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In the Hawaiian Homes Commission Act (HHCA) of 1921, the U.S. Congress defined “native Hawaiians” as those people “with at least one-half blood quantum of individuals inhabiting the Hawaiian Islands prior to 1778.” This “blood logic” has since become an entrenched part of the legal system in Hawai‘i. Hawaiian Blood is the first comprehensive history and analysis of this federal law that equates Hawaiian cultural identity with a quantifiable amount of blood. J. Kēhaulani Kauanui explains how blood quantum classification emerged as a way to undermine Native Hawaiian (Kanaka Maoli) sovereignty. Within the framework of the 50-percent rule, intermarriage “dilutes” the number of state-recognized Native Hawaiians. Thus, rather than support Native claims to the Hawaiian islands, blood quantum reduces Hawaiians to a racial minority, reinforcing a system of white racial privilege bound to property ownership.

Kauanui provides an impassioned assessment of how the arbitrary correlation of ancestry and race imposed by the U.S. government on the indigenous people of Hawai‘i has had far-reaching legal and cultural effects. With the HHCA, the federal government explicitly limited the number of Hawaiians included in land provisions, and it recast Hawaiians’ land claims in terms of colonial welfare rather than collective entitlement. Moreover, the exclusionary logic of blood quantum has profoundly affected cultural definitions of indigeneity by undermining more inclusive Kanaka Maoli notions of kinship and belonging. Kauanui also addresses the ongoing significance of the 50-percent rule: Its criteria underlie recent court decisions that have subverted the Hawaiian sovereignty movement and brought to the fore charged questions about who counts as Hawaiian.

 The Southern Paiute and Chemehuevi people have lived for countless generations in the southern Great Basin of western North America in a homeland that extends to parts of Utah, Nevada, California, and northern Arizona. Referred to by a variety of names and spellings in the Euro­American literature, they are the people whose name for themselves is “Nuwu”—or collectively, “Nuwuvi.” Nuwuvi basket weaving is a traditional and evolving art form that connects weavers to their ancestors and to the natural world.
            This publication, years in the making, includes chapters by Catherine S. Fowler, Judith W. Finger, John J. Kania, and Larry Dalrymple that explore the cultural history of the Nuwuvi people, the work of known weavers, and the characteristics and development of Nuwuvi basketry from the 1870s to 2022. It focuses particularly on the fine-coiled work produced during the American Arts and Crafts Movement period of the 1890s to 1930s. Working separately and together, the authors analyzed over 1,200 baskets in museum collections across the United States, from the Smithsonian Institution in Washington, D.C., to the Lost City Museum in Henderson, Nevada. They researched the baskets’ collectors—from John Wesley Powell to Helen J. Stewart and Isabel T. Kelly—and conducted interviews with contemporary weavers. In order to give the reader as broad a visual understanding of Nuwuvi coiled baskets as possible, images of baskets from the collection of Judith and Andrew Finger are included. The book is lavishly illustrated with archival and contemporary photographs.

In Hidden Thunder, renowned watercolor artist Geri Schrab and archaeologist Robert "Ernie" Boszhardt give readers an up-close-and-personal look at rock art. With an eye toward preservation, Schrab and Boszhardt take you with them as they research, document, and interpret at the ancient petroglyphs and pictographs made my Native Americans in past millennia. In addition to publicly accessible sites such as Wisconsin’s Roche-a-Cri State Park and Minnesota’s Jeffers Petroglyphs, Hidden Thunder covers the artistic treasures found at several remote and inaccessible rock art sites—revealing the ancient stories through words, full-color photographs, and artistic renditions.

Offering the duo perspectives of scientist and artist, Boszhardt shares the facts that archaeologists have been able to establish about these important artifacts of our early history, while Schrab offers the artist's experience, describing her emotional and creative response upon encountering and painting these sites. Viewpoints by members of the Menominee, Ho-Chunk, Ojibwe, and other Native nations offer additional insight on the historic and cultural significance of these sites. Together these myriad voices reveal layers of meaning and cultural context that emphasize why these fragile resources—often marred by human graffiti and mishandling or damage from the elements—need to be preserved.

This book is a joint project of the Utah Division of Indian Affairs and the Utah State Historical Society. It is distributed to the book trade by Utah State University Press.

