DOCSLIB.ORG

Drawing the Lines: Indigenous American Ledger Drawings and the Decolonization of Rhetorical Knowledge Spaces

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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 of media to mediate their drawings— from ledger pages to land deeds and composition notebooks. Particularly, this project considers the material-rhetorical presences of ledger drawings held in the Kansas Historical Society Archives and the Unbound: Narrative Art of the Plains exhibit at the National Museum of the American Indian in New York City. The ledger art of these spaces is placed into dialogue with the materials and metadiscourses that surround them in order to understand the action, motion, and moment of the ledger drawings within and across these spaces. These observations are then situated in relationship to personal conversations with contemporary ledger artists, considering the ways that artists see ledger art created, mediated, and mitigated. Utilizing and complicating Carole Blair’s heuristic for material rhetorics, with mindfulness of indigenous and decolonial methodologies, what emerges from this project is a more nuanced understanding of the relationships between materialities across spaces, communities, cultures, and times while furthering our understandings of decolonial transrhetorical movement and connections within the field of rhetoric and composition. iii DEDICATION For my mother and my grandmothers, for my father, and my grandfathers. Thank you. Hoping for more good days. iv ACKNOWLEDGEMENTS There are many people I must thank for their support and guidance throughout this process: To Frank Farmer—for continuous enthusiasm in this project, for the helpful encouragement, and steady pacing throughout this process; To Stephanie Fitzgerald— for insightful conversations and genuine dialogue; To Mary Jo Reiff—for steady, critical feedback and reassurance; To Lisa King— for kind guidance and meaningful direction from afar; And to Norman Akers— for willingness to act a reader and observer. I must also thank Chris Pappan and Dallin Maybee for their readiness to participate in this project. I have done my best to be faithful to their words and the conversations that we had. Any mistakes are my own. I also want to thank Lauren Good Day Giago for her willingness to participate, though we never held our planned conversation. Likewise, I would like to recognize the on-staff archivists of the Kansas Historical Society Archives and the Unbound team at the National Museum of the American Indian – New York City, who have helped me at various intervals throughout this process. Further, I would like to thank Ramon Powers and Denise Low- Weso, both of whom shared conversations with me in this process that shaped the progress of this study. The RSA Indigenous Rhetorics group was integral in the growth and development of this project from its inception and I am forever grateful for their presence as colleagues and friends. Our collaboration and growth as a community has been wonderful to be a part of and I look forward to what we can do together. I also would like to thank Angela Murphy, who was a voice of reason and a sounding board through hours spent at a local coffeehouse. v I also must thank those that provided monetary support throughout this process: the Hall Center for the Humanities Richard and Jeannette Sias Fellowship in the Humanities and the Emily Taylor Center for Women and Gender Equity’s KU Women 4 KU Women Fund. I am grateful. Though this work is dedicated to them, I want to also specifically thank my grandparents: Granny and Pawpaw, Mawmaw and Pa. Phone calls kept me moving and gave much meaning to my path. Their love and care is in all that I do, even though they are not here to see it. Finally, I thank my mother for her endless support and wisdom throughout this process. Her guidance and support has allowed me to persevere forward. Without her hand at my back, this project would not have been completed. It is fitting that her voice appears in this work. vi TABLE OF CONTENTS ABSTRACT ................................................................................................................................... iii DEDICATION ............................................................................................................................... iv ACKNOWLEDGEMENTS ............................................................................................................ v TABLE OF CONTENTS .............................................................................................................. vii CHAPTER ONE ............................................................................................................................. 1 Archives, Museums, Conversations: Rhetorical Knowledge Spaces ............................................. 7 Methodology and Methodological Considerations ....................................................................... 10 Methodological Underpinnings ................................................................................................. 12 I Come from Cherokee County, but I am not Cherokee ............................................................. 18 Structure of this Study ................................................................................................................ 25 Key Concepts, Terms, and Distinctions ........................................................................................ 27 Thinking Between: Place, Space, Memory, and Time ............................................................... 28 Some Necessary Distinctions: Post-, De- and Para- Colonial Work ........................................ 31 Conclusion: Conversations ........................................................................................................... 36 CHAPTER TWO .......................................................................................................................... 38 Introduction and Background: The Archive as Intersection ......................................................... 40 Defining the Archives and Decolonizing that Definition ........................................................... 43 On (Decolonial) Archives, Identity, and Rhetoric ..................................................................... 47 Materiality and the Violent History of Narrative Art ................................................................... 51 Narratives and Counternarratives: The Dodge City Ledgers ................................................... 52 Overlap of Materiality, Method, and Knowledge-Making ......................................................... 55 Knowing What Happened and Why that Matters ......................................................................... 59 Colonial Categories of Land, Space, and Time – Immigration and Settlement ........................ 60 Making the Stories (In)visible: The Indian Wars and the Last Indian Raid .............................. 65 Material Existence, Doing, and Action, My Fingers on the Page ................................................ 69 My Fingers on the Page – Durability, Vulnerability, and Preservation ................................... 71 The Action of Ledger Art in the Archives................................................................................... 79 Challenging the Invisible: Critique of Silences in Archives and Museums ............................... 80 Conclusion: Conversations ........................................................................................................... 84 CHAPTER THREE ...................................................................................................................... 89 vii Introduction and Background: Museums as Dynamic Innovation ............................................... 90 Methodological Overview ............................................................................................................ 95 Context, Colors, and Complex Relations ...................................................................................... 98 Display Cases, Glass Walls, and Sage .......................................................................................
