In the summer of 1962, a group of young Native American puppeteers travel in a converted school bus from the White Earth Reservation to the Century 21 Exposition, World's Fair in Seattle, Washington. The five Natives, three young men and two young women, have endured abandonment, abuse, poverty, and find solace, humor, and courage with a mute puppeteer—a Native woman in her seventies who writes original dream songs, and creates hand puppets and ironic parleys that mock the ghosts of authority. Dummy Trout, the mute puppeteer, also figured in Native Tributes and Satie on the Seine. The troupe attends a performance of Waiting for Godot by Samuel Beckett and they create a puppet parley for Wovoka, the inspiration of the Native American Ghost Dance Religion.
From the moment European settlers reached these shores, the American apocalypse began. But Native Americans did not vanish. Apocalypse did not fully destroy them, and it doesn't have to destroy us. Pandemics and war, social turmoil and corrupt governments, natural disasters and environmental collapse--it's hard not to watch the signs of the times and feel afraid. But we can journey through that fear to find hope. With the warnings of a prophet and the lively voice of a storyteller, Choctaw elder and author of Ladder to the Light Steven Charleston speaks to all who sense apocalyptic dread rising around and within. You'd be hard pressed to find an apocalypse more total than the one Native America has confronted for more than four hundred years. Yet Charleston's ancestors are a case study in the liberating and hopeful survival of a spiritual community. How did Indigenous communities achieve the miracle of their own survival and live to tell the tale? What strategies did America's Indigenous people rely on that may help us to endure an apocalypse--or perhaps even prevent one from happening? Charleston points to four Indigenous prophets who helped their people learn strategies for surviving catastrophe: Ganiodaiio of the Seneca, Tenskwatawa of the Shawnee, Smohalla of the Wanapams, and Wovoka of the Paiute. Through gestures such as turning the culture upside down, finding a fixed place on which to stand, listening to what the earth is saying, and dancing a ghostly vision into being, these prophets helped their people survive. Charleston looks, too, at the Hopi people of the American Southwest, whose sacred stories tell them they were created for a purpose. These ancestors' words reach across centuries to help us live through apocalypse today with courage and dignity.
The year was 1853. For handful of cowboys turned California Gold Rushers, it was time to go home. Then Lonnie Kilgore and his fellow Texans met Western legend and former mountain man Jim Bridger, who told them of a lush range waiting to be claimed in northern Utah. Now, the Texans have purchased land on the Green river and come to San Antonio to gather up some longhorns. But with Indian trouble, law trouble, and woman trouble along for the ride, the cowboys are finding out the truth about this paradise: to live on land you bought and paid for, you have to be willing to die...
In the 1860s and 1870s, the United States government forced most western Native Americans to settle on reservations. These ever-shrinking pieces of land were meant to relocate, contain, and separate these Native peoples, isolating them from one another and from the white populations coursing through the plains. We Do Not Want the Gates Closed Between Us tells the story of how Native Americans resisted this effort by building vast intertribal networks of communication, threaded together by letter writing and off-reservation visiting. Faced with the consequences of U.S. colonialism—the constraints, population loss, and destitution—Native Americans, far from passively accepting their fate, mobilized to control their own sources of information, spread and reinforce ideas, and collectively discuss and mount resistance against onerous government policies. Justin Gage traces these efforts, drawing on extensive new evidence, including more than one hundred letters written by nineteenth-century Native Americans. His work shows how Lakotas, Cheyennes, Utes, Shoshones, Kiowas, and dozens of other western tribal nations shrewdly used the U.S. government’s repressive education system and mechanisms of American settler colonialism, notably the railroads and the Postal Service, to achieve their own ends. Thus Natives used literacy, a primary tool of assimilation for U.S. policymakers, to decolonize their lives much earlier than historians have noted. Whereas previous histories have assumed that the Ghost Dance itself was responsible for the creation of brand-new networks among western tribes, this book suggests that the intertribal networks formed in the 1870s and 1880s actually facilitated the rapid dissemination of the Ghost Dance in 1889 and 1890. Documenting the evolution and operation of intertribal networking, Gage demonstrates its effectiveness—and recognizes for the first time how, through Native activism, long-distance, intercultural communication persisted in the colonized American West.
Twenty years after Dance with Wolves, Father Mark Thomas finds a life with the Cheyenne River Sioux and a beautiful woman named Fawn more compelling than his Jesuit training. But as Father Thomas' new life is beginning, the old life of the Sioux is about to end: one more hard winter and the people will starve. The Sioux's last hope is Wovka, a Piaute prophet who promises that if all dance his Ghost Dance then the buffalo will return and the white man will vanish from the earth. Is Wovoka a savior? Will the Ghost Dance lead the people to salvation, or to the tragedy called Wounded Knee?
The religious fervor known as the Ghost Dance movement was precipitated by the prophecies and teachings of a northern Paiute Indian named Wovoka (Jack Wilson). During a solar eclipse on New Year’s Day, 1889, Wovoka experienced a revelation that promised harmony, rebirth, and freedom for Native Americans through the repeated performance of the traditional Ghost Dance. In 1890 his message spread rapidly among tribes, developing an intensity that alarmed the federal government and ended in tragedy at Wounded Knee. While the Ghost Dance phenomenon is well known, never before has its founder received such full and authoritative treatment. Indispensable for understanding the prophet behind the messianic movement, Wovoka and the Ghost Dance addresses for the first time basic questions about his message and This expanded edition includes a new chapter and appendices covering sources on Wovoka discovered since the first edition, as well as a supplemental bibliography.
On the steppes of Mongolia, an old woman wrestles with an unknown power The dream is always the same: Killers are riding against the Mongol camp, and Khokakhchin must run to rescue the horses before a wall of fire swallows them whole. She wakes, remembering when a trader offered her the Eye of Flame—a disk that could conjure fire—and shudders in fear of the power that lies within her. In the camp of a Mongol tribe, the home of the boy who will grow up to be Genghis Khan, Khokakhchin must confront that power, lest the whole world be consumed by fire. In the haunting title novella, Pamela Sargent evokes a lost world whose values are not so different from our own. This and the other stories included in this volume, set in the past and the present, show her to be a deft writer at the top of her form.
A broad range of perspectives from Natives and non-Natives makes this book the most complete account and analysis of the Lakota ghost dance ever published. A revitalization movement that swept across Native communities of the West in the late 1880s, the ghost dance took firm hold among the Lakotas, perplexed and alarmed government agents, sparked the intervention of the U.S. Army, and culminated in the massacre of hundreds of Lakota men, women, and children at Wounded Knee in December 1890. Although the Lakota ghost dance has been the subject of much previous historical study, the views of Lakota participants have not been fully explored, in part because they have been available only in the Lakota language. Moreover, emphasis has been placed on the event as a shared historical incident rather than as a dynamic meeting ground of multiple groups with differing perspectives. In The Lakota Ghost Dance of 1890, Rani-Henrik Andersson uses for the first time some accounts translated from Lakota. This book presents these Indian accounts together with the views and observations of Indian agents, the U.S. Army, missionaries, the mainstream press, and Congress. This comprehensive, complex, and compelling study not only collects these diverse viewpoints but also explores and analyzes the political, cultural, and economic linkages among them. Purchase the audio edition.
