits of salt to the soil. As its roots and branches grow, its prolific and highly flammable branches threaten wetland ecosystems and create a significant fire hazard to neighboring communities when wildfires occur. It is also choking out the native willow, cottonwood, and mesquite trees the Cocopah people use for cultural and spiritual purposes. Firefighters from Fort Apache Agency remove invasive salt cedar brush from the Cocopah Reservation as part of the Southern Border Fuels Management Initiative, 2019. Image courtesy of the Cocopah Indian Tribe. While removing salt cedar is a common management practice along the Reservation’s land mass. In total, 1,359 to help them thrive. When conditions Colorado River, this $563 thousand, acres of invasive and foreign salt cedar cool and become wetter, firefighters four-year treatment plan, funded by the will be treated, preserving the tribe’s will also burn the piles created from the Department of the Interior, Office of valuable economic investments and debris, returning nutrients to the soil. -
THE UNIVERSITY of ARIZONA PRESS Celebrating 60 Years
THE UNIVERSITY OF ARIZONA PRESS FALL 2019 Celebrating 60 Years The University of Arizona Press is the premier publisher of academic, regional, and literary works in the state of Arizona. We disseminate ideas and knowledge of lasting value that enrich understanding, inspire curiosity, and enlighten readers. We advance the University of Arizona’s mission by connecting scholarship and creative expression to readers worldwide. CONTENTS AFRICAN AMERICAN STUDIES, 10 ANTHROPOLOGY, 18, 19, 21, 25, 26 ARCHAEOLOGY, 30 ARTS, 2–3 BORDER STUDIES, 9, 18, 19, 20, 29 ENVIRONMENTAL POLICY, 4–5 ENVIRONMENTAL STUDIES, 24, 26, 27 ETHNOBIOLOGY, 27 HISTORY, 2–3, 9, 16, 20, 29 INDIGNEOUS STUDIES, 6, 16, 17, 18, 21, 22, 23, 25, 28 LATIN AMERICAN STUDIES, 20, 21, 22, 23, 24, 25, 28, 29 LATINX STUDIES, 7, 8, 12, 13, 14, 15 LITERATURE, 7 POETRY, 6, 8 SOCIAL JUSTICE, 10, 13, 14, 15, 24 SPACE SCIENCE, 31 WATER, 4–5 RECENTLY PUBLISHED, 32–35 RECENT BEST SELLERS, 36–42 OPEN ARIZONA, 43 SALES INFORMATION, 44 CATALOG DESIGN BY LEIGH MCDONALD COVER PHOTO [FRONT] COMPOSITE BY LEIGH MCDONALD [INSIDE] BY NOSHA/FLICKR PRAISE FOR JAMES S. GRIFFITH TITLE OF THE BOOK SUBTITLE OF THE BOOK GOES HERE “Griffith recognizes the interdependence that has grown between the Tucsonese culture AUTHORand its folk NAME arts traditions.” —High Country News Keynote keynote keynote keynote keynote keynote keynote keynote Keynote keynote keynote keynote “Like a friend or relative who is eager to introduce visitors to the sights and sounds of his hometown, Griffith leads readers on a whirlwind tour celebrating Mexicano arts and crafts.” Repudant. -
General Vertical Files Anderson Reading Room Center for Southwest Research Zimmerman Library
“A” – biographical Abiquiu, NM GUIDE TO THE GENERAL VERTICAL FILES ANDERSON READING ROOM CENTER FOR SOUTHWEST RESEARCH ZIMMERMAN LIBRARY (See UNM Archives Vertical Files http://rmoa.unm.edu/docviewer.php?docId=nmuunmverticalfiles.xml) FOLDER HEADINGS “A” – biographical Alpha folders contain clippings about various misc. individuals, artists, writers, etc, whose names begin with “A.” Alpha folders exist for most letters of the alphabet. Abbey, Edward – author Abeita, Jim – artist – Navajo Abell, Bertha M. – first Anglo born near Albuquerque Abeyta / Abeita – biographical information of people with this surname Abeyta, Tony – painter - Navajo Abiquiu, NM – General – Catholic – Christ in the Desert Monastery – Dam and Reservoir Abo Pass - history. See also Salinas National Monument Abousleman – biographical information of people with this surname Afghanistan War – NM – See also Iraq War Abousleman – biographical information of people with this surname Abrams, Jonathan – art collector Abreu, Margaret Silva – author: Hispanic, folklore, foods Abruzzo, Ben – balloonist. See also Ballooning, Albuquerque Balloon Fiesta Acequias – ditches (canoas, ground wáter, surface wáter, puming, water rights (See also Land Grants; Rio Grande Valley; Water; and Santa Fe - Acequia Madre) Acequias – Albuquerque, map 2005-2006 – ditch system in city Acequias – Colorado (San Luis) Ackerman, Mae N. – Masonic leader Acoma Pueblo - Sky City. See also Indian gaming. See also Pueblos – General; and Onate, Juan de Acuff, Mark – newspaper editor – NM Independent and -
