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Data publikacji: 29 lipca 2024

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1

McPherson, Robert. "Circles, Trees, and Bears: Symbols of Power of the Weenuche Ute." American Indian Culture and Research Journal 36, no. 2 (2012): 103–30. http://dx.doi.org/10.17953/aicr.36.2.w280374p4142140q.

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The Ute community of White Mesa, comprised of approximately 315 people, sits in the corner of southeastern Utah, eleven miles outside of Blanding. The residents, primarily of Weenuche Ute and Paiute ancestry, enjoy a cultural heritage that embraces elements from plains, mountain, and desert/Great Basin Indian culture. Among their religious practices are the Worship Dance, Ghost Dance, Sun Dance, and Bear Dance. Although each ceremony is unique, and performed for a variety of reasons, the common ground among them cannot be missed. Healing the sick, renewing necessities for survival, connecting spiritually with ancestors, communicating with the Land Beyond, establishing patterns for life, and sharing symbols that unify religious expression—such as the circle, tree, and bear—are elements that characterize the faith of these people as expressed in these ceremonies. Their origin sheds light on the relevance of these practices as they blend traditions from the past with contemporary usage. As symbols imbued with religious relevance, they make the intangible visible while continuing to teach and protect that which is important in Ute cultural survival. This article looks at these shared elements while offering new information about the origin and symbolism of the Ghost Dance as practiced in the Worship Dance. Circles, trees, bears, and other emblems provide not only themes from past teaching but empower the Ute universe today.

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Gautom, Priyanka, Jamie H. Thompson, Jennifer S. Rivelli, et al. "Abstract A044: Creating culturally relevant colorectal cancer screening messages and materials for tribal communities in the Great Plains." Cancer Epidemiology, Biomarkers & Prevention 32, no. 12_Supplement (2023): A044. http://dx.doi.org/10.1158/1538-7755.disp23-a044.

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Abstract Introductory sentences indicating the purposes of the study: We applied a modified version of boot camp translation (BCT), a validated community participatory approach, to engage tribal community members in the Great Plains to develop culturally and locally relevant colorectal cancer (CRC) screening messages and materials. Brief description of pertinent experimental procedures: CRC is one of the leading causes of cancer death in the United States and disproportionally affects American Indian adults, especially American Indians living in the Great Plains. Routine CRC screening leads to earlier diagnosis and prolonged survival from the disease. However, American Indian adults are less likely to be up to date on CRC screening than White adults, highlighting the need to increase CRC screening within this community. In partnership with the Great Plains Tribal Leaders Health Board and the National Association of Chronic Disease Directors, we used a modified BCT approach to elicit feedback from tribal community members to create messages and materials that motivate tribal members to get screened for CRC. To make the BCT process more meaningful for our partner communities, we reframed the BCT sessions by referring to them as listening sessions. Eligible tribal community members recruited were between the ages of 45-75 and agreed to participate in all three listening sessions over a two-month period. The sessions consist of one five-hour in-person gathering in Rapid City, South Dakota, and two one-hour follow-up video-conferencing calls. The in-person session included a cultural presentation of Lakota teachings by a local hoop dancer, CRC education by an expert in CRC research, a presentation by local leaders on interventions to increase community access to CRC screening, and discussions on CRC knowledge, beliefs, barriers to screening, and messages/materials to help increase screening. The follow-up sessions, scheduled to occur in the summer of 2023, will gather feedback on draft materials and messages. Summary of the new unpublished data: A total of 38 adults participated in the first listening session. The key themes emphasized the importance of: 1) including Lakota words in the messages/materials as language is tied to cultural identity, 2) creating messaging/materials that are relatable, address local barriers, and include resources and cultural imagery, 3) applying a multigenerational approach to screening education in the messages and materials, 4) including cultural details about healing traditions, and 5) using visuals for colon health education and screening education. The participants suggested using videos in clinics, radio ads, visual stories, brochures, and text messages as the primary channels to disseminate the messages/materials. Statement of conclusions: We successfully used a modified BCT approach to incorporate participant feedback to develop CRC screening messages and materials and identified preferred dissemination channels for the Great Plains tribal communities. Final materials will be showcased. Citation Format: Priyanka Gautom, Jamie H. Thompson, Jennifer S. Rivelli, Senait R. Tadesse, Richard Mousseau, LaToya Brave Heart, Kelley LeBeaux, Derrick Molash, Lorrie Graaf, Dawn Wiatrek, Gloria D. Coronado. Creating culturally relevant colorectal cancer screening messages and materials for tribal communities in the Great Plains [abstract]. In: Proceedings of the 16th AACR Conference on the Science of Cancer Health Disparities in Racial/Ethnic Minorities and the Medically Underserved; 2023 Sep 29-Oct 2;Orlando, FL. Philadelphia (PA): AACR; Cancer Epidemiol Biomarkers Prev 2023;32(12 Suppl):Abstract nr A044.

