Fossil Crinoids in the archaeology of the United States and Canada

Introduction to Special issue

Native American Voting Rights in Utah: Federal Policy, Citizenship, and Voter Suppression

A (Mexican) Native American Rock Band:Redbone, Racial Legibility, and Native-Chicanx Intimacy Jedediah Kuhn (bio) Redbone is one of the most successful Native American bands in the history of rock 'n' roll. They emerged onto the U.S. music scene in 1970 with music that spoke directly to the burgeoning Red Power movement.1 Hits such as "Come and Get Your Love" and "The Witch-Queen of New Orleans" topped the charts in the United States, Canada, and Europe and still receive regular airplay today.2 Brothers Patrick (Pat) and Candido (Lolly) Vegas founded the band and served as its core members. In his memoir, Come and Get Your Love: A Celebratory Ode to Redbone (1939-Present), Pat Vegas traces his and Lolly's ascent to rock stardom. Vegas also reveals something perhaps unexpected in the memoir of a Native American musician: in addition to being Native, Pat Vegas is Mexican American. In fact, several of the band's members are both Native and Mexican American, and Vegas's memoir as well as the band's music, albums, and performances point to continual intimacies between Native Americans and Mexican Americans.3 Pat Vegas's Mexican American heritage as well as that of Redbone's other band members rub against both popular and scholarly notions of "authentic" Native American and Indigenous identity and presents a new vantage point from which to think about Native American-Chicanx relationality. Whereas scholars have examined the numerous overlaps between these groups in the nineteenth century and earlier, work examining the twentieth century often focuses on one group or the other. Further, in the few places where scholars do examine relations between these groups, they focus on analyzing the Chicano Movement's claim of Indigenous status, a claim many scholars, especially those [End Page 11] working under the rubric of critical Latinx indigeneities and critical ethnic studies, have problematized as perpetuating the marginalization of Indigenous peoples on both sides of the U.S.-Mexico border. Indeed, in the interest of supporting Indigenous rights in the United States and Mexico, this study agrees with this emerging scholarship that it is important not to conflate Indigenous status—which pertains to a political category designating the first peoples within settler states—and Indigenous descent in the way that the Chicano Movement has done in the past. What this study problematizes, however, is the collapsing of all discussion of Native-Chicanx relationality into the question of the Chicano Movement's (mis)uses of indigeneity. Instead, this essay turns to intimacy as a framework to rethink Native American-Chicanx relations. I argue that the case of Redbone reveals glimpses of a long, continual history of intimacy between Native Americans and Mexican Americans as well as the oppressive demands for authenticity that delimit Native American identity and render such intimacies illegible. This study explores traces of intimacy between Native Americans and Chicanxs through an analysis of a sampling of cultural texts produced by Redbone and Pat Vegas during the band's 1970s heyday, including music, lyrics, performances, and visual representation on album covers as well as Pat Vegas's 2017 self-published memoir Come and Get Your Love: A Celebratory Ode to Redbone (1939-Present). Vegas's memoir moves chronologically, tracing his and Lolly's early years and family life, their time as backing musicians in Los Angeles, and their rise (and fall) as members of Redbone. The memoir emphasizes these early years, covering the post-1970s period, including Lolly's passing in 2010, in one brief chapter. The final portion of the book includes appendices written by friends and former band members, such as Pete DePoe and Butch Rillera, and argues explicitly for the band's induction into the Rock & Roll Hall of Fame. Scholars have long turned to popular culture, popular music in particular, as a critical site where marginalized groups articulate difference to resist the dominant national culture's attempts to assimilate them.4 Redbone is particularly appropriate for this study because, as a prominent Native American band emerging at the height of the Red Power movement, they can easily be read as articulating Native American resistance to U.S. oppression; however, they also gesture to something more...

