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Ashley Valley
Situated within northeastern Utah's mountainous Uinta Basin, the Ashley Valley takes its name from William Ashley, a trapper who passed through the area in 1825. Both beautiful and rugged, the Ashley Valley's landscape required a lot of grit from its first settlers. An early expedition party sent out by territorial governor Brigham Young called the area unfit for settlement. This delayed permanent American settlement until 1876, when a few hardy families formed communities in the area, including Ashley, Vernal, Maeser, Dry Fork, Glines, Naples, Davis, and Jensen. The valley was rich in minerals and oil and saw its share of boom-and-bust cycles, as miners and oil-workers struck out to find fortune and left facing government regulations. The Ashley Valley pioneers were a stalwart, hardworking mix of settlers, farmers, miners, and other hardy folk who left a rich legacy. Today, as visitors come over the valley hill, they will encounter a community with a developing oil and gas industry, modern growth, and traditional small-town appeal.
Directory of Historical Organizations in the United States and Canada
This multi-functional reference is a useful tool to find information about history-related organizations and programs and to contact those working in history across the country.
The Flight of Red Bird
Taken from her family on the Yankton Sioux Reservation at the age of eight and sent to a school far from home, Gertrude is forced to become "civilized"--to give up her moccasins, her long hair, and her language, and to renounce her Sioux heritage. As an adult, she renames herself Zitkala-¬Sa, which means "Red Bird," and devotes her life to fighting for justice for Native Americans. Her powerful and memorable story, told in her own words from letters and diaries, will inspire anyone who has ever dreamed of making a difference.
Red Bird Sings
"I remember the day I lost my spirit." So begins the story of Gertrude Simmons, also known as Zitkala-Ša, which means Red Bird. Born in 1876 on the Yankton Sioux reservation in South Dakota, Zitkala-Ša willingly left her home at age eight to go to a boarding school in Indiana. But she soon found herself caught between two worlds—white and Native American. At school she missed her mother and her traditional life, but Zitkala-Ša found joy in music classes. "My wounded spirit soared like a bird as I practiced the piano and violin," she wrote. Her talent grew, and when she graduated, she became a music teacher, composer, and performer. Zitkala-Ša found she could also "sing" to help her people by writing stories and giving speeches. As an adult, she worked as an activist for Native American rights, seeking to build a bridge between cultures. The coauthors tell Zitkala-Ša’s life by weaving together pieces from her own stories. The artist's acrylic illustrations and collages of photos and primary source documents round out the vivid portrait of Zitkala-Ša, a frightened child whose spirit "would rise again, stronger and wiser for the wounds it had suffered."
Catholic Utah
In 1776, two Mexican Franciscans trekked into what is now the state of Utah. While they said the rosary and offered litanies to the saints, they did not linger in what was to them unknown territory. It would take almost 100 years for the first parish church of St. Mary Magdalene to be built in 1871 and a Catholic community established. The small number of Catholics maintained and cultivated their religion in a territory dominated by the Latter-day Saints by building churches, starting schools, and maintaining hospitals. Key to their success was the leadership of Fr. Lawrence Scanlan, who served for 42 years, first as pastor and then as bishop. Scanlan ministered to a multiethnic array of Irish, Italian, Slovak, and Mexican Catholics who came to work in and support the dangerous (but lucrative) mining industry. Utah's population expanded after World War II, and Catholic educational and medical institutions increasingly cared for the growing needs of the state.
Play, Performance, and Identity
Play helps define who we are as human beings. However, many of the leisurely/ludic activities people participate in are created and governed by corporate entities with social, political, and business agendas. As such, it is critical that scholars understand and explicate the ideological underpinnings of played-through experiences and how they affect the player/performers who engage in them. This book explores how people play and why their play matters, with a particular interest in how ludic experiences are often constructed and controlled by the interests of institutions, including corporations, non-profit organizations, government agencies, religious organizations, and non-governmental organizations (NGOs). Each chapter explores diverse sites of play. From theme parks to comic conventions to massively-multiplayer online games, they probe what roles the designers of these experiences construct for players, and how such play might affect participants' identities and ideologies. Scholars of performance studies, leisure studies, media studies and sociology will find this book an essential reference when studying facets of play.
From Biblical Book to Musical Megahit
Many churchgoers will recognize the name William Bradbury, a nineteenth-century American composer of popular hymns still sung at Sunday services. Bradbury’s name may also bring to mind Esther, the Beautiful Queen, his choral setting of a text based on the biblical Book of Esther. The uncomplicated score became enormously popular almost immediately after its initial publication in 1856. In From Biblical Book to Musical Megahit: William B. Bradbury’s “Esther, the Beautiful Queen,” Juanita Karpf traces the work’s rich performance and reception history. Bradbury emphatically stated that he intended Esther to be sung as an unadorned religious and educational piece. Yet many music direct...
The River Knows Everything
Desolation Canyon is one of the West's wild treasures. Visitors come to study, explore, run the river, and hike a canyon that is deeper at its deepest than the Grand Canyon, better preserved than most of the Colorado River system, and full of eye-catching geology-castellated ridges, dramatic walls, slickrock formations, and lovely beaches. Rafting the river, one may see wild horses, blue herons, bighorn sheep, and possibly a black bear. Signs of previous people include the newsworthy, well-preserved Fremont Indian ruins along Range Creek and rock art panels of Nine Mile Canyon, both Desolation Canyon tributaries. Historic Utes also pecked rock art, including images of graceful horses and lively locomotives, in the upper canyon. Remote and difficult to access, Desolation has a surprisingly lively history. Cattle and sheep herding, moonshine, prospecting, and hideaways brought a surprising number of settlers--ranchers, outlaws, and recluses--to the canyon.
