Indigenous Beauty

For over 150 years, Tlingit women artists have beaded colorful, intricately beautiful designs on moccasins, dolls, octopus bags, tunics, and other garments. Painful Beauty suggests that at a time when Indigenous cultural practices were actively being repressed, beading supported cultural continuity, demonstrating Tlingit women’s resilience, strength, and power. Beadwork served many uses, from the ceremonial to the economic, as women created beaded pieces for community use and to sell to tourists. Like other Tlingit art, beadwork reflects rich artistic visions with deep connections to the environment, clan histories, and Tlingit worldviews. Contemporary Tlingit artists Alison Bremner, Chloe French, Shgen Doo Tan George, Lily Hudson Hope, Tanis S’eiltin, and Larry McNeil foreground the significance of historical beading practices in their diverse, boundary-pushing artworks. Working with museum collection materials, photographs, archives, and interviews with artists and elders, Megan Smetzer reframes this often overlooked artform as a site of historical negotiations and contemporary inspirations. She shows how beading gave Tlingit women the freedom to innovate aesthetically, assert their clan crests and identities, support tribal sovereignty, and pass on cultural knowledge. Painful Beauty is the first dedicated study of Tlingit beadwork and contributes to the expanding literature addressing women’s artistic expressions on the Northwest Coast.

Two renowned photographers record in stunning detail and variety the practice of body adornment in the world's most remote regions.

Philosophically addressing three fundamental aspects of the Kamëntšá, an indigenous culture located in the southwest of Colombia, this book is an investigation of how a native culture creates meaning. Time, beauty and spirit are key philosophical experiences within the Kamëntšá culture which should be interpreted both as constituting and as constituted symbols because of their historicity and actuality and their potential power of transformation. The book addresses these living symbols that take hold of the past but whose significance goes beyond their antiquity through the traditions of storytelling and dance, ritual, healing and ceremony as well as the fraught political histories of colonialism and the ownership of the land. The author, raised within Kamëntšá culture, weaves personal experience with philosophical insights and significance of the Kamentsa culture, presented through its own frameworks and narratives. The philosophical dimensions of Kamentsa culture are articulated and contextualized within a legacy of colonial domination by long-term Spanish and Catholic rule that enacts the necessary separation of Kamentsa ideas from their representations through Catholic hermeneutic approaches. However, the book also embraces intercultural philosophical engagement, as the methodological approach is formed partly through some modern and contemporary Western thinkers as well as indigenous writers and figures like Carlos Tamabioy and N. Scott Momaday.

The Honour Drum is a uniquely envisioned and crafted project shared between two Canadian friends—an Indigenous woman from the West Coast and a non-Indigenous man from Ontario—to reach children, families and classrooms across Canada and around the world with a message of great beauty and truth that should not be ignored. This vibrant book is an important starting place for learning and insight that is vital and, for many people of all ages, overdue. The Honour Drum is a love letter to the Indigenous people of Canada and a humble bow to Indigenous cultures around the world.

In his follow-up to This Wound is a World, Billy-Ray Belcourt’s Griffin Poetry Prize–winning collection, NDN Coping Mechanisms: Notes from the Field is a provocative, powerful, and genre-bending new work that uses the modes of accusation and interrogation. He aims an anthropological eye at the realities of everyday life to show how they house the violence that continues to reverberate from the long twentieth century. In a genre-bending constellation of poetry, photography, redaction, and poetics, Belcourt ultimately argues that if signifiers of Indigenous suffering are everywhere, so too is evidence of Indigenous peoples’ rogue possibility, their utopian drive. In NDN Coping Mechanisms: Notes from the Field, the poet takes on the political demands of queerness, mainstream portrayals of Indigenous life, love and its discontents, and the limits and uses of poetry as a vehicle for Indigenous liberation. In the process, Belcourt once again demonstrates his extraordinary craft, guile, and audacity, and the sheer dexterity of his imagination.

