Looks at drawings in Indian ledger books, depicting traditional dances and war losses, and includes scholarly commentary

During the 1870s, Cheyenne and Kiowa prisoners of war at Fort Marion, Florida, graphically recorded their responses to incarceration in drawings that conveyed both the present reality of imprisonment and nostalgic memories of home. The Silberman Collection is an unusually complete group of images that illustrate the artists' fascination with the world outside the southern plains, their living conditions and survival strategies as prisoners, and their reminiscences of pre-reservation life.

In this volume, emerging and established scholars bring ethical and political concerns for the environment, nonhuman animals and social justice to the study of nineteenth-century visual culture. They draw their theoretical inspiration from the vitality of emerging critical discourses, such as new materialism, ecofeminism, critical animal studies, food studies, object-oriented ontology and affect theory. This timely volume looks back at the early decades of the Anthropocene to query the agency of visual culture to critique, create and maintain more resilient and biologically diverse local and global ecologies.

Communicates information about the histories, contemporary presence, and various other facts of the Native peoples of the United States. From publisher description.

Plains Indians were artists as well as warriors, and Silver Horn (1860-1940), a Kiowa artist from the early reservation period, may well have been the most prolific Plains Indian artist of all time. Known also as Haungooah, his Kiowa name, Silver Horn was a man of remarkable skill and talent. Working in graphite, colored pencil, crayon, pen and ink, and watercolor on hide, muslin, and paper, he produced more than one thousand illustrations between 1870 and 1920. Silver Horn created an unparalleled visual record of Kiowa culture, from traditional images of warfare and coup counting to sensitive depictions of the sun dance, early Peyote religion, and domestic daily life. At the turn of the century, he helped translate nearly the entire corpus of Kiowa shield designs into miniaturized forms on buckskin models for Smithsonian ethnologist James Mooney. Born in 1860 when huge bison herds still roamed the southern plains, Silver Horn grew up in southwestern Oklahoma. Son of a chief and member of an artistically gifted family, he witnessed traumatic changes as his people went from a free-roaming, buffalo-hunting culture to reservation life and, ultimately, to forced assimilation into white society. Although perceived as a troublemaker in midlife because of his staunch resistance to the forces of civilization, Silver Horn became to many a romantic example of the "real old-time Indian." In this presentation of Silver Horn’s work, showcasing 43 color and 116 black-and-white illustrations, Candace S. Greene provides a thorough biographical portrait of the artist and, through his work, assesses the concepts and roles of artists in Kiowa culture.

Arranged in alphabetical order, these 5 volumes encompass the history of the cultural development of America with over 2300 entries.

In this in-depth interdisciplinary study, Jenny Tone-Pah-Hote reveals how Kiowa people drew on the tribe's rich history of expressive culture to assert its identity at a time of profound challenge. Examining traditional forms such as beadwork, metalwork, painting, and dance, Tone-Pah-Hote argues that their creation and exchange were as significant to the expression of Indigenous identity and sovereignty as formal political engagement and policymaking. These cultural forms, she argues, were sites of contestation as well as affirmation, as Kiowa people used them to confront external pressures, express national identity, and wrestle with changing gender roles and representations. Combatting a tendency to view Indigenous cultural production primarily in terms of resistance to settler-colonialism, Tone-Pah-Hote expands existing work on Kiowa culture by focusing on acts of creation and material objects that mattered as much for the nation's internal and familial relationships as for relations with those outside the tribe. In the end, she finds that during a time of political struggle and cultural dislocation at the turn of the twentieth century, the community's performative and expressive acts had much to do with the persistence, survival, and adaptation of the Kiowa nation.

“Readers will appreciate this complex look at Chief Red Cloud, who under duress, unimaginable trauma, and starvation made a difficult choice.” —School Library Journal (starred review) Red Cloud (1822–1909) was a great warrior and chief of the Lakota. Told from his perspective, Red Cloud: A Lakota Story of War and Surrender describes the events that brought him to prominence as a leader of his people and how he came to surrender them to the wasichus (White Man), ending their way of life on the Great Plains. From the intrusion of white settlers into Lakota territory, to the treaties signed with the U.S. government, and to the many subsequent battles, Red Cloud explains how the Lakota became the only nation to win a war against the U.S. Army on American soil. However, unlike fellow warriors Crazy Horse and Sitting Bull, Red Cloud eventually came to accept the inevitable advance of white civilization. He submitted to change and moved his followers onto a reservation. The story concludes with Red Cloud’s trip to the East Coast, where he visited New York City and met President Ulysses S. Grant. Award-winning author and member of the Standing Rock Sioux tribe S. D. Nelson reinterprets the nineteenth-century Lakota ledger-art style to give authenticity to the story as he brings to light one of the most controversial members of the Lakota tribe, Red Cloud. Backmatter includes a timeline. “An impressive amount of information movingly and handsomely conveyed.” —Kirkus Reviews (starred review) “The story, at once inspiring and sad, is expanded and enriched by Nelson’s beautiful ink, watercolor, and colored-pencil illustrations executed in the nineteenth-century Lakota ledger-book style.” —Booklist (starred review)