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3

Witmer, Robert, and William K. Powers. "War Dance: Plains Indian Musical Performance." Yearbook for Traditional Music 27 (1995): 159. http://dx.doi.org/10.2307/768117.

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Levine, Victoria Lindsay, and William K. Powers. "War Dance: Plains Indian Musical Performance." Ethnomusicology 36, no. 3 (1992): 426. http://dx.doi.org/10.2307/851877.

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Cloudsley, Peter. "War Dance. Plains Indian Musical Performance." Journal of Arid Environments 21, no. 1 (1991): 127. http://dx.doi.org/10.1016/s0140-1963(18)30741-9.

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Hatton, Orin T., and William K. Powers. "War Dance: Plains Indian Musical Performance." American Indian Quarterly 16, no. 3 (1992): 440. http://dx.doi.org/10.2307/1185821.

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Harrod, Howard, and William K. Powers. "War Dance: Plains Indian Musical Performance." Ethnohistory 39, no. 3 (1992): 364. http://dx.doi.org/10.2307/482308.

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Carlson, Paul H., and Brad D. Lookingbill. "War Dance at Fort Marion: Plains Indian War Prisoners." Journal of Southern History 73, no. 3 (2007): 722. http://dx.doi.org/10.2307/27649526.

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Ahern, W. H. "War Dance at Fort Marion: Plains Indian War Prisoners." Journal of American History 93, no. 4 (2007): 1255. http://dx.doi.org/10.2307/25094673.

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Frisbie, Charlotte J. ": War Dance: Plains Indian Musical Performance . William K. Powers." American Anthropologist 94, no. 1 (1992): 215–16. http://dx.doi.org/10.1525/aa.1992.94.1.02a00560.

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Stockel, H. Henrietta. "War Dance at Fort Marion: Plains Indian War Prisoners." Western Historical Quarterly 38, no. 2 (2007): 230–31. http://dx.doi.org/10.1093/whq/38.2.230.

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Lawrence, Elizabeth Atwood. "The Symbolic Role of Animals in the Plains Indian Sun Dance." Society & Animals 1, no. 1 (1993): 17–37. http://dx.doi.org/10.1163/156853093x00127.

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AbstractFor many tribes of Plains Indians whose bison-hunting culture flourished during the 18th and 19th centuries, the sun dance was the major communal religious ceremony. Generally held in late spring or early summer, the rite celebrates renewal-the spiritual rebirth of participants and their relatives as well as the regeneration of the living earth with all its components. The sun dance reflects relationships with nature that are characteristic of the Plains ethos, and includes symbolic representations of various animal species, particularly the eagle and the buffalo, that once played vital roles in the lives of the people and are still endowed with sacredness and special powers. The ritual, involving sacrifice and supplication to insure harmony between all living beings, continues to be practiced by many contemporary native Americans.

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13

Kalesnik, Frank. "War Dance at Fort Marion: Plains Indian War Prisoners (review)." Journal of Military History 71, no. 1 (2007): 234–35. http://dx.doi.org/10.1353/jmh.2007.0041.

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Gradwohl, David M. "Review: War Dance: Plains Indian Musical Performance by William K. Powers." Explorations in Ethnic Studies ESS-13, no. 1 (1993): 42–43. http://dx.doi.org/10.1525/ess.1993.13.1.42.

