People of the Big Voice tells the visual history of Ho-Chunk families at the turn of the twentieth century and beyond as depicted through the lens of Black River Falls, Wisconsin studio photographer, Charles Van Schaick. The family relationships between those who “sat for the photographer” are clearly visible in these images—sisters, friends, families, young couples—who appear and reappear to fill in a chronicle spanning from 1879 to 1942. Also included are candid shots of Ho-Chunk on the streets of Black River Falls, outside family dwellings, and at powwows. As author and Ho-Chunk tribal member Amy Lonetree writes, “A significant number of the images were taken just a few short years after the darkest, most devastating period for the Ho-Chunk. Invasion, diseases, warfare, forced assimilation, loss of land, and repeated forced removals from our beloved homelands left the Ho-Chunk people in a fight for their culture and their lives.”

The Spanish colonial period in South America saw artists develop the subgenre of official portraiture, or portraits of key individuals in the continent’s viceregal governments. Although these portraits appeared to illustrate a narrative of imperial splendor and absolutist governance, they instead became a visual record of the local history that emerged during the colonial occupation.

Using the official portrait collections accumulated between 1542 and 1830 in Lima, Buenos Aires, and Bogotá as a lens, Pictured Politics explores how official portraiture originated and evolved to become an essential component in the construction of Ibero-American political relationships. Through the surviving portraits and archival evidence—including political treatises, travel accounts, and early periodicals—Emily Engel demonstrates that these official portraits not only belie a singular interpretation as tools of imperial domination but also visualize the continent's multilayered history of colonial occupation. The first stand alone analysis of South American portraiture, Pictured Politics brings to light the historical relevance of political portraits in crafting the history of South American colonialism.

A spirit of religious revival blazed across the United States just after 1900. With a focus on Holy Spirit power, early adherents stirred an enthusiastic response, first at a Bible school in Topeka and then in a small mission on Asuza Street in Los Angeles. Almost immediately, the movement spread to Houston, Chicago, and then northeastern urban centers. By the early 1910s the fervor had reached most parts of the United States, Canada, and northern Mexico, and eventually the converts called themselves pentecostals. Today there are pentecostals all over the world. From the beginning the movement was unusually diverse: women and African Americans were active in many of the early fellowships, and although some groups were segregated, some were interracial. Everytwhere, ordinary people passionately devoted themselves to salvation, Holy Ghost baptism evidenced by speaking in tongues, divine healing, and anticipation of the Lord’s imminent return.

This movement saw itself as leaderless, depending on individual conversion and a radical equality of souls — or, as early devotees would say, on the Holy Spirit. But a closer look reveals a host of forceful, clear-eyed leaders. This volume offers twenty biographical portraits of the first-generation pioneers who wove the different strands of Holy Spirit revivalism into a coherent and dramatically successful movement.

A collection of new essays on notable historic and contemporary Basques of America's Far West that offers a perceptive and lively examination of the lives of one of the West's most resilient and successful ethnic minorities. It is essential reading for anyone interested in the Basque people or those interested in the process of immigration and assimilation: these profiles illustrate how America's Basque immigrants have achieved success in mainstream society while retaining strong ties to their ancient Old World culture.

Of all the images to arise from the Harlem Renaissance, the most thought-provoking were those of the mulatta. For some writers, artists, and filmmakers, these images provided an alternative to the stereotypes of black womanhood and a challenge to the color line. For others, they represented key aspects of modernity and race coding central to the New Negro Movement. Due to the mulatta’s frequent ability to pass for white, she represented a variety of contradictory meanings that often transcended racial, class, and gender boundaries.

In this engaging narrative, Cherene Sherrard-Johnson uses the writings of Nella Larsen and Jessie Fauset as well as the work of artists like Archibald Motley and William H. Johnson to illuminate the centrality of the mulatta by examining a variety of competing arguments about race in the Harlem Renaissance and beyond.