Step into a colorful pageantry of the powerful people who once ruled and still influence the great state of Texas. From the Caddo in the Piney Woods, the Lipan Apache in the Southwest, the Wichita at the Red River, and the Comanche across the Great Plains to the Alabama-Coushatta in the Big Thicket, five nations come alive through myth and history in Jane Archer's vividly written book about the first Texans.
Hook describes what is known of the various European intrusions into Creek (Muskhogean) culture and how these changed hte tribal life of the Alabamas and Coushattas, eventually leading them to the reservation they now share in Southeast Texas.
First published in 1929, John R. Swanton’s Myths and Tales of the Southeastern Indians is a classic of American Indian folklore. During the years 1908-1914 Swanton gathered the myths and legends of the descendants of Muckhogean-speaking peoples living in Texas, Louisiana, and Oklahoma, and in this volume he preserved more than three hundred tales of the Creek, Hitchiti, Alabama, Koasati, and Natchez Indians. Myths and Tales of the Southeastern Indians stands as the largest collection of Muskhogean oral traditions ever published. Included are stores on the origin of corn and tobacco, the deeds of ancient native heroes, visits to the world of the dead, and encounters between people and animals or supernatural beings in animal form. Animal tales abound, especially those on the southeastern trickster Rabbit.
A representative anthology of Texas folklore from the first half of the twentieth century, including legends, ghost stories, songs, proverbs, and other writings.
This is a society that you join because you want to. The purpose of the society is to collect and make known to he public sons and ballads, superstitions, games, plays, and proverbs.
When Europeans battled for control over North America in the eighteenth century, American Indians were caught in the cross fire. Two such peoples, the Alabamas and Coushattas, made the difficult decision to migrate from their ancestral lands and thereby preserve their world on their own terms. In this book, Sheri Marie Shuck-Hall traces the gradual movement of the Alabamas and Coushattas from their origins in the Southeast to their nineteenth-century settlement in East Texas, exploring their motivations for migrating west and revealing how their shared experience affected their identity. The first book to examine these peoples over such an extensive period, Journey to the West tells how they built and maintained their sovereignty despite five hundred years of trauma and change. Blending oral tradition, archaeological data, and archival sources, Shuck-Hall shows how they joined forces in the seventeenth century after their first contact with Europeans, then used trade and diplomatic relations to ally themselves with these newcomers and with larger Indian groups--including the Creeks, Caddos, and Western Cherokees--to ensure their continuing independence. In relating how the Alabamas and Coushattas determined their own future through careful reflection and forceful action, this book provides much-needed information on these overlooked peoples and places southeastern Indians within the larger narratives of southern and American history. It shows how diaspora and migration shaped their worldview and identity, reflecting similar stories of survival in other times and places.
Winner, Society for American Archaeology Book Award, 2017 San Antonio Conservation Society Publication Award, 2019 The prehistoric hunter-gatherers of the Lower Pecos Canyonlands of Texas and Coahuila, Mexico, created some of the most spectacularly complex, colorful, extensive, and enduring rock art of the ancient world. Perhaps the greatest of these masterpieces is the White Shaman mural, an intricate painting that spans some twenty-six feet in length and thirteen feet in height on the wall of a shallow cave overlooking the Pecos River. In The White Shaman Mural, Carolyn E. Boyd takes us on a journey of discovery as she builds a convincing case that the mural tells a story of the birth of the sun and the beginning of time—making it possibly the oldest pictorial creation narrative in North America. Unlike previous scholars who have viewed Pecos rock art as random and indecipherable, Boyd demonstrates that the White Shaman mural was intentionally composed as a visual narrative, using a graphic vocabulary of images to communicate multiple levels of meaning and function. Drawing on twenty-five years of archaeological research and analysis, as well as insights from ethnohistory and art history, Boyd identifies patterns in the imagery that equate, in stunning detail, to the mythologies of Uto-Aztecan-speaking peoples, including the ancient Aztec and the present-day Huichol. This paradigm-shifting identification of core Mesoamerican beliefs in the Pecos rock art reveals that a shared ideological universe was already firmly established among foragers living in the Lower Pecos region as long as four thousand years ago.
This is a society that you join because you want to. The purpose of the society is to collect and make known to he public sons and ballads, superstitions, games, plays, and proverbs.