Book contents
- The Cambridge History of Native American Literature
- The Cambridge History of Native American Literature
- Copyright page
- Contents
- Figures
- Contributors
- Introduction: What Was Native American Literature?
- Part I Traces and Removals (Pre-1870s)
- Part II Assimilation and Modernity (1879–1967)
- Part III Native American Renaissance (Post-1960s)
- 14 Rethinking the Native American Renaissance: Texts and Contexts
- 15 Marginally Mainstream: Momaday, Silko, Erdrich, and Alexie
- 16 Indigenous Lives, Visual Autobiographies
- 17 Indigenous Writing in Canada
- 18 Reservation Realities and Myths in American Literary History
- 19 Mapping the Future: Indigenous Feminism
- 20 Queer Sovereignty
- 21 Contemporary Indigenous American Poetry
- 22 Contemporary Native North American Drama
- Part IV Visions and Revisions: 21st-Century Prospects
- Index
- References
16 - Indigenous Lives, Visual Autobiographies
from Part III - Native American Renaissance (Post-1960s)
Published online by Cambridge University Press: 18 September 2020
Edited by
Book contents
- The Cambridge History of Native American Literature
- The Cambridge History of Native American Literature
- Copyright page
- Contents
- Figures
- Contributors
- Introduction: What Was Native American Literature?
- Part I Traces and Removals (Pre-1870s)
- Part II Assimilation and Modernity (1879–1967)
- Part III Native American Renaissance (Post-1960s)
- 14 Rethinking the Native American Renaissance: Texts and Contexts
- 15 Marginally Mainstream: Momaday, Silko, Erdrich, and Alexie
- 16 Indigenous Lives, Visual Autobiographies
- 17 Indigenous Writing in Canada
- 18 Reservation Realities and Myths in American Literary History
- 19 Mapping the Future: Indigenous Feminism
- 20 Queer Sovereignty
- 21 Contemporary Indigenous American Poetry
- 22 Contemporary Native North American Drama
- Part IV Visions and Revisions: 21st-Century Prospects
- Index
- References
Summary
As part of the ongoing project of decolonization and cultural critique, indigenous artists and writers take on the role of autobiographers, ethnographers, historians, activists, and visionaries, often in the form of visual autobiography. Their storytelling crosses fields of study (art practice, history, anthropology, and literature), media (text, photographs, drawings, paintings, and maps), as well as geographies and cultures. Collectively they bear witness to transgenerational trauma, challenge official settler-colonial myths, share tribal stories and epistemologies as well as personal narratives, and insist on indigenous presence, witness, and continuity. This essay traces indigenous visual self-narrative forms from pre-contact pictography to ledger book art to their adaptation into contemporary modes as well as the indigenization of Western forms such as comics and memoir. Two streams—one arising from and referring to earlier pictography and a second arising from Western literary or artistic traditions, but with indigenous inflections—are discussed.
Keywords
- Type
- Chapter
- Information
- The Cambridge History of Native American Literature , pp. 287 - 326Publisher: Cambridge University PressPrint publication year: 2020
References
Alexie, Sherman. 2007. The Absolutely True Diary of a Part-Time Indian. New York: Little, Brown.Google Scholar
Allen, Paula Gunn. 1986. The Sacred Hoop: Recovering the Feminine in American Indian Traditions. Boston: Beacon.Google Scholar
Bascaramurty, Dakshana. 2017. “The Modern Touch of an Old Master.” Globe and Mail. December 1. www.theglobeandmail.com/arts/inside-the-process-behind-kent-monkmans-art/article37126241/ (accessed May 1, 2019).Google Scholar
Berlo, Janet Catherine, ed. 1996. Plains Indian Drawings 1865–1935: Pages from a Visual History. New York: Harry N. Abrams in association with the American Federation of Arts and The Drawing Center.Google Scholar
