Highly regarded by Native Americans as well as Anglo and Hispanic historians, Sando's book covers the origins and development of Pueblo civilization, the Spanish conquest, the Pueblo Revolt, the influence of the United States government in Pueblo history, and the issues of land and water rights so vital to the survival of Pueblo people today.

My Life in San Juan Pueblo is a rich, rewarding, and uplifting collection of personal and cultural stories from a master of her craft. Esther Martinez's tales brim with entertaining characters that embody her Native American Tewa culture and its wisdom about respect, kindness, and positive attitudes.

"Now two archaeologists who have devoted more than two decades to investigations at Grasshopper reconstruct the life and times of this fourteenth-century Mogollon community. Written for general readers - and for the White Mountain Apache, on whose land Grasshopper Pueblo is located and who have participated in the excavations there - the book conveys the simple joys and typical problems of an ancient way of life as inferred from its material remains."--BOOK JACKET. "Grasshopper Pueblo not only thoroughly reconstructs this past life at a mountain village, it also offers readers an appreciation of life at the field school and an understanding of how excavations have proceeded there through the years."--BOOK JACKET.

"Pueblo Indians and Spanish Colonial Authority in Eighteenth-Century New Mexico investigates the tactics that Pueblo Indians used to negotiate Spanish colonization and the ways in which the negotiation of colonial power impacted Pueblo individuals and communities"--Provided by publisher.

Attracted to the rich ceremonial life and unique architecture of the New Mexico pueblos, many early-twentieth-century artists depicted Pueblo peoples, places, and culture in paintings. These artists’ encounters with Pueblo Indians fostered their awareness of Native political struggles and led them to join with Pueblo communities to champion Indian rights. In this book, art historian Sascha T. Scott examines the ways in which non-Pueblo and Pueblo artists advocated for American Indian cultures by confronting some of the cultural, legal, and political issues of the day. Scott closely examines the work of five diverse artists, exploring how their art was shaped by and helped to shape Indian politics. She places the art within the context of the interwar period, 1915–30, a time when federal Indian policy shifted away from forced assimilation and toward preservation of Native cultures. Through careful analysis of paintings by Ernest L. Blumenschein, John Sloan, Marsden Hartley, and Awa Tsireh (Alfonso Roybal), Scott shows how their depictions of thriving Pueblo life and rituals promoted cultural preservation and challenged the pervasive romanticizing theme of the “vanishing Indian.” Georgia O’Keeffe’s images of Pueblo dances, which connect abstraction with lived experience, testify to the legacy of these political and aesthetic transformations. Scott makes use of anthropology, history, and indigenous studies in her art historical narrative. She is one of the first scholars to address varied responses to issues of cultural preservation by aesthetically and culturally diverse artists, including Pueblo painters. Beautifully designed, this book features nearly sixty artworks reproduced in full color.

Southwestern archaeology has long been fascinated with the scale and frequency of movement in Pueblo history, from great migrations to short-term mobility. By collaborating with Pueblo communities, archaeologists are learning that movement was—and is—much more than the result of economic opportunity or a response to social conflict. Movement is one of the fundamental concepts of Pueblo thought and is essential in shaping the identities of contemporary Pueblos. The Continuous Path challenges archaeologists to take Pueblo notions of movement seriously by privileging Pueblo concepts of being and becoming in the interpretation of anthropological data. In this volume, archaeologists, anthropologists, and Native community members weave multiple perspectives together to write histories of particular Pueblo peoples. Within these histories are stories of the movements of people, materials, and ideas, as well as the interconnectedness of all as the Pueblo people find, leave, and return to their middle places. What results is an emphasis on historical continuities and the understanding that the same concepts of movement that guided the actions of Pueblo people in the past continue to do so into the present and the future. Movement is a never-ending and directed journey toward an ideal existence and a continuous path of becoming. This path began as the Pueblo people emerged from the underworld and sought their middle places, and it continues today at multiple levels, integrating the people, the village, and the individual.

The rich religious beliefs and ceremonials of the Pueblo Indians of Arizona and New Mexico were first synthesized and compared by ethnologist Elsie Clews Parsons. Prodigious research and a quarter-century of fieldwork went into her 1939 encyclopedic two-volume work, Pueblo Indian Religion. The author gives an integrated picture of the complex religious and social life in the pueblos, including Zuni, Acoma, Laguna, Taos, Isleta, Sandia, Jemez, Cochiti, Santa Clara, San Felipe, Santa Domingo, San Juan, and the Hopi villages. In volume I she discusses shelter, social structure, land tenure, customs, and popular beliefs. Parsons also describes spirits, cosmic notions, and a wide range of rituals. The cohesion of spiritual and material aspects of Pueblo culture is also apparent in volume II, which presents an extensive body of solstice, installation, initiation, war, weather, curing, kachina, and planting and harvesting ceremonies, as well as games, animal dances, and offerings to the dead. A review of Pueblo ceremonies from town to town considers variations and borrowings. Today, a half century after its original publication, Pueblo Indian Religion remains central to studies of Pueblo religious life.

This book offers a detailed account of the archaeological excavation of one of the last possible Mimbres Classic pueblos, including photography of the painted black-on-white pottery--Provided by publisher.