The first edition of Native Features, published in 2008, was the world's first book-length study of the nearly fifty feature films that had then been made under the artistic supervision of Indigenous people. Now, just seven years later, the number of Indigenous features has nearly doubled. It took over fifty years to produce the first fifty Indigenous films but less than ten years to produce a second fifty. Fiction feature films made by Indigenous people are fast becoming one of the world's newest growing categories of cinema. Maintaining the book's accessible style and three-part structure, Christal Whelan joins Houston Wood to cover a wider range of regions - Africa, South/Central America, Asia - to make essential comparisons of cross-regional trends in film production and aesthetics. The authors include a glossary, a timeline and discussion questions to help students reflect upon the impact that this explosion of new Indigenous films is having both on its communities of origin and in world cinema.

Just as a basket’s purpose determines its materials, weave, and shape, so too is the purpose of the essay related to its material, weave, and shape. Editors Elissa Washuta and Theresa Warburton ground this anthology of essays by Native writers in the formal art of basket weaving. Using weaving techniques such as coiling and plaiting as organizing themes, the editors have curated an exciting collection of imaginative, world-making lyric essays by twenty-seven contemporary Native writers from tribal nations across Turtle Island into a well-crafted basket. Shapes of Native Nonfiction features a dynamic combination of established and emerging Native writers, including Stephen Graham Jones, Deborah Miranda, Terese Marie Mailhot, Billy-Ray Belcourt, Eden Robinson, and Kim TallBear. Their ambitious, creative, and visionary work with genre and form demonstrate the slippery, shape-changing possibilities of Native stories. Considered together, they offer responses to broader questions of materiality, orality, spatiality, and temporality that continue to animate the study and practice of distinct Native literary traditions in North America.

"This book presents unique insights into laryngeal features, one of the most intriguing topics of contemporary phonetics and phonology. It investigates in detail properties such as tone, non-modal phonation, non-pulmonic production mechanisms (as in ejectives or implosives), stress, and prosody. What makes American indigenous languages special is that many of these properties co-exist in the phonologies of languages spoken on the continent. Taking diverse theoretical perspectives, the contributions span a range of American languages, illustrating how the phonetics and phonology of laryngeal features provides insight into how potential articulatory and aero-acoustic conflicts are resolved, which contrastive laryngeal features can co-occur in a given language, which features pattern together in phonological processes and how they evolve over time. This contribution provides the most recent research on laryngeal features with an array of studies to expand and enrich the fascinating field of phonetics and phonology of the languages of the Americas. Contributors include Heriberto Avelino, Thiago Chacon, Didier Demolin, Jose Elias-Ulloa, Melissa Frazier, Matthew Gordon, Sharon Hargus, Larry M. Hyman, Keren Rice, Wilson De Lima Silva, Luciana Storto, and Siri G. Tuttle." --

What is at stake when our young people attempt to belong to a college environment that reflects a world that does not want them for who they are? In this compelling book, Navajo scholar Amanda Tachine takes a personal look at 10 Navajo teenagers, following their experiences during their last year in high school and into their first year in college. It is common to think of this life transition as a time for creating new connections to a campus community, but what if there are systemic mechanisms lurking in that community that hurt Native students' chances of earning a degree? Tachine describes these mechanisms as systemic monsters and shows how campus environments can be sites of harm for Indigenous students due to factors that she terms monsters' sense of belonging, namely assimilating, diminishing, harming the worldviews of those not rooted in White supremacy, heteropatriarchy, capitalism, racism, and Indigenous erasure. This book addresses the nature of those monsters and details the Indigenous weapons that students use to defeat them. Rooted in love, life, sacredness, and sovereignty, these weapons reawaken students' presence and power. Book Features: Introduces an Indigenous methodological approach called story rug that demonstrates how research can be expanded to encompass all our senses. Weaves together Navajo youths' stories of struggle and hope in educational settings, making visible systemic monsters and Indigenous weaponry. Draws from Navajo knowledge systems as an analytic tool to connect history to present and future realities. Speaks to the contemporary situation of Native peoples, illuminating the challenges that Native students face in making the transition to college. Examines historical and contemporary realities of Navajo systemic monsters, such as the financial hardship monster, deficit (not enough) monster, failure monster, and (in)visibility monster. Offers insights for higher education institutions that are seeking ways to create belonging for diverse students.

For too long, the Gulf Coast of Mexico has been dismissed by scholars as peripheral to the Mesoamerican heartland, but researchers now recognize that much can be learned from this regionÕs cultures. Peoples of the Gulf CoastÑparticularly those in Veracruz and TabascoÑshare so many historical experiences and cultural features that they can fruitfully be viewed as a regional unit for research and analysis. Native Peoples of the Gulf Coast of Mexico is the first book to argue that the people of this region constitute a culture area distinct from other parts of Mexico. A pioneering effort by a team of international scholars who summarize hundreds of years of history, this encyclopedic work chronicles the prehistory, ethnohistory, and contemporary issues surrounding the many and varied peoples of the Gulf Coast, bringing together research on cultural groups about which little or only scattered information has been published. The volume includes discussions of the prehispanic period of the Gulf Coast, the ethnohistory of many of the neglected indigenous groups of Veracruz and the Huasteca, the settlement of the American Mediterranean, and the unique geographical and ecological context of the Chontal Maya of Tabasco. It provides descriptions of the Popoluca, Gulf Coast Nahua, Totonac, Tepehua, Sierra „Šh–u (Otom’), and Huastec Maya. Each chapter contains a discussion of each groupÕs language, subsistence and settlement patterns, social organization, belief systems, and history of acculturation, and also examines contemporary challenges to the future of each native people. As these contributions reveal, Gulf Coast peoples share not only major cultural features but also historical experiences, such as domination by Hispanic elites beginning in the sixteenth century and subjection to forces of change in Mexico. Yet as contemporary people have been affected by factors such as economic development, increased emigration, and the spread of Protestantism, traditional cultures have become rallying points for ethnic identity. Native Peoples of the Gulf Coast of Mexico highlights the significance of the Gulf Coast for anyone interested in the great encuentro between the Old and New Worlds and general processes of culture change. By revealing the degree to which these cultures have converged, it represents a major step toward achieving a broader understanding of the peoples of this region and will be an important reference work on these indigenous populations for years to come.