Artist Tlisza Jaurique
Artist Tlisza Jaurique OutsidersPre-visit Class Withinroom Activity Tlisza Jaurique [TLEE zah HOWD Ree Khee] has two homes: her old family home in south Phoenix and another near New York City. When she was a child, Tlisza’s grandmother would tell her about the family’s experiences in Mexico and of their difficult journey to the United States. They traveled and worked through Texas and Arizona mining towns before finally settling in south Phoenix. Her grandmother was from the Nahua and Yaqui people. The Yaqui are a Native American tribe who live in the Sonoran Desert of northern Mexico. Tlisza’s grandmother also called herself a “Toltec,” an ancient Mesoamerican word for artist, and passed this idea on to her granddaughter. Tlisza calls herself “Mexica” [Meh SHEE Kah] after the people of the central valley of Mexico who speak the Nahuatl language. “Mexica” is also a name for many Indigenous people of Mexico. Tlisza also calls herself “Postmodern,” which means she is a person who questions who we are and how we live. Traditional Mexican celebrations, such as the Day of the Dead and the Feast Day of the Virgin of Guadalupe are important events in Tlisza’s life. She was brought up to believe that people need to show respect for animals and the environment because each thing can have a spirit. One way to show respect is to create special places by setting up altars (offrendas) and little niches (nichos) in the home. Tlisza always has seen herself as an “outsider.” She believed that she was from a culture “other” than the dominant Anglo culture while growing up in Phoenix. -
Casino Temporary Closures As of January 14, 2021
At this time, some Arizona casinos are temporarily closed. It is within the authority of each sovereign Tribal partner to determine appropriate measures, including reopen dates. The Arizona Department of Gaming (ADG) continues to share the latest guidance from the Centers for Disease Control and Prevention and the Arizona Department of Health Services to assist Tribal partners in making decisions regarding their response to COVID-19. ADG regulators are in contact with respective Tribal gaming offices and are providing technical assistance and guidance based on their decision to suspend casino operations as a precautionary measure. ADG will continue to be a resource and share information and expertise to all of its Arizona gaming industry partners as the situation evolves. Casino Temporary Closures as of January 14, 2021 Casino — Tribe Tentative Open Date Wild Horse Pass Casino — Gila River Indian Community 7/2/2020 Lone Butte Casino — Gila River Indian Community 7/2/2020 Vee Quiva Casino — Gila River Indian Community 7/2/2020 Casino Arizona — Salt River Pima-Maricopa Indian Community 6/1/2020 Talking Stick Resort Casino — Salt River Pima-Maricopa Indian Community 6/1/2020 Hon Dah Casino — White Mountain Apache Tribe 8/25/2020 Fort McDowell Casino — Fort McDowell Yavapai Nation 5/15/2020 Apache Gold Casino – San Carlos Apache Tribe 9/23/2020 Apache Sky Casino – San Carlos Apache Tribe 9/23/2020 Bucky’s Casino — Yavapai-Prescott Indian Tribe 6/1/2020 Yavapai Gaming Center — Yavapai-Prescott Indian Tribe 6/1/2020 Harrah’s Ak-Chin Casino -
Rural Work in Nueva Vizcaya: Forms of Labor Coercion on the Periphery Author(S): Susan M
