Native American Politics

Given the diverse array of representational forms and the multiplicity of functions that the district can take, we offer a prismatic view of the role that districts play in policy and politics in this chapter, rather than attempting a comprehensive overview. We use disciplinary perspectives from history, political economy, and policy to explore how the district sits at the intersection of key themes in American public education, most notably democracy, governance, the larger political economy, and the interplay between efficiency and equity. This chapter consists of several sections. First, we offer a brief accounting of basic district responsibilities and powers, reminding readers how the district can simultaneously serve as a fundamental unit of educational governance, policymaking, and politics, as well as a social structure that reflects and reinforces social and economic inequities. In the second section, we offer a historical overview of how districts have changed and been studied over time; in doing so, we challenge some of the standard narratives and assumptions about district evolution. Revisiting the historical development of district structures and policies reminds us that what seem like untouchable, timeworn traditions
are simply the legacies of policies created in bygone eras, and thus they remain open to reform, reconstruction, and revision.

The third section provides a critical examination of the political economy of school districts both from a global viewpoint and from the microperspective of interactions of local school economies, racial politics, immigration, and economic shifts. The fourth section discusses the literature on the processes and political dynamics of local decisionmaking. We examine how district actors interpret problems,
evidence, and solutions and explore the factors that can undermine the democratic function of school boards and sideline transformative and equity-oriented policies. In the conclusion, we reflect on what our historical, political, economic, and policy prisms offer in the way of summation of district literature and implications for the future.

What I have discovered from my own experiences and from studying others is that tribalism as a lived experience is the opposite of selfishness. It is coexistence. Tribal strength is demonstrated in the ability of Original Peoples to survive generations of “termination” and extermination programs.

This article discuses technology used to develop graphic material in fine arts classes. The purpose of fine arts classes is to teach students to draw on a variety of graphic materials; to teach them to see, comprehend, understand and appreciate the beauties of being and art; to develop aesthetic and artistic taste, to expand the scope of artistic thought; to develop artistic creativity and imagination, to help them find their own style, their own way of creativity.

Apache Stronghold argued competently and forcefully to protect Oak Flat with US “religious freedom” laws.
The claim of US “ownership” of Oak Flat was central to the decisions against “religious freedom”.
This post looks at the claim that Oak Flat is “owned” by the United States.

In Native Alienation, Charles Sepulveda theorizes the violence of the mission system as processes which fundamentally worked to alienate California Indians from complex relationships to land, kinship, history, identity, culture, and traditional spirituality – all those elements that make them Indigenous. He argues for the importance of considering this process through the lens of physical and metaphysical conquest: “Conquest in California … functioned through the simultaneous genocide and enslavement of California Indians whose land and bodies were possessed by a white supremacist regime intent on possessing their souls as well” (15).

A law school classroom is a crucible in which the scholarly interests of teachers mix with pressures from the practicing bar. The topics and questions in a class in any field of law range from explicitly practical questions—what is the law, how is it likely to develop?—to jurisprudential philosophy—what concepts, values, and assumptions underlie the law? Every law class confronts this mixture in proportions that vary according to the interests of the teacher, the students, and the current times. Let’s take a look through the lens of “legal realism”.

The article analyzes the collection of poetry, Father | Genocide,  by Lipan Apache poet, hersorian, and activist Margo Tamez. The work represents Tamez’s critique of border politics in the Texas-Mexico border region rooted in settler-colonial genocidal practices that have fragmented and traumatized generations of the Lipan Apaches and violently exploited their traditional lands. The border wall imagery remains central in the book and is used by the poet to demonstrate that the colossal structure is not only a material barrier but a manifestation of the ongoing physical, ideological, cultural, and psychosocial oppression. Truthing about the Lipan Apache peoples’ resilient existence in the shadow of the wall, Tamez creates a poetic story in which she restores, nurtures, and celebrates her people’s body, mind, and spirit. In so doing, she continues the role of Nde´ isdza´ ne´ (the People-Women)—traditional law-keepers who have governed, protected, and chronicled the life of Lipan Apache communities for generations.