Bhabha, Homi. 1984. “Of Mimicry and Man: The Ambivalence of Colonial Discourse.” October 28. Discipleship: A Special Issue on Psychoanalysis (Spring): 125–33.Google Scholar
Blish, Helen H. ed. 1967. A Pictographic History of the Oglala Sioux. Lincoln: University of Nebraska Press.Google Scholar
Brotherstone, Gordon. 1979. Image of the New World: The American Continent Portrayed in Native Texts. London: Thames and Hudson, 1979.Google Scholar
Brumble, H. David. 1988. American Indian Autobiography. Berkeley: University of California Press.Google Scholar
Comic-Con International: San Diego. 2019. www.comic-con.org (accessed October 21, 2019).Google Scholar
Dembicki, Matt, ed. 2010. Trickster: Native American Tales, A Graphic Collection. Golden, CO: Fulcrum Books.Google Scholar
Dunn, Dorothy, ed. 1969. 1877: Plains Indian Sketch Books of Zo-Tom and Howling Wolf. Flagstaff, AZ: Northland.Google Scholar
Eisner, Will. 1985. Comics and Sequential Art: Principles and Practice of the World’s Most Popular Art Form. Expanded edn. Tamarac, FL: Poorhouse Press.Google Scholar
Endrezze, Anita. 2000. Throwing Fire at the Sun, Water at the Moon. Tucson: University of Arizona Press.Google Scholar
Everett-Green, Robert. 2017. “Kent Monkman: A Trickster with a Cause Crashes Canada’s 150th Birthday Party.” Globe and Mail. January 6. www.theglobeandmail.com/news/national/canada-150/kent-monkman-shame-and-prejudice/article33515775/ (accessed May 1, 2019).Google Scholar
Ewers, John C. 1968. “Introduction.” In Howling Wolf; a Cheyenne Warrior’s Graphic Interpretation of His People, by Karen Daniels Petersen, 5–20. Palo Alto, CA: American West Pub. Co.Google Scholar
Ewers, John C. 1978. Murals in the Round: Painted Tipis of the Kiowa and Kiowa-Apache Indians. Washington, DC: Smithsonian Institution Press.Google Scholar
Glancy, Diane. 2014. Fort Marion Prisoners and the Trauma of Native Education. Lincoln: University of Nebraska Press.Google Scholar
Gould, Janice. 2011. Indian Mascot, 1959. Dos Coyotes Production. Colorado Springs: The Press at Colorado College.Google Scholar
Greene, Candace S. 2013. “Being Indian at Fort Marion: Revisiting Three Drawings.” American Indian Quarterly 37, 4 (Fall): 289–316.Google Scholar
Hearne, Joanna. 2017. “Introduction: Native to the Device: Thoughts on Digital Indigenous Studies.” Studies in American Indian Literatures 29, 1 (Spring): 3–26.Google Scholar
Hoebel, E. Adamson, and Petersen, Karen Daniels, eds. 1964. A Cheyenne Sketchbook, by Cohoe, . Norman: University of Oklahoma Press.Google Scholar
Howard, James H. ed. 1968. The Warrior Who Killed Custer: The Personal Narrative of Chief Joseph White Bull. Lincoln: University of Nebraska Press.Google Scholar
Lefebvre, Henri. 1991. The Production of Space, trans. Donald Nicholson-Smith. Malden, MA: Blackwell.Google Scholar
Lidchi, Henrietta, and Tsinhnahjinnie, Hulleah J., eds. 2009. Visual Currencies: Reflections on Native Photography. Edinburgh: National Museums Scotland.Google Scholar
Lippard, Lucy R. 1997. The Lure of the Local: Senses of Place in a Multicentered Society. New York: New Press.Google Scholar
Lookingbill, Brad D. 2006. War Dance at Fort Marion: Plains Indian War Prisoners. Norman: University of Oklahoma Press, 2006.Google Scholar
Lum, Fred. 2017. “Toronto Pride Parade Grand Marshal Kent Monkman Opts to Be Himself.” Globe and Mail. June 23. www.theglobeandmail.com/news/toronto/kent-monkman-marks-indigenous-response-to-canada-150-at-torontopride/article35453537/(accessed May 1, 2019).Google Scholar
Mallery, Garrick. [1892, 1893] 1972. “Picture-Writing of the American Indians.” In Tenth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1888–89, ed. Powell, J.. 2 vols. New York: Dover.Google Scholar