Load more

Recommended publications
  • Manila Folder 1 Pkg
    WASHINGTON SCHOOL SUPPLY LIST FOR HIGH SCHOOL 2014-2015 Course supply lists are listed by subject matter ART I, II, PAINTING & DRAWING, COMPUTER APPLICATIONS AND ADVANCED ART Box of Kleenex Supply List to be issued first week of school JOURNALISM Flash drive ENGLISH ENGLISH 9 AND HONORS ENGLISH 9 1½” three-ring binder with loose-leaf paper ENGLISH 12, HONORS ENGLISH 11, AND AP One three-pronged folder with loose-leaf paper ENGLISH Pencils, blue or black ink pens and a highlighter One three-ring binder with loose-leaf paper One 8½x11 manila folder 1 pkg. 3x5 & 1 pkg. 4x6 ruled index cards Four subject dividers for notebook Post-It Notes Honors 9: binder for portfolio Post-It Notes SENIOR COMPOSITION Small index cards 3x5 and 4x6 Manila folder - letter size Pens/pencils ENGLISH 10 AND HONORS ENGLISH 10 Notebook with loose-leaf paper English 10: One 8½x11 manila folder 1 pkg. 3x5 & 1pkg. 4x6 ruled index cards SPEECH Pens, 3-prong folder with paper Manila folder - letter size 11/2”Three-ring binder with loose-leaf paper Pens/pencils Four subject dividers for notebook Notebook - spiral or binder Honors 10: Flash drive 1 pkg. 4x6 ruled index cards Post-It Notes Drama ENGLISH 11 Manila folder - letter size 1½” three-ring binder with college ruled loose-leaf paper Pens/pencils Pencils, blue or black pens nd Notebook – spiral or binder 1 pkg. 3x5 & 1 pkg. 4x6 ruled index cards (2 semester) Misc. – poster board, markers, computer paper Four subject dividers for notebook Flash drive Post-It Notes One letter size manila folder FOREIGN LANGUAGE SPANISH I Spanish/English Dictionary 3 Ring Binder with Pockets SPANISH II Spanish/English Dictionary USB drive (flash drive) 3 Ring Binder with Pockets Spanish III Spanish/English Dictionary USB Drive (Flash Drive) SPANISH IV Spanish/English Dictionary Textbook – ISBN 0-618-22088-7 Title: Conversemos! Authors: Ana C.