The painter and sculptor Fritz Scholder (1937 - 2005) was of French, English, and German decent, but was also a member of the Luiseño tribe of Native American Indians.  Although he is best known today for his uncompromising depiction of Native Americans as a contrast to the then-current romanticised notion of the 'noble savage,' he also created images of a more universal or 'non-Indian' sensibility.  This catalogue entry analyses one such ostensibly 'non-Indian' image to identify its context within the artist's output and to articulate the artwork's underlying power and dynamism.  This artwork was donated to the permanent collection of the National Museum of the American Indian by the author:

https://americanindian.si.edu/collections-search/object/NMAI_281912

One day in 1866 the McIntosh family learned that they were free. Prior to that day Jackson and Hagar McIntosh and their eight children had labored for their owner, Roley McIntosh. He was the micco (generally translated as “king”) of the town of Coweta in the Creek Nation in present-day Oklahoma. Roley McIntosh, like some of the wealthiest men in the nation, had taken up arms for the Creek faction that had allied itself with the Confederacy in the American Civil War. The nation was split as another faction fought alongside Union forces. When Roley McIntosh’s side lost and a treaty of peace with the United States emancipated Creek slaves, he sent word that Jackson and Hagar McIntosh, their children, and his other slaves were freed. The good news did not stop there, however. More than six decades later one of the McIntosh daughters, Nellie, would still recall hearing the momentous news that “we . . . can take up some land for our own selves.”

After the war the McIntoshes stayed on the same land they had once farmed for their master. The land they farmed became their own because of the nature of Creek citizenship and land tenure. The 1866 treaty of peace between the federal government and the Creek Nation (also known as the Muskogee Nation) declared that freed slaves were full Creek citizens. Moreover, the treaty explicitly stated that black Creek citizens would enjoy “an equal interest in the soil.” Black people constituted about 13 percent of the nation of 14,300 people—about 1,780 former slaves and at least 60 people (certainly many more) who were free prior to the war. The treaty meant that they could carve farms out of the national lands just as other citizens could. All lands belonged to the nation as a whole, but Creek farmers enjoyed exclusive use (usufruct) rights over the land they tilled and planted.

Santa Clara Tewa artist Susan Folwell’s Taos Light series (2016–present) of social commentary vessels in clay continues the legacy of Native women artists’ leadership in the Southwest in both pottery making and exhibitions of the medium. As a pattern of renewal, or constant set of practices, centered on Pueblo people, Folwell’s vessels portray figurative narratives of cross-cultural dialogue within the region. The intercultural exchanges she depicts express a “kin-space-time constellation,” an Indigenous lens of understanding coined by scholar Laura Harjo (Mvskoke), that “operationalizes multiple dimensions,” including the spirit world, ancestral practices, cosmology, ceremony, and everyday community life.

In her Taos Light series, Folwell comments on the complexity of early twentieth-century intercultural  perceptions,  specifically the interactions between the Taos Society of Artists (TSA)—a group of Euro-American painters who made portraits of Native Americans between 1915 and 1927—and the Taos Pueblo people who collaborated with them as models. Tethered to the early tourism era, Folwell’s vessel forms and imagery create new associations within both the kin-space-time constellation and cross-cultural relationality of Taos that continue today. In this article, I analyze the multi-play, or strategically layered, visual devices that Folwell employs in this series, examining how their meanings shift in presentations at two venues in Taos, New Mexico—the Couse-Sharp Historic Site and the Harwood Museum of Art. To do so, I employ Tuscarora scholar and artist Jolene Rickard’s four-part methodology of analyzing Native art: inspiration, formal analysis, learning through making, and function in Western and Indigenous cultures.To further contextualize Folwell’s collaborative leadership, I examine her Taos Light vessels and related exhibitions through four foundational lenses: mentorship and education, local and international reach, interdisciplinary forms, and place-specific interactions.