Enhancing Language Services to Native American Children: A Look From the Inside

Moral and philosophical conceptions of dignity hold that a human being is entitled to receive ethical treatment, and to be respected and valued in all phases of life and even through death. Notwithstanding this truism, a single, agreed-upon definition of human dignity in the scientific and legal contexts is difficult to achieve due to societal complexities and traditions associated with various cultures and practices. Many scholars and healthcare professionals support the notion that all individuals have a right to die with dignity—and that all people should be allowed to die comfortably and naturally and, to the extent possible and in compliance with applicable laws, have their final wishes honored and protected.[1] But it is less evident whether and to what extent the concept of dignity should be applied or extended to the remains of deceased individuals and even their next of kin. In recent history, several notable events have called into question the treatment of human remains. A review of these circumstances bears scrutiny on the dilemma, signaling that dignity—and perhaps even a strengthened legal protection of some kind—should extend to the remains of the deceased.[2] In the United States, some laws do recognize and protect the interests or dignity of the deceased. For instance, physicians are required to obtain consent from the deceased’s next of kin before using a cadaver to instruct medical students, though whether to notify the next of kin first has been a topic of ethical and legal debate.[3] On the federal level, the Native American Graves Protection and Repatriation Act of 1990 (i) requires federal agencies to return Native American human remains to lineal descendants and culturally affiliated Indian tribes and (ii) provides greater protection for Native American burial sites as well as more careful control over the removal of Native American human remains.[4] Furthermore, a number of statutes exist to penalize the desecration of grave sites, but criminal tampering with human remains—e.g., grave robbing and defilement of interment spaces—remains fairly common. Just this month, a casket with human remains was dumped onto a street in Brooklyn, New York; and several vaults were vandalized in a historic cemetery in New Orleans.[5] According to the International Cemetery, Cremation, and Funeral Association, no cemeteries are immune to vandalism and serious acts of desecration, since many states have virtually no statutory provisions addressing cemetery vandalism or desecration.[6] Most states do, however, have regulations that explicitly prohibit the unlawful disturbance, removal, or sale of human remains—but what happens when the sanctity of human remains is potentially compromised beyond this criminal context? Are the current laws sufficient in protecting the dignity of the deceased? A controversy of this nature surfaced in 1995, when European anatomist Gunther von Hagens premiered BODY WORLDS—The Original Exhibitions of Real Human Bodies. In BODY WORLDS, von Hagens gathered and plastinated real human bodies to make them more malleable and prevent their decay. Some of the bodies’ inner organs were exposed and then positioned in playful, lifelike poses. While supporters of the exhibit recognized its potential educational value—including the moral and ontological standing of plastinates—critics vocalized that the display fell short of respecting the dignity of human remains. For instance, bioethicist Lawrence Burns noted that “some aspects of the exhibit violate[d] human dignity,” and medical ethicist Carol Taylor remarked, “My major objection stems from the belief that there’s an innate dignity to humans that extends to our bodies.”[7] Other criticisms indicated that the bodies were denied a proper burial and did not give consent to be on public display.[8] The exhibit has toured Europe, Africa, Asia, and even America—though it did not enter the United States until 2004, after an ethics advisory committee of the California Science Center addressed the exhibit’s ethical issues and mandated that domestic displays require consent of the bodies.[9] More recently—this month—a cemetery in Sacramento, California, informed a woman that her son’s buried remains must be moved to another location. In 2014, April Robinson’s son, Maurice, passed away, and his cremated remains were buried near a small tree at St. Mary’s Catholic Cemetery & Mausoleum. Even though it has been a year since the burial, cemetery officials just realized that they assigned Maurice to the wrong location and indicated that the remains must be dug up and relocated, since another family owns the plot. Trying to protect her son’s remains, Robinson believes that Maurice’s burial plot is sacred and should not be touched. While it is uncertain when St. Mary’s plans to move Maurice’s remains, Robinson plans to take legal action to prevent the move from occurring.[10] Though California Health & Safety Code (7052(a)) provides that the unlawful disinterment of human remains is a felony, there are no existing provisions addressing cemeterial mistakes that potentially endanger the sanctity of human remains.[11] Theories of human dignity ought to consider the value and inviolability of a human being after personhood. Without these proper considerations, ethical treatment of the deceased may be jeopardized. Additionally, stories like the Robinsons’, coupled with the trajectory of case law, should help to promote further dialogue and protections concerning the treatment of human remains.

Graduate Medical Education Training and the Health of Indigenous Peoples.