    [Show full text]
  • Filing Systems & Supplies
    Filing Systems & Supplies SPECIFICATION GUIDE www.tab.com Terms and Conditions Terms: Net 30, FOB ship point with freight prepaid by TAB and added to the Recycled Content: invoice. Call customer service for shipping options and prices. Payment terms and • 11, 14, and 18 Pt. Manila 10% remit to addresses are stated on invoice. Consumer Material (PCM). • 11 & 14 Pt. Color 20% PCM. Minimum Order Value: If the value of product(s) to ship from TAB’s • 11 & 17 Pt. Kraft 10% PCM. warehouse is less than $25.00, an up-charge will be added to raise that total order • Pressboard: value not including tax and freight to $25.00. Type I 50% Recycled, 30% PCM. Type II 70% Recycled 25% PCM. Minimum Order Quantity: Select custom products have minimum order Type III 50% Recycled, 20% PCM. quantities. Custom Products: TAB specializes in making custom folders and pockets. Split Box Shipments: Products are listed with box and carton quantities. Most custom folders can be priced by referring to the Value Added Stock Products Orders for less than a full box will automatically be increased to the next full box section in this guide. If the desired product is not in our catalog call us at 800-827- quantity and the price will be increased accordingly. 3288 for assistance and press option 3, or email [email protected] for our Paper Returns: Absolute Guarantee allows you to return any stock product that does and Supplies Customer Service. not meet your expectations, within 90 days, for any reason. All returns must be pre- Over Runs or Under Runs: We attempt to ship exact quantities as approved by Customer Service.
    [Show full text]
  • Tough School Supply List 2020-2021
    School Supplies Tough Elementary School Conroe Independent School District 2020 2021 Kindergarten Second Grade Crayons (Crayola, 24 count) ..................................................................4 boxes Notebook (spiral, 1 subject, wide ruled, 70 count) ............................................ 1 Markers (Crayola, washable, thick, 8 count) ................................................2 sets Crayons (Crayola, 24 count) ..................................................................2 boxes Watercolors (Crayola, washable, 8 count set) ................................................... 1 Highlighter (fluorescent yellow) ......................................................................2 Facial tissues (Kleenex, 75 count) ...........................................................3 boxes Erasers (bevel, pink, latex free) ........................................................................2 Pencils (Dixon Ticonderoga, pre-sharpened, no. 2 lead) ....................................6 Marker (Sharpie, black, fine) ........................................................................... 1 Scissors (Fiskars, blunt tip, 5”) ................................................................... 1 pair Scissors (7.25”, sharp) ................................................................................... 1 Glue sticks (Elmer’s, washable, purple, .77 oz.) ................................................4 Glue sticks (Elmer’s, .77 oz.) ...........................................................................2 Dry-erase
    [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]
  • Best Practices for Maximizing Productivity in Shared Law Office Space
    ORGANIZE FOR SUCCEss: Best practices for maximizing productivity in shared law office space by Steve Perih and Stephen Furnari Page 2 ORGANIZE FOR SUCCEss IT FEELS JUST LIKE A LAW FIRM …BUT HAppIER. Law Firm Suites’ shared law office space …helps attorneys solve the challenges of small firm practice. CLIENT REFErrALS OFFICE RENTALS Receive client referrals Office options ideal for for no other reason than solos, small firm attorneys showing up to work and out-of-town firms. and being nice. COMMUNITY VIRTUAL OFFICES Lawyers are most Premium commercial successful when they office services offered on work collaboratively with a low-cost, a la carte basis. other successful attorneys. BUILT-IN NETWORKING CONFERENCE ROOMS Keep your network active Conference rooms rentals even when you get too in a facility that feels like busy to leave the office. a working law office, not a sterile hotel business center. Share this eBook www.lawfirmsuites.com Page 3 ORGANIZE FOR SUCCEss A note about your Ethical Responsibilities This eBook provides advice on the best practices for giving and receiving referrals. It is for information purposes only and does not constitute legal counsel, guidance or an opinion about how to practice law within the bounds of the ethical rules governing your jurisdiction. Compliance therewith is solely your responsibility and adherence to those rules should take precedence over the points discussed in this eBook. Share this eBook © 2013 Law Firm Suites www.lawfirmsuites.com Page 4 ORGANIZE FOR SUCCEss ABOUT THE autHORS. Stephen Furnari left the safety of a law firm job and began practicing as a solo attorney in 2002.