È dal 1965, con il Voting Rights Act firmato dal Presidente degli Stati Uniti Lyndon Johnson, che i Nativi Americani hanno ottenuto il pieno diritto al voto. Ma per loro non è mai stato facile votare. Oggi i Nativi affermano di dover ancora affrontare delle barriere per esprimere il proprio voto. Vediamo perchè.
Secondo i dati del NCLS, oltre 4,7 milioni di Nativi Americani hanno diritto al voto, ma solo il 66% di loro è registrato per votare, secondo il rapporto Obstacles at Every Turn: Barriers to Political Participation Faced by Native American Voters del Native American Rights Fund (NARF). Innanzitutto, la loro partecipazione elettorale è difficile da individuare. A differenza di quanto avviene per le altre fasce di popolazione, l'Ufficio del Censimento degli Stati Uniti non riporta la registrazione degli elettori e l'affluenza alle urne specifica per i Nativi Americani, come vediamo nell'esempio di exit poll qui riportato. Oltre a questa "diversa" considerazione, c'è anche il problema, evidenziato a gran voce sui media nativi nelle elezioni del 2020, della accessibilità al voto.

El Palacio. ISSN: 0031-0158.
Museum of Indian Arts and Culture (Museum of New Mexico) -- Exhibitions
Iconoclash (Exhibition)
Indian art
Indian artists
Indian painting
Installations (Art)
Political art
Politics and culture
Stereotypes (Social psychology) in art
Amerman, Marcus (Choctaw), 1959-
Amerman, Marcus (Choctaw), 1959-
Bradley, David (White Earth Ojibwe), 1954-
21st century
2006

There is a relatively longstanding recognition that for Indians, free exercise of religion, because of the tribal nature of the religion, may require a degree of establishment of religion. Thus, Native American tribal culture sits uneasily within the U.S. constitutional structure. This essay is a brief meditation on the development of constitutional doctrine on the religion clauses and historical links between that development and Native Americans. (I had greater ambitions for the piece but time has run out.)

El Palacio. ISSN: 0031-0158.

Awa Tsireh (Roybal, Alfonso) (San Ildefonso), 1898-1955

Genres:
Awards
Biography
Biographies
Genealogy
Portrait
Chronology
Criticism, interpretation, etc.
Illustrated works

Subjects:
Pueblo painters -- Biography
Pueblo painting -- New Mexico -- San Ildefonso Pueblo
Tewa painters -- Biography
Tewa painters -- New Mexico -- San Ildefonso Pueblo
Tewa painting
Tewa painting -- New Mexico -- San Ildefonso Pueblo
Pueblo mural painting and decoration
Pueblo mural painting and decoration -- New Mexico -- Albuquerque
Watercolor painting
Animals in art
Horses in art
Pueblo Indians -- Social life and customs -- In art
Pueblo dance -- In art
Silversmiths -- New Mexico -- San Ildefonso Pueblo
Silverwork -- New Mexico -- San Ildefonso Pueblo

Named Institutions / Exhibitions:
Maisel's Indian Trading Post (Albuquerque, N.M.)
Museum of New Mexico -- Art collections
Arts Club of Chicago -- Exhibitions
Century of Progress International Exposition (1933-1934 : Chicago, Ill.)
Corcoran Gallery of Art -- Exhibitions
Exposition of Indian Tribal Arts, Incorporated -- Exhibitions
Newberry Library -- Exhibitions
Society of Independent Artists, Incorporated -- Exhibitions
l'Ordre des palmes académiques (France)

Named tribal persons:
Martinez, Crescencio (Táe) (San Ildefonso), 1879-1918
Martínez, Santana Roybal (San Ildefonso), 1909-2002
Roybal, Josephine Elizabeth (San Ildefonso)
Roybal, Mella (San Ildefonso)

Other named persons:
Coomaraswamy, Ananda, 1877-1947
Henderson, Alice Corbin, 1881-1949
Maisel, Maurice M.
Rush, Olive, 1873-1966
Sloan, John, 1871-1951
Spinden, Herbert Joseph, 1879-1967
San Ildefonso Pueblo (N.M.) -- Biography.
San Ildefonso Pueblo (N.M.) -- History.
Albuquerque (N.M.) -- History.

