Leader From The Kaw Nation And Other Stories

We think we know the story of women's suffrage in the United States: women met at Seneca Falls, marched in Washington, D.C., and demanded the vote until they won it with the ratification of the Nineteenth Amendment. But the fight for women's voting rights extended far beyond these familiar scenes. From social clubs in New York's Chinatown to conferences for Native American rights, and in African American newspapers and pamphlets demanding equality for Spanish-speaking New Mexicans, a diverse cadre of extraordinary women struggled to build a movement that would truly include all women, regardless of race or national origin. In Recasting the Vote, Cathleen D. Cahill tells the powerful stories of a multiracial group of activists who propelled the national suffrage movement toward a more inclusive vision of equal rights. Cahill reveals a new cast of heroines largely ignored in earlier suffrage histories: Marie Louise Bottineau Baldwin, Gertrude Simmons Bonnin (Zitkala-Ša), Laura Cornelius Kellogg, Carrie Williams Clifford, Mabel Ping-Hua Lee, and Adelina "Nina" Luna Otero-Warren. With these feminists of color in the foreground, Cahill recasts the suffrage movement as an unfinished struggle that extended beyond the ratification of the Nineteenth Amendment. As we celebrate the centennial of a great triumph for the women's movement, Cahill's powerful history reminds us of the work that remains.

'I laughed, shed tears and felt those goosebumps when you know your soul is being spoken to and nourished.' Chelsea Watego 'Searingly funny and fiercely feminist.' Jane Caro 'A book that breathes wisdom.' b>Paul Callaghan 'An important and beautiful story told with tremendous heart.' Mia Freedman 'If you've ever dimmed your light, hated how you look or searched for your beauty in all the wrong places, this book is for you.' Gigorou (jig-goo-roo) means 'beauty' or 'beautiful' in Jirrbal, the language of Sasha Kutabah Sarago's grandmother. Growing up, Sasha didn't feel gigorou. At a young age, she was told, 'You're too pretty to be Aboriginal'. Since then, she's been on a journey to reconcile her conflict with beauty. In this intimately fierce, funny and reflective book, Sasha retraces her footsteps as a beauty assistant, model and magazine editor to find the answers she's searching for. Through conversations with her matriarchs, and the creation stories gifted to her, Sasha unlocks an ancestral wisdom – the key to healing and reclaiming her femininity. In a time where the patriarchy obstructs women from the divine feminine, and sexism, racism and ageism violate our sovereignty, Gigorou invites us to explore the interconnectedness of Aboriginal culture to resolve our relationship with beauty and ourselves. 'Sasha writes with purpose and power. You'll wish your younger self read this book, and you'll thank Sasha for writing it. Gigorou is a gift.' Alley Pascoe 'Packed with grace, nostalgia and so much style ... a blueprint for how to step gloriously into your rightful space.' Justine Cullen 'A brilliant representation of the way we walk in two worlds from a young age, asking ourselves how we fit into western society when they don't accept us and we don't see ourselves reflected.' Elaine George

Performing History: How to Research, Write, Act, and Coach Historical Performance addresses those areas that are of greatest challenge to novice historical performers. Historical performers must approach the process that is their work with a respect for both subject matter (the people who made the decisions that lead to what we call history) and for audiences, whatever the knowledge level they bring to the subject. That respect requires careful, on­ going research (to wear the mantle of authority), while also recognizing that none of us will ever know everything there is to know (the mantle is lined with humility). It requires the crafting of stories that will interest targeted audiences, and the skill to tell those stories in a compelling manner. Performing History is crafted for people who want to develop a first person narrative, those who have created a first person narrative but want to make it better, and those who want to help others develop first person narratives--museum and historic site volunteer coordinators, program and education curators, and, of course, those who wear many hats in small staffs. It is also for teachers, parents, and partners who are providing support for historical performers.

