In this innovative history, Paige Raibmon examines the political ramifications of ideas about “real Indians.” Focusing on the Northwest Coast in the late nineteenth century and early twentieth, she describes how government officials, missionaries, anthropologists, reformers, settlers, and tourists developed definitions of Indian authenticity based on such binaries as Indian versus White, traditional versus modern, and uncivilized versus civilized. They recognized as authentic only those expressions of “Indianness” that conformed to their limited definitions and reflected their sense of colonial legitimacy and racial superiority. Raibmon shows that Whites and Aboriginals were collaborators—albeit unequal ones—in the politics of authenticity. Non-Aboriginal people employed definitions of Indian culture that limited Aboriginal claims to resources, land, and sovereignty, while Aboriginals utilized those same definitions to access the social, political, and economic means necessary for their survival under colonialism. Drawing on research in newspapers, magazines, agency and missionary records, memoirs, and diaries, Raibmon combines cultural and labor history. She looks at three historical episodes: the participation of a group of Kwakwaka’wakw from Vancouver in the 1893 World’s Columbian Exposition in Chicago; the work of migrant Aboriginal laborers in the hop fields of Puget Sound; and the legal efforts of Tlingit artist Rudolph Walton to have his mixed-race step-children admitted to the white public school in Sitka, Alaska. Together these episodes reveal the consequences of outsiders’ attempts to define authentic Aboriginal culture. Raibmon argues that Aboriginal culture is much more than the reproduction of rituals; it also lies in the means by which Aboriginal people generate new and meaningful ways of identifying their place in a changing modern environment.
Thirty-three black-and-white drawings representing aspects of the culture and society of Indians of the Northwest coast.
Harmon tells an absorbing, clearly written, and moving story."—Peggy Pascoe, University of Oregon "This book fills a terribly important niche in the wider field of ethnic studies by attempting to define Indian identity in an interactive ...
Full-age drawings, designs for title pages, and decorations all created by the Indians themselves, and 23 photographs (rituals in progress, families, individuals) taken by the editor illustrate the book.
In this illustrated guide, experts from Smithsonian's National Museum of the American Indian debunk common myths and answer frequently asked questions about Native Americans past and present.
What the above examples point to is not that some Indians were authentic Indians. Rather, these Indians shared knowledge that coincidentally fit into the filmmakers' preexisting framework or was so far outside their framework they had ...
Jacqueline Shea Murphy is associate professor of dance studies at the University of California, Riverside, and coeditor of Bodies of the Text: Dance as Theory, Literature as Dance.
Mardi Gras Indians
39 illustrations depict ancient burial platforms, Natchez warriors of 1758, a modern Mikasuki Seminole alligator wrestler, and more.
Pictures designs prominent in Indian art of the Southwest and describes their origins and significance
In back row, from left to right, are Tom's brothers Doc, Dudley, and Coley. In front are Tom's father, his grandfather, and then Tom. Credit 43 A group of Texas lawmen that includes Tom White (No. 12) and his three brothers, Doc (No.