It has been admired, coveted, collected, analyzed, speculated on, and discussed since contact. Native art is a major component of the southwestern economy and helps shape regional identity. It is almost assumed that anyone living in the Southwest has a Navajo rug, a Pueblo pot, a Tohono O'odham basket, or a painting by an Indian artist in their living room. The art market, which began in the sixteenth century, continues to expand, as does our knowledge about the producers, purchasers, retailers, and the art Indian Painters ofthe Southwest: The Deep Remembering.

The automobile is a recurring motif among modern and contemporary Native American artists that has gone severely understudied. By examining the use of the automobile motif by Native American artists from Plains tribes as well as the methods by which Native American artists have coopted automobile culture to expand their audiences, I will demonstrate that the automobile motif in Native American art functions as a "trickster" figure. In this "trickster shift," the automobile captures the attention of an audience through appeal to stereotype and absurdity only to reverse expectations and promote greater consideration of the other. In the creation of such work, Native artists claim the automobile as a Native American space and elevate the automobile beyond its mundanity by transforming an everyday object into a sign of cultural continuity and an embodiment of Native American historicity. v

Much of the curatorial and anthropological literature on museology has oversimplified museum spaces as monolithic colonial entities. However, recent developments in museum practice as a process of collaborative and public cross-cultural exchange are changing the way these spaces are interpreted and used. In this thesis, I examine contemporary curatorial endeavors at a number of museums and galleries in Vancouver, British Columbia, that attempt to revitalize the ways in which the cultural expressions of Indigenous artists and their communities are represented. The artists whose works are examined in this thesis locate their traditional territories along the coastline of B.C. As both separate and similar institutions, museums and art galleries are useful venues from which one may examine and chart ongoing processes of cross-cultural exchange. A curatorial exhibition project of my own: Understanding Place in Culture: Serigraphs and the Transmission of Cultural Knowledge will explore some of the obstacles and benefits of engaging in cross-cultural conversations of cultural representation. The exhibit looks at a selection of prints by Indigenous artists from the Smyth and Rickard Collections of Northwest Coast Prints from the University of Victoria Art Collections (UVAC) chosen specifically because they concern the artists' perspectives of place as it relates to physical locations, identity, and cultural practice. The relationship between the organization of knowledge and culturally specific attachments to space and place are central to understanding how we think about, and engage with, the world around us. The relationship between places and local knowledge connects the content of the images with the space in which they are to be exhibited: the Maltwood Prints and Drawings Gallery in the McPherson Library at the university. Through interviews with artists and curators, and a review of the literature surrounding these issues, I have attempted to create an argument for the importance of space and place in support of an agentive curatorial practice. As an attempt to decolonize the museum/gallery space, this thesis argues that diverging perspectives of place are essential to the way we understand the world and our position within it. iv

This chapter provides an overview of federal education case law and legislation. Currently, there is no Supreme Court education case law applicable specifically to American Indian students. Following brief descriptions of categories of jurisdiction and the structure of the federal court system, the overview summarizes Supreme Court case law applicable to all students and examines potential implications for American Indian students, where applicable. Case law in education falls into the following general areas: (1) discipline (corporal punishment, due process); (2) curriculum (protection of freedom of religion, English-as-a-second-language instruction for limited-English speaking students); (3) student and teacher right of free speech; (4) tort law (responsibility and negligence in education, "in loco parentis" issues, extent of school liability); (5) equity (educational discrimination, integrated facilities, equal educational opportunity); (6) special education (rights of disabled children); (7) finance (equality in school funding); and (8) compulsory attendance. Nineteen federal legislative acts are summarized that provide the legislative foundation of American Indian education. Contains references in endnotes.

