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- W2967909854 abstract "Recovering the dynamic experiences in the Upper Midwest that nineteenth-century pictures and records of Dakhota people appear to obscure is the primary aim of this dissertation. It is the first to consider Dakhota-United States relationships from an art historical perspective. The dearth of scholarship on Eastern Dakhota art (the Bdewakaŋtoŋwaŋ, Waĥpekute, Waĥpetoŋwaŋ, Sisitoŋwaŋ) belies the central role it played in mediating U.S.-Native American relationships. Confluence, where waters merge and collide, provides a metaphor and method for tracing cross-cultural art histories in Mnisota Makhoche, “the place where the water reflects the clouds in the sky,” what is currently called Minnesota. The constellation of materials examined in the following pages depicted, were made on, and even made of Dakhota ancestral homelands. They range widely across media such as prints, paintings, chaŋnuŋpa (tobacco pipes), porcupine quillwork, and ethnological books. The bulk of the objects fall between 1835, the year artist-explorer George Catlin claimed to discover Chaŋnuŋp-ok’e (the Pipestone Quarry) on Dakhota lands, and 1912 when Minnesotan settlers commissioned the first stone marker to commemorate the mass execution of thirty-eight Dakhota men in 1862. Each chapter unravels a history of the encounter between Dakhota and settler communities by focusing on a single work: a mineral chart, a Dakhota crucifix carved from iŋyaŋ sa (pipestone), and a newspaper illustration of the execution. This dissertation re-orients the methodological approach to American art historical study within Indigenous homeland by considering cultural encounter, agency, Indigenous aesthetics, and research ethics. Chapters grapple with the seeming absence of Dakhota voices in the official archive constructed by non-Native government officials and anthropologists. The strategies employed to do so emerged from engagement with contemporary museological theory and practice regarding the exhibition of Indigenous art and culture. These include weaving contemporary Native American artworks into the discussion of historical material, as well as privileging the voices of Dakhota elders, artists, and community leaders past and present. An additional primary method employed during the research process included consulting with Dakhota persons in Minnesota, Nebraska, and South Dakota." @default.
- W2967909854 created "2019-08-22" @default.
- W2967909854 creator A5073552197 @default.
- W2967909854 date "2019-06-20" @default.
- W2967909854 modified "2023-09-24" @default.
- W2967909854 title "AGENCY AT THE CONFLUENCE OF DAKHÓTA AND EURO-AMERICAN ART, 1835-1912" @default.
- W2967909854 hasPublicationYear "2019" @default.
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