Janet Berry Hess - Böcker

Employing anthropology, field research, and humanities methodologies as well as digital cartography, and foregrounding the voices of Indigenous scholars, this text examines digital projects currently underway, and includes alternative modes of "mapping" Native American, Alaskan Native, Indigenous Hawaiian and First Nations land. The work of both established and emerging scholars addressing a range of geographic regions and cultural issues is also represented. Issues addressed include the history of maps made by Native Americans; healing and reconciliation projects related to boarding schools; language and land reclamation; Western cartographic maps created in collaboration with Indigenous nations; and digital resources that combine maps with narrative, art, and film, along with chapters on archaeology, place naming, and the digital presence of elders. This text is of interest to scholars working in history, cultural studies, anthropology, Native American studies, and digital cartography.

Employing anthropology, field research, and humanities methodologies as well as digital cartography, and foregrounding the voices of Indigenous scholars, this text examines digital projects currently underway, and includes alternative modes of "mapping" Native American, Alaskan Native, Indigenous Hawaiian and First Nations land. The work of both established and emerging scholars addressing a range of geographic regions and cultural issues is also represented. Issues addressed include the history of maps made by Native Americans; healing and reconciliation projects related to boarding schools; language and land reclamation; Western cartographic maps created in collaboration with Indigenous nations; and digital resources that combine maps with narrative, art, and film, along with chapters on archaeology, place naming, and the digital presence of elders. This text is of interest to scholars working in history, cultural studies, anthropology, Native American studies, and digital cartography.

The struggle of African nations to achieve independence from colonial rule was a momentous event in world history, and among the most influential features of the postcolonial independence era was the art and architecture that it produced. With decolonization, Africa was thrust into nation building and into the related process of negotiating its cultures, integrating modernism while simultaneously sustaining regional traditions, and thereby producing a uniquely transitional art.This work examines the complexity of popular artistic culture in the era of African nationalism, with a special focus on the influential independence era in Ghana. Chapters One and Two consider the ideologies of the Convention People's Party and the National Liberation Movement in Ghana and their respective effects on artistic production. Chapters Three through Six discuss the relationship between architecture, museum exhibitions, and political displays and growing nationalist ideologies, revealing the extent to which African art continues to be a medium for political, social, and historical commentary. Chapter Seven investigates artistic practices associated with bodily expression and explores the manner in which these practices were influenced by postcolonial authority, while the final chapters focus on intangible forms of art, such as the communal performance, that characterize both African and diasporic art history.

African American and American Indian artist Richard Mayhew was a pivotal member of the movement, headed by Romare Bearden, of the most important black artists of the Abstract Expressionist era. Bearden's group, Spiral, was formed as a visual response to the March on Washington. Mayhew associated with Jackson Pollock, Robert Motherwell, and Bearden, and formed alliances with such African American artists as Faith Ringgold, Norman Lewis, Ed Clark, and Emma Amos; his work is exhibited in major collections and museums throughout the world. This book explores his art and discusses the critical exclusion from the history of art of Native Americans and African Americans who are not figurative or "narrative" and creates a framework for reconsideration of such art.