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Reconsidering Olmec visual culture : the unborn, women, and creation
This groundbreaking study of gestational imagery on ancient Olmec monuments and objects brings to light Mesoamerica’s earliest creation narrative and traces its evolution into one of the enduring themes of Mesoamerican ritual life and art.
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Reconsidering Olmec Visual Culture
Recently, scholars of Olmec visual culture have identified symbols for umbilical cords, bundles, and cave-wombs, as well as a significant number of women portrayed on monuments and as figurines. In this groundbreaking study, Carolyn Tate demonstrates that these subjects were part of a major emphasis on gestational imagery in Formative Period Mesoamerica. InReconsidering Olmec Visual Culture, she identifies the presence of women, human embryos, and fetuses in monuments and portable objects dating from 1400 to 400 BC and originating throughout much of Mesoamerica. This highly original study sheds new light on the prominent roles that women and gestational beings played in Early Formative societies, revealing female shamanic practices, the generative concepts that motivated caching and bundling, and the expression of feminine knowledge in the 260-day cycle and related divinatory and ritual activities.
Reconsidering Olmec Visual Cultureis the first study that situates the unique hollow babies of Formative Mesoamerica within the context of prominent females and the prevalent imagery of gestation and birth. It is also the first major art historical study of La Venta and the first to identify Mesoamerica's earliest creation narrative. It provides a more nuanced understanding of how later societies, including Teotihuacan and West Mexico, as well as the Maya, either rejected certain Formative Period visual forms, rituals, social roles, and concepts or adopted and transformed them into the enduring themes of Mesoamerican symbol systems.
eBook
Peace Came in the Form of a Woman
Revising the standard narrative of European-Indian relations in America, Juliana Barr reconstructs a world in which Indians were the dominant power and Europeans were the ones forced to accommodate, resist, and persevere. She demonstrates that between the 1690s and 1780s, Indian peoples including Caddos, Apaches, Payayas, Karankawas, Wichitas, and Comanches formed relationships with Spaniards in Texas that refuted European claims of imperial control.Barr argues that Indians not only retained control over their territories but also imposed control over Spaniards. Instead of being defined in racial terms, as was often the case with European constructions of power, diplomatic relations between the Indians and Spaniards in the region were dictated by Indian expressions of power, grounded in gendered terms of kinship. By examining six realms of encounter--first contact, settlement and intermarriage, mission life, warfare, diplomacy, and captivity--Barr shows that native categories of gender provided the political structure of Indian-Spanish relations by defining people's identity, status, and obligations vis-a-vis others. Because native systems of kin-based social and political order predominated, argues Barr, Indian concepts of gender cut across European perceptions of racial difference.
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The Captive's Position
Why do narratives of Indian captivity emerge in New England between 1682 and 1707 and why are these texts, so centrally concerned with women's experience, supported and even written by a powerful group of Puritan ministers? InThe Captive's Position, Teresa Toulouse argues for a new interpretation of the captivity narrative-one that takes into account the profound shifts in political and social authority and legitimacy that occurred in New England at the end of the seventeenth century. While North American narratives of Indian captivity had been written before this period by French priests and other European adventurers, those stories had focused largely on Catholic conversions and martyrdoms or male strategies for survival among the Indians. In contrast, the New England texts represented a colonial Protestant woman who was separated brutally from her family but who demonstrated qualities of religious acceptance, humility, and obedience until she was eventually returned to her own community. Toulouse explores how the female captive's position came to resonate so powerfully for traditional male elites in the second and third generation of the Massachusetts colony. Threatened by ongoing wars with Indians and French as well as by a range of royal English interventions in New England political and cultural life, figures such as Increase Mather, Cotton Mather, and John Williams perceived themselves to be equally challenged by religious and social conflicts within New England. By responding to and employing popular representations of female captivity, they were enabled to express their ambivalence toward the world of their fathers and toward imperial expansion and thereby to negotiate their own complicated sense of personal and cultural identity. Examining the captivity narratives of Mary Rowlandson, Hannah Dustan, Hannah Swarton, and John Williams (who comes to stand in for the female captive), Toulouse asserts the need to read these gendered texts as cultural products that variably engage, shape, and confound colonial attitudes toward both Europe and the local scene in Massachusetts. In doing so,The Captive's Positionoffers a new story of the rise and breakdown of orthodox Puritan captivities and a meditation on the relationship between dreams of authority and historical change.
