Monthly Archives: May 2017

Jesuits Return 525 Acres to Rosebud Sioux Tribe – Indian Country Media Network

St. Charles Borromeo Church, St. Francis, Rosebud Indian Reservation, South Dakota

The Jesuit-run St. Francis Mission returned more than 500 acres of land to the Rosebud Sioux Tribe as a step to righting the historical wrongs of the past.

Source: Jesuits Return 525 Acres to Rosebud Sioux Tribe – Indian Country Media Network

 

 

 

Missionaries and parish members at Catholic Sioux Conference, 1919. (Marquette University).

Nicholas Black Elk teaching children at the Rosebud Reservation. (Marquette University)

Violence and Resistance: A Symposium

On May 12 and 13, the D’Arcy McNickle Center for American Indian History at Chicago’s Newberry Library hosted scholars and community members from around the country to discuss the central role violence has played in European colonization of indigenous homelands, and the innovative modes of resistance Native communities have employed to fend off the destruction of their ways of life.

Supported by funding from Michigan State University and the University of Oregon, the two-day event featured talks and workshops by 30 participants representing disciplines ranging from literary studies and history to linguistics and anthropology.

Historian Susan Sleeper-Smith of Michigan State University, and one of the symposium organizers, offered a retelling of George Washington’s tactics in the Ohio River Valley during his presidency that crystallized the centrality of violence to federal Indian policy. In a letter to the militia he had sent to the Ohio, Washington was blunt: “assault the said towns, and the Indians therein, either by surprise, or otherwise, as the nature of the circumstances may admit— sparing all who may cease to resist, and capturing as many as possible, particularly women and children.”

Throughout the symposium, speakers recounted the pervasiveness of such tactics, not only in the U.S., but also in Oceania, Central America, and Canada. In every case, however, participants found that indigenous peoples were very rarely passive victims. Rather, they mobilized to counter this aggression with innovative strategies of resistance. Their pushback was both large and small. In 1675, Wampanoag Confederacy leader Metacom launched a full scale assault against the English colonies of New England. In Los Angeles at the present moment, Maya women defy verbal abuse in the streets of the city by proudly wearing their traje (traditional woven, multicolored blouse called a huipil, a corte, a woven wraparound skirt that reaches to the ankles, and is held together by faja/sash at the waist) in public places.

Shadowing all of these talks was the one word no one who studies these histories can avoid: genocide.

It is a hot button issue, and often in the news. Just two years ago, at Sacramento State University in California, a Native university student, Chiitaanibah Johnson (Navajo/Maidu),  took her history professor to task because he refused to acknowledge that what happened to Native peoples in the Americas was indeed genocide (Read more). She was initially suspended for her dissent, but reinstated when the incident became national news.

genocide . . . includes the criminalization and displacement of survivors as well as the destruction of their livelihoods and lives

Alicia Ivonne Estrada

Among the speakers at the Newberry symposium, there was a general consensus that genocide was indeed embedded in colonial policies towards indigenous peoples, that it is a structural, and that it is still an issue today. Dr. Alicia Ivonne Estrada of California State University, Northridge, cited the stark statistics from Guatemala: “170,000 Mayas killed in Guatemala during the armed conflict [of the 80s and 90s]. The militia Washington sent to the Ohio Valley “marched across the Ohio River and north into Indian Country, where they enthusiastically leveled all the villages surrounding Ouiatenon, torched the adjacent cornfields, reduced every house to ash, uprooted vegetable gardens, chopped down apple orchards, killed the Indians who attempted to escape, and captured and forcibly transported fifty women and children to Fort Steuben at the Falls of the Ohio.” Richard Henry Pratt, the man who set up the U.S. Indian boarding school system, demanded his teachers “kill the Indian,” in the cultural sense—that is, take away his language, his religion, his family.

But genocide is more than raw killing. As Dr. Estrada observes, casualty numbers “indicate one aspect of genocide, but not its entirety, which includes the criminalization and displacement of survivors as well as the destruction of their livelihoods and lives.” Professor Sleeper Smith summed it up this way: “We have spent too long focused on Indian demise. If we stopped focusing on the plow agriculture of settler colonists and stopped imagining settler societies as peaceable places but more closely examined places like the Ohio River Valley we could better understand how violence became embedded in social formation during the Early Republic.”

We have spent too long focused on Indian demise.

