- Do you relate more to the Tortoise or the Hare? either way, you’re in luck to be able to snuggle up with this Hare plush toy
- This adorable stuffed animal has lifelike features that appeal to any aficionado of all ages looking for a fun adventure
- The Hare plush toy measures to be 12 inches long and can keep up with your hops and cuddles
Offering a provocative new perspective, Healing Like Our Ancestors examines sixteenth- and seventeenth-century Nahua healers in central Mexico and how their practices have been misconstrued and misunderstood in colonial records. Early colonial Spanish settlers defined, assessed, and admonished Nahua titiçih (healing specialists) and tiçiyotl (healing knowledge) in the process of building a society in Mexico that mirrored Iberia. Nevertheless, Nahua survivance (intergenerational knowledge transfer) has allowed communities to heal like their ancestors through changes and adaptations. Edward Anthony Polanco draws from diverse colonial primary sources, largely in Spanish and Nahuatl (the Nahua ancestral language), to explore how Spanish settlers framed titiçih, their knowledge, and their practices within a Western complex. Polanco argues for the usage of Indigenous terms when discussing Indigenous concepts and arms the reader with the Nahuatl words to discuss central Mexican Nahua healing. In particular, this book emphasizes the importance of women as titiçih and highlights their work as creators and keepers of knowledge. These vital Nahua perspectives of healing--and how they differed from the settler narrative--will guide community members as well as scholars and students of the history of science, Latin America, and Indigenous studies.
The Heartbeat of Wounded Knee is a story of Native American resilience and reinvention, adapted for young adults from the adult nonfiction book of the same name. Since the late 1800s, it has been believed that Native American civilization has been wiped from the United States. The Heartbeat of Wounded Knee argues that Native American culture is far from defeated--if anything, it is thriving as much today as it was one hundred years ago. The Heartbeat of Wounded Knee looks at Native American culture as it exists today--and the fight to preserve language and traditions. Adapted for young readers, this important young adult nonfiction book is perfect educational material for children and adults alike.
FINALIST FOR THE 2019 NATIONAL BOOK AWARD LONGLISTED FOR THE 2020 ANDREW CARNEGIE MEDAL FOR EXCELLENCE A NEW YORK TIMES BESTSELLER Named a best book of 2019 by The New York Times, TIME, The Washington Post, NPR, Hudson Booksellers, The New York Public Library, The Dallas Morning News, and Library Journal. "Chapter after chapter, it's like one shattered myth after another." - NPR "An informed, moving and kaleidoscopic portrait... Treuer's powerful book suggests the need for soul-searching about the meanings of American history and the stories we tell ourselves about this nation's past.." - New York Times Book Review, front page A sweeping history--and counter-narrative--of Native American life from the Wounded Knee massacre to the present. The received idea of Native American history--as promulgated by books like Dee Brown's mega-bestselling 1970 Bury My Heart at Wounded Knee--has been that American Indian history essentially ended with the 1890 massacre at Wounded Knee. Not only did one hundred fifty Sioux die at the hands of the U. S. Cavalry, the sense was, but Native civilization did as well. Growing up Ojibwe on a reservation in Minnesota, training as an anthropologist, and researching Native life past and present for his nonfiction and novels, David Treuer has uncovered a different narrative. Because they did not disappear--and not despite but rather because of their intense struggles to preserve their language, their traditions, their families, and their very existence--the story of American Indians since the end of the nineteenth century to the present is one of unprecedented resourcefulness and reinvention. In The Heartbeat of Wounded Knee, Treuer melds history with reportage and memoir. Tracing the tribes' distinctive cultures from first contact, he explores how the depredations of each era spawned new modes of survival. The devastating seizures of land gave rise to increasingly sophisticated legal and political maneuvering that put the lie to the myth that Indians don't know or care about property. The forced assimilation of their children at government-run boarding schools incubated a unifying Native identity. Conscription in the US military and the pull of urban life brought Indians into the mainstream and modern times, even as it steered the emerging shape of self-rule and spawned a new generation of resistance. The Heartbeat of Wounded Knee is the essential, intimate story of a resilient people in a transformative era.