In recent years preservation of sacred Native American burial sites has received renewed attention. Such sites have suffered various threats: modern highway or urban construction, careless artifact seekers, even university anthropology programs. Grave robbers are not the only threat. Anthropologists themselves must ask when it is appropriate to explore graves as archaeological sites, and does it matter whether the graves are those of Native Americans or of white people. These are not new questions but a new sensitivity to the questions is appearing. (We seldom dig up graves of New England Calvinists in the name of archaeological necessity; yet we seem to attack Indian graves of lesser antiquity.)l Wendy Rose, as a Native American anthropologist and poet, addresses this particular confrontation because it is of direct personal, professional, and tribal importance to her while at the same time she engages the more universal problems of fragmentation vs healing unity of her (and our) world. Although, as she has said, she is not that kind of anthropologist (she is a social anthropologist rather than historical), she meets the problem in the profession generally. Rose highlights the need for both understanding and sensitizing with the epigraphs preceding each section of her major collection, Lost Collection. Two epigraphs to Part I may serve as illustrations: ...you tell people where a site is, and they start to dig it...and the only thing they are looking for...is arrowheads and beads. And some people like to collect skulls. (Archaeologists, 1972) For sale: American Indian skull, guaranteed authentic. Good condition, $300 or best offer... (published ad, 1972). At the 1982 MLA Convention in Los Angeles, Wendy Rose, interviewed by Carol Hunter, identified the world she faced at that time: There's a bookstore in San Francisco that is famous for selling alternative literatures, especially 'beat' literature. Literary people come from all over the world to go there. I'm talking about 'City Lights.' I went in there and I asked for The Names, by N. Scott Momaday, the year it came out. After looking around without success, I asked the clerk who told me to check 'anthropology.' I did and, although that book wasn't there, the section was full of poetry and fiction by Native authors who were not anthropolgists. Scott Momaday was there, along with Leslie Silko, Simon Ortiz, and others. I returned to the clerk and pointed out that there were a lot of books shelved in the wrong section. He said that Indian authors belong in anthropology no matter what they wrote. We wound up arguing and he ordered me out of the store (43). As poet, Wendy Rose helps prove that Native writers are creating art rather than merely writing anthropological description. Scholars speak of her stunning visual imagery (Wiget 102) and of the counterpoint between formal diction and a sarcastic tone (102). In the introduction to Lost Copper, Scott Momaday describes her poetry as a hawk's shadow that glides upon the canyon wall:...the shadows of language upon the substance of earth (ix). The figure seems akin to Frank Lloyd Wright's illustration of structural with a sliding knot; the shape sliding along several lengths of rope of different composition keeps its integrity in spite of the changes of substance. The key to Rose's poetry is movement (suggested by both the shadow and the sliding knot). Sliding (or sometimes jostling) across time and place, Rose's poems, like Wright's sliding know, create an aesthetic with universal ideas sliding from the past through present situations, giving artistic coherence to fragments. Phenomena cohere for people in a manner which for them, in their particular cultural milieu, saves the appearances.2 If unaware of differences in the perception of phenomena a modern Angloamerican reader may make assumptions from his or her own technological

Multi-element and lead isotope characterization of early nineteenth century pottery sherds from Native American and Euro-American sites

Freedom is not free: Examining health equity for racial and ethnic minoritized veterans.

Few aspects of American history have gone through as rapid a transformation as Native American history during the past generation. In the not too distant past scholars, including many anthropologists, wrote accounts of particular Indian ‘tribes’. Many of these works, which were often quite sympathetic to their subject, concentrated on politics and wars. Beginning in the late 1960s, historians, anthropologists, and those calling themselves ‘ethnohistorians’ began to bring new perspectives to the subject. To date, many of the most important studies focus on the period before 1850. Taken together, these works testify to the fundamental importance of understanding the histories of indigenous peoples in the Americas. In recent years, scholarship about Native Americans has boomed. The cluster of six articles here suggests the range of work being done in the field. Nicholas Rosenthal provides an overview of some of the major developments and Joshua Piker offers a penetrating view of the concept of race and how it has shaped our understanding of Native peoples in early America. Ruth Spack’s short essay on American Indian schooling reveals a shift in the history of education based on the incorporation of indigenous perspectives. Tyler Boulware investigates the notion of national identity and its application for Native peoples. Dixie Ray Haggard’s perceptive piece offers nothing less than a major revision of scholars’ understanding of the Yamasee War of the 1710s, an event that played a pivotal role in the southeast during the eighteenth century. Finally, Steven Hackel and Anne Reid reveal the benefits of electronic publication. Their essay on the Early California Population Project provides insight into a major database housed at the Huntington Library in San Marino, California, a project now available to scholars that will revolutionize our understanding the period from the 1760s to the midnineteenth century. The full cluster is made up of the following articles:

The United States Forest Service’s current approach to natural and cultural resource protection allows livestock grazing on and around Native American archaeological sites throughout the American southwest. The damage caused by thousands of cattle moving through these sites each year is irreparable and will continue unless the Forest Service changes its approach to resource management or Congress amends the statutes that have allowed these incompatible dual uses to occur coextensively. This Paper will explain the historical evolution of the Forest Service’s approach to natural and cultural resource management, the statutory bases guiding its current planning practices, and ultimately, it will explain how the Forest Service’s current land management planning practices erroneously assume that livestock grazing, per se, does not adversely impact native archaeological sites. Finally, this Paper will offer suggestions by which Congress or the Forest Service could amend the current livestock grazing program on national forest lands to better protect archaeological sites.

