The Wounded Knee Massacre: The Forgotten History of the Native American Gun Confiscation – Ricochet ricochet.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from ricochet.com Daily Mail and Mail on Sunday newspapers.
Context For much of the United States’ period of westward expansion, white settlers’ attempts to claim plots of land were met with fierce and sometimes violent resistance from indigenous peoples. This resistance intensified in the latter half of the 19th century as the U.S. federal government repeatedly signed and violated treaties with various Plains tribal leaders. Most prominent among these were the Sioux Indians, of which the Lakota are a subgroup. The Treaty of Fort Laramie in 1868 established the 60-million-acre Great Sioux Reservation and created agencies to represent the federal government among each tribe. If the Lakota stayed on the reservation and refrained from attacking white settlers, they would be provided with food rations, education, and other state-funded benefits. However, U.S. interest in natural resources on the reservation resulted in a series of conflicts that saw the Great Sioux Reservation shrink from 60 million acres to 21.7 million acres by 1877. The General Allotment Act of 1887 further reduced the acreage to a mere 12.7 million, barely 20 percent of the original allotment. The unbroken tract of land now consisted of six separate reservations centred on existing federal agencies.
Dec 28, 2020 | Filed in News & Features On December 29, 1890, the United States Army killed 146 Sioux at Wounded Knee on the Pine Ridge reservation in South Dakota. Frank Waln, an award-winning Lakota music artist from the Rosebud Reservation in South Dakota, discusses the 130th anniversary of the massacre and Native representation in the U.S. education system. In this op-ed, Frank Waln, an award-winning Sicangu Lakota hip-hop artist and music producer from the Rosebud Reservation in South Dakota, discusses the 130th anniversary of Wounded Knee and the erasure of Native histories and stories. American media outlets and public school curriculums teach U.S. citizens to remember massacres and senseless acts of violence that were carried out on U.S. soil, such as Pearl Harbor and 9/11. However, the same educational systems and outlets have all but forgotten about the senseless acts of violence and genocide carried out by the U.S. government.
The first Ghost Dance developed in 1869 around the dreamer Wodziwob (died c. 1872) and in 1871–73 spread to California and Oregon tribes; it soon died out or was transformed into other cults. The second derived from Wovoka (c. 1856–1932), whose father, Tavibo, had assisted Wodziwob. Wovoka had been influenced by Presbyterians on whose ranch he worked, by Mormons, and by the Indian Shaker Church. During a solar eclipse in January 1889, he had a vision of dying, speaking with God in heaven, and being commissioned to teach the new dance and millennial message. Native Americans from many tribes traveled to learn from Wovoka, whose self-inflicted stigmata on hands and feet encouraged belief in him as a new messiah, or Jesus Christ, come to the Native Americans.
Dolores Purdy began researching her tribe and stumbled into sheaves of ledger paper. The Caddo (Oklahoma)/Winnebago (Nebraska) artist unearthed a depth of cultural history inspiring her to create a feminine version of what has been traditionally a male art form. “Chasing the Buff” by Dolores Purdy. For nearly two decades, she has produced what is often called “warrior art” on antique ledger paper in her studio north of Santa Fe. ...................... Purdy was one of many artists shuttered when the Santa Fe Indian Market closed during the pandemic. She often injects a note of humor into her work, knitting together traditional imagery with contemporary forms, always immersed in her Native American heritage. Traces of Pop artist Peter Max and the psychedelic poster movement influence her work, as well as the Art Deco movement and Japanese textiles.
Klaus von Nichtssagend Gallery opens a solo exhibition of works by Joy Curtis Joy Curtis, Subtle Body Pillows, 2020. Cochineal, indigo, osage orange, madder, walnut, and procion dyes on cotton, linen, silk organza and rope; spandex, kapok, buckwheat hulls, metal, and wood beads. Dimensions variable. NEW YORK, NY .-Klaus von Nichtssagend Gallery is presenting Joy Curtiss new solo exhibition, Skeleton Woman. This show comprises anthropomorphic sculptures created from hand-dyed canvas, commercially printed fabrics, and cast bronze. Each works multivarious elements carry meaning from their sources and cultural histories, pointing to an agricultural and colonial framework built on extractive capitalism and subjugation. By using an array of history-laden materials, Curtis creates visual fables that point to a wish for reckoning and healing in Western culture. Her practice involves research on the origins of commercial fabrics from Dutch wax cloth and indigo to the original dyes used to make the American flag. She layers and juxtaposes decisively contemporary cloths (spandex printed to resemble blue jeans or snakeskin) with others she has dyed herself using pre-modern techniques from a wide range of cultures, as well as ones using contemporary synthetic dyes.