Patterns And Ceremonials Of The Indians Of The Southwest

Classic text-and-picture record includes over 100 lithographs and drawings of dances, fiestas, processions, chants and daily life among Zuni, Navajo, Apache, other tribes.

Learn of the native ceremonies still being performed by the Indians of the Southwest as tribute to their way of life and the strength of their religious beliefs. This 9" x 12" book is overflowing with beautiful photos and details for your enjoyment.

The geographically distinct American territories of California, the Great Basin, and the Southwest have long sustained a variety of indigenous peoples, including the Miwok, Comanche, and Navajo, respectively. An examination of each of these culture areas yields rich histories filled with steadfast traditions and religious practices, subsistence patterns dictated by geographic location, and social interactions within and between tribes. This absorbing volume surveys the history of the various groups that form these culture areas as well as the spiritual, cultural, and social practices that distinguish each tribe.

Despite the world-wide association of music and dance with religion, this is the first full-length study of the subject from a global perspective. The work consists of 3,816 references divided among 37 chapters. It covers tribal, regional, and global religions and such subjects as shamanism, liturgical dance, healing, and the relationship of music, mathematics, and mysticism. The referenced materials display such diverse approaches as analysis of music and dance, description of context, direct experience, observation, and speculation. The references address topics from such disciplines as sociology, anthropology, history, linguistics, musicology, ethnomusicology, theology, medicine, semiotics, and computer technology. Chapter 1 consists of general references to religious music and dance. The remaining 36 chapters are organized according to major geographical areas. Most chapters begin with general reference works and bibliographies, then continue with topics specific to the region or religion. This book will be of use to anyone with an interest in music, dance, religion, or culture.

This bibliography brings together the relevant materials in linguistics, anthropology, archaeology, folklore, and ethnomusicology for the Athapaskan languages. It consists of approximately 5,000 entries, of which one-fourth have been annotated, as well as maps and census illustrations.

Presents an overview of major rites and ceremonies of native Americans in the Southwest, including the Navajo, Rio Grande Pueblo, Zuni, Hopi, Apache, and Yaqui.

As the Great Depression touched every corner of America, the New Deal promoted indigenous arts and crafts as a means of bootstrapping Native American peoples. But New Deal administrators' romanticization of indigenous artists predisposed them to favor pre-industrial forms rather than art that responded to contemporary markets. In A New Deal for Native Art, Jennifer McLerran reveals how positioning the native artist as a pre-modern Other served the goals of New Deal programsÑand how this sometimes worked at cross-purposes with promoting native self-sufficiency. She describes federal policies of the 1930s and early 1940s that sought to generate an upscale market for Native American arts and crafts. And by unraveling the complex ways in which commodification was negotiated and the roles that producers, consumers, and New Deal administrators played in that process, she sheds new light on native artÕs commodity status and the artistÕs position as colonial subject. In this first book to address the ways in which New Deal Indian policy specifically advanced commodification and colonization, McLerran reviews its multi-pronged effort to improve the market for Indian art through the Indian Arts and Crafts Board, arts and crafts cooperatives, murals, museum exhibits, and Civilian Conservation Corps projects. Presenting nationwide case studies that demonstrate transcultural dynamics of production and reception, she argues for viewing Indian art as a commodity, as part of the national economy, and as part of national political trends and reform efforts. McLerran marks the contributions of key individuals, from John Collier and Rene dÕHarnoncourt to Navajo artist Gerald Nailor, whose mural in the Navajo Nation Council House conveyed distinctly different messages to outsiders and tribal members. Featuring dozens of illustrations, A New Deal for Native Art offers a new look at the complexities of folk art ÒrevivalsÓ as it opens a new window on the Indian New Deal.