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Ghosts of Slavery
While some scholars imply that only the struggle for freedom was legitimate, Jenny Sharpe complicates the linear narrative-from slavery to freedom and literacy-that emerged from the privileging of autobiographical accounts like that of Frederick Douglass. She challenges a paradigm that equates agency with resistance and self-determination, and introduces new ways to examine negotiations for power within the constraints of slavery.
eBook
Sweating Saris
A groundbreaking book that seeks to understand dance as labor,Sweating Sarisexamines dancers not just as aesthetic bodies but as transnational migrant workers and wage earners who negotiate citizenship and gender issues.Srinivasan merges ethnography, history, critical race theory, performance and post-colonial studies among other disciplines to investigate the embodied experience of Indian dance. The dancers' sweat stained and soaked saris, the aching limbs are emblematic of global circulations of labor, bodies, capital, and industrial goods. Thus the sweating sari of the dancer stands in for her unrecognized labor.Srinivasan shifts away from the usual emphasis on Indian women dancers as culture bearers of the Indian nation. She asks us to reframe the movements of late nineteenth century transnational Nautch Indian dancers to the foremother of modern dance Ruth St. Denis in the early twentieth century to contemporary teenage dancers in Southern California, proposing a transformative theory of dance, gendered-labor, and citizenship that is far-reaching.
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Making home work : domesticity and Native American assimilation in the American West, 1860-1919
During the westward expansion of America, white middle-class ideals of home and domestic work were used to measure differences between white and Native American women. Yet the vision of America as \"home\" was more than a metaphor for women's stake in the process of conquest--it took deliberate work to create and uphold. Treating white and indigenous women's struggles as part of the same history, Jane E. Simonsen argues that as both cultural workers and domestic laborers insisted upon the value of their work to \"civilization,\" they exposed the inequalities integral to both the nation and the household.Simonsen illuminates discussions about the value of women's work through analysis of texts and images created by writers, women's rights activists, reformers, anthropologists, photographers, field matrons, and Native American women. She argues that women such as Caroline Soule, Alice Fletcher, E. Jane Gay, Anna Dawson Wilde, and Angel DeCora called upon the rhetoric of sentimental domesticity, ethnographic science, public display, and indigenous knowledge as they sought to make the gendered and racial order of the nation visible through homes and the work performed in them. Focusing on the range of materials through which domesticity was produced in the West, Simonsen integrates new voices into the study of domesticity's imperial manifestations.
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Queering Mesoamerican Diasporas
Acts of remembering offer a path to decolonization for Indigenous
peoples forcibly dislocated from their culture, knowledge, and
land. Susy J. Zepeda highlights the often overlooked yet
intertwined legacies of Chicana feminisms and queer decolonial
theory through the work of select queer Indígena cultural producers
and thinkers. By tracing the ancestries and silences of
gender-nonconforming people of color, she addresses colonial forms
of epistemic violence and methods of transformation, in particular
spirit research. Zepeda also uses archival materials, raised
ceremonial altars, and analysis of decolonial artwork in
conjunction with oral histories to explore the matriarchal roots of
Chicana/x and Latina/x feminisms. As she shows, these feminisms are
forms of knowledge that people can remember through
Indigenous-centered visual narratives, cultural wisdom, and spirit
practices.
A fascinating exploration of hidden Indígena histories and
silences, Queering Mesoamerican Diasporas blends
scholarship with spirit practices to reimagine the root work,
dis/connection to land, and the political decolonization of
Xicana/x peoples.
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Women and Ledger Art
Ledger art has traditionally been created by men to recount the lives of male warriors on the Plains. During the past forty years, this form has been adopted by Native female artists, who are turning previously untold stories of women's lifestyles and achievements into ledger-style pictures. While there has been a resurgence of interest in ledger art, little has been written about these women ledger artists.Women and Ledger Artcalls attention to the extraordinary achievements of these strong women who have chosen to express themselves through ledger art. Author Richard Pearce foregrounds these contributions by focusing on four contemporary women ledger artists: Sharron Ahtone Harjo (Kiowa), Colleen Cutschall (Oglala Lakota), Linda Haukaas (Sicangu Lakota), and Dolores Purdy Corcoran (Caddo). Pearce spent six years in continual communication with the women, learning about their work and their lives.Women and Ledger Artexamines the artists and explains how they expanded Plains Indian history.With 46 stunning images of works in various mediums-from traditional forms on recovered ledger pages to simulated quillwork and sculpture,Women and Ledger Artreflects the new life these women have brought to an important transcultural form of expression.
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