Search Results (17)

American Indians and Alaska Natives experience disproportionately high cancer diagnoses and death rates. This study aims to elucidate American Indian and Alaska Native understandings of cancer as voiced through poetry. Ten writers submitted poems in response to a call for American Indians and Alaskan Natives to share their perspectives, experiences, and knowledge about cancer through poetry. Poetry submissions were analyzed for emergent themes through an inductive-deductive approach using framework analyses grounded in the Native Wellness Model and Cancer Control Continuum. Four overarching themes, one within each of the four Native Wellness Model constructs (mind, body, spirit, and context) and 17 sub-themes, reveal that cancer is a holistic experience for American Indian and Alaska Native Peoples. Participant knowledge and experiences varied across the Cancer Control Continuum, with survivorship and palliative care most reflected in the poetry. Fewer poems addressed detection, etiology, and prevention. Poetry can serve as a culturally relevant data source to better understand cancer from American Indian and Alaskan Native perspectives, experiences, and knowledge. More holistic approaches to cancer education, prevention, treatment, and research with American Indians and Alaskan Natives could improve efforts to address cancer within this population. Full article

Past archaeological practices have resulted in a distorted history of Native American cultures based upon western-biased research. This has been especially apparent in the rock art of the Klamath Basin in southern Oregon and northern California. In response to this, Native and non-Native scholars are striving to develop a counter-discourse that both challenges and replaces western constructs in research on Native American communities. The result of this approach is a growing trend within the discipline that has come to be called “Indigenous Archaeology.” Critical to this approach is that Native voices are transported from the margins of the research to its center, where they are intended to replace the Western colonialist narrative. Unfortunately, Native American tribal communities have been the targets of federal assimilation policies for the past few centuries, and as a result, much of their cultural knowledge unwittingly carries forward this distorted past. In this paper I explore a framework built upon ethnographic accounts of shamanism and rock art, along with a robust familiarity with local myth, and how this provides a foundation of traditional cultural knowledge against which to compare and evaluate the interpretive statements made in contemporary tribal members about rock art and other sacred material culture. Full article

This paper explores Great Basin arid-zone hunter–forager rock art as signalling behaviour. The rock art in Lincoln County, Nevada, is the focus, and this symbolic repertoire is analysed within its broader archaeological and ethnographic contexts. This paper mobilises an explicitly theoretical approach which integrates human behavioural ecology (HBE) and the precepts of information exchange theory (IET), generating assumptions about style and signalling behaviour based on hunter–forager mobility patterns. An archaeological approach is deployed to contextualise two characteristic regional motifs—the Pahranagat solid-bodied and patterned-bodied anthropomorphs. Contemporary Great Basin Native American communities see Great Basin rock writing through a shamanistic ritual explanatory framework, and these figures are understood to be a powerful spirit figure, the Water Baby, and their attendant shamans’ helpers. This analysis proposes an integrated model to understand Great Basin symbolic behaviours through the Holocene: taking a dialogical approach to travel backward from the present to meet the archaeological past. The recursive nature of rock art imagery and its iterative activation by following generations allows for multiple interpretive frameworks to explain Great Basin hunter–forager and subsequent horticulturalist signalling behaviours over the past ca. 15,000 years. Full article

Delamar Valley is a unique landscape located in southern Nevada that contains places associated with ceremony and Southern Paiute Creation. This ceremonial landscape is composed of volcanic places, a large Pleistocene Lake, and an underground hydrological system that allows for the movement of spiritual beings known as water babies between Delamar Valley and neighboring Pahranagat Valley. Paiute shamans traveled to Delamar Valley to interact with the portals along a volcanic ridge that allowed them to travel to a mirrored ceremonial landscape in another dimension of the universe. While in this mirrored landscape, shamans engaged with elements of Creation. This essay examines the ways in which Paiute shamans interacted with various components of the physical and spiritual landscapes. Full article