The valleys, mountains, and deserts of Utah have been home to native peoples for thousands of years. Like peoples around the word, Utah's native inhabitants organized themselves in family units, groups, bands, clans, and tribes. Today, six Indian tribes in Utah are recognized as official entities. They include the Northwestern Shoshone, the Goshutes, the Paiutes, the Utes, the White Mesa or Southern Utes, and the Navajos (Dineh). Each tribe has its own government. Tribe members are citizens of Utah and the United States; however, lines of distinction both within the tribes and with the greater society at large have not always been clear. Migration, interaction, war, trade, intermarriage, common threats, and challenges have made relationships and affiliations more fluid than might be expected. In this volume, the editor and authors endeavor to write the history of Utah's first residents from an Indian perspective. An introductory chapter provides an overview of Utah's American Indians and a concluding chapter summarizes the issues and concerns of contemporary Indians and their leaders. Chapters on each of the six tribes look at origin stories, religion, politics, education, folkways, family life, social activities, economic issues, and important events. They provide an introduction to the rich heritage of Utah's native peoples. This book includes chapters by David Begay, Dennis Defa, Clifford Duncan, Ronald Holt, Nancy Maryboy, Robert McPherson, Mae Parry, Gary Tom, and Mary Jane Yazzie.

Forrest Cuch was born and raised on the Uintah and Ouray Ute Indian Reservation in northeastern Utah. He graduated from Westminster College in 1973 with a bachelor of arts degree in behavioral sciences. He served as education director for the Ute Indian Tribe from 1973 to 1988. From 1988 to 1994 he was employed by the Wampanoag Tribe in Gay Head, Massachusetts, first as a planner and then as tribal administrator. Since October 1997 he has been director of the Utah Division of Indian Affairs.

What has nourished native peoples on this continent since time immemorial, say the editors of this volume, are wellsprings of creativity. "Down at the source," Havasupai singer Dan Hanna assures us, "a spring will always be there." The creative wellspring of American Indian culture is well represented in this anthology, a compilation of stories, songs, poems, and other writings taken from twenty-five years of Sun Tracks: An American Literary Series. Editors Larry Evers and Ofelia Zepeda have gathered the contributions of nineteen Native Americans in compiling this collection.

Some are stories from oral traditions, others are autobiographical writings, and some are songs or poems. But all are contemporary, and all have as a unifying element a strong central theme in Native American writing: home places. Some of the contributors define the home place as a center of established values, while others speak of its cultural or physical geography. Healing powers are often found at home places. Home is a place to defend against those who would reduce it to insignificance, a place to reclaim, or a place reclaimed but not yet realized.

One writer recalls a home that must be pulled from deep beneath the waters of the Columbia River. By listening to these stories of home places, the reader can gain a new appreciation of the contemporary verbal expressions of Native American communities. Home Places, note the editors, "asks you to listen to Native American signers, storytellers, and writers, and in this way to celebrate the wellsprings of creativity that continue to flow from the home places in Native America."

Homol'ovi II is a fourteenth-century, ancestral Hopi pueblo with over 700 rooms. Although known by archaeologists since 1896, no systematic excavations were conducted at the pueblo until 1984. This report summarizes the findings of the excavations by the Arizona State Museum of five rooms and an outside activity area, which now form the core of the interpretive program for Homolovi Ruins State Park. The significant findings reported here are that the excavated deposits date between A.D. 1340 and 1400; that nearly all the decorated ceramics during this period were imported from villages on the Hopi Mesas; that cotton was a principal crop which probably formed the basis of Homol'ovi II's participation in regional exchange; that chipped stone was a totally expedient technology in contrast to ground stone which was becoming more diverse; and that the katsina cult was probably present or developing at Homol'ovi II. These findings from the basis for future excavations that should broaden our knowledge of the developments taking place in fourteenth-century Pueblo society connecting the people whom archaeologists term the Anasazi with those calling themselves Hopi.

Hope Leslie (1827), set in the seventeenth-century New England, is a novel that forced readers to confront the consequences of the Puritans’ subjugation and displacement of the indigenous Indian population at a time when contemporaries were demanding still more land from the Cherokees, the Chickasaws, and the Choctaws.

"This handsome reprint ... makes available after many decades the New Englander's tale of seventeeth-century Puritans, and their relations with the indigenous Indian population." -- Nineteeth-Century Literature

" A splendidly conceived edition of Sedwick's historical romance. Highly recommended." --Choice

"Develop(s) the connections between patriarchal authority within the Puritan state and its policy of dispossessing and exterminating Indians. The different heritage it envisions explicitly link white women and Indians and elaborates a communal concept of liberty at odds with the individualistic concept which predominated in American culture." -- Legacy

"With the inborn wisdom that has guided them for so long through so many obstacles, Hopi men and women perpetuate their proven rituals, strongly encouraging those who attempt to neglect or disrespect their obligations to uphold them. One of these obligations is to respect the flora and fauna of our planet. The Hopi closeness to the Earth is represented in all the arts of all three mesas, whether in clay or natural fibers. What clay is to a potter's hands, natural fibers are to a basket weaver." —from the Introduction

Rising dramatically from the desert floor, Arizona's windswept mesas have been home to the Hopis for hundreds of years. A people known for protecting their privacy, these Native Americans also have a long and less known tradition of weaving baskets and plaques. Generations of Hopi weavers have passed down knowledge of techniques and materials from the plant world around them, from mother to daughter, granddaughter, or niece.

