The history of the Siletz is in many ways the history of all Indian tribes in America: a story of heartache, perseverance, survival, and revival. It began in a resource-rich homeland thousands of years ago and today finds a vibrant, modern community with a deeply held commitment to tradition. The Confederated Tribes of Siletz Indians�twenty-seven tribes speaking at least ten languages�were brought together on the Oregon Coast through treaties with the federal government in 1853�55. For decades after, the Siletz people lost many traditional customs, saw their languages almost wiped out, and experienced poverty, killing diseases, and humiliation. Again and again, the federal government took great chunks of the magnificent, timber-rich tribal homeland, a reservation of 1.1 million acres reaching a full 100 miles north to south on the Oregon Coast. By 1956, the tribe had been �terminated� under the Western Oregon Indian Termination Act, selling off the remaining land, cutting off federal health and education benefits, and denying tribal status. Poverty worsened, and the sense of cultural loss deepened. The Siletz people refused to give in. In 1977, after years of work and appeals to Congress, they became the second tribe in the nation to have its federal status, its treaty rights, and its sovereignty restored. Hand-in-glove with this federal recognition of the tribe has come a recovery of some land--several hundred acres near Siletz and 9,000 acres of forest--and a profound cultural revival. This remarkable account, written by one of the nation�s most respected experts in tribal law and history, is rich in Indian voices and grounded in extensive research that includes oral tradition and personal interviews. It is a book that not only provides a deep and beautifully written account of the history of the Siletz, but reaches beyond region and tribe to tell a story that will inform the way all of us think about the past. Watch the book trailer: https://www.youtube.com/watch?v=NEtAIGxp6pc

Feminist Geneaologies, Colonial Legacies, Democratic Futures provides a feminist anaylsis of the questions of sexual and gender politics, economic and cultural marginality, and anti-racist and anti-colonial practices both in the "West" and in the "Third World." This collection, edited by Jacqui Alexander and Chandra Talpade Mohanty, charts the underlying theoretical perspectives and organization practices of the different varieties of feminism that take on questions of colonialism, imperialism, and the repressive rule of colonial, post-colonial and advanced capitalist nation-states. It provides a comparative, relational, historically grounded conception of feminist praxis that differs markedly from the liberal pluralist, multicultural understanding that sheapes some of the dominant version of Euro-American feminism. As a whole, the collection poses a unique challenge to the naturalization of gender based in the experiences, histories and practices of Euro-American women.

Early in its history, anthropology was a visual as well as verbal discipline. But as time passed, visually oriented professionals became a minority among their colleagues, and most anthropologists used written words rather than audiovisual modes as their professional means of communication. Today, however, contemporary electronic and interactive media once more place visual anthropologists and anthropologically oriented artists within the mainstream. Digital media, small-sized and easy-to-use equipment, and the Internet, with its interactive and public forum websites, democratize roles once relegated to highly trained professionals alone. However, having access to a good set of tools does not guarantee accurate and reliable work. Visual anthropology involves much more than media alone. This book presents visual anthropology as a work-in-progress, open to the myriad innovations that the new audiovisual communications technologies bring to the field. It is intended to aid in contextualizing, explaining, and humanizing the storehouse of visual knowledge that university students and general readers now encounter, and to help inform them about how these new media tools can be used for intellectually and socially beneficial purposes. Concentrating on documentary photography and ethnographic film, as well as lesser-known areas of study and presentation including dance, painting, architecture, archaeology, and primate research, the book's fifteen contributors feature populations living on all of the world's continents as well as within the United States. The final chapter gives readers practical advice about how to use the most current digital and interactive technologies to present research findings.

This book investigates how customary practices in South Africa have led to negotiation and contestation over human rights, gender and generational power. Drawing on a range of original empirical studies, this book provides important new insights into the realities of regulating personal relationships in complex social fields in which customary practices are negotiated. This book not only adds to a fuller understanding of how customary practices are experienced in contemporary South Africa, but it also contributes to a large discussion about the experiences, impact and ongoing negotiations around changing structures of gender and generational power and rights in contemporary South Africa. It will be of interest to researchers across the fields of sociology, family/customary law, gender, social policy and African Studies.

They also consider the artists' responses to foreign prototypes, travel and training, changing exhibition venues, and audience expectations. The persistence of certain themes--childhood, marriage, the family, and the community; the attainment and reinforcement of citizenship; attitudes toward race; the frontier as reality and myth; and the process and meaning of making art--underscores evolving styles and standards of storytelling. Divided into four chronological sections, the book begins with the years surrounding the American Revolution and the birth of the new republic, when painters such as Copley, Peale, and Samuel F. B. Morse incorporated stories within the expressive bounds of portraiture. During the Jacksonian and pre-Civil War decades from about 1830 to 1860, Mount, Bingham, Lilly Martin Spencer, and others painted genre scenes featuring lighthearted narratives that growing audiences for art could easily read and understand.