Rural Work in Nueva Vizcaya: Forms of Labor Coercion on the Periphery Author(s): Susan M. Deeds Source: The Hispanic American Historical Review, Vol. 69, No. 3 (Aug., 1989), pp. 425-449 Published by: Duke University Press Stable URL: http://www.jstor.org/stable/2516301 Accessed: 05-08-2015 15:35 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Duke University Press is collaborating with JSTOR to digitize, preserve and extend access to The Hispanic American Historical Review. http://www.jstor.org This content downloaded from 150.135.239.97 on Wed, 05 Aug 2015 15:35:23 UTC All use subject to JSTOR Terms and Conditions Hispanic AmericanHistorical Review 69:3 CopyrightC) 1989by Duke UniversityPress ccc ooi8-2i68/89/$i.5o RuralWork in Nueva Vizcaya:Forms of Labor Coercionon the Periphery SUSAN M. DEEDS* AT noonon a swelteringday in June 1674, a smallgroup of ConchoIndians, six men and fivewomen, watched from the shade of a greatalamo tree as ridersapproached. They could see that Captain Pedro de Zubia Pacheco, accompaniedby two servants,was clearlyagitated as he rode up. Wavinghis sword,he orderedthe Indiansto accompanyhim. At thisjuncture, Nicolks de Be- jarano, the tenantof the wheatfarm in theValle de San Bartolom6where these events took place,' emergedfrom his house and, enraged at his loss ofworkers, called forhis sword.Several neighbors who had hastened to the scene restrainedhim fromattacking the older Zubia. -
African-American Icons and Symbols in Chicano Art Amelia Malagamba Ansótegui*
FRONTERA NORTE VOL. 9, NÚM. 18, JULIO-DICIEMBRE DE 1997 A Note on Chicano-Mexicano Cultural Capital: African-American Icons and Symbols in Chicano Art Amelia Malagamba Ansótegui* Abstract This article forms part of a longer research project in progress. It argues that the “transportation” of “cul- tural capital” by the migrants found fertile ground among the Mexican-American population already estab- lished in the border states between Mexico and the United States. Cultural capital is understood as the histor- ical bag-gage and daily practices and production of symbolic goods that legitimate and give coherence to a community. This cultural capital has undergone a process of transformation in the Mexican-American com- munities. Many of the early symbolic practices have been adapted to new circumstances. The use by several Chicano artists of icons and symbols of African-Mexican heritage on the one hand, and of social and political issues from an African-American cultural location on the other, have become part of the cultural capital of Mexican-American communities. To understand the translation and interpretation of the use of these symbol- ic goods key aspects of history must be highlighted. Resumen Este artículo forma parte de un proyecto de investigación más amplio en proceso. En él se argumenta que la “transportación” de “capital cultural” por los migrantes encontró tierra fértil entre la población mexicoes- tadunidense ya establecida en los estados fronterizos entre México y Estados Unidos. Se entiende como cap- ital cultural el bagaje histórico, las costumbres y la producción de bienes simbólicos diarios que legitimizan y dan coherencia a una comunidad. -
The Macabebes
The Macabebes The Macabebes occupy a footnote in Philippine history, albeit a controversial and sometimes contentious one. They come from the town of Macabebe, on the southeastern part of the province of Pampanga, bordering the province of Bulacan. As Pampangos, their language is Kapampangan vs. Tagalog for Bulacan. It is only about 60 kilometers northeast of Manila. Macabebes served with the Spanish army during most of Spain’s three centuries of Philippine colonization. During the Philippine revolution against Spain that started in 1896, the Macabebes remained loyal to their Spanish officers. When the Americans came in 1898, the Macabebes switched loyalty. Starting out as guides to the American troops, the group became the Macabebe Scouts, forerunner of the Philippine Scouts. The Americans were reluctant to have armed Filipinos within their midst but the Macabebes demonstrated their reliability. They were instrumental in the carefully planned and executed ruse that resulted in the capture of General Emilio Aguinaldo, the Philippine Republic’s first president and military commander. Historical records indicate that hardly a shot was fired. Aguinaldo’s troops thought the Macabebes were friendlies, bringing in American POW’s. For their role, the Macabebes were reviled in some quarters, lasting well into the middle of the 20th century. They were called “dugong aso” (dog blood), “putas” (whores) and “traidor” (traitors). They may have hastened the capture of Aguinaldo, but it was only a question of time before Aguinaldo was brought to heel. Macabebe Scouts or not, Aguinaldo was on the run, with the unit he was commanding directly less than battalion size. -