Why are rock art sites found in certain places and not others? Can locational or environmental variables inform an understanding of the function and meaning of the art? How can we move beyond observed patterning in spatial associations to a credible explanation of such meanings and ensure that we are not confusing correlation with causation? And what variables were most relevant in influencing site locational choices? These and related problems, whether recognized or not, are the subtext of the last three decades of rock art site distributional and landscape studies. They are now especially important to resolve given the need for accurate predictive modeling due to the rapid transformation of certain regions from undeveloped rural areas into rural industrial landscapes. Partly with this problem in mind, Whitley developed a descriptive model that provides an explanation for the location of Native Californian rock art in the Mojave Desert. It identifies the variables most relevant to site locations based on ethnographic Indigenous ontological beliefs about the landscape. These concern the geographical distribution of supernatural power and its association with certain landforms, natural phenomena and cultural features. His analysis further demonstrated that this model can account for two unusually large concentrations of sites and motifs: the Coso Range petroglyphs and the Carrizo Plain pictographs. But unanswered was the question of whether the model is applicable more widely, especially to smaller sites and localities made by different cultural groups. We documented and analyzed three petroglyph localities with seven small petroglyph sites in the southern Mojave Desert, California, to test this model. These sites are attributed to the Takic-speaking Cahuilla and Serrano tribes. Our study revealed a good fit between the expected natural and cultural variables associated with rock art site locations, with the number of such variables present at any given locale potentially correlated with the size of the individual sites. In addition to the research value of these results, this suggests that the model may be useful in the predictive modeling of rock art site locations for heritage management purposes. Full article

The market for plant-based analogs for meat is growing exponentially. In addition to motivations related to the search for health benefits, the consumption of such products is justified by the sustainability of their production since the use of non-renewable resources and the emission of polluting gases is lower than their animal-origin equivalents. However, little information regarding the global panorama of the sustainability of plant-based meat analogues is available, mainly due to the diffuse distribution of food matrices used across the planet. In this sense, this narrative review aimed to describe the state of the art regarding the use of resources and sustainability of the inputs used as protein sources in the manufacture of plant-based meat analogues. From the review carried out, it was possible to observe that the biggest problem in producing these plant-based alternatives lies in using inputs that are not native to the countries where the products are marketed, especially in the case of South American countries. Ingredients widely used in the production of these analogues find better cultivation conditions in the northern hemisphere, as in the case of lentils, peas and chickpeas; thus, South American markets depend on imports, reducing the sustainability of the products. Full article

In this paper, we present a novel approach for text-independent phone-to-audio alignment based on phoneme recognition, representation learning and knowledge transfer. Our method leverages a self-supervised model (Wav2Vec2) fine-tuned for phoneme recognition using a Connectionist Temporal Classification (CTC) loss, a dimension reduction model and a frame-level phoneme classifier trained using forced-alignment labels (using Montreal Forced Aligner) to produce multi-lingual phonetic representations, thus requiring minimal additional training. We evaluate our model using synthetic native data from the TIMIT dataset and the SCRIBE dataset for American and British English, respectively. Our proposed model outperforms the state-of-the-art (charsiu) in statistical metrics and has applications in language learning and speech processing systems. We leave experiments on other languages for future work but the design of the system makes it easily adaptable to other languages. Full article

In the mid-twentieth century, growing North American textile and ready-to-wear industries vigorously appropriated Native American aesthetics to cultivate a commercial and design identity apart from Europe. Most studies of the circulation of Indigenous idioms in these industries focus on Southwestern or South Pacific regionalisms, and scholarship on studio and commercial fabric and fashion design from the Northwest Coast in the twentieth century is limited. This paper contributes by raising Indigenous and non-Indigenous use of Northwest Coast design forms during the politically turbulent 1940s–1960s and analyzing the impact of this aesthetic vocabulary within broader North American textiles and fashion. Throughout, I engage with the approaches of critical fashion theory and multiple modernisms, considering the frictions of property and power relations within settler-colonial states, then and now. Drawing from study of objects, periodicals, and archival materials as well as first-person perspectives, I contextualize these representations within entangled art, museum, and design worlds in the Northwest Coast, New York City, and the Southwest. My examination illustrates that Northwest Coast artists and art ideas asserted a peripheral but locatable role in mid-century textiles and fashion, facilitating the development of today’s robust Indigenous fashion network on the Northwest Coast and its cultural politics. Full article