Despite centuries of suppression and oppression, American Indian music survives today as a profound cultural force. Heartbeat, Warble, and the Electric Powwow celebrates in depth the vibrant soundscape of Native North America, from the "heartbeat" of intertribal drums and "warble" of Native flutes to contemporary rock, hip-hop, and electronic music. Drawing on more than one hundred interviews with musicians, producers, ethnographers, and record-label owners, author and musician Craig Harris conjures an aural tapestry in which powwow drums and end-blown woodwinds resound alongside operatic and symphonic strains, jazz and reggae, country music, and blues. Harris begins with an exploration of the powwow, from sacred ceremonies to intertribal gatherings. He examines the traditions of the Native American flute and its revival with artists such as two-time Grammy winners R. Carlos Nakai and Mary Youngblood. Singers and songwriters, including Buffy Sainte-Marie, Keith Secola, and Joanne Shenandoah, provide insights into their music and their lives as American Indians. Harris also traces American Indian rock, reggae, punk, and pop over four decades, punctuating his survey with commentary from such artists as Tom Bee, founder of Native America's first rock band, XIT. Grammy-winner Taj Mahal recalls influential guitarist Jesse Ed Davis; ex-bandmates reflect on Rock Hall of Fame inductee Redbone; Robbie Robertson, Pura Fe, and Rita Coolidge describe how their groundbreaking 1993 album, Music for the Native Americans, evolved; and DJs A Tribe Called Red discuss their melding of archival powwow recordings into fiery dance music. The many voices and sounds that weave throughout Harris's engaging, accessible account portray a sonic landscape that defies stereotyping and continues to expand. Heartbeat, Warble, and the Electric Powwow is the story--told by those who live it--of resisting a half-millennium of cultural suppression to create new sounds while preserving old roots. Listen in! Visit this book's page on the oupress.com website for a link to the book's Spotify playlist.
Argues that Indigenous hip hop is the latest and newest assertion of Indigenous sovereignty throughout Indigenous North America.
Expressive culture has always been an important part of the social, political, and economic lives of Indigenous people. More recently, Indigenous people have blended expressive cultures with hip hop culture, creating new sounds, aesthetics, movements, and ways of being Indigenous. This book documents recent developments among the Indigenous hip hop generation. Meeting at the nexus of hip hop studies, Indigenous studies, and critical ethnic studies, Hip Hop Beats, Indigenous Rhymes argues that Indigenous people use hip hop culture to assert their sovereignty and challenge settler colonialism. From rapping about land and water rights from Flint to Standing Rock, to remixing "traditional" beading with hip hop aesthetics, Indigenous people are using hip hop to challenge their ongoing dispossession, disrupt racist stereotypes and images of Indigenous people, contest white supremacy and heteropatriarchy, and reconstruct ideas of a progressive masculinity. In addition, this book carefully traces the idea of authenticity; that is, the common notion that, by engaging in a Black culture, Indigenous people are losing their "traditions." Indigenous hip hop artists navigate the muddy waters of the "politics of authenticity" by creating art that is not bound by narrow conceptions of what it means to be Indigenous; instead, they flip the notion of "tradition" and create alternative visions of what being Indigenous means today, and what that might look like going forward.
The Pokagon Band of Potawatomi Indians has been a part of Chicago since its founding. In very public expressions of indigeneity, they have refused to hide in plain sight or assimilate. Instead, throughout the city's history, the Pokagon Potawatomi Indians have openly and aggressively expressed their refusal to be marginalized or forgotten--and in doing so, they have contributed to the fabric and history of the city.
Imprints: The Pokagon Band of Potawatomi Indians and the City of Chicago examines the ways some Pokagon Potawatomi tribal members have maintained a distinct Native identity, their rejection of assimilation into the mainstream, and their desire for inclusion in the larger contemporary society without forfeiting their "Indianness." Mindful that contact is never a one-way street, Low also examines the ways in which experiences in Chicago have influenced the Pokagon Potawatomi. Imprints continues the recent scholarship on the urban Indian experience before as well as after World War II.