A forgotten Haudenosaunee social song beams into the cosmos like a homing beacon for interstellar visitors. A computer learns to feel sadness and grief from the history of atrocities committed against First Nations. A young Native man discovers the secret to time travel in ancient petroglyphs. Drawing inspiration from science fiction legends like Arthur C. Clarke, Isaac Asimov and Ray Bradbury, Drew Hayden Taylor frames classic science-fiction tropes in an Aboriginal perspective. The nine stories in this collection span all traditional topics of science fiction--from peaceful aliens to hostile invaders; from space travel to time travel; from government conspiracies to connections across generations. Yet Taylor's First Nations perspective draws fresh parallels, likening the cultural implications of alien contact to those of the arrival of Europeans in the Americas, or highlighting the impossibility of remaining a "good Native" in such an unnatural situation as a space mission. Infused with Native stories and variously mysterious, magical and humorous, Take Us to Your Chief is the perfect mesh of nostalgically 1950s-esque science fiction with modern First Nations discourse.

More than two dozen stories of Indigenous resistance to the privatization and allotment of Indigenous lands Land privatization has been a longstanding and ongoing settler colonial process separating Indigenous peoples from their traditional homelands, with devastating consequences. Allotment Stories delves into this conflict, creating a complex conversation out of narratives of Indigenous communities resisting allotment and other dispossessive land schemes. From the use of homesteading by nineteenth-century Anishinaabe women to maintain their independence to the role that roads have played in expropriating Guam’s Indigenous heritage to the links between land loss and genocide in California, Allotment Stories collects more than two dozen chronicles of white imperialism and Indigenous resistance. Ranging from the historical to the contemporary and grappling with Indigenous land struggles around the globe, these narratives showcase both scholarly and creative forms of expression, constructing a multifaceted book of diverse disciplinary perspectives. Allotment Stories highlights how Indigenous peoples have consistently used creativity to sustain collective ties, kinship relations, and cultural commitments in the face of privatization. At once informing readers while provoking them toward further research into Indigenous resilience, this collection pieces back together some of what the forces of allotment have tried to tear apart. Contributors: Jennifer Adese, U of Toronto Mississauga; Megan Baker, U of California, Los Angeles; William Bauer Jr., U of Nevada, Las Vegas; Christine Taitano DeLisle, U of Minnesota–Twin Cities; Vicente M. Diaz, U of Minnesota–Twin Cities; Sarah Biscarra Dilley, U of California, Davis; Marilyn Dumont, U of Alberta; Munir Fakher Eldin, Birzeit U, Palestine; Nick Estes, U of New Mexico; Pauliina Feodoroff; Susan E. Gray, Arizona State U; J. Kēhaulani Kauanui, Wesleyan U; Rauna Kuokkanen, U of Lapland and U of Toronto; Sheryl R. Lightfoot, U of British Columbia; Kelly McDonough, U of Texas at Austin; Ruby Hansen Murray; Tero Mustonen, U of Eastern Finland; Darren O’Toole, U of Ottawa; Shiri Pasternak, Ryerson U; Dione Payne, Te Whare Wānaka o Aoraki–Lincoln U; Joseph M. Pierce, Stony Brook U; Khal Schneider, California State U, Sacramento; Argelia Segovia Liga, Colegio de Michoacán; Leanne Betasamosake Simpson; Jameson R. Sweet, Rutgers U; Michael P. Taylor, Brigham Young U; Candessa Tehee, Northeastern State U; Benjamin Hugh Velaise, Google American Indian Network.

In 1832, Benjamin Bonneville led the first wagon train across the Continental Divide on the Oregon Trail. Financed by a rival of the Hudson's Bay Company, Bonneville and more than one hundred traders and trappers traveled from Fort Osage on the Missouri River, up to the Platte River and across present-day Wyoming. Washington Irving first gave the U.S. Army officer a brand by chronicling the three-year explorations in the 1837 book The Adventures of Captain Bonneville. Historians have long suspected that the captain, under the guise of commercial fur trading, was preparing for an eventual invasion of Mexico's California territory. Bonneville's 1833 report concerning his first year in the Wind River Range and beyond remained lost for almost a century before resurfacing in the 1920s. Author Jett B. Conner examines the intriguing details revealed in that historic document.