Margolin, Malcolm. 1978. The Ohlone Way: Indian Life in the San Francisco-Monterey Bay Area. Berkeley: Heyday Books.Google Scholar
Martin, Michel. 2017. “Native Americans Tell Their Own Superhero Stories at Indigenous Comic Con.” All Things Considered, NPR, November 26.Google Scholar
McCloud, Scott. 2006. Making Comics: Storytelling Secrets of Comics, Manga, and Graphic Novels. New York: Harper.Google Scholar
Momaday, N. Scott. 1969. The Way to Rainy Mountain. Albuquerque: University of New Mexico Press, 1969.Google Scholar
Momaday, N. Scott. 1992. In the Presence of the Sun: Stories and Poems. New York: St. Martin’s.Google Scholar
Monkman, Kent. 2017. Shame and Prejudice: A Story of Resilience. Art Museum, University of Toronto; Justina M. Barnicke Gallery, University of Toronto Art Centre; 7 Hart House Circle, Toronto. Published in conjunction with an exhibition of the same title and presented January 26–March 4.Google Scholar
Mooney, James. [1898] 1979. Calendar History of the Kiowa Indians, Bureau of American Ethnology, 17th Annual Report. Washington, DC: Smithsonian Institution Press.Google Scholar
Mooney, James. 1891–1904. “Kiowa Heraldry Notebook: Descriptions of Kiowa Tipis and Shields.” Washington, DC: Smithsonian Institution, National Anthropological Archives. Manuscript 2531.Google Scholar
Naranjo-Morse, Nora. 1992. Mud Woman: Poems from the Clay. Tucson: University of Arizona Press.Google Scholar
Nicholson, Hope, ed. 2015. Moonshot: The Indigenous Comics Collection. Toronto: AH (Alternate History) Comics.Google Scholar
O’Brien, Lynne Woods. 1973. Plains Indian Autobiographies. Boise, ID: Boise State College.Google Scholar
Petersen, Karen Daniels, ed. 1968. Howling Wolf: A Cheyenne Warrior’s Graphic Interpretation of His People. Palo Alto, CA: American West.Google Scholar
Petersen, Karen Daniels. 1971. Plains Indian Art from Fort Marion. Norman: University of Oklahoma Press.Google Scholar
Ritter, Kathleen. 2014. “Ctrl-F: Reterritorializing the Canon.” In Un/Inhabited, by Abel, Jordan, vii–xix. Vancouver: Project Space Books and Talonbooks.Google Scholar
Romero, Channette. 2017. “Toward an Indigenous Feminine Animation Aesthetic.” Studies in American Indian Literatures 29, 1 (Spring): 56–87.Google Scholar
Rushing, W. Jackson, III. 2005. “‘In Our Own Language’: The Art of Hachivi Edgar Heap of Birds.” Third Text 19, 4 (July): 365–84.Google Scholar
Rymhs, Deena. Forthcoming. Directing Traffic: Roads, Mobility, and Violence in Indigenous Literature and Art. New York: Routledge.Google Scholar
Sheyahshe, Michael. 2008. Native Americans in Comic Books: A Critical Study. Jefferson, NC: McFarland.Google Scholar
Silko, Leslie Marmon. 1993. Sacred Water: Narratives and Pictures. Tucson: Flood Plain Press.Google Scholar
Silko, Leslie Marmon. 1996. Yellow Woman and a Beauty of the Spirit: Essays on Native American Life Today. New York: Simon and Schuster.Google Scholar
Steffanucci, Tracy. 2014. “Afterword.” In Un/Inhabited, by Abel, Jordan, i–v. Vancouver: Project Space Books and Talonbooks.Google Scholar
Tuan, Yi-Fu. 1977. Space and Place: The Perspective of Experience. Minneapolis: University of Minnesota Press.Google Scholar
Wildschut, William, and Ewers, John C.. 1959. Crow Indian Beadwork: Descriptive and Historical Study. New York: Museum of the American Indian, Heye Foundation.Google Scholar
Wong, Hertha D. [Sweet]. 1992. Sending My Heart Back across the Years: Tradition and Innovation in Native American Autobiography. New York: Oxford University Press.Google Scholar
Wong, Hertha D. 2018. “Hachivi Edgar Heap of Birds’s Artwork: ‘Native Peoples Have Chosen Art as Their Cultural Tool and Weapon.’” In Picturing Identity: Contemporary American Autobiography in Image and Text, 214–28. Chapel Hill: University of North Carolina Press.Google Scholar
- 1
- Cited by