Study of the Native American beadwork collection owned by the painter E.I. Couse

In Native Recognition, Joanna Hearne persuasively argues for the central role of Indigenous image-making in the history of American cinema. Across the twentieth and into the twenty-first centuries, Indigenous peoples have been involved in cinema as performers, directors, writers, consultants, crews, and audiences, yet both the specificity and range of this Native participation have often been obscured by the on-screen, larger-than-life images of Indians in the Western. Not only have Indigenous images mattered to the Western, but Westerns have also mattered to Indigenous filmmakers as they subvert mass culture images of supposedly "vanishing" Indians, repurposing the commodity forms of Hollywood films to envision Native intergenerational continuity. Through their interventions in forms of seeing and being seen in public culture, Native filmmakers have effectively marshaled the power of visual media to take part in national discussions of social justice and political sovereignty for North American Indigenous peoples. Native Recognition brings together a wide range of little-known productions, from the silent films of James Young Deer, to recovered prints of the 1928 Ramona and the 1972 House Made of Dawn, to the experimental and feature films of Victor Masayesva and Chris Eyre. Using international archival research and close visual analysis, Hearne expands our understanding of the complexity of Native presence in cinema both on screen and through the circuits of film production and consumption.

This fall, as debates around nationalism and borders in North America reach a fever pitch, Aperture magazine releases "Native America," a special issue about photography and Indigenous lives, guest edited by the artist Wendy Red Star. "Native America" considers the wide-ranging work of photographers and lens-based artists who pose challenging questions about land rights, identity and heritage, and histories of colonialism. Several contributors revisit or reconfigure photographic archives--from writer Rebecca Bengal's look at the works of Richard Throssel and Horace Poolaw, to artist Duane Linklater's intervention in a 1995 issue of Aperture, "Strong Hearts," the magazine's first volume devoted to Native American photographers. "I was thinking about young Native artists," says Red Star, "and what would be inspirational and important for them as a road map." That map spans a diverse array of intergenerational image-making, counting as lodestars the meditative assemblages of Kimowan Metchewais and installation works of Alan Michelson, the stylish self-portraits of Martine Gutierrez, and the speculative mythologies of Karen Miranda Rivadeneira and Guadalupe Maravilla. "Native America" also features contributions by distinguished writers and curators, including strikingly personal reflections from acclaimed poets Tommy Pico and Natalie Diaz. With additional essential contributions from Rebecca Belmore and Julian Brave NoiseCat, as well as a portfolio from Red Star, the issue looks into the historic, often fraught relationship between photography and Native representation, while also offering new perspectives by emerging artists who reimagine what it means to be a citizen in North America today.

The reported population of American Indians and Alaska Natives has grown rapidly over the past 20 years. These changes raise questions for the Indian Health Service and other agencies responsible for serving the American Indian population. How big is the population? What are its health care and insurance needs? This volume presents an up-to-date summary of what is known about the demography of American Indian and Alaska Native populationâ€"their age and geographic distributions, household structure, employment, and disability and disease patterns. This information is critical for health care planners who must determine the eligible population for Indian health services and the costs of providing them. The volume will also be of interest to researchers and policymakers concerned about the future characteristics and needs of the American Indian population.

What is American Indian photography? At the turn of the twentieth century, Edward Curtis began creating romantic images of American Indians, and his works—along with pictures by other non-Native photographers—came to define the field. Yet beginning in the second half of the nineteenth century, American Indians themselves started using cameras to record their daily activities and to memorialize tribal members. Through a Native Lens offers a refreshing, new perspective by highlighting the active contributions of North American Indians, both as patrons who commissioned portraits and as photographers who created collections. In this richly illustrated volume, Nicole Dawn Strathman explores how indigenous peoples throughout the United States and Canada appropriated the art of photography and integrated it into their lifeways. The photographs she analyzes date to the first one hundred years of the medium, between 1840 and 1940. To account for Native activity both in front of and behind the camera, the author divides her survey into two parts. Part I focuses on Native participants, including such public figures as Sarah Winnemucca and Red Cloud, who fashioned themselves in deliberate ways for their portraits. Part II examines Native professional, semiprofessional, and amateur photographers. Drawing from tribal and state archives, libraries, museums, and individual collections, Through a Native Lens features photographs—including some never before published—that range from formal portraits to casual snapshots. The images represent multiple tribal communities across Native North America, including the Inland Tlingit, Northern Paiute, and Kiowa. Moving beyond studies of Native Americans as photographic subjects, this groundbreaking book demonstrates how indigenous peoples took control of their own images and distinguished themselves as pioneers of photography.