This chapter provides an overview of federal education case law and legislation. Currently, there is no Supreme Court education case law applicable specifically to American Indian students. Following brief descriptions of categories of jurisdiction and the structure of the federal court system, the overview summarizes Supreme Court case law applicable to all students and examines potential implications for American Indian students, where applicable. Case law in education falls into the following general areas: (1) discipline (corporal punishment, due process); (2) curriculum (protection of freedom of religion, English-as-a-second-language instruction for limited-English speaking students); (3) student and teacher right of free speech; (4) tort law (responsibility and negligence in education, "in loco parentis" issues, extent of school liability); (5) equity (educational discrimination, integrated facilities, equal educational opportunity); (6) special education (rights of disabled children); (7) finance (equality in school funding); and (8) compulsory attendance. Nineteen federal legislative acts are summarized that provide the legislative foundation of American Indian education. Contains references in endnotes.

During the summer of 1973, Guadalupe Acosta experienced labor pains and was rushed to the Los Angeles County Hospital where doctors induced delivery by pushing and punching her stomach. Acosta's child was stillborn. Months later, she would find out that doctors had sterilized her. 1 Georgina Hernandez was admitted to the delivery room, and after eight hours of waiting and four hours of intense labor pains, medical staff asked for her consent to sterilization. 2 Hospital staff falsely told Consuelo Hermosillo sterilization was necessary to avoid death, as this was her fourth cesarean section. She signed the consent form immediately before her surgery. 3 These are a few of the cases where doctors forced sterilizations on Mexican women under false pretenses. They suffered emotional stress and lost their reproductive abilities because they allegedly consented. However, the medical staff at Los Angeles County Hospital did not view their actions as criminal. They claimed that they had provided patients with adequate information on the procedure, did not force it onto any patient, and kept the safety of the patient in mind. 4 Transcripts of the resulting 1975 civil suit, Madrigal v. Quilligan, starkly demonstrate the tensions between the Mexican women and medical institutions that demonstrate the reasoning behind the medical officials' enforcement of sterilizations.

The Search Engine is fundamentally a search for established
individuality, a vision in the wilderness, and the meaning and
definition of female protagonist Corliss. The present study
explores the ways through which Native American hybridized
identity survives in the white hegemonic cultural society. By
using the theory of Evolution which is conceived by Charles
Darwin, the research intends to highlight those characteristics of
Corliss which make her a favorable species among stagnant and
dormant tribal folks. Corliss’ survival strategy includes
navigating and challenging the systemic oppressions faced by
Indigenous communities in North America by getting rich white
education. The Search Engine advocates that conflicting identity
or in more apt terminology an identity that is hanging between
cultures can discover harmony and be conformed through
mutual respect, flexible attitude and acknowledgement at an
individual level. This research reinvestigate Corliss’ journey
which involves a progression from adopt to adapt to adept phase
and her search for a stable identity while living in a mainstream
society of Euro America. It deals with tussles and struggles of
Corliss as she evolves through life in survival mode, particularly
in regards to her experiences with her research of another
traumatized poet Harlan Atwater. The effort to become
recognized as a fully formed human being, as well as the desire
to be treated with decency and equality rather than as second class citizens is admirable. She fulfills the demands of anticolonialist ideological identity; hence there is suppression over
colonial subjects, subversion the colonialist discourse which
eventually leads toward fine tuning the postcolonial identity that
takes her to the desired status in the society unlike to her father
and uncles.

