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From the day he was born, Federico Jiménez Caballero was predicted to be a successful man. So, how exactly did a young boy from Tututepec, Oaxaca, become a famous Indigenous jewelry artist and philanthropist in Los Angeles? Federico tells the remarkable story of willpower, curiosity, hard work, and passion coming together to change one man’s life forever.

As a child growing up in a small rural town in southern Mexico, Federico Jiménez Caballero faced challenges that most of us cannot imagine, let alone overcome. From a young age, Federico worked tirelessly to contribute to his large family, yet his restless spirit often got him into trouble. Finding himself in the middle of a village-wide catastrophe, he was exiled to a boarding school in Oaxaca City where he was forced to become independent, resilient, and razor-sharp in order to stay afloat. Through his incredible people skills, bravery, and a few nudges from his bold mother, Federico found himself excelling in his studies and climbing the ranks in Oaxaca City. He always held a deep love and respect for his Mixtec Indigenous roots and began to collect Indigenous jewelry and textiles. Through a series of well-timed connections, Federico met his wife Ellen, and, shortly afterward, he came to the United States as a researcher at the University of California, Los Angeles, in the late 1960s.

Carrying his passion for Indigenous jewelry with him from Oaxaca, Federico owned a series of shops in Los Angeles and sold jewelry at flea markets to well-known Hollywood stars. Over the years, he cultivated relationships and became a philanthropist as well as the owner of a museum in Oaxaca City. This book is the inspiring first-person account of eighty years in the life of a man who moved from humble beginnings to the bright lights of Hollywood, following his passion and creating long-lasting relationships as he climbed the ladder of success.

Understanding the Hawai‘i Island summit of Mauna a Wākea as a place of ancestral connection, cultural resurgence, and political resistance for Native Hawaiians​

 

First Light is a site-specific study of Native Hawaiian resistance to the construction of the Thirty Meter Telescope (TMT) on the summit of Mauna a Wākea, the sacred mountain on the island of Hawai‘i. Drawing on personal interviews, oral histories, archival research, participant observation, and popular, legal, scientific, and Indigenous discourses, Iokepa Casumbal-Salazar explores both the campaign to build the observatory and the movement against it. He asks how astronomers have become stewards of Mauna a Wākea while Kānaka ‘Ōiwi (Aboriginal Hawaiians), in protest, are recast as obstructing progress and clinging to ancient superstitions.

Contextualizing contemporary resistance to telescope expansion within the past 132 years of struggle against U.S. empire in Hawai‘i, Casumbal-Salazar argues the Kanaka-led efforts to protect their ancestral lands did not begin with the TMT and only become legible when understood in the broader history of resistance to U.S. settler hegemony as told through the voices and actions of kiaʻi ʻāina (land defenders). First Light explores how settler science, capital, and law have been mobilized in ways that rationalize industrial development projects like the TMT and promote a vision of “coexistence” that enables the dehumanization of Kānaka ‘Ōiwi and their alienation from ʻāina.

Challenging the assumptions and aggressions of neoliberal environmental policy, settler multiculturalism, and U.S. military occupation, First Light reinforces calls for a moratorium on new telescope development and a literacy in Kanaka ‘Ōiwi movements for life, land, and ea (independence, sovereignty).

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A cultural history of Sápmi and the Nordic countries as told through objects and artifacts

Material objects—things made, used, and treasured—tell the story of a people and place. So it is for the Indigenous Sámi living in Norway, Sweden, Finland, and Russia, whose story unfolds across borders and centuries, in museums and private collections. The objects created by the Sámi for daily and ceremonial use were purchased and taken by Scandinavians and foreign travelers in Lapland from the seventeenth century to the present, and the collections described in From Lapland to Sápmi map a complex history that is gradually shifting to a renaissance of Sámi culture and craft, along with the return of many historical objects to Sápmi, the Sámi homeland.

The Sámi objects first collected in Lapland by non-Indigenous people were drums and other sacred artifacts, but later came to include handmade knives, decorated spoons, clothing, and other domestic items owned by Sámi reindeer herders and fishers, as well as artisanal crafts created for sale. Barbara Sjoholm describes how these objects made their way via clergy, merchants, and early scientists into curiosity cabinets and eventually to museums in Copenhagen, Stockholm, Oslo, and abroad. Musicians, writers, and tourists also collected Sámi culture for research and enjoyment. Displays of Sámi material culture in Scandinavia and England, Germany, and other countries in museums, exhibition halls, and even zoos often became part of racist and colonial discourse as examples of primitive culture, and soon figured in the debates of ethnographers and curators over representations of national folk traditions and “exotic” peoples. Sjoholm follows these objects and collections from the Age of Enlightenment through the twentieth century, when artisanship took on new forms in commerce and museology and the Sámi began to organize politically and culturally. Today, several collections of Sámi objects are in the process of repatriation, while a new generation of artists, activists, and artisans finds inspiration in traditional heritage and languages.

Deftly written and amply illustrated, with contextual notes on language and Nordic history, From Lapland to Sápmi brings to light the history of collecting, displaying, and returning Sámi material culture, as well as the story of Sámi creativity and individual and collective agency.