Mother Earth Essentials was founded by Carrie Armstrong. Her passion is sharing Aboriginal culture and the vehicle for her message is her products. Carrie has based a philosophy steeped in respect and honor for the environment and the beautiful plants used in her luxurious bath, body and beauty line. Carrie blends the finest essential oils, berries, medicinal, and ceremonial plants that Mother Earth provides with the teachings she learned as a young girl. She gathered plants and berries with her Grandmother while she shared her stories and her deep understanding of traditional plants and their uses. Carrie started to realize that, overall, there is a lack of awareness about the significant contributions Aboriginal people have made in the areas of plants and their medicinal uses. The pharmaceutical industry currently uses over 200 plants traditionally used by Aboriginal people for thousands of years. Yet, Carrie realized from 15 years of experience in the cosmetic industry, there were no products created from Aboriginal knowledge.

In the decades following the Mexican Revolution, nation builders, artists, and intellectuals manufactured ideologies that continue to give shape to popular understandings of indigeneity and mestizaje today. Postrevolutionary identity tropes emerged as part of broader efforts to reunify the nation and solve pressing social concerns, including what was posited in the racist rhetoric of the time as the “Indian problem.” Through a complex alchemy of appropriation and erasure, indigeneity was idealized as a relic of the past while mestizaje was positioned as the race of the future. This period of identity formation coincided with a boom in technology that introduced a sudden proliferation of images on the streets and in homes: there were more photographs in newspapers, movie houses cropped up across the country, and printing houses mass-produced calendar art and postcards. La Raza Cosmética traces postrevolutionary identity ideals and debates as they were dispersed to the greater public through emerging visual culture. Critically examining beauty pageants, cinema, tourism propaganda, photography, murals, and more, Natasha Varner shows how postrevolutionary understandings of mexicanidad were fundamentally structured by legacies of colonialism, as well as shifting ideas about race, place, and gender. This interdisciplinary study smartly weaves together cultural history, Indigenous and settler colonial studies, film and popular culture analysis, and environmental and urban history. It also traces a range of Indigenous interventions in order to disrupt top-down understandings of national identity construction and to “people” this history with voices that have all too often been entirely ignored.

In this sweeping work of memoir and commentary, leading cultural critic Paul Chaat Smith illustrates with dry wit and brutal honesty the contradictions of life in "the Indian business." Raised in suburban Maryland and Oklahoma, Smith dove head first into the political radicalism of the 1970s, working with the American Indian Movement until it dissolved into dysfunction and infighting. Afterward he lived in New York, the city of choice for political exiles, and eventually arrived in Washington, D.C., at the newly minted National Museum of the American Indian ("a bad idea whose time has come") as a curator. In his journey from fighting activist to federal employee, Smith tells us he has discovered at least two things: there is no one true representation of the American Indian experience, and even the best of intentions sometimes ends in catastrophe. Everything You Know about Indians Is Wrong is a highly entertaining and, at times, searing critique of the deeply disputed role of American Indians in the United States. In "A Place Called Irony," Smith whizzes through his early life, showing us the ironic pop culture signposts that marked this Native American's coming of age in suburbia: "We would order Chinese food and slap a favorite video into the machine--the Grammy Awards or a Reagan press conference--and argue about Cyndi Lauper or who should coach the Knicks." In "Lost in Translation," Smith explores why American Indians are so often misunderstood and misrepresented in today's media: "We're lousy television." In "Every Picture Tells a Story," Smith remembers his Comanche grandfather as he muses on the images of American Indians as "a half-remembered presence, both comforting and dangerous, lurking just below the surface." Smith walks this tightrope between comforting and dangerous, offering unrepentant skepticism and, ultimately, empathy. "This book is called Everything You Know about Indians Is Wrong, but it's a book title, folks, not to be taken literally. Of course I don't mean everything, just most things. And 'you' really means we, as in all of us."