Tells how various articles connected with Indian life were made and used. Some subjects included are Indian music, games, dances, and food. Grades 6-8.
Autobiographical account of how Eastman became a young Indian scout reveals secrets of the Sioux: how to read footprints, hunt with a slingshot and bow and arrow, trap and fish, much more. 27 illustrations.
Enhanced by 51 illustrations, this eye-opening work tells how Native Americans made fire, teepees, canoes, war bonnets, fishhooks, arrowheads, wampum, plus how they courted, treated women, bathed, cut their hair, danced, and much more.
Hands-on activities, games, and crafts introduce children to the diversity of Native American cultures and teach them about the people, experiences, and events that have helped shape America, past and present. Nine geographical areas cover a variety of communities like the Mohawk in the Northeast, Ojibway in the Midwest, Shoshone in the Great Basin, Apache in the Southwest, Yupik in Alaska, and Native Hawaiians, among others. Lives of historical and contemporary notable individuals like Chief Joseph and Maria Tallchief are featured, and the book is packed with a variety of topics like first encounters with Europeans, Indian removal, Mohawk sky walkers, and Navajo code talkers. Readers travel Native America through activities that highlight the arts, games, food, clothing, and unique celebrations, language, and life ways of various nations. Kids can make Haudensaunee corn husk dolls, play Washoe stone jacks, design Inupiat sun goggles, or create a Hawaiian Ma'o-hauhele bag. A time line, glossary, and recommendations for Web sites, books, movies, and museums round out this multicultural guide.
A handicraft guide to American Indian beadwork for those seeking the fundamentals of construction and ideas of design—fully illustrated throughout. American Indian Beadwork includes: -Directions for beading stitches -Directions for making and stringing a loom -Fifty-four black-and-white photographs of actual Indian beadwork -Thirteen full-color pages of 132 authentic Indian patterns for your own beadwork
In the early twentieth century, Native American baskets, blankets, and bowls could be purchased from department stores, “Indian stores,” dealers, and the U.S. government’s Indian schools. Men and women across the United States indulged in a widespread passion for collecting Native American art, which they displayed in domestic nooks called “Indian corners.” Elizabeth Hutchinson identifies this collecting as part of a larger “Indian craze” and links it to other activities such as the inclusion of Native American artifacts in art exhibitions sponsored by museums, arts and crafts societies, and World’s Fairs, and the use of indigenous handicrafts as models for non-Native artists exploring formal abstraction and emerging notions of artistic subjectivity. She argues that the Indian craze convinced policymakers that art was an aspect of “traditional” Native culture worth preserving, an attitude that continues to influence popular attitudes and federal legislation. Illustrating her argument with images culled from late-nineteenth- and early-twentieth-century publications, Hutchinson revises the standard history of the mainstream interest in Native American material culture as “art.” While many locate the development of this cross-cultural interest in the Southwest after the First World War, Hutchinson reveals that it began earlier and spread across the nation from west to east and from reservation to metropolis. She demonstrates that artists, teachers, and critics associated with the development of American modernism, including Arthur Wesley Dow and Gertrude Käsebier, were inspired by Native art. Native artists were also able to achieve some recognition as modern artists, as Hutchinson shows through her discussion of the Winnebago painter and educator Angel DeCora. By taking a transcultural approach, Hutchinson transforms our understanding of the role of Native Americans in modernist culture.
Filled with valuable information for hobbyists, survival enthusiasts, family campers - and everyone who enjoys outdoor life, Mountainman Crafts and Skills is the essential illustrated guide to wilderness living and survival. How to make your own clothing, shelter, and equipment are all covered in step-by-step detail—through illustrations by the author himself. Learn how to make and use hunting tools and utensils, wild game traps, mountainman clothing, powder flasks and horns, tents, deer-horn jewelry, and much more. Wilderness survival skills are also covered, with instruction geared at both novice and expert. Learn how to trap wild game, tan hides, shoot with black powder, make a fire, and cook a hearty meal with only the barest of essentials.
As the Great Depression touched every corner of America, the New Deal promoted indigenous arts and crafts as a means of bootstrapping Native American peoples. But New Deal administrators' romanticization of indigenous artists predisposed them to favor pre-industrial forms rather than art that responded to contemporary markets. In A New Deal for Native Art, Jennifer McLerran reveals how positioning the native artist as a pre-modern Other served the goals of New Deal programs—and how this sometimes worked at cross-purposes with promoting native self-sufficiency. She describes federal policies of the 1930s and early 1940s that sought to generate an upscale market for Native American arts and crafts. And by unraveling the complex ways in which commodification was negotiated and the roles that producers, consumers, and New Deal administrators played in that process, she sheds new light on native art’s commodity status and the artist’s position as colonial subject. In this first book to address the ways in which New Deal Indian policy specifically advanced commodification and colonization, McLerran reviews its multi-pronged effort to improve the market for Indian art through the Indian Arts and Crafts Board, arts and crafts cooperatives, murals, museum exhibits, and Civilian Conservation Corps projects. Presenting nationwide case studies that demonstrate transcultural dynamics of production and reception, she argues for viewing Indian art as a commodity, as part of the national economy, and as part of national political trends and reform efforts. McLerran marks the contributions of key individuals, from John Collier and Rene d’Harnoncourt to Navajo artist Gerald Nailor, whose mural in the Navajo Nation Council House conveyed distinctly different messages to outsiders and tribal members. Featuring dozens of illustrations, A New Deal for Native Art offers a new look at the complexities of folk art “revivals” as it opens a new window on the Indian New Deal.