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native american culture and spirituality
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“His Buffalo and horses are always in motion--they're running for their lives. They can't be caught. That's real freedom”(Lee).
In the American educational system the curriculum is supposedly designed to enrich the hearts and minds of all the students who wish to become enriched. Professional educators throughout western civilization compose their contributions as to what is considered to be in the best interests of the students. However, some oversights have been made apparent. The history of Indigenous American Art has been ignored, for too long, at the expense of the students who happen to be the descendants of the first peoples of this continent. Furthermore these students also happen to be the majority within the Los Angeles Unified School District; whether these students are of American, Canadian, Mexican, or Central American ethnicity they almost always have one thing in common, the indigenous blood that runs through their veins. Science has established that environment greatly influences behavior, whether that environment is a classroom, a home, or the American Continent. Subsequently, this continent is reflected within the hearts and minds of its people, and inevitably in our artistic expression. We the first people of this continent have existed here for thousands of years before the western civilization stumbled its way to this side of the planet.
Indigenous American Art and its history play a vital part in our facet of the human experience. What's more, it is fundamental for fulfilling our potential and responsibilities as human beings. In addition to the contribution to our collective psyche, indigenous art is a historical and anthropological timeline of natural and supernatural phenomena. It is apparent that ...
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...de as we all account for each other and ourselves with clear wisdom and responsibility before creation.
Works Cited
Gangel-Vasquez, Janice. “Re: Native Art History II”. Email to the author. 17 August. 2003.
Lee, Jeff and Donna Hand. “2 dimensional Art-Ed Defender”. Trophies of Honor. 9 Aug. 2003.
www.msstate.edu/Fineart_O...troph1.htm
Martín del Campo, Edgar. “Mesoamerican Deities”.
Edgar”s Mesoamerican art page. 7 Oct. 1996. 9 Aug. 2003. members.aol.com/emdelcamp/edgar2.htm
McMaster, Gerald R. “Towards an Aboriginal Art History”. Native American Art in the Twentieth Century. Ed. W. Jackson Rushing III. New York. Routledge. 1999. 81-96.
Moreno, Lisa M. “RudyResponse”. E-mail to author. 15 Aug. 2003.
Surrounded by beauty: History and Culture. 9 Aug. 2003.
The Minneapolis Institute of Arts. www. Artsmia.org/surrounded-bybeauty/history_culture.html
Pages one to sixty- nine in Indian From The Inside: Native American Philosophy and Cultural Renewal by Dennis McPherson and J. Douglas Rabb, provides the beginning of an in-depth analysis of Native American cultural philosophy. It also states the ways in which western perspective has played a role in our understanding of Native American culture and similarities between Western culture and Native American culture. The section of reading can be divided into three lenses. The first section focus is on the theoretical understanding of self in respect to the space around us. The second section provides a historical background into the relationship between Native Americans and British colonial power. The last section focus is on the affiliation of otherworldliness that exist between
The depiction of Native Americans to the current day youth in the United States is a colorful fantasy used to cover up an unwarranted past. Native people are dressed from head to toe in feathers and paint while dancing around fires. They attempt to make good relations with European settlers but were then taken advantage of their “hippie” ways. However, this dramatized view is particularly portrayed through media and mainstream culture. It is also the one perspective every person remembers because they grew up being taught these views. Yet, Colin Calloway the author of First Peoples: A Documentary Survey of American Indian History, wishes to bring forth contradicting ideas. He doesn’t wish to disprove history; he only wishes to rewrite it.
“But what is freedom? Freedom from what? There is nothing to take a man's freedom away from him, save other men. To be free, a man must be free of his brothers. That is freedom. That and nothing else.”
Before 1919, Aboriginal/indigenous art and artifacts were virtually non-existent in the world of art, with almost no representation whatsoever and was “thought to be dying under the waves of white cultural encroachment on their lands, languages and cultural practices.” (The Canadian Encyclopedia, paragraph #4). After returning from a trip to England in 1899, feeling “cheated by 'bad health and circumstances'”, Emily felt isolated in Victoria, being in her mid-thirties and single, grouped with her sisters critical opinions of her and old friends having moved away or joined private groups such as 'The Married Ladies' Club' that she could not join. In 1905, she visited a small Aboriginal village by the name of Ucluelet, where she had often been to in her teen years and had been known as Klee Wyck, meaning “laughing one” in Kwakiutl (Tippett, Maria, Emily Carr: a Biography, p. 63-65).
“Art can use the power of visual image to challenge and even change popular opinions about important and universal issues. Art can be a very influential way to give a strong, direct comments and criticisms on things that have happened in society and culture.” (Rehab-Mol J, 1998, p6) Indigenous art is mostly about connecting to their land and their religious belief; however, art has different forms, especially the Indigenous contemporary art as it uses ‘modern materials in a mixed cultural context’. (Aboriginal Art Online, 2000)
As a scholar invested in the progression of the field of Native American material cultural studies, I consistently recondition my understanding of both epistemology and the appropriate ways to approach cultural circumstances of the so-called “Other” through personal encounters and the shared experiences of my contemporaries. My own ethical position is forever fluid, negotiated by both Native and non-Native sources as I attempt to find ground in what exactly I intend to do (outside of an occupation) with the knowledge I accumulate. Perhaps the most vulnerable facet of existence in the world of academia is the ease that comes in the failure to compromise one’s own advancement for the well-being of those being studied. Barre Toelken is an encouraging exception to this conundrum, considering his explicit analysis of both Navajo and Western ethics in the case of the Hugh Yellowman tapes. His essay argues for an approach that surrenders the fieldworker’s hypothetical gain to the socio-emotional needs of subjects’ epistemological structure and, most intriguingly, he treats ethnographic materials as praxis rather than data. After years of apprehension with the objectifying habits of cultural anthropology, a discipline internally dithered by the bickering of Science vs. Humanities, I am finally moved to disengage from such authoritatively based methods altogether as a result of Toelken’s example.