    [Show full text]
  • Granular Certainty, the Vertical Filing Cabinet, and the Transformation of Files
    ADMINISTORY ZEITSCHRIFT FÜR VERWALTUNGSGESCHICHTE BAND 4, 2019 SEITE 71–86 D O I : 10.2478/ADHI-2019-0005 Granular Certainty, The Vertical Filing Cabinet, and the Transformation of Files CRAIG ROBERTSON Historically, a file is a technology of gathering. Its name in a number of ways respond to Max Weber’s brief in English comes from ways to gather papers introduced statement that files are critical to the »management throughout Europe at the turn of the 15th century. Papers of the modern office«.3 Therefore, care of Weber, that were strung on wire or string became known as files and their contents became a way to think about ›files‹ care of the Latin word ›filum‹, meaning string or administration and government through historically thread, via the French ›filer‹ to spin and thread. When specific relationships of paper, authority, and writing. they were gathered the string or wire was threaded This article focuses on a different form of the file through a hole punched in the edge of the papers, which – the tabbed manila folder – and particularly its place were then usually hung from a peg.1 In the following of storage – a vertical filing cabinet (Fig. 1). This shifts centuries, a file more commonly labelled piles of paper attention to commercial offices and the early-20th- that were bound by string or leather and stored in bags, century American business imagination. Developed chests, cabinets, drawers, or on shelves and occasionally through a discourse of efficiency, this version of a file hung from hooks. In addition to gathering papers, centred on gathering unbound papers based on common circulation increasingly became important to the file, content.
    [Show full text]
  • “Heroes Around Me”
    “Heroes Around Me” Thank you for participating in the Reflections Program! We ask that your child submit no more than two entries per category. An entry form must be submitted for each entry along with an electronic copy / jpg image of the artwork. All entries are due back to school by Wednesday, March 20. GUIDELINES o All work should be the original work of the student. o No names on the front of entry and do not identify/show student in a recording. o Remember to attach the entry form. For visual arts and photography, it should be taped on the back with the student’s name folded under. For literature, staple to back folder with name folded under. For music, secure to envelope with name folded under. o Submit an electronic copy: Send an e-mail with an attachment of an electronic image/jpg photo of your child’s artwork and send to [email protected]. Be sure to include your child’s name/title of artwork in the body of the e-mail. RULES BY CATEGORY LITERATURE: PHOTOGRAPHY: Fiction and non-fiction including: prose, poetry, Original black-and-white or color image/s taken drama (play script), reflective essay, narrative, by student through photographic process and short story Panoramic, continuous images, photomontage Entry must not exceed 1,000 words in ONE PRINT. No print/type over image. 2 copies placed inside a manila folder **Multiple prints in collage format must be Student’s name written on the back of each submitted under Visual Arts. page and each page numbered Min.
    [Show full text]
  • Frye Families: Portrait Printing Recommended Age: 8+ Note That This Activity Is Designed for a Wide Range of Grade Levels
    Frye Families: Portrait Printing Recommended age: 8+ Note that this activity is designed for a wide range of grade levels. Feel free to adjust as needed based on the abilities of your children. Have you ever printed a portrait of a loved one? A portrait is a representation of a real or imagined person, sometimes showing mostly the head and shoulders while other times showing the entire body. A portrait can be in the form of a painting, drawing, photograph, print, or even sculpture. We will explore an artwork together and learn how to make a portrait in the form of a print. Toyin Ojih Odutola. Birmingham, 2014. Four-color lithograph with gold leaf. 24 x 16 1/2 in. each. Frye Art Museum, Purchased with funds provided by Seattle Art Fair, 2018.007.01-03. Photo: Nathaniel Willson. GET INSPIRED Artist Toyin Ojih Odutola created this work, Birmingham, based on photographs that she took of her brother in Birmingham, Alabama. She moved around him and captured different angles, almost like showing different parts of him as a person. For a deeper discussion, you can follow along with a video of the activity on fryemuseum.blog and click on the MAKE category. Take a moment to look closely at this artwork. • This artwork is made up of three different images. Take a look at each of them. What is going on in this work? • How are these three images different from one another? What do they have in common? • Find the image where you can see the face clearly and take a close look at the subject’s facial expression.
