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Decolonizing Museums
Museum exhibitions focusing on Native American history have long been curator controlled. However, a shift is occurring, giving Indigenous people a larger role in determining exhibition content. In Decolonizing Museums, Amy Lonetree examines the co
The National Museum of the American Indian
The first American national museum designed and run by indigenous peoples, the Smithsonian Institution?s National Museum of the American Indian in Washington DC opened in 2004. It represents both the United States as a singular nation and the myriad indigenous nations within its borders. Constructed with materials closely connected to Native communities across the continent, the museum contains more than 800,000 objects and three permanent galleries and routinely holds workshops and seminar series. This first comprehensive look at the National Museum of the American Indian encompasses a variety of perspectives, including those of Natives and non-Natives, museum employees, and outside scholars across disciplines such as cultural studies and criticism, art history, history, museum studies, anthropology, ethnic studies, and Native American studies. The contributors engage in critical dialogues about key aspects of the museum?s origin, exhibits, significance, and the relationship between Native Americans and other related museums.
Contesting Knowledge
The essays in section 1 consider ethnography's influence on how Europeans represent colonized peoples. Section 2 essays analyze curatorial practices, emphasizing how exhibitions must serve diverse masters rather than solely the curator's own creativity and judgment, a dramatic departure from past museum culture and practice. Section 3 essays consider tribal museums that focus on contesting and critiquing colonial views of American and Canadian history while serving the varied needs of the indigenous communities.
People of the Big Voice
People of the Big Voice tells the visual history of Ho-Chunk families at the turn of the twentieth century and beyond as depicted through the lens of Black River Falls, Wisconsin studio photographer, Charles Van Schaick. The family relationships between those who “sat for the photographer” are clearly visible in these images—sisters, friends, families, young couples—who appear and reappear to fill in a chronicle spanning from 1879 to 1942. Also included are candid shots of Ho-Chunk on the streets of Black River Falls, outside family dwellings, and at powwows. As author and Ho-Chunk tribal member Amy Lonetree writes, “A significant number of the images were taken just a few short ye...
Playing Ourselves
Across North America, hundreds of reconstructed Oliving historyO sites, which traditionally presented history from a primarily European perspective, have hired Native staff in an attempt to communicate a broader view of the past. Playing Ourselves explores this major shift in representation, using detailed observations of five historic sites in the U.S. and Canada to both discuss the theoretical aspects of Native cultural performance and advise interpreters and their managers on how to more effectively present an inclusive history. Drawing on anthropology, history, cultural performance, cross-cultural encounters, material culture theory, and public history, author Laura Peers examines Oliving historyO sites as locations of cultural performance where core beliefs about society, cross-cultural relationships, and history are performed. In the process, she emphasizes how choices made in the communication of history can both challenge these core beliefs about the past and improve cross-cultural relations in the present.
Race
Perspectives on race today Featuring new and engaging essays by noted anthropologists and illustrated with full color photos, RACE: Are We So Different? is an accessible and fascinating look at the idea of race, demonstrating how current scientific understanding is often inconsistent with popular notions of race. Taken from the popular national public education project and museum exhibition, it explores the contemporary experience of race and racism in the United States and the often-invisible ways race and racism have influenced laws, customs, and social institutions.
A New Role for Museum Educators
A New Role for Museum Educators shows how learning happens in communities, how volunteers and professionals approach their work, the underlying principles and philosophies that guide the work of museum education, and how these practices are always evolving to remain relevant. Museum education in its most expansive definition is about communicating messages, creating learning experiences, and, at its most aspirational, promoting human development for people of all backgrounds, abilities, and circumstances. This edited volume revisits the legacy of museum education practices, reflecting on the changing context of community and the role of cultural institutions, and provides insights into new d...
Standing Up to Colonial Power
Standing Up to Colonial Power focuses on the lives, activism, and intellectual contributions of Henry Cloud (1884-1950), a Ho-Chunk, and Elizabeth Bender Cloud (1887-1965), an Ojibwe, both of whom grew up amid settler colonialism that attempted to break their connection to Native land, treaty rights, and tribal identities. Mastering ways of behaving and speaking in different social settings and to divergent audiences, including other Natives, white missionaries, and Bureau of Indian Affairs officials, Elizabeth and Henry relied on flexible and fluid notions of gender, identity, culture, community, and belonging as they traveled Indian Country and within white environments to fight for Native...
Visualizing Genocide
Visualizing Genocide examines how creative arts and memory institutions selectively commemorate or often outright ignore stark histories of colonialism. The essays confront outdated narratives and institutional methods by investigating contemporary artistic and scholarly interventions documenting settler colonialisms including land theft, incarceration, intergenerational trauma, and genocide. Interdisciplinary approaches, including oral histories, exhibition practices, artistic critiques, archival investigations, and public arts, are among the many decolonizing methods incorporated in contemporary curatorial practices. Rather than dwelling simply in celebratory appraisals of Indigenous survi...
Returning Home
Returning Home features and contextualizes the creative works of Diné (Navajo) boarding school students at the Intermountain Indian School, which was the largest federal Indian boarding school between 1950 and 1984. Diné student art and poetry reveal ways that boarding school students sustained and contributed to Indigenous cultures and communities despite assimilationist agendas and pressures. This book works to recover the lived experiences of Native American boarding school students through creative works, student interviews, and scholarly collaboration. It shows the complex agency and ability of Indigenous youth to maintain their Diné culture within the colonial spaces that were desig...