Spring 2003 Issue of KINEMA THE PLAINSMAN (1937): CECIL B. DeMILLE'S GREATEST AUTHENTICITY LAPSE? Cecil B. Demille was a seminal founder of Hollywood whose films were frequently denigrated by critics for lacking historical verisimilitude. For example, Pauline Kael claimed that DeMille had "falsified history more than anybody else" (Reed 1971: 367). Others argued that he never let "historical fact stand in the way of a good yarn" (Hogg 1998: 39) and that "historical authenticity usually took second place to delirious spectacle" (Andrew 1989: 74). Indeed, most "film historians regard De Mille with disdain" (Bowers 1982: 689) and tended to turn away in embarrassment because "De Mille had pretensions of being a historian" (Thomas 1975: 266). Even Cecil's niece Agnes de Mille (1990: 185) diplomatically referred to his approach as "liberal." Dates, sequences, geography, and character bent to his needs." Likewise, James Card (1994: 215) claimed that: "DeMille was famous for using historical fact only when it suited his purposes. When history didn't make a good scene, he threw it out." This DeMillean fact-of-life was also verified by gossip columnist Louella Parsons (1961: 58) who observed that DeMille "spent thousands of dollars to research his films to give them authenticity. Then he would disregard all the research for the sake of a scene or a shot that appealed to him as better movie-making." As Charles Hopkins (1980: 357, 360) succinctly put it: "De Mille did not hesitate to turn the meandering stream of historical record into a straight channel if by doing so he made his films more exciting and comprehensive to a general audience; but if he simplified history, he was seldom guilty of conscious distortion." In fact, Diana Serra Cary suggested that DeMille's un-authenticity was itself an auteuristic trademark: After combing all the libraries and other sources for every fact and figure bearing on his theme, De Mille just as methodically set about throwing out that data that did not match up to his own conception of good history as being good theater. This was a De Mille hallmark and one in which he took considerable pride. Not every historian had such resources at his command nor, indeed, was so high-handed in his disregard for history (Cary 1975: 222). DeMille's absurd, inaccurate and unauthentic reputation was artistically encapsulated in the following clerihew that he recorded in his own autobiography, namely:

El Palacio ; volume 92, number 1 [Special issue: Women in the Southwest] (Summer/Fall 1986), pages 51-53 : illustration, portrait ; 28 cm.
ISSN: 0031-0158

Zwinger, Susan [interviewer]
Smith, Jaune Quick-to-See (Flathead Salish), 1940- [interviewee]
Indian artists -- Interviews
Indian artists -- United States -- Interviews
Indian artists -- New Mexico -- Interviews
Art, Modern -- 20th century -- United States
Interviews
Biography
Criticism, interpretation, etc.

which gave rise to this Article, and for their stimulating and interesting comments and papers. He would also like to thank Dean Akira Morita and the Doshisha University Law School in Kyoto, Japan, without whose facilities and kindness parts of this Article would have been significantly harder to research. As always, he would like to thank Dean Joan Howarth and his colleagues at MSU College of Law, who give the best research support any researcher could hope for as well as the stimulating intellectual environment to write. Finally, the author would like to thank his research assistants Philip Berens, Heather Snider, Elena Rozdowski, Jonathon Warner, and Jim Zeihmer for their work researching this project.

The United States has a special relationship with Indian tribes.' By use of the Constitution and numerous treaties, the federal government has endeavored to protect tribes from states, which have often coveted Indian lands and assets and have sought to impose their will on the Indian tribes and peofle. 2 In 1831, the Supreme Court held in Cherokee Nation v. Georgia that Indian Nations have the full legal right to manage their own affairs, govern themselves internally, and engage in legal and political relationships with the federal government and its subdivisions. 4 Yet the Court also recognized that tribal sovereignty is dependent on, and subordinate to, the federal government.

As the world continues to move away from rural forms of living, so too do Native Americans struggle with this transition, both within the realm of literature and in the real world around us. The plight of modern Native Americans involves not only a transition from reservation to city, but also a struggle to be included in the defining forces of this country. Sherman Alexie's urban Indians clearly function in separate areas on the identity continuum, varying between total assimilation and complete culture preservation, which allows Alexie to make a statement about Native American identity in general as well as progressively shift the focus of his work over time. In Alexie's short story "Saint Junior," the main character, Roman Gabriel Fury, attempts to adjust his identity to that of the dominant culture by immersing himself in an urban setting through his involvement with an international basketball team, but he eventually fails and has no other option than to return to his home on the reservation. The story, "The Search Engine," depicts the life of Corliss Joseph, a young Indian woman who desires to fully adjust her identity so that it meshes with that of the dominant culture and is actively pursuing this goal through her involvement in higher education, often valuing the tenets of the dominant culture above those of her own heritage. In Alexie's story "War Dances," the unnamed protagonist exists as a mostly well-adjusted urban Indian who benefits from his involvement in both his Native culture and the dominant culture. This progression within Alexie's work demonstrates a more positive outlook of acceptance between the two cultures and acknowledges the necessity of a dualistic identity within such individuals. Korsmo 1