Elder Nora Marks Dauenhauer, Kheixwnéi, a poet and oral literary scholar and a mentor of the author, told the author “Life is a poem”. This essay will explore the ways in which the oral literary and visual arts of the Northwest Coast interact, how artists across multiple disciplines attain knowledge and develop as artists, and the ways in which the arts sing the poetry of Tlingit life. Examining the relationship between the arts will deepen one’s understanding of each art and illuminate how they inform and enrich one another. Full article

The Heterobasidion annosum species complex includes major fungal pathogens of conifers worldwide. State-of-the-art preventative stump treatments with urea or with commercial formulations of the fungal biological control agent Phlebiopsis gigantea (i.e., Rotstop^®) may become no longer available or are not approved for use in many areas of Europe infested by the three native Heterobasidion species and by the North American invasive H. irregulare, making the development of new treatments timely. The efficacy of Proradix^® (based on Pseudomonas protegens strain DSMZ 13134), the cell-free filtrate (CFF) of the same bacterium, a strain of P. gigantea (MUT 6212) collected in the invasion area of H. irregulare in Italy, Rotstop^®, and urea was comparatively investigated on a total of 542 stumps of Abies alba, Picea abies, Pinus pinea, and P. sylvestris in forest stands infested by the host-associated Heterobasidion species. Additionally, 139 logs of P. pinea were also treated. Results support the good performances of Rotstop^®, and especially of urea against the native Heterobasidion species on stumps of their preferential hosts and, for the first time, towards the invasive North American H. irregulare on stumps of P. pinea. In some experiments, the effectiveness of Proradix^® and of the strain of P. gigantea was weak, whereas the CFF of P. protegens strain DSMZ 13134 performed as a valid alternative to urea and Rotstop^®. The mechanism of action of this treatment hinges on antibiosis; therefore, further improvements could be possible by identifying the active molecules and/or by optimizing their production. Generally, the performance of the tested treatments is not correlated with the stump size. Full article

Most Native American groups believed in a form of animism in which spirit essence(s) infused forces of nature (e.g., the wind and thunder), many living plants and creatures, and many inanimate objects. This animism created other-than-human persons in which spirits were fused with matter that allowed them to interact with and even influence humans. Art in Western culture tends to denote “imagination”, and many scholars studying Native American art bring a similar perspective to their analyses. However, many Native Americans do not equate art with imagination in the same way, but instead use art to realistically portray these other-than-human persons, even when they are not typically visible in the natural world (e.g., the Southwestern horned-plumed serpent). Here, we apply a cognitive framework to evaluate the interplay of spirits at various levels that were created as Casas Grandes artisans used art as a means of depicting the inherent structure of the Casas Grandes spirit world. In doing so, they created links between ceremonially important objects such as pots and spirits that transformed these objects into newly created animated beings. The art thus simultaneously reflected the structure of the unseen world while also helping to determine the characteristics of these newly created other-than-human persons. One technique commonly used was to decorate objects with literal depictions of spirit beings (e.g., horned-plumed serpents) that would produce a natural affinity among the ceremonial objects and the spirit creatures. This affinity in turn allowed the animated ceremonial objects to mediate the interaction between humans and spirits. This approach transcends a view in which Casas Grandes art is considered symbolically significant and instead emphasizes the art as a component that literally helped create other-than-human collaborators that aided Casas Grandes people as they navigate ontologically significant relationships. Full article