Imprints: The Pokagon Band of Potawatomi Indians and the City of Chicago examines the ways some Pokagon Potawatomi tribal members have maintained a distinct Native identity, their rejection of assimilation into the mainstream, and their desire for inclusion in the larger contemporary society without forfeiting their "Indianness." Mindful that contact is never a one-way street, Low also examines the ways in which experiences in Chicago have influenced the Pokagon Potawatomi. Imprints continues the recent scholarship on the urban Indian experience before as well as after World War II.
In Our Words: Queer Stories from Black, Indigenous, and People of Color Writers is a thoughtfully curated collection of short stories at the intersection of racial and queer identity. Comprising both the renowned and emerging voices of Black, Indigenous, and People of Color authors, across multiple countries, and diverse in style, perspective, and theme, In Our Words reflects the complexity and diversity of human experience.
"What a woman! And what a fabulous life to unearth. Zelia Nuttall was incredibly smart, determined, a divorced single mother in a man's world, a great scholar, and an original thinker--yet today she's completely forgotten. Merilee Grindle has dug deep into the archives and uncovered her fascinating story."--Andrea Wulf, author of The Invention of Nature
"Zelia Nuttall comes alive in all her fascinating contradictions in Merilee Grindle's capable hands...[This] biography challenges our modern smugness and reminds us that our roots as scholars are more complex than we often acknowledge."--Camilla Townsend, author of Fifth Sun: A New History of the Aztecs The gripping story of a pioneering anthropologist whose exploration of Aztec cosmology, rediscovery of ancient texts, and passion for collecting helped shape our understanding of pre-Columbian Mexico. Where do human societies come from? The drive to answer this question took on a new urgency in the nineteenth century, when a generation of archaeologists began to look beyond the bible for the origins of different cultures and civilizations. A child of the San Francisco Gold Rush whose mother was born in Mexico City, Zelia Nuttall threw herself into the study of Aztec customs and cosmology, eager to use the tools of the emerging science of anthropology to prove that modern Mexico was built over the ruins of ancient civilizations. Proud, disciplined, as prickly as she was independent, Zelia Nuttall was the first person to accurately decode the Aztec calendar stone. An intrepid researcher, she found pre-Columbian texts lost in European archives and was skilled at making sense of their pictographic histories. Her work on the terra-cotta heads of Teotihuacán captured the attention of Frederic Putnam, who offered her a job at Harvard's Peabody Museum. Divorced and juggling motherhood and career, Nuttall chose to follow her own star, publishing her discoveries and collecting artifacts for US museums to make ends meet. From her beloved Casa Alvarado in Coyoacán, she became a vital bridge between Mexican and US anthropologists, connecting them against the backdrop of war and revolution. The first biography of Zelia Nuttall, In the Shadow of Quetzalcoatl captures the appeal and contradictions that riddled the life of this trailblazing woman, who contributed so much to the new field of anthropology until a newly professionalized generation overshadowed her remarkable achievements and she became, in the end, an artifact in her own museum.
From ancient metropolises like Pueblo Bonito and Tenochtitlán to the twenty-first century Oceti Sakowin encampment of NoDAPL water protectors, Native people have built and lived in cities--a fact little noted in either urban or Indigenous histories. By foregrounding Indigenous peoples as city makers and city dwellers, as agents and subjects of urbanization, the essays in this volume simultaneously highlight the impact of Indigenous people on urban places and the effects of urbanism on Indigenous people and politics. The authors--Native and non-Native, anthropologists and geographers as well as historians--use the term "Indian cities" to represent collective urban spaces established and regulated by a range of institutions, organizations, churches, and businesses. These urban institutions have strengthened tribal and intertribal identities, creating new forms of shared experience and giving rise to new practices of Indigeneity. Some of the essays in this volume explore Native participation in everyday economic activities, whether in the commerce of colonial Charleston or in the early development of New Orleans. Others show how Native Americans became entwined in the symbolism associated with Niagara Falls and Washington, D.C., with dramatically different consequences for Native and non-Native perspectives. Still others describe the roles local Indigenous community groups have played in building urban Native American communities, from Dallas to Winnipeg. All the contributions to this volume show how, from colonial times to the present day, Indigenous people have shaped and been shaped by urban spaces. Collectively they demonstrate that urban history and Indigenous history are incomplete without each other.