Tribal nations have entered an era of nation building or the process by which a native nation enhances its foundational capacity for effective self-governance and self-determination. While many tribal nations have become more economically secure in recent years, legitimacy has remained elusive for some. Successful tribal nations, alongside struggling nations, often endure setbacks as citizens question and critique all actions of the tribal government. Focusing on developing legitimacy-building institutions will assist tribal nations not only gain validity in the eyes of their citizens, but also reconnect with the values of their community. This article suggests that tribal nations should re-evaluate their governing institutions to seek ways to insert culturally relevant legitimacybuilding institutions, provides several best practices, and articulates ways in which the discipline of public affairs can help facilitate native nation building.

'Tragedies of the Osage Hills,' which dramatized the same horrifying killings at the heart of Martin Scorsese's new film, premiered in 1926. Its elusive and scandal-plagued director-Hollywood's first Native American filmmaker-spent much of his life concealing his identity.

Relationship with the environment is rooted in the epistemology of a community. The white worldview favors hierarchy of the chain of being. Environment being at the lowest rung deserves only one response from mankind: subjugation and destruction which entail white dominance for ecocide of the Native American environment. Alexies incorporation of Nature is not an escapist stance; it comes from the understanding that no venture into future is possible without understanding the past. The Native American epistemology is land based in which geography, events, myth and history cohere with mutually supporting brotherhood of humans and non-humans. Alexie is an environmental racist who believes that the Euroamericans are responsible for the breach of the Native American ecological balance. Dislocations of the Natives and the destruction of their environment meant the annihilation of their civilization. Alexies poetry imaginatively recovers the Native American relationship with the environmen...

This article examines the ramifications of Bessard v. California Community Colleges, the first case in the employment setting decided under the Religious Freedom Restoration Act (RFRA). To set the stage for an analysis of the Bessard case, the thirty year history of the "compelling interest" test in public sector employment is traced from its development in the 1963 case of Sherbert v. Verner through its being struck down by the Supreme Court in Employment Division, Department of Human Resources v. Smith (1990) to its reinstatement in the Religious Freedom Restoration Act of 1993. After this examination of the judicial and legislative heritage of the RFRA and its relationship to the free-exercise clause of the First Amendment, the facts and decisions in the Bessard case are analyzed. A concluding discussion is then presented, examining the implications of the RFRA and Bessard, with an eye toward areas of possible future First Amendment litigation over employment issues in the public sector. The Puritans were never a tolerant bunch. Soon after the execution of King Charles I, on January 2, 1650, the so-called Rump Parliament of England passed what became known as the Engagement Act. This act specified that all men over the age of eighteen would have to take an oath, which they called "The Engage ment." The Engagement read as follows: "I, , do declare and promise, that I will be true and faithful to the Commonwealth of England, as it is now estab lished, without a King or House of Lords" [1, p. 391]. The Puritan-mandated oath was not long-lived however, mostly due to the fact that many adult men refused to swear allegiance to the new form of government [2, p. 515]. In the end, neither

Infederal and state courts, ethnographic research has been used as an instrumentfor justifying the erasure of American Indian cultural identities. This is nota new trend. The legal theft of American Indian homelands was justified throughthe application of social science theory as a qualified source of testimony onthe Indian as subject. In the Supreme Court case Tee-Hit-Ton Indians v.United States 348 U.S. 272 (1955), the court was asked to decide if membersof the Tee-Hit-Ton, a subgroup of the Tlingit, had property ownership over thetimber on their land, as they sought compensation from the sale of timber (Getches and Wilkinson 1984). In the court proceedings, ethnographic evidencerevealed the Tlingit both as having a different concept of property ownershipfrom nomadic tribes, and as a predominately sedentary people. In its verdict,the Supreme Court described them as, sufficiently, fitting the U.S. legaldefinition of a “tribe” or a group of people who possess the right of occupancyi...

