This volume draws together more than two centuries' worth of Osage art, tracing the patterns of Osage life and culture as they existed from contact to the present. 140 illustrations, 110 in color.
Louis Burns draws on ancestral oral traditions and research in a broad body of literature to tell the story of the Osage people. He writes clearly and concisely, from the Osage perspective. First published in 1989 and for many years out of print, this revised edition is augmented by a new preface and maps. Because of its masterful compilation and synthesis of the known data, A History of the Osage People continues to be the best reference for information on an important American Indian people.
#1 NEW YORK TIMES BESTSELLER • A twisting, haunting true-life murder mystery about one of the most monstrous crimes in American history, from the author of The Wager and The Lost City of Z, “one of the preeminent adventure and true-crime writers working today."—New York Magazine • NATIONAL BOOK AWARD FINALIST • NOW A MARTIN SCORSESE PICTURE “A shocking whodunit…What more could fans of true-crime thrillers ask?”—USA Today “A masterful work of literary journalism crafted with the urgency of a mystery.” —The Boston Globe In the 1920s, the richest people per capita in the world were members of the Osage Nation in Oklahoma. After oil was discovered beneath their land, the Osage rode in chauffeured automobiles, built mansions, and sent their children to study in Europe. Then, one by one, the Osage began to be killed off. The family of an Osage woman, Mollie Burkhart, became a prime target. One of her relatives was shot. Another was poisoned. And it was just the beginning, as more and more Osage were dying under mysterious circumstances, and many of those who dared to investigate the killings were themselves murdered. As the death toll rose, the newly created FBI took up the case, and the young director, J. Edgar Hoover, turned to a former Texas Ranger named Tom White to try to unravel the mystery. White put together an undercover team, including a Native American agent who infiltrated the region, and together with the Osage began to expose one of the most chilling conspiracies in American history. Look for David Grann’s latest bestselling book, The Wager!
A collection of rich artifacts from one thousand years of artistic production in what is now Missouri. Art Along the Rivers marks the two-hundredth anniversary of Missouri's statehood. This exhibition catalogue presents extraordinary objects produced or collected within a 150-mile region around St. Louis, including paintings, sculptures, drawings, furniture, ceramics, metals, and textiles. As a celebration of the cultural and artistic traditions of this region, the catalog looks within--and beyond--the years of statehood to reveal how the region's geography, raw materials, and pressing social issues shaped over one thousand years of rich artistic production. Though these objects have rarely been considered in connection with one another, the catalog brings them into dialogue to establish and celebrate their shared artistic history. Art Along the Rivers serves as the first significant publication to introduce this primary artistic material to a global audience.
A millennia ago, Native Americans entered the dark recesses of a cave in eastern Missouri and painted an astonishing array of human, animal, and supernatural creatures on its walls. Known as Picture Cave, it was a hallowed site for sacred rituals and rites of passage, for explaining the multi-layered cosmos, for vision quests, for communing with spirits in the "other world," and for burying the dead. The number, variety, and complexity of images make Picture Cave one of the most significant prehistoric sites in North America, similar in importance to Cahokia and Chaco Canyon. Indeed, scholars will be able to use it to reconstruct much of the Native American symbolism of the early Western Mississippian world. The Picture Cave Interdisciplinary Project brought together specialists in American Indian art and iconography, two artists, Osage Indian elders, a museum curator, a folklorist, and an internationally renowned cave archaeologist to produce the first complete documentation of the pictographs on the cave walls and the first interpretations of their meanings and significance. This extensively illustrated volume presents the Project's findings, including an introduction to Picture Cave and prehistoric cave art and technical analyses of pigments, radiocarbon dating, spatial order, and archaeological remains. Interpretations of the cave's imagery, from individual motifs to complex panels; the responses of contemporary artists; and interviews with Osage elders (descendants of the people who made the art), describing what Picture Cave means to them today, are also included. A visual glossary of all the images in Picture Cave as well as panoramic views complete this pathfinding volume.
In English, I’n-Lon-Schka means "playground of the eldest son." The dance, in which women are allowed only a peripheral role, celebrates traditional masculine values while helping to break down factionalism and feuding within the tribe. The participants, who now number in the hundreds, assemble each June in three Oklahoma communities-Pawhuska, Hominy, and Grayhorse-where the Dance Chairmen, the Drumkeeper (an eldest son of the tribe), and the dance organization have been preparing for the dance throughout the year. The I’n-Lon-Schka is religious in content and continues to establish conduct and ways of living for tribal members.
If changed by development, the authors found the present Osage valley landscape expressive. Illustrated with hundreds of color photographs, period maps, and vintage images, this book tells the dramatic saga of human ambition pitted against natural limitations and forces beyond man's control.
The Osage Orange Tree, a never-before-published story by beloved poet William Stafford, is about young love complicated by misunderstanding and the insecurity of adolescence, set against the backdrop of poverty brought on by the Great Depression. The narrator recalls a girl he once knew. He and Evangeline, both shy, never find the courage to speak to each other in high school. Every evening, however, Evangeline meets him at the Osage orange tree on the edge of her property. He delivers a newspaper to her, and they talk—and as the year progresses a secret friendship blossoms. This magical coming-of-age tale is brought to life through linocut illustrations by Oregon artist Dennis Cunningham, with an afterword by poet Naomi Shihab Nye, a personal friend of Stafford’s. In the tradition of the work of great fiction writers like Steinbeck, O’Connor, and Welty, The Osage Orange Tree stands the test of time, not just as an ode to a place and a generation but as a testament to the resilience of a nation and the strength of the human heart.
A classic fiction piece written by James Owen Dorsey. This British narrative explores the folklore and traditions of the Osage Indians, offering readers a deep insight into their culture and language. A fascinating read for those interested in indigenous cultures and folklore narratives.
The Osage empire, as most histories claim, was built by Osage men’s prowess at hunting and war. But, as Tai S. Edwards observes in Osage Women and Empire, Osage cosmology defined men and women as necessary pairs; in their society, hunting and war, like everything else, involved both men and women. Only by studying the gender roles of both can we hope to understand the rise and fall of the Osage empire. In Osage Women and Empire, Edwards brings gender construction to the fore in the context of Osage history through the nineteenth century. Edwards’s examination of the Osage gender construction reveals that the rise of their empire did not result in an elevation of men’s status and a corresponding reduction in women’s. Consulting a wealth of sources, both Osage and otherwise—ethnographies, government documents, missionary records, traveler narratives—Edwards considers how the first century and a half of colonization affected Osage gender construction. She shows how women and men built the Osage empire together. Once confronted with US settler colonialism, Osage men and women increasingly focused on hunting and trade to protect their culture, and their traditional social structures—including their system of gender complementarity—endured. Gender in fact functioned to maintain societal order and served as a central site for experiencing, adapting to, and resisting the monumental change brought on by colonization. Through the lens of gender, and by drawing on the insights of archaeology, ethnography, linguistics, and oral history, Osage Women and Empire presents a new, more nuanced picture of the critical role of men and women in the period when the Osage rose to power in the western Mississippi Valley and when that power later declined on their Kansas reservation.