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Historical trauma and american indians
Environmental injustice issues against Native Americans
American Indians and their Environment
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What Yuxweluptun meant by “Its not a pretty picture” the history of the First Nations people the impact of historical traumas: colonialism, racism, genocide, government laws and other issues: environmental [clear cutting, global warming, water pollution and oil industry] facing the First Nations. (L. P. Yuxweluptun Introductory Video) Throughout his career Yuxweluptun has painted the reality of the discourse of the First Nations People within the dominant culture (Watson 881). By using art as a way to start the conversation or addressing difficult issues as well as a way to visually express your opinion Yuxweluptun blends the traditional form line with vivid colors makes it palatable (L. P. Yuxweluptun). Contemporary Northwest Coast artists such as Sonny Assu, Nicholas Galanin and Lyle Wilson use their personal experience, tribal identity and how the dominant culture impact them for inspiration and the means to ground them while expressing themselves through the multitude of art genres.
Yuxweluptun through his art gives his personal opinion of the issue highlighted in his art piece's like Killer Whale Has a Vision and Comes to Talk to Me About Proximological Encroachments of CivilizaJons in the Oceans (2012) “The
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The Ode to Billy Holm, Lalooska, Duane Pasco and Jonathan Livingstone Seagull the only piece of art I viewed of Lyle Wilson has multiple issues on who and how First Nation people are defined by outsiders for instance the art community defines Northwest Coast Art based on Bill Holm’s book “Northwest Coast Indian Art: An Analysis of Form” and how the Canadian government defines who is, how much “Indian Blood” do you have and what that may or may not entitle to you without consideration of tribal rights, history, and linage .(Bunn-Marcuse, class
This distance can lead to confusion and a feeling of being lost in life, which can overwhelm a child and introduce mental health complications like depression. Statistically speaking, almost one in four Métis youth struggle with mood disorders (Statistics Canada). However, this adversity is not simple to overcome, and requires them to develop new experiences in order to foster strength and make confident decisions. Kateri Akiwenzie-Damm is the author of “Sturgeon”, the second poem being analyzed, and a member of the First Nations community. Known for disproportionately high illicit activities, research shows nearly 62% of First Nations members have experienced abuse at least once, compared to only 42% in the rest of the population (Statistics Canada).
In Taylor’s picture it is hard to tell the difference between male and females, and between the Native Americans and Pilgrims. Except for a few of the people on the outside who are shown with incredible detail, most of the people fade together and blur as a crowd. With most of the figures it is hard to differentiate between their faces. Taylor does this to make the narrative of the piece to focus on the treaty rather than focusing on the individual people who were involved in signing of the treaty. In Wolf’s picture it is easily to distinguish the different tribes and genders of the people. In fact, the majority of the people in the picture are women. This shows that in Native American culture values women in their society. He also separates the different tribes by using different colors of clothing. This allows the viewer to understand which tribe was directly involved in the treaty and which ones were simply watching. Wolf makes it clear that the actual people involved in the treaty should be the main focus of the
Modern day Native American are widely known as stewards of the environment who fight for conservation and environmental issues. The position of the many Native American as environmentalists and conservationists is justified based on the perception that before European colonists arrived in the Americas, Native Americans had little to no effect on their environment as they lived in harmony with nature. This idea is challenged by Shepard Krech III in his work, The Ecological Indian. In The Ecological Indian, Krech argues that this image of the noble savage was an invented tradition that began in the early 1970’s, and that attempts to humanize Native Americans by attempting to portray them as they really were. Krech’s arguments are criticized by Darren J Ranco who in his response, claims that Krech fails to analyze the current state of Native American affairs, falls into the ‘trap’ of invented tradition, and accuses Krech of diminishing the power and influence of Native Americans in politics. This essay examines both arguments, but ultimately finds Krech to be more convincing as Krech’s
The books author, James (Sákéj) Youngblood Henderson came to write this book as a result of living with his wife, Marie Battiste (a celebrated Mi’kmaw scholar and educator) in her Mi’kmaq community of Eskasoni (10). It was the community of Eskasoni that compelled Henderson to compile their histories in a form that would not disrupt the Mi’kmaq worldviews, culture and spirituality they represent but as well easily conveyable to non-Aboriginal peoples.