Prior analysis of American Indian nations' unemployment, poverty, and growth rates indicates that poverty in Indian Country is a problem of institutions-particularly political institutions-not a problem of economics per se. Using unique data on Indian-owned enterprises, this paper sheds light on one of the core institutions of enterprise success-corporate governance. Indian enterprises that are subject to undue political influence-especially the influence of elected officials who serve as members of enterprise boardsfrequently fail to thrive. Thus, enterprises without politically insulated corporate governance cannot generate ongoing profits for reinvesting in the community or for sustaining employment growth. Nonetheless, institutional means of separating business from politics are readily available-even for Indian nations committed to tribal ownership of significant portions of their economies. The subject of economic development in Indian Country is well-plowed territory. Presidential Commissions and Congressional Committees have investigated, tribal policy makers have experimented, bankers have innovated, and Indian entrepreneurs have put their time, talent, and treasure at risk. 2 As a consequence of this multi-fronted attack on underdevelopment, a number of salient patterns of success are coming into focus. This report applies statistical techniques to new data gathered in a joint effort by the National Congress of American Indians (NCAI), Alliance Management Systems, and the Harvard Project on American Indian Economic Development (hereinafter "the Harvard Project") funded by the Economic Development Administration of the US Department of Commerce (EDA). 3 The analysis uses survey responses from scores of tribal and individually owned Indian enterprises, representing nine commercial sectors, to isolate factors that contribute to enterprise success. The findings accord with previous research and reinforce policy approaches that the most successful enterprises in Indian Country already follow. The findings also suggest that new directions in federal policy are warranted.

On view from May 18 to September 10, 2023, the exhibition Wolves: The Art of Dempsey Bob retraces the master carver's career from the 1970s to the present. Featuring masks, wall sculptures, vessels and regalia, this first major retrospective of his work showcases Dempsey Bob's refined style, as well as his remarkable visual storytelling abilities.

Abstract: Written by teachers from the United States and Canada, these lesson plans focus on integrating the teaching of history and art history. Seventeen lesson plans cover the topics of (1) Slavery, Henry Ossawa Tanner, and His Family--Grades: Elementary;(2) ...

This report documents nonprofit organizations in the state of Minnesota that are led by or administer programs for the benefit of American Indians. It identifies the economic impacts as well as strengths and challenges facing these organizations and the people they serve. The findings inform a set of recommendations to foundations and community leaders, nonprofit managers and board members in supporting those organizations and building more sustainable collaborations

Indigenous studies and Taiwan studies have a rather tenuous intellectual relationship. From a Taiwanese perspective, the study of indigenous peoples has been a part of the inward-turning indigenisation (本土化, bentuhua) of Taiwan scholarship; affirmation of a locally-rooted, non-Chinese national identity. The idea that Taiwan is the starting point of the Austronesian diaspora makes Taiwan important to the world in new ways. For indigenous scholars, indigenous studies can also contribute to a pride of their places and cultures, meaningful on their own terms. Applied and action research can also be helpful to indigenous goals of local self-determination. Reflection on the ontological implications of indigeneity suggests that indigenous studies cannot be relegated to a subfield of Taiwan studies. There is thus a need for reflection on the ontology of our studies.

The purpose of this project is to compile a brief history of Oklahoma art museums, while specifically honoring individual contributors that have made the existence of these museums possible. The emphasis on individual contributors is a result of my employment at the Oklahoma Hall of Fame at the Gaylord-Pickens Museum. With an institutional mission of "[preserving] Oklahoma's unique history while promoting pride in our great state...by telling Oklahoma's story through its people," it was necessary to highlight individuals that helped create Oklahoma's extensive museum network. In addition to the institutional constraints highlighted by the mission statement above, there were several factors that contributed to the selection process for inclusion in the project. The most restrictive of these factors was using Hall of Fame inductees whose portraits were already on hand at the Oklahoma Hall of Fame. When a portrait was not on hand, a loan agreements were met with a...