Download the Zine
Fall 2020 Edition 1 IndigeZINE Fall 2020 Salish Sea Heartbeat Introduction individual heartbeat. Taken together, these heartbeats invoke a communal drumbeat — We are a community of Indigenous people coming reminding us that when we come together, we together to refect creatively on our experiences as heal and grow as a community. Native people and our continued resistance to colonial In the teachings of our Coast Salish relatives, occupation and white supremacy. we raise our hands to all the creatives in our We want to share these messages with you and pool communities. May we remember that we each hold our communal resources to support the work of Chief the gift of creative expression. May we continue to hold Seattle Club - a sacred place to nurture, renew, and creative space for each other, share our teachings, amplify afrm the spirit of urban Native people experiencing our voices, and develop our collective memory. In support homelessness. of this prayer, we gift the continuance of this zine to Chief Seattle Club who has a long history of nurturing creative We chose the title “salish sea heartbeat” in reverence healing spaces for Indigenous people. to the land, animals, plants, and people of the salish sea region. These beings provide for the Land Acknowledgement Indigenous communities of this region and anchor many Indigenous people that may fnd themselves LAND BACK. distanced from their home communities and This zine was created and produced on the unceded cultures. lands of the Duwamish, Snoqualmie, Muckleshoot, As members of urban Indian and tribal Cowlitz tribes, and other Coast Salish communities. -
The AFRICAN AMERICAN EXPERIENCE in TEMPE
The AFRICAN AMERICAN EXPERIENCE in TEMPE The AFRICAN AMERICAN EXPERIENCE in TEMPE by Jared Smith A publication of the Tempe History Museum and its African American Advisory Committee Published with a grant from the Arizona Humanities Council Photos courtesy of the Tempe History Museum, unless otherwise noted Cover artwork by Aaron Forney Acknowledgements Like the old saying, “it takes a village to raise a child,” so it went with this booklet to document the African American history of Tempe, Arizona. At the center of this project is the Tempe History Museum’s African American Advisory Group, formed in 2008. The late Edward Smith founded the Advisory Group that year and served as Chair until February 2010. Members of the Advisory Group worked with the staff of the Tempe History Museum to apply for a grant from the Arizona Humanities Council that would pay for the printing costs of the booklet. Advisory Group members Mary Bishop, Dr. Betty Greathouse, Maurice Ward, Earl Oats, Dr. Frederick Warren, and Museum Administrator Dr. Amy Douglass all served on the Review Committee and provided suggestions, feedback, and encouragement for the booklet. Volunteers, interns, staff, and other interested parties provided a large amount of research, editing, formatting, and other help. Dr. Robert Stahl, Chris Mathis, Shelly Dudley, John Tenney, Sally Cole, Michelle Reid, Sonji Muhammad, Sandra Apsey, Nathan Hallam, Joe Nucci, Bryant Monteihl, Cynthia Yanez, Jennifer Sweeney, Bettina Rosenberg, Robert Spindler, Christine Marin, Zack Tomory, Patricia A. Bonn, Andrea Erickson, Erika Holbein, Joshua Roffler, Dan Miller, Aaron Adams, Aaron Monson, Dr. James Burns, and Susan Jensen all made significant contributions to the booklet.