We are pleased and honored to include the keynote address delivered by award-winning Sičáŋǧu Lakota artist, Dyani White Hawk Polk at the Native American Art Studies Association Conference (NAASA) on 2 October 2019. The NAASA is the leading professional and scholarly organization supporting and promoting the study and exchange of ideas related to Indigenous arts in the United States and Canada. At the organization’s biennial conference in Minneapolis, Minnesota, and while standing on Dakota traditional lands, Dyani White Hawk Polk delivered her important address, “The Long Game.” In it, she movingly and powerfully explores her life experiences, the history of and ongoing effects of colonialism, and how both inform her artistic practice. Her address traces the roles of mentors in her life, including the late Ho-Chunk artist, Truman Lowe, who taught at the University of Wisconsin, Madison during her time in the MFA program. She eloquently speaks to the challenges she has faced in tackling head-on hierarches in the art world that have continuously sought to diminish the significance of Indigenous art. She also provocatively addresses how artists, scholars, and critics can build the field of Indigenous art and support Indigenous artists. The address was widely praised at the conference, owing to the power and beauty of her words, as she spoke to how the past effects the present and as she illuminated a path for the future. We are grateful to be able to include her address in this Special Issue of Arts journal. Her thought-provoking address is both an artistic statement and a profound and moving commentary on the state of the Indigenous art world. Full article

Thelma Johnson Streat is perhaps best known as the first African American woman to have work acquired by the Museum of Modern Art. However, in the 1940s–1950s she inhabited multiple coinciding roles: painter, performer, choreographer, cultural ethnographer, and folklore collector. As part of this expansive practice, her canvases display a peculiar movement and animacy while her dances transmit the restraint of the two-dimensional figure. Drawing from black feminist theoretical redefinitions of the human, this paper argues that Streat’s exploration of muralism, African American spirituals, Native Northwest Coast cultural production, and Yaqui Mexican-Indigenous folk music established a diasporic mapping forged through the coxtension of gesture and brushstroke. This transmedial work disorients colonial cartographies which were the products of displacement, conquest, and dispossession, aiding notions of a new humanism at mid-century. Full article

In 1918, San Ildefonso Pueblo artist Crescencio Martinez completed two commissions for the anthropologist Edgar L. Hewett: A set of paintings and a series of tiles. The paintings, called the Crescencio Set, mark a formative moment in the development of a new genre of art, modern Pueblo painting. Before Crescencio and his San Ildefonso peers began creating images of ceremonial and daily life for sale to outsiders, they were hired as day laborers at archaeological excavations. While Pueblo laborers benefited financially from working with anthropologists, they nevertheless understood anthropology as a threat to their communities, as scientists disrupted sacred sites and the dead, collected sensitive material, and pushed informants for esoteric information. In countering this new colonial threat, Pueblo communities deployed long-developed tactics of resistance. Among the most powerful of these tactics is what Audra Simpson calls “refusal”. Many Pueblo laborers refused to share esoteric knowledge with anthropologists, a tactic adopted by those laborers who became artists. Early Pueblo paintings can, thus, be understood as “ana-ethnographic”, a representational mode through which the artists worked both through and against ethnographic norms in order to simultaneously benefit from, manipulate, and resist scientific colonialism. Crescencio’s paintings and tiles are paradigmatically ana-ethnographic. In creating these objects, Crescencio benefited from the ethnographic desire to know and record Pueblo life, and yet he only represented aspects of his culture appropriate for outsider consumption, refusing to share protected knowledge. Full article

The art history of Native North America built its corpus through considerations of “art-by-appropriation,” referring to selections of historically produced objects reconsidered as art, due to their artful properties, in addition to “art-by-intention,” referring to the work by known artists intended for the art market. The work of Siyosapa, a Hunkpapa/Yanktonai holy man active at Fort Peck, Montana during the 1880s and 1890s, troubles these distinctions with his painted drums and muslin paintings featuring the Sun Dance sold to figures of colonial authority: Military officers, agency officials, and others. This essay reassembles the corpus of his work through the analysis of documentary and collections records. In their unattributed state, some of his creations proved very influential during early attempts by art museums to define American Indian art within a modernist, twentieth century sense of world art history. However, after reestablishing Siyosapa’s agency in the creation and deployment of his drums and paintings, a far more complicated story emerges. While seemly offering “tourist art” or “market art,” his works also resemble diplomatic presentations, and represent material representations of his spiritual powers. Full article