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Lee, Naomi R., Rachel L. Winer, Stephen Cherne, et al. "Human Papillomavirus Prevalence Among American Indian Women of the Great Plains." Journal of Infectious Diseases 219, no. 6 (2018): 908–15. http://dx.doi.org/10.1093/infdis/jiy600.

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Kelley, Allyson, Jennifer Giroux, Mark Schulz, et al. "American-Indian diabetes mortality in the Great Plains Region 2002–2010." BMJ Open Diabetes Research & Care 3, no. 1 (2015): e000070. http://dx.doi.org/10.1136/bmjdrc-2014-000070.

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Schusky, Ernest L. "The Evolution of Indian Leadership on the Great Plains, 1750-1950." American Indian Quarterly 10, no. 1 (1986): 65. http://dx.doi.org/10.2307/1184156.

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Mousseau, Richard J. "Abstract IA018: “Pursuing Wicozani for the Oceti Sakowin”: Reducing cancer disparities among AI/AN in the Great Plains." Cancer Epidemiology, Biomarkers & Prevention 32, no. 1_Supplement (2023): IA018. http://dx.doi.org/10.1158/1538-7755.disp22-ia018.

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Abstract American Indian and Alaska Native (AI/AN) populations are among the underserved minority groups in the country and have the lowest survival rates for nearly all types of cancer of any subpopulation in the United States. Great Plains AI/AN populations have the highest age-adjusted cancers mortality compared to Native Americans from any other region. Addressing disparities in cancer outcomes among Great Plains AI/AN populations poses challenges in transportation, access to services, linguistic, and cultural variates. The Great Plains Tribal Leaders Health Board Community Health Department offers a variety of programs and projects to address these challenges and reduce these cancer disparities. Citation Format: Richard J. Mousseau. “Pursuing Wicozani for the Oceti Sakowin”: Reducing cancer disparities among AI/AN in the Great Plains [abstract]. In: Proceedings of the 15th AACR Conference on the Science of Cancer Health Disparities in Racial/Ethnic Minorities and the Medically Underserved; 2022 Sep 16-19; Philadelphia, PA. Philadelphia (PA): AACR; Cancer Epidemiol Biomarkers Prev 2022;31(1 Suppl):Abstract nr IA018.

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Kang, Manpreet Kaur. "Bharatanatyam as a Transnational and Translocal Connection: A Study of Selected Indian and American Texts." Review of International American Studies 13, no. 2 (2020): 61–86. http://dx.doi.org/10.31261/rias.9884.

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Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.

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Kang, Manpreet Kaur. "Bharatanatyam as a Transnational and Translocal Connection: A Study of Selected Indian and American Texts." Review of International American Studies 13, no. 2 (2020): 61–86. http://dx.doi.org/10.31261/rias.9884.

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Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.

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Hartmann, William E., and Joseph P. Gone. "American Indian Historical Trauma: Community Perspectives from Two Great Plains Medicine Men." American Journal of Community Psychology 54, no. 3-4 (2014): 274–88. http://dx.doi.org/10.1007/s10464-014-9671-1.

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Wu, Renguang, and James L. Kinter. "Analysis of the Relationship of U.S. Droughts with SST and Soil Moisture: Distinguishing the Time Scale of Droughts." Journal of Climate 22, no. 17 (2009): 4520–38. http://dx.doi.org/10.1175/2009jcli2841.1.