“It is my absolute belief that Indians have unlimited talent. I have no doubt about our capabilities.” --Narendra Modi. Native Americans love life and nature, they often celebrate it. In the stories “The Coyote”, “The Buffalo and the Corn”, and “The First False Face” each of these stories has many similarities, all include nature, and have many differences.
This essay will discuss the Aboriginal Education policies in Victoria and Federally and how these policies impacted upon the children of the Aboriginal and Torres Strait Islanders. This essay will further analyse the impact these past policies had on the Aboriginal and Torres strait Islanders’ families and children’s education and how current policies were put in place to assist indigenous students’ access to education. Further to this an analysis of how teachers can implement these changes in the curriculum and classroom.
In our day and age where our youth are becoming more aware of the history of the country and the people who inhabit it, the culture of Native Americans has become more accessible and sparks an interest in many people young and old. Recent events, like the Dakota Access Pipeline, grab the attention of people, both protesters and supporters, as the Sioux tribe and their allies refuse to stay quiet and fight to protect their land and their water. Many Native people are unashamed of their heritage, proud of their culture and their ancestors. There is pride in being Native, and their connection with their culture may be just as important today as it was in the 1800’s and before, proving that the boarding school’s ultimate goal of complete Native assimilation to western culture has
The Aboriginal Education and Training Policy`s (AETP) (NSW DET 2008) main goal is that “Aboriginal and Torres Strait Islander students will match or better the outcomes of the broader student population” (1.1.2) and includes an explicit focus on developing cultural competencies (NSW DET 2008, p.6). Establishing ‘learning partnerships’ and relationships with Aboriginal communities, including Aboriginal content within the curriculum (NSW BOS 2008, p. 2), and engagement are advocated as necessary elements to achieve this edict. Racism has been proven to be an extremely detreimental factor on all fronts, especially within the education context. To address this intolerance the Anti-Racism Policy (ARP, 2005) is committed to eradicating all forms
Throughout this unique class, we have explored many amazing facets of the Dine’ people. From stories, to pieces of art, to the language itself, the beauty of Navajo culture is easily seen by all who have the fortune to come into contact with them. Unlike Navajo culture, however, the Western world uses a very loose definition for “beauty” that typically revolves around physical traits: a beautiful girl usually looks a certain way, a beautiful voice usually sounds a certain way, and a beautiful painting usually looks a certain way. The Western world merely looks at physical beauty and from this vision has developed a formula for what is and what isn’t considered beautiful. To the Navajo People, beauty is a much deeper, more meaningful concept.
Through the three pieces, the landscapes reflect a painting style is more often associated with European Romantic art, however, unlike the others, the central piece showcases the sky painted with miniscule dots, a technique common within Indigenous art (Lingard 2014, 44). However, the fact that the sky is the only piece of the composition painted with this technique and is placed in the background while more European inspired art and images are placed in the foreground is potentially symbolic of the marginalisation of Indigenous people and their culture in contemporary Australian society. Within Bennett’s own life, he was brought up without his Aboriginal heritage ever being spoken of, describing it himself as “overwhelming Euro-Australian” (McLean 1996, 20). Thus, within his artworks, a dotted circle at the top of each composition includes black footprints facing away from the circle, which matches his personal experience of Indigenous culture being ‘left behind’ in contemporary Australian society. The artist lived in a time where he was connected to a variety of Indigenous experiences including his own as well as the servitude of his mother, and thus through the combination of these varying art techniques, Bennett evokes both discord and further represents the marginalisation of Indigenous culture
In the text “Seeing Red: American Indian Women Speaking about their Religious and Cultural Perspectives” by Inés Talamantez, the author discusses the role of ceremonies and ancestral spirituality in various Native American cultures, and elaborates on the injustices native women face because of their oppressors.
Kent Monkman is an artist of ‘Aboriginal and Irish descent’ (Filgiano) who was commissioned to create a large scale Acrylic on canvas, measuring 72” x 108”.“The Academy” is a parody piece which makes reference to art created in the European tradition, alongside Aboriginal art and artifacts. It hangs in the Museum Gallery alongside some of the very pieces that are featured within it. It’s as though Monkman is playfully gossiping about his neighbors in the Gallery, both figuratively and literally. While his work is significant enough to hang in the Gallery alongside these other masterworks, Monkman makes a tongue-in-cheek observation that Academy work has historically been regarded as the only legitimate Fine Art. Traditionally, Aboriginal Art and Artifacts have been confined to separate exhibits or ancillary displays, but never alongside classical European pieces. The piece makes reference to a vast...
Gardner, Helen, and Fred S. Kleiner. Gardner's Art Through the Ages: The Western Perspective. N.p., 2014. Print.