Sioux women are the center of tribal life and the core of the tiospaye, the extended family. They maintain the values and traditions of Sioux culture, but their own stories and experiences often remain untold. Virginia Driving Hawk Sneve combed through the winter counts and oral records of her ancestors to discover their past. The result, Sioux Women: Traditionally Sacred, illuminates the struggles and joys of her grandmothers and other women who maintained tribal life as circumstances changed and outside cultures pushed for dominance.
The bestselling memoir of a Native American woman’s struggles and the life she found in activism: “courageous, impassioned, poetic and inspirational” (Publishers Weekly). Mary Brave Bird grew up on the Rosebud Indian Reservation in South Dakota in a one-room cabin without running water or electricity. With her white father gone, she was left to endure “half-breed” status amid the violence, machismo, and aimless drinking of life on the reservation. Rebelling against all this—as well as a punishing Catholic missionary school—she became a teenage runaway. Mary was eighteen and pregnant when the rebellion at Wounded Knee happened in 1973. Inspired to take action, she joined the American Indian Movement to fight for the rights of her people. Later, she married Leonard Crow Dog, the AIM’s chief medicine man, who revived the sacred but outlawed Ghost Dance. Originally published in 1990, Lakota Woman was a national bestseller and winner of the American Book Award. It is a story of determination against all odds, of the cruelties perpetuated against American Indians, and of the Native American struggle for rights. Working with Richard Erdoes, one of the twentieth century’s leading writers on Native American affairs, Brave Bird recounts her difficult upbringing and the path of her fascinating life.
When Blue Bird and her grandmother leave their family?s camp to gather beans for the long, threatening winter, they inadvertently avoid the horrible fate that befalls the rest of the family. Luckily, the two women are adopted by a nearby Dakota community and are eventually integrated into their kinship circles. Ella Cara Deloria?s tale follows Blue Bird and her daughter, Waterlily, through the intricate kinship practices that created unity among her people. Waterlily, published after Deloria?s death and generally viewed as the masterpiece of her career, offers a captivating glimpse into the daily life of the nineteenth-century Sioux. This new Bison Books edition features an introduction by Susan Gardner and an index.
Based on interviews and life histories collected over more than twenty-five years of study on the Pine Ridge reservation in South Dakota, Marla N. Powers conveys what it means to be an Oglala woman. Despite the myth of the Euramerican that sees Oglala women as inferior to men, and the Lakota myth that seems them as superior, in reality, Powers argues, the roles of male and female emerge as complementary. In fact, she claims, Oglala women have been better able to adapt to the dominant white culture and provide much of the stability and continuity of modern tribal life. This rich ethnographic portrait considers the complete context of Oglala life—religion, economics, medicine, politics, old age—and is enhanced by numerous modern and historical photographs. "It is a happy event when a fine scholarly work is rendered accessible to the general reader, especially so when none of the complexity of the subject matter is sacrificed. Oglala Women is a long overdue revisionary ethnography of Native American culture."—Penny Skillman, San Francisco Chronicle Review "Marla N. Powers's fine study introduced me to Oglala women 'portrayed from the perspectives of Indians,' to women who did not pity themselves and want no pity from others. . . . A brave, thorough, and stimulating book."—Melody Graulich, Women's Review of Books "Powers's new book is an intricate weaving . . . and her synthesis brings all of these pieces into a well-integrated and insightful whole, one which sheds new light on the importance of women and how they have adapted to the circumstances of the last century."—Elizabeth S. Grobsmith, Nebraska History
Greenwood District, Oklahoma, 1921: Twelve-year-old Henry Simmons has lived his entire life in Greenwood, Oklahoma, a district north of Tulsa. He's loved by his parents and neighbors, annoyed by his little sister and protected by his community, full of hard-working, successful colored people like his mother and daddy. People call Greenwood "Black Wall Street," and Henry plans to grow up there until he becomes a famous writer or baseball player-or both. Sure, he's seen racism firsthand when he goes with his daddy to the white side of Tulsa. But for most of his life, as long as his friends and neighbors stay in Greenwood, the white residents of Tulsa don't cause too much trouble.Until May 31, 1921. That's the night Henry's life changed forever. His family's life changed forever. The entire town of Greenwood changed forever-all because 19-year-old Dick Rowland, a black shoeshiner working in Tulsa, is accused of assaulting a white, female elevator operator. That accusation and Dick's arrest turn into twelve hours of terror for Greenwood residents. And Henry and his family are right in the middle of the chaos.For these twelve hours, Henry, his mother, and his younger sister Livvie watch white men and women destroy their neighborhood while they miss Daddy, who went to help Dick. Sometimes, Henry, Mama, and Livvie hide; sometimes, they flee; and always, they are shocked by the terrifying behavior of their fellow human beings. Read Greenwood Gone: Henry's Story for Henry's account of one of the most horrible massacres in U.S. history-all because of hatred.Can love win even a small victory in the face of hate? Henry will find out. Please note: All of the author's proceeds from Greenwood Gone: Henry's Story will be donated to the city of Greenwood to be used in a way the residents feel is currently helpful. The publisher will also be making regular donations from the proceeds of the book.
"Women have long been the creative force behind Native American art, yet their individual contributions have been largely unrecognized, instead treated as anonymous representations of entire cultures. 'Hearts of Our People: Native Women Artists' explores the artistic achievements of Native women and establishes their rightful place in the art world. This lavishly illustrated book, a companion to the landmark exhibition, includes works of art from antiquity to the present, made in a variety of media from textiles and beadwork to video and digital arts. It showcases more than 115 artists from the United States and Canada, spanning over one thousand years, to reveal the ingenuity and innovation fthat have always been foundational to the art of Native women."--Page 4 of cover.
Native women have filled their communities with strength and leadership, both historically and as modern-day warriors. The twelve Indigenous women featured in this book overcame unimaginable hardships––racial and gender discrimination, abuse, and extreme poverty––only to rise to great heights in the fields of politics, science, education, and community activism. Such determination and courage reflect the essence of the traditional Cheyenne saying: “A nation is not conquered until the hearts of its women are on the ground.” The impressive accomplishments of these twelve dynamic women provide inspiration for all. B/W photos. Featured individuals: Ashley Callingbull Burnham (Enoch Cree Nation) Henrietta Mann, PhD (Southern Cheyenne) Ruth Anna Buffalo (Mandan, Hidatsa, Arikara Nation) Elouise Pepion Cobell (Blackfeet) Loriene Roy, PhD (Anishinabe, White Earth Reservation) Sharice Davids (Ho-Chunk Nation) Roberta Jamieson (Kanyenkehaka, Six Nations-Grand River Territory) Deb Haaland (Pueblo of Laguna) Elsie Marie Knott (Mississauga Ojibwe) Mary Golda Ross (Cherokee ) Heather Dawn Thompson (Lakota, Cheyenne River Sioux Emily Washines (Yakama Nation with Cree and Skokomish lineage).