    [Show full text]
  • Ascension Catholic High School 7Th-12Th Supply List 2020-2021
    Ascension Catholic High School 7th-12th Supply List 2020-2021 General Supplies for ALL students: (Bring to Homeroom on the First Day of School) 2-pack of copy paper 3-boxes of Kleenex combination lock 7 & 8 Weekly Planner for Daily Assignments All PE Classes: Must have school approved PE uniform. Tennis shoes are required for PE. NOTE: Chromebooks will be issued to each student during orientation days. **Binders are not needed for every subject. Students can use one or two binders and use dividers to separate subjects, unless otherwise specified.** 7th Grade Reading/English Math Religion Science History -1 in. Binder with -Binder with loose leaf 1 plastic folder with 1- plastic folder with -Binder with Loose pockets paper and pocket prongs prongs (any color) leaf and plastic pocket -4 manila folders dividers 1 composition 10 Pack of sheet dividers -6 highlighters (yellow, - composition book notebook protectors -colors, markers, or blue, green, purple, -4 manilla folders with markers/crayons 4 Manila folders colored pencils pink and orange) your name on the tab Index cards (small Markers and colors -note cards -2 packs of loose leaf -2 dry erase markers Index cards (small) paper -1 pack assorted Glue colored pens Scissors -Pencils at all times Boys- 1 roll paper towels Girls- pack of baby wipes 8th Grade Reading/English Math Religion Science History - 2” 3 ring binder -Binder with loose leaf Items under 1- plastic folder with -Notebook - Highlighters paper and pocket Reading/English prongs (any color) -pocket folder - 2 packs of Loose dividers covers Religion. 10 Pack of sheet -colors, markers, or Leaf - composition book protectors colored pencils - Dividers (5) -4 manilla folders with No extra supplies 4 Manila folders -note cards - Ink pens (blue or your name on the tab needed.
    [Show full text]
  • The FMU Regatta! Building a Cardboard Boat Is All About Trying to Meet
    The FMU Regatta! Building a cardboard boat is all about trying to meet "The Challenge": BUILD A PERSON-POWERED CARDBOARD BOAT THAT IS CAPABLE OF COMPLETING ONE TRIP AROUND THE 500-YARD COURSE ON DURANT POND. Along the way, you will enjoy encountering and dealing with many small details. But look ahead to the satisfaction of knowing you accomplished something that most people won't even try -- building a boat made of corrugated cardboard. First things first . start with some objective in mind. Maybe you want to build the fastest boat at the Regatta. Perhaps you are more interested in one of the Judges Awards for design or eye appeal. Maybe you want to win the Team Spirit Award. Perhaps you want to get on television or be the featured photo in the Student newspaper. Or just maybe you want to take home the Titanic Award for the most spectacular sinking. Next . start with a design idea, a vision of what you want your cardboard creation to look like. But consider this first -- it doesn't have to be a boat at all! It can be any design you like or want to try out. Some races have had replicas of jeeps, exotic cars, full-scale pickup trucks, school busses, fire trucks, and other vehicles. We've seen space shuttles, Elvis on his guitar, beds, foldout soft drink cans, personal computers (with a mouse that trailed in the water), a raft with a trailing shark fin, a floating outhouse, a taco, a bratwurst, a giant Tootsie Roll, Tessie the Loch Ness Monster, Deidra the Dragonfly, the Statue of Liberty hand (from "Planet of the Apes"), and so much more.
    [Show full text]
  • PA PTA Reflections Summary of Rules 2019-2020 PA PTA REFLECTIONS "LOOK WITHIN” SUMMARY of RULES
    PA PTA Reflections Summary of Rules 2019-2020 PA PTA REFLECTIONS "LOOK WITHIN” SUMMARY OF RULES DANCE • Student must make up the dance independently. Your choice of dance style. • Student can be a performer but does not have to be. • Can have other dancers in it but only one can submit this entry. • Video must not exceed 5 minutes and 1 gb in file size. • Formats: avi, .mov, .mpg, .mpeg, .mp4, .wmv, .flv, .f4v on disc or flash drive • Submit and label disc and envelope with title.category.last name.first name.division.region.local pta LITERATURE • All forms of original fiction and nonfiction writing. • Not to exceed 1,000 words – handwritten (legibly) or typed – on one side only of 8 ½” x 11" paper. • Literature word-counts should be included on student entry forms. • Original and two copies must be submitted in manila folder with entry form stapled to back. (no disc needed) • Label back of all pages of paper with title.category.last name.first name.division.region.local pta MUSIC COMPOSITION • Student must write original musical piece. • Student can perform the composition but does not have to. Can have other performers. • Notation, score or tablature is required for middle and high school divisions. • No music videos. Format: mp3, mp4, wma, wav, acc (m4a) and flac. • Not to exceed 5 minutes. • Submit and label disc and envelope with title.category.last name.firstname.division.region.local pta PHOTOGRAPHY • Single original photo taken by student by hand or tripod/timer/selfie stick, etc. • Minimum of 5” x 7" not to exceed 11" x 14" including matting.
    [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]