This book brings overdue recognition to the artistry and craftsmanship of the Plateau Indians by focusing on the remarkable collection amassed by the late Doris Swayze Bounds, an Oregon banker, who grew up among the Native people. Many of the items in her collection came to her as gifts from her Indian friends. 280 illustrations, 48 in color.

Archaeologist Keyser and Klassen share with readers the origins, diversity, and beauty of Plains rock art, with the hope of encouraging greater awareness and respect for this cultural tradition by society as a whole. Their guide covers the natural and archaeological history of the northwestern Plains; explains rock art forms, techniques, styles, terminology and dating; and suggests interpretations of images and compositions. The text is illustrated throughout with black-and-white photos, maps and drawings. The writing is serious, but accessible to the general reader. c. Book News Inc.

The Plateau culture area lies between the Rocky Mountains on the east and the Cascade Mountains on the west and includes parts of Washington, Oregon, California, Idaho, Montana, and British Columbia. Among the Native American peoples there, the women's economic role of food gathering was traditionally considered so important that their status was equal to that of men. A woman's most important role, that of teacher and tradition bearer, was attained as a result of life experience for which she was honored as an elder. While young women gathered and prepared food, bore children, and managed the family's resources, they also developed their individual artistic skills. As they grew older and became grandmothers, they were responsible for teaching their grandchildren traditional values and beliefs through stories and songs and helping them, in turn, to learn artistic techniques. Present-day Plateau women continue to be tradition bearers within the arts, sometimes also incorporating contemporary elements into their work.

In the past, many Native American cultures have treated women and men as equals. In A Necessary Balance, Lillian A. Ackerman examines the balance of power and responsibility between men and women within each of the eleven Plateau Indian tribes who live today on the Colville Indian Reservation in north-central Washington State. Ackerman analyzes tribal cultures over three historical periods lasting more than a century--the traditional past, the farming phase when Indians were forced onto the reservation, and the twentieth-century industrial present. Ackerman examines gender equality in terms of power, authority, and autonomy in four social spheres: economic, domestic, political, and religious. Although early explorers and anthropologists noted isolated instances of gender equality among Plateau Indians, A Necessary Balance is the first book-length examination of a culture that has practiced such equality from its early days of hunting and gathering to the present day. Ackerman's findings also relate to an examination of European and American cultures, calling into question the current assumption that gender equality ceases to be possible with the advent of industrialization.

This landmark publication reevaluates historical Native American art as a crucial but under-examined component of American art history. The Charles and Valerie Diker Collection, a transformative promised gift to The Metropolitan Museum of Art, includes masterworks from more than fifty cultures across North America. The works highlighted in this volume span centuries, from before contact with European settlers to the early twentieth century. In this beautifully illustrated volume, featuring all new photography, the innovative visions of known and unknown makers are presented in a wide variety of forms, from painting, sculpture, and drawing to regalia, ceramics, and baskets. The book provides key insights into the art, culture, and daily life of culturally distinct Indigenous peoples along with critical and popular perceptions over time, revealing that to engage Native art is to reconsider the very meaning of America. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}

In the nineteenth and early twentieth centuries, the Indigenous peoples of the Great Plains practiced an archival art—narrating war exploits in large-scale paintings executed on animal hide robes, shirts, tipi covers, and tipi liners. Essentially autobiographical, the paintings were worn and lived in by the men whose war exploits they portrayed, and were made to be “read” by the public at large. Executed in a pictorial narrative style and documenting actual events, these paintings blend visual art and history. Indigenous War Painting of the Plains is the first comprehensive look at this important North American art form, covering the full corpus of war paintings from fourteen tribes across the plains. Two impediments have previously made such a book impractical: photography alone falls short of rendering war paintings for the printed page, and only about half of the surviving works have reliable documentation on their cultural origins. Arni Brownstone surmounts these difficulties by producing precise electronic redrawings and by using well-documented paintings to inform poorly documented examples, bolstered by a careful examination of collection histories. Featuring some 300 photographs and electronic redrawings, the book focuses on 83 paintings organized into four chapters covering the paintings of tribes associated with a specific geographical sphere of artistic influence. Four appendixes feature paintings combined with “translations” by Indigenous collaborators who had intimate knowledge of the depicted events. Offering vivid access to the key works of war painting preserved in 37 museums throughout North America and Europe, Indigenous War Painting of the Plains illuminates distinctions between painting styles of different tribes, reveals how they influenced one another and changed over time, and conveys a deep understanding of how war painting developed in relation to profound social changes in Plains Indian cultures.

Although some have attributed the success of the Lewis and Clark expedition primarily to gunpowder and gumption, historian William R. Swagerty demonstrates in this two-volume set that adopting Indian ways of procuring, processing, and transporting food and gear was crucial to the survival of the Corps of Discovery. The Indianization of Lewis and Clark retraces the well-known trail of America’s most famous explorers as a journey into the heart of Native America—a case study of successful material adaptation and cultural borrowing. Beginning with a broad examination of regional demographics and folkways, Swagerty describes the cultural baggage and material preferences the expedition carried west in 1804. Detailing this baseline reveals which Indian influences were already part of Jeffersonian American culture, and which were progressive adaptations the Corpsmen made of Indian ways in the course of their journey. Swagerty’s exhaustive research offers detailed information on both Indian and Euro-American science, medicine, cartography, and cuisine, and on a wide range of technologies and material culture. Readers learn what the Corpsmen wore, what they ate, how they traveled, and where they slept (and with whom) before, during, and after the return. Indianization is as old as contact experiences between Native Americans and Europeans. Lewis and Clark took the process to a new level, accepting the hospitality of dozens of Native groups as they sought a navigable water route to the Pacific. This richly illustrated, interdisciplinary study provides a unique and complex portrait of the material and cultural legacy of Indian America, offering readers perspective on lessons learned but largely forgotten in the aftermath of the epic journey.

Seekers after wisdom have always been drawn to American Indian ritual and symbol. This history of two nineteenth-century Dreamer-Prophets, Smohalla and Skolaskin, will interest those who seek a better understanding of the traditional Native American commitment to Mother Earth, visionary experiences drawn from ceremony, and the promise of revitalization implicit in the Ghost Dance. To white observers, the Dreamers appeared to imitate Christianity by celebrating the sabbath and preaching a covenant with God, nonviolence, and life after death. But the Prophets also advocated adherence to traditional dress and subsistence patterns and to the spellbinding Washat dance. By engaging in this dance and by observing traditional life-ways, the Prophets claimed, the living Indians might bring their dead back to life and drive the whites from the earth. They themselves brought heaven to earth, they said, by “dying, going there, and returning,” in trances induced by the Washat drums. The Prophets’ sacred longhouses became rallying points for resistance to the United States government. As many as two thousand Indians along the Columbia River, from various tribes, followed the Dreamer religion. Although the Dreamers always opposed war, the active phase of the movement was brought to a close in 1889 when the United States Army incarcerated the younger Prophet Skolaskin at Alcatraz. Smohalla died of old age in 1894. Modern Dreamers of the Columbia plateau still celebrate the Feast of the New Foods in springtime as did their spiritual ancestors. This book contains rare modern photographs of their Washat dances. Readers of Indian history and religion will be fascinated by the descriptions of the Dreamer-Prophets’ unique personalities and their adjustments to physical handicaps. Neglected by scholars, their role in the important pan-Indian revitalization movement has awaited the detailed treatment given here by Robert H. Ruby and John A. Brown.