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Native and american relations
Native and american relations
The history of native american art
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Jaune Quick-to-see Smith is an instrumental and influential modern day artist due to her Native American Background, her medium, and her vision. Her piece Indian Country Today is one that represents who she is as an artist as well as where she came from and where she hopes her people will go. Throughout her life, Quick-to-see Smith overcame racism and oppression from within her community and from outside of it, while connecting with her familial artistic past to become the artist she is today. Her work Indian Country Today is an influential piece stemming from her people’s history, current situation within the United States, as well as her hopes for the future of her people. This piece is dramatic and captivating, creating a sense of unity within the Native American community while acknowledging that these nations continue to be unrecognized by the larger American community, something Quick-to-see Smith feels needs to be remedied. Quick-to-see Smith was born in 1940 on the Confederated Salish and Kootenai Reservation in Montana. She and her sister were abandoned by their mother when they were young, forcing them to move in with their father who was a well known horse trainer and trader. Her family had very little and she was sent to work on a farm when she was eight to help earn an income for them. Eventually, she was put into foster homes and faced discrimination in public schools from both teachers and students based on her ethnic origin. School, however, was where she was first introduced to art. She was also inspired by the stories her father used to tell her about her ancestors like her great grandmother, who was an amazing bead worker. From these stories, Quick-to-see Smith began to develop her artistic ability. She attend... ... middle of paper ... ...e meaning behind the lack of lines. Jaune Quick-to-see Smith and her artwork has been instrumental and influential in the twentieth century due to her background, her work as an artist, and her vision for the future of her people. Her background gave her the foundations to become an amazing artist through her struggle of being placed in foster homes, dealing with racism in school, and not being able to connect culturally with her family. Her painting Indian Country Today is an amazing piece, which draws from her life experiences and argues for community and continuity among the residents of the U.S. This piece is captivating and inspiring to those who view it, Native or American, and hopefully it will inspire those who view it to live more culturally understanding lives so that we may one day live in a country that does not discriminate based on where you come from.
She identifies that Caitlin saw it as an opportunity to show the audience the entertaining Wild West but also to assure people of the vanishing Indian threat. Some of the main work in the gallery (Portraits of Black Hawk and Osceola) were of leaders that lived east of the Mississippi, not in fact western like the Mandan’s. They were also imprisoned and not the free and wild men that Catlin was expressing. As Hight identifies the portrait of Osceola had a large impact in how his Indian paintings and gallery influenced the Indian Policy. Osceola died shortly after the portrait was drawn and was very sick while it was done. The portrait of him was depicted as a strong and healthy man when in fact he was the opposite. This supported that idea of the Vanishing Race Theory Through this observation Hight identifies that this was seen as entertainment and could make a large
N. Scott Momaday wrote these lines in his 1991 book of poems, In the Presence of the Sun: “In the shine of photographs / are the slain, frozen and black / … In autumn there were songs, long / since muted in the blizzard.” In this poem called “Wounded Knee Creek”, Momaday depicts the aftermath of Federal and Native American conflict at the Battle of Wounded Knee. He reminds the reader of how the event and loss of native life are remembered solely through these photographs of the dead and lost. Momaday’s work represents the Western tradition of artists using their art to memorialize and remember the past peoples and places that have been transformed, built up, and destroyed through government institutions of the West. It is this remembrance of
In Thomas King’s Green Grass, Running Water, many people take pictures of the sacred Indian Sun Dance. This urge to take pictures proves that many whites view Indians as a source of entertainment or as a curiosity.
In The White Man’s Indian, Robert Berkhoffer analyzes how Native Americans have maintained a negative stereotype because of Whites. As a matter of fact, this book examines the evolution of Native Americans throughout American history by explaining the origin of the Indian stereotype, the change from religious justification to scientific racism to a modern anthropological viewpoint of Native Americans, the White portrayal of Native Americans through art, and the policies enacted to keep Native Americans as Whites perceive them to be. In the hope that Native Americans will be able to overcome how Whites have portrayed them, Berkhoffer is presenting
Jack Forbes, a Native American scholar, is the author of Only Approved Indians. This is a collection of seventeen short stories that take in to account the vicissitudes of life for modern-day Indians. The stories are full of humor and irony. The book gets its title from its lead story, ‘Only Approved Indians can Play Made in the USA’ (Howard, 1995).
...d Native Americas in a negative light, such as Carl Wimer’s Abduction of Daniel Boone’s Daughter, George Caleb Bingham’s Concealed Enemy, and Horatio Greenough’s The Rescue. These two paintings and statue in particular should be included because they depict the views of people in that era. The view of Native Americans was that of savagery. In the painting by Wimer the woman is depicted a fair skinned maiden, due to the white dress who is being brutishly taken away. The statue by Greenough, which depicts a man protecting his family from a savage Native American, was outside of the United States Capital for nearly a hundred years before it was taken down. These views of indigenous people during the 19th century have lasting impacts on our country. It is our job to tell the real story of what happened to the Native Americans as victims of our view of manifest destiny.