Historical Archaeology of the Delaware Valley, 1600–1850

Book Review| June 01 2021 Review: Picturing Indians: Native Americans in Film, 1941–1960, by Liza Black Picturing Indians: Native Americans in Film, 1941–1960 by Liza Black Michelle Raheja Michelle Raheja Michelle Raheja is an associate professor in the Department of English at the University of California, Riverside, and the author of Reservation Reelism: Redfacing, Visual Sovereignty, and Representations of Native Americans (Omaha: University of Nebraska Press, 2011). Search for other works by this author on: This Site PubMed Google Scholar BOOK DATA. Liza Black, Picturing Indians: Native Americans in Film, 1941–1960. Omaha: University of Nebraska Press, 2020. $65 cloth; $65 e-book. 354 pages. Film Quarterly (2021) 74 (4): 93–94. https://doi.org/10.1525/fq.2021.74.4.93 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Michelle Raheja; Review: Picturing Indians: Native Americans in Film, 1941–1960, by Liza Black. Film Quarterly 1 June 2021; 74 (4): 93–94. doi: https://doi.org/10.1525/fq.2021.74.4.93 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentFilm Quarterly Search BOOK DATA. Liza Black, Picturing Indians: Native Americans in Film, 1941–1960. Omaha: University of Nebraska Press, 2020. $65 cloth; $65 e-book. 354 pages. Recent studies of Native Americans’ participation in Hollywood cinema since its inception—as actors, directors, producers, and spectators—have revealed the often fraught but sometimes generative relationships between Indigenous people and the film industry. While filmic Native American images have often been considered peripheral, these studies have demonstrated that Indigenous participation has been critical in all periods of cinema history. Liza Black’s Picturing Indians: Native Americans in Film, 1941–1960 extends the lively and vital conversation about Indigenous representations by focusing on Hollywood films produced between World War II and the middle of the Vietnam War—a period marked by both a rise in highly offensive cinematic images of Native American people and an increasing, yet still problematic, demand for Indigenous labor as actors, especially as extras. A citizen of... You do not currently have access to this content.

Claims for control of archaeological resources have increased and now come from a wider range of groups. Claims for control of archaeological resources have increased and now come from a wider range of groups. When considering only human remains reported as "Native American," the total number is approximately 152,000 set of individual remains. These remains are reported from over 1,000 museums that receive federal funding and public agency offices. In the United States, the largest number of human remains removed from archaeological sites and in agency and museum collections are Native American. The legal regulation of treatment of recently deceased human remains generally is not a matter of national law. National Park Service policies allow for study of human remains from archaeological sites with some conditions being placed on such studies. In the United States, the National Park Service has written policies on the display of human remains in exhibits at park units.

This collection celebrates the resurgence of Native Americans within the cultural landscape of the United States. During the past quarter century, the Native American population in the United States has seen an astonishing demographic growth reaching beyond all biological probability as increasing numbers of Americans desire to admit or to claim Native American ancestry. This volume illustrates a unique moment in history, as unprecedented numbers of Native Americans seek to create a powerful, flexible sense of cultural identity. Diverse commentators, including literary critics, anthropologists, ethnohistorians, poets and a novelist address persistent issues facing Native Americans and Native American studies today. The future of White-Indian relation, the viability of Pan-Indianism, tensions between Native Americans and North American anthropologists, and new devlopments in ethnohistory are among the topics discussed. The survival of Native Americans as recorded in this collection, an expanded edition of a special issue of boundary 2, brings into focus the dynamically adaptive values of Native American culture. Native Americans' persistence in U.S. culture-not disappearing under the pressure to assimilate or through genocidal warfare-reminds us of the extent to which any living culture is defined by the process of transformation. Contributors. Linda Ainsworth, Jonathan Boyarin, Raymomd J. DeMallie, Elaine Jahner, Karl Kroeber, William Overstreet, Douglas R. Parks, Katharine Pearce, Jarold Ramsey, Wendy Rose, Edward H. Spicer, Gerald Vizenor, Priscilla Wald