This book is filled with photographs and detailed descriptions of their beautiful baskets—the one art, above all others, that creates the strongest social bonds in Hopi life. In these pages, weavers open their lives to the outside world as a means of sharing an art form especially demanding of time and talent. The reader learns how plant materials are gathered in canyons and creek bottoms, close to home and far away. The long, painstaking process of preparation and dying is followed step by step. Then, using techniques of coiled, plaited, or wicker basketry, the weaving begins.

Underlying the stories of baskets and their weavers is a rare glimpse of what is called "the Hopi Way," a life philosophy that has strengthened and sustained the Hopi people through centuries of change. Many other glimpses of the Hopi world are also shared by author and photographer Helga Teiwes, who was warmly invited into the homes of her collaborators. Their permission and the permission of the Cultural Preservation Office of the Hopi Tribe gave her access to people and information seldom available to outsiders.

Teiwes was also granted access to some of the ceremonial observances where baskets are preeminent. Woven in brilliant reds, greens, and yellows as well as black and white, Hopi weavings, then, not only are an arresting art form but also are highly symbolic of what is most important in Hopi life. In the women's basket dance, for example, woven plaques commemorate and honor the Earth and the perpetuation of life. Other plaques play a role in the complicated web of Hopi social obligation and reciprocity.

Living in a landscape of almost surreal form and color, Hopi weavers are carrying on one of the oldest arts traditions in the world. Their stories in Hopi Basket Weaving will appeal to collectors, artists and craftspeople, and anyone with an interest in Native American studies, especially Native American arts. For the traveler or general reader, the book is an invitation to enter a little-known world and to learn more about an art form steeped in meaning and stunning in its beauty.

In deceptively simple prose and verse, Louis V. "Two Shoes" Clark III shares his life story, from childhood on the Rez, through school and into the working world, and ultimately as an elder, grandfather, and published poet. How to Be an Indian in the 21st Century explores Clark’s deeply personal and profound take on a wide range of subjects, from schoolyard bullying to workplace racism to falling in love. Warm, plainspoken, and wryly funny, Clark’s is a unique voice talking frankly about a culture’s struggle to maintain its heritage. His poetic storytelling style matches the rhythm of the life he recounts, what he calls "the heartbeat of my nation."

More than twenty years after its publication in 1991, Leslie Marmon Silko’s monumental novel Almanac of the Dead continues to disconcert, move, provoke, and outrage readers. In a work that is overtly and often uncomfortably political, Silko’s overflowing cast of characters includes representatives from a range of cultures and communities who are united by common experiences of dispossession, disenfranchisement, exploitation, and poverty. Clearly, Silko’s depiction of a social uprising that draws together the indigenous People’s Army of the Americas and the American Army of the Homeless triggered—and was designed to trigger—a range of reactions among readers and critics alike.
 
Howling for Justice actively engages with both the literary achievements and the politics of Silko’s text. It brings together essays by international scholars reacting to the novel while keeping in mind its larger concern with issues of social justice, both local and transnational. Aiming both to refocus critical attention and open the book to a broader array of readers, this collection offers fresh perspectives on its transnational vision, on its sociocultural, historical, and political ambitions, and on its continued relevance in the twenty-first century. The essays examine and explain some of the key points that readers and critics have identified as confusing, problematic, and divisive. Together, they offer new ways to approach and appreciate the text.
 
The book concludes with a new, never-before-published interview in which Silko reflects on the twenty years since the novel’s publication and relates the concerns of Almanac to her current work.

Photographer and filmmaker Victor Masayesva, Jr., was raised in the Hopi village of Hotevilla and was educated at the Horace Mann School in New York, Princeton University, and the University of Arizona. His immersion in photographic experimentation embraces a projection of stories and symbols, natural objects, and locations both at Hopi and worldwide. His work has been exhibited internationally, and he is perhaps best known for his feature-length film Imagining Indians. For Masayesva, photography is a discipline that he approaches in a manner similar to the way that he was taught about himself and his clan identity. As he navigates his personal associations with Hopi subject matter in varied investigations of biology, ecology, humanity, history, planetary energy, places remembered, and musings on things broken and whole, he has created an extraordinary visual cosmography. In this compilation of his photographic journey, Masayesva presents some of the most important and vibrant images of that visual quest and reflects on them in provocative essays.