Susan Sleeper Smith

Although most speakers expressed how difficult it has been to pursue research on these topics, given the grisly accounts and archives they have had to face, most expressed hope and cited significant signs of rebuilding in the many Native communities that have been subjected to this violence. In the Yakama Nation, new speakers of the language are being trained in the schools, and the ethical lessons of traditional storytelling rekindled for a new generation. All of the scholars seemed to agree that the ugly history of colonial violence need to be told—to raise awareness in policy makers, teachers, and the general public. That is because with the violence came resistance, and with resistance, new ways of community building that have benefitted Native and non-Native peoples alike. Just take a look at the final image from the event.

Audience members and participants gather for a group photograph at the conclusion of the symposium.

New Yale Partner Faulted for Handling of Tribal Artifacts

A fishhook from the early half of the 19th century from the Newton Andover collection at the Peabody Essex Museum in Salem, Mass. Credit Peabody Essex Museum, Deposit of the Andover Newton Theological School, 1976

Native American tribes are waiting for the return of their sacred items from the collection of a Massachusetts seminary.

Source: New Yale Partner Faulted for Handling of Tribal Artifacts

The Art of Sovereignty

Incised Tablet. Date: ca.1450–1700 Medium: Catlinite (red pipestone). Sanford Museum and Planetarium, Cherokee, Iowa (521-69-m)

Even as questionable auctions of indigenous art continue unabated in Paris, some American museums have begun to make an effort to “mainstream” similar (but responsibly collected) objects into their exhibits. New York’s Metropolitan Museum of Art has led the charge, making it a top priority “to display art from the first Americans within its appropriate geographical context” alongside artworks by non-Natives (NYTimes, 4/6/17).

In the fall of 2018, the Met will debut a major exhibition of indigenous art that will be shown in conjunction with its Euro-American counterparts in the museum’s American Wing. The show was made possible by a generous gift of some 91 Native American works by Charles and Valerie Diker, New Yorkers who have been collecting American art—both Native and non-Native—since the 1960s. This year they loaned a few pieces of their collection to be arranged among the more typical works found in the American Wing as a preview to this fall’s unveiling of the whole exhibit.

19th-century Iroquois/Haudenosaunee pouch donated by the Dikers and displayed in the Met’s American Wing. Credit Joshua Bright for The New York Times

The Dikers’ generous gift is part of a trend that really got underway in 2015, with the Metropolitan Museum of Art’s show The Plains Indians: Artists of Earth and Sky. The New York Times’ reviewer, Holland Cotter, called it “an exhibition that has to be one of the most completely beautiful sights in New York right now.”

But the exhibition also raised many questions about the ethics of displaying uprooted objects (the show was comprised of items collected from mostly European institutions) without proper context. In her review for Hyperallergic, Ellen Pearlman traced this flaw to what she called “the cult of the aesthetic object.”

Patricia Marroquin Norby, Director of the D’Arcy McNickle Center for American Indian History and Indigenous Studies, and C. Joseph Genetin-Pilawa, assistant professor of history at George Mason University wrote an in-depth analysis of the Plains exhibit’s reviews and concluded, “taken together, these reviews show the persistence and power of that language. They tell us that as a society, we’ve made little progress in moving beyond worn out stereotypes bequeathed from centuries past.” Their essay, “How We Still Look At and Talk About Indians and Their Art,” explores the language of romanticism that still pervades how such works of art are discussed by reviewers and the public at large. Time and again, Marroquin Norby and Genetin-Pilawa uncover phrases that could have appeared in 19th-century dime novels of the American West, leading them to conclude: “To accept outdated language is historical laziness that does broad damage. It’s a cavalier attitude, one that helps explain prevalent cultural appropriations like hipster headdresses, Hollywood Indians, and the dogged support for racist professional sports mascots.”

To accept outdated language is historical laziness that does broad damage. It’s a cavalier attitude, one that helps explain prevalent cultural appropriations like hipster headdresses, Hollywood Indians, and the dogged support for racist professional sports mascots.

Robe with Mythic Bird, ca. 1700–40. Mid-Mississippi River Basin, probably Illinois Confederacy. Eastern Plains. Musée du quai Branly, Paris, France (71.1878.32.134)

 

 

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To be clear, neither writer is taking to task the museum’s efforts to display Native material culture and fine arts in conjunction with other work produced in the United States. They recognize that we are in an early stage of a process that will take some time to develop. After all, offering indigenous artifacts, easel painting, performance art, and digital imagery to the public view carries with it an ethical imperative. The display of indigenous arts with a clear and forceful assertion of the simple fact that underlies all efforts at repatriation— Native peoples are still here.