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
The stress of this caused their once coveted friendship to wither and morph into an ill hatred. The English began a campaign of the demonization of Native Americans. The image of Native Americans was described in Red, White, & Black as friendly traders who shared a mutually beneficial relationship with one another. Evidently, a very different image started to appear when land disputes arose. The new illustration the English painted was that Native American people were “comparable to beasts” and “wild and savage people, that live like heards of deare in a forrest”. It was sudden change of heart between the two societies that supports Waterhouse’s claims of the changing relationship of the English and Native
When a native author Greg Sams said that the reservations are just “red ghettos”, the author David disagree with that. He thinks there must be something else beyond that point. After his grandfather died, he somehow changed his mind. Because he could not think anything e...
LaDuke, Winona. All Our Relations: Native Struggles for Land and Life. Cambridge, MA: South End Press, 1999. Print.
It is hard to imagine Davidson, an internationally recognized Haida artist, being nervous for any reason. He has championed the Northwest, Native American art form for decades. Davidson has received three honorary doctorates, and he is the member of the Order of British Columbia and the Order of Canada. As a leading figure in the Haida Renaissance, his prints and wo...
There are many ways in which individuals and communities own culture and nature can be seen. As a result, conflicts can arise when culture and nature are bought and sold in a marketplace. These can best be seen in the articles “Painted Desert” and “Tragedy of the Commons.” In “Painted Desert” the conflict is that the Natives of Australia, also known as the Aboriginal Australians, were stripped from their land by white developers and had to regain their land by selling their art. The Aboriginal Australians weren’t ones for selling their art as seen in a Dreaming Story. A Dreaming Story was a narrative drawn in the sand that represented how their ancestors had come to Australia. Because the narrative was drawn in the sand, it would constantly
Doxtator, Deborah. Excerpts from Fluffs and Feathers: An Exhibit on the Symbols of Indianness, A Resource Guide. 1988. Revised edition. Brantford, Ontario: Woodland Cultural Centre, 1992. 12-14. Print.
For example, in the local school, stereotypes such as the image of the ‘wild man’ are consolidated by claiming that there was cannibalism among the indigenous people of the northwest coast (Soper-Jones 2009, 20; Robinson 2010, 68f.). Moreover, native people are still considered to be second-class citizens, which is pointed out by Lisamarie’s aunt Trudy, when she has been harassed by some white guys in a car: “[Y]ou’re a mouthy Indian, and everyone thinks we’re born sluts. Those guys would have said you were asking for it and got off scot-free”
To commence, most of Monkman’s paintings depict elements of an ethnic hierarchy amongst Indigenous individuals or communities and European colonizers. Monkman primarily question forms of power historically possessed by a European hegemon, such as political power, through metaphorically representing and inversing their power relationship with Indigenous communities. To draw attention to the Occidental’s perception of other cultures requiring Western intervention and leadership, with or without the consent of those who were subjugated , within his painting “The Subjugation of Truth,” Monkman demonstrates what nation building in Canada would have been like by presenting a scene with Sir John A., a few other leaders, and two Indigenous leaders. At first, it appears like
"Oceans." Opposing Viewpoints Online Collection. Detroit: Gale, 2014. Opposing Viewpoints in Context. Web. 8 May 2014.
The subject of this paper is Eros Eskimos, an unusual and rare art book by Hughes de Jouvancourt published in Montreal during 1968. It appears to be one of many collectable limited edition art books published by Jouvancourt whose other books feature Quebecois artists such as Cornelius Krieghoff, Clarence Gagnon, Maurice Cullen, and Marc-Aurèle de Foy Suzor-Coté. The French language catalogue contains twenty-four erotic Inuit sculptures mainly from Puvirnituq with a few works from the neighbouring communities of Kuujjaurapik, and Inukjuak. The question then, is where to fit Eros Eskimo within the larger discourse of Inuit art history. Eros Eskimo can be understood through psychoanalytic theory as a colonial fetish constructed to cope with the threat posed by racial and sexual difference. This paper will examine the context in which the works were created before analyzing how they function as a colonial fetish before finally explaining how the fetish is maintained through disavowal and difference.