Pueblo people reacted to Spanish colonialism in many different ways. While some resisted change and struggled to keep to their long-standing traditions, others reworked old practices or even adopted Spanish ones. Pueblo Indians and Spanish Colonial Authority in Eighteenth-Century New Mexico examines the multiple approaches Pueblo individuals and villages adopted to mitigate and manage the demands that Spanish colonial authorities made upon them. In doing so, author Tracy L. Brown counters the prevailing argument that Pueblo individuals and communities’ only response to Spanish colonialism was to compartmentalize—and thus freeze in time and space—their traditions behind a cultural “iron curtain.” Brown addresses an understudied period of Pueblo Indian/Spanish colonial history of New Mexico with a work that paints a portrait of pre-contact times through the colonial period with a special emphasis on the eighteenth century. The Pueblo communities that the Spaniards encountered were divided by language, religion,and political and kinship organization. Brown highlights the changes to, but also the maintenance of, social practices and beliefs in the economic, political, spiritual and familial and intimate realms of life that resulted from Pueblo attempts to negotiate Spanish colonial power. The author combines an analysis of eighteenth century Spanish documentation with archaeological findings concerning Pueblo beliefs and practices that spans the pre-contact period to the eighteenth century in the Southwest. Brown presents a nonlinear view of Pueblo life that examines politics, economics, ritual, and personal relationships. The book paints a portrait of the Pueblo peoples and their complex responses to Spanish colonialism by making sense of little-researched archival documents and archaeological findings that cast light on the daily life of Pueblo peoples.

Colorful scale model of an Indian village of the Southwest. Only scissors and glue needed for assembly. Several dwellings, free-standing figures, more. Simple instructions. Ideal classroom or home project.

Beginning about 1900, tourism greatly increased in the American Southwest, chiefly a response to the combined promotional efforts of the Santa Fe Railway and the Fred Harvey Company. Postcard images of Southwestern Native Americans in particular became a mainstay of a widespread advertising campaign to promote the region to potential travelers. Postcards also quickly became popular with visitors as collectibles and for expedient communications with friends and family back home. In New Mexico, hundreds of published images portrayed the beauty of the Pueblo villages, as well as views of economic and domestic activities, arts and crafts, and religious aspects of the various Pueblo communities in the northern part of the state.

This overview is the first to examine trading in the last quarter of the twentieth century, when changes in both Navajo and white cultures led to the investigation of trading practices by the Federal Trade Commission, resulting in the demise of most traditional trading posts.

The Native Americans we know today in Arizona, Colorado, New Mexico and Utah are primarily descended from the culture known as Anasazi, which "settled" in the region about 2,000 years ago. Explore their lives, culture and dwellings in this book.

Since the mid-1980s, whimsical, brightly colored wood carvings from the Mexican state of Oaxaca have found their way into gift shops and private homes across the United States and Europe, as Western consumers seek to connect with the authenticity and tradition represented by indigenous folk arts. Ironically, however, the Oaxacan wood carvings are not a traditional folk art. Invented in the mid-twentieth century by non-Indian Mexican artisans for the tourist market, their appeal flows as much from intercultural miscommunication as from their intrinsic artistic merit. In this beautifully illustrated book, Michael Chibnik offers the first in-depth look at the international trade in Oaxacan wood carvings, including their history, production, marketing, and cultural representations. Drawing on interviews he conducted in the carving communities and among wholesalers, retailers, and consumers, he follows the entire production and consumption cycle, from the harvesting of copal wood to the final purchase of the finished piece. Along the way, he describes how and why this "invented tradition" has been promoted as a "Zapotec Indian" craft and explores its similarities with other local crafts with longer histories. He also fully discusses the effects on local communities of participating in the global market, concluding that the trade in Oaxacan wood carvings is an almost paradigmatic case study of globalization.

As the Great Depression touched every corner of America, the New Deal promoted indigenous arts and crafts as a means of bootstrapping Native American peoples. But New Deal administrators' romanticization of indigenous artists predisposed them to favor pre-industrial forms rather than art that responded to contemporary markets. In A New Deal for Native Art, Jennifer McLerran reveals how positioning the native artist as a pre-modern Other served the goals of New Deal programsÑand how this sometimes worked at cross-purposes with promoting native self-sufficiency. She describes federal policies of the 1930s and early 1940s that sought to generate an upscale market for Native American arts and crafts. And by unraveling the complex ways in which commodification was negotiated and the roles that producers, consumers, and New Deal administrators played in that process, she sheds new light on native artÕs commodity status and the artistÕs position as colonial subject. In this first book to address the ways in which New Deal Indian policy specifically advanced commodification and colonization, McLerran reviews its multi-pronged effort to improve the market for Indian art through the Indian Arts and Crafts Board, arts and crafts cooperatives, murals, museum exhibits, and Civilian Conservation Corps projects. Presenting nationwide case studies that demonstrate transcultural dynamics of production and reception, she argues for viewing Indian art as a commodity, as part of the national economy, and as part of national political trends and reform efforts. McLerran marks the contributions of key individuals, from John Collier and Rene dÕHarnoncourt to Navajo artist Gerald Nailor, whose mural in the Navajo Nation Council House conveyed distinctly different messages to outsiders and tribal members. Featuring dozens of illustrations, A New Deal for Native Art offers a new look at the complexities of folk art ÒrevivalsÓ as it opens a new window on the Indian New Deal.