Professor and poet Deborah A. Miranda, pieces together the past and uncovers and presents us with a story--a Californian story--in her memoir, “Bad Indians.” Her use of the Christian Novena, “Novena to Bad Indians,” illustrates the irony of using the form of her oppressors as a call out for help, not to God, but to her past ancestors. We tend to think of religion as a form of salvation and redemption of our lives here on Earth, in which we bare down and ask for forgiveness. But by challenging this common discourse using theological allegories and satirical terminology, Miranda turns her attention away from a Deity to call the reader out for help. It is crucial to recognize the struggles that the Native community currently face. Californian Indians are often not given recognition for their identity and their heritage, and are also repeatedly stereotyped as abusive, alcoholic, uncivilized, and “freeloaders” of the United States government. Such generalizations root back from European colonization, nevertheless still linger in our contemporary society. Miranda has taken the first step forward in characterizing few of these stereotypes in her Novena, but she’s given her story. Now what are we going to do with ours? It’s up to us to create our
...ng” which all have been directed to the experiences of female perspectives. . Through hip-hop, Jerilynn approporatelydelivered messages of female experiences as she states, “...to provide safe spaced for people to express themselves...”(Warner). Drawing on feminist and intersectional theories, this paper highlighted JB The First lady’s demonstrates bodies of possibilities since she counters the negative labels of assumptions of Native women and encourages them to fight against it. Her analysed works, “Get Ready, Get Steady” and “Too late to apologize” discuss the issues in Native communities. In summary, JB the First Lady states, “ “A lot of our music talks about manifesting and encouraging people to find their own gifts and where they come from” (Hong). Thus, Jerilynn’s goal is to motivate the fallen youth of the Native community to get back up and be the change.
Nevertheless, in the author’s note, Dunbar-Ortiz promises to provide a unique perspective that she did not gain from secondary texts, sources, or even her own formal education but rather from outside the academy. Furthermore, in her introduction, she claims her work to “be a history of the United States from an Indigenous peoples’ perspective but there is no such thing as a collective Indigenous peoples’ perspective (13).” She states in the next paragraph that her focus is to discuss the colonist settler state, but the previous statement raises flags for how and why she attempts to write it through an Indigenous perspective. Dunbar-Ortiz appears to anchor herself in this Indian identity but at the same time raises question about Indigenous perspective. Dunbar-Ortiz must be careful not to assume that just because her mother was “most likely Cherokee,” her voice automatically resonates and serves as an Indigenous perspective. These confusing and contradictory statements do raise interesting questions about Indigenous identity that Dunbar-Ortiz should have further examined. Are
John Smith, the troubled Indian adopted by whites appears at first to be the main character, but in some respects he is what Alfred Hitchcock called a McGuffin. The story is built around him, but he is not truly the main character and he is not the heart of the story. His struggle, while pointing out one aspect of the American Indian experience, is not the central point. John Smith’s experiences as an Indian adopted by whites have left him too addled and sad, from the first moment to the last, to serve as the story’s true focus.
As a result, both films represent Natives Americans under the point of view of non-Native directors. Despite the fact that they made use of the fabricated stereotypes in their illustrations of the indigenous people, their portrayal was revolutionary in its own times. Each of the films add in their own way a new approach to the representation of indigenous people, their stories unfold partly unlike. These differences make one look at the indigenous not only as one dimensional beings but as multifaceted beings, as Dunbar say, “they are just like us.” This is finally a sense of fairness and respect by the non-native populations to the Native Indians.
Growing up on a reservation where failing was welcomed and even somewhat encouraged, Alexie was pressured to conform to the stereotype and be just another average Indian. Instead, he refused to listen to anyone telling him how to act, and pursued his own interests in reading and writing at a young age. He looks back on his childhood, explaining about himself, “If he'd been anything but an Indian boy living on the reservation, he might have been called a prodigy. But he is an Indian boy living on the reservation and is simply an oddity” (17). Alexie compares the life and treatment of an Indian to life as a more privileged child. This side-by-side comparison furthers his point that
Smith has many ways of showing her ideas through artwork. She is a very unique artist that displays modern art with not so modern theories. Although some of her artwork is highly controversial it is all great art that is appreciated by many. Smith has been given many deserving awards for her artwork and the hard and dedicated work that she puts into every piece that she creates.
In American Indian Stories, University of Nebraska Press Lincoln and London edition, the author, Zitkala-Sa, tries to tell stories that depicted life growing up on a reservation. Her stories showed how Native Americans reacted to the white man’s ways of running the land and changing the life of Indians. “Zitkala-Sa was one of the early Indian writers to record tribal legends and tales from oral tradition” (back cover) is a great way to show that the author’s stories were based upon actual events in her life as a Dakota Sioux Indian. This essay will describe and analyze Native American life as described by Zitkala-Sa’s American Indian Stories, it will relate to Native Americans and their interactions with American societies, it will discuss the major themes of the book and why the author wrote it, it will describe Native American society, its values and its beliefs and how they changed and it will show how Native Americans views other non-Natives.
King’s essay and video enlightened me on Indian stereotyping, a stereotyping that I did not know existed, even though I have been subjected to it my entire life. I have been subjected to this stereotype because of people like Curtis and May, who created the stereotype of Indians through pictures and writings. These stereotypes continued on throughout the years and can be seen in cartoons, movies, and pictures; but because of King’s essay and video I now have an understanding of the Indian stereotype. Since I now have an understanding of this stereotype I can educate people by showing them King’s video, so they as well can understand the