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Abstract The impacts of droughts depend on how long droughts persist and the reasons why droughts extend to different time scales may be different. The present study distinguishes the time scale of droughts based on the standardized precipitation index and analyzes the relationship of boreal summer U.S. droughts with sea surface temperature (SST) and soil moisture. It is found that the roles of remote SST forcing and local soil moisture differ significantly for long-term and short-term droughts in the U.S. Great Plains and Southwest. For short-term droughts (≤3 months), simultaneous remote SST forcing plays an important role with an additional contribution from soil moisture. For medium-term and long-term droughts (≥6 months), both simultaneous and antecedent SST forcing contribute to droughts, and the soil moisture is important for the persistence of droughts through a positive feedback to precipitation. The antecedent remote SST forcing contributes to droughts through soil moisture and evaporation changes. The tropical Pacific SST is the dominant remote forcing for U.S. droughts. The most notable impacts of the tropical Pacific SST are found in the Southwest with extensions to the Great Plains. Tropical Indian Ocean SST forcing has a notable influence on medium-term and long-term U.S. droughts. The relationships between tropical Indian and Pacific Ocean SST and boreal summer U.S. droughts have undergone obvious long-term changes, especially for the Great Plains droughts.

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Therrell, Matthew D., and Makayla J. Trotter. "Waniyetu Wówapi: Native American Records of Weather and Climate." Bulletin of the American Meteorological Society 92, no. 5 (2011): 583–92. http://dx.doi.org/10.1175/2011bams3146.1.

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Pictographic calendars called waniyetu wówapi or “winter counts” kept by several Great Plains Indian cultures (principally the Sioux or Lakota) preserve a record of events important to these peoples from roughly the seventeenth through the nineteenth centuries. A number of these memorable events include natural phenomena, such as meteor storms, eclipses, and unusual weather and climate. Examination of a selection of the available winter count records and related interpretive writings indicates that the Lakota and other native plains cultures recorded many instances of unusual weather or climate and associated impacts. An analysis of the winter count records in conjunction with observational and proxy climate records and other historical documentation suggests that the winter counts preserve a unique record of some of the most unusual and severe climate events of the early American period and provide valuable insight into the impacts upon people and their perceptions of such events in the ethnographically important region of the Great Plains.

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Rao, Srinivas C., and Brian K. Northup. "Biomass Production and Quality of Indian‐Origin Forage Guar in Southern Great Plains." Agronomy Journal 105, no. 4 (2013): 945–50. http://dx.doi.org/10.2134/agronj2012.0378.

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Stott, Annette. "Prairie Madonnas and Pioneer Women: Images of Emigrant Women in the Art of the Old West." Prospects 21 (October 1996): 299–325. http://dx.doi.org/10.1017/s0361233300006566.

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In the art of the American West, women have traditionally occupied a minor position. Compared to a surfeit of depictions of cowboys, braves, soldiers, miners, Indian chiefs, scouts, trappers, and traders, there are relatively few images of women; and when considering women who were not native to the plains and prairies, the field narrows still farther. Although literature and popular culture have given us numerous female types of the trans-Mississippi West (saloon and dance-hall girls, frontier mothers, helpless captives, schoolteachers, renegade female outlaws, wild-west-show women), art has virtually ignored all but the emigrant woman who traveled west in a covered wagon to establish a home on the prairie.

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Yelton, Jeffrey K. "A Comment on John Rowzée Peyton and the Mound Builders: The Elevation of a Nineteenth-Century Fraud to a Twentieth-Century Myth." American Antiquity 54, no. 1 (1989): 161–65. http://dx.doi.org/10.2307/281337.

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Blakeslee (1987) has suggested that the Mound Builder myth in part can be traced to John Rowzée Peyton, who reportedly crossed the Great Plains in 1774 and probed a mound, attributing it to a past, non-Indian civilization. However, critical examination of the account, first published in 1867, indicates that John Rowzée Peyton’s adventure actually was invented by his grandson, John Lewis Peyton.

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Ganser, Elisa. "Dance as Yoga: Ritual Offering and Imitation Dei in the Physical Practices of Classical Indian Theatre." Journal of Yoga Studies 4 (April 10, 2023): 137–71. http://dx.doi.org/10.34000/joys.2023.v4.004.

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In the Nāṭyaśāstra, two main types of physical practices are described in some detail: the so-called “bodily acting” (āṅgikābhinaya) and dance (nṛtta). Although their building blocks are to a large extent common, their purpose appears to be different: while bodily acting is used for dramatic mimesis, dance is said to produce beauty and to be auspicious. Peculiar to the technique of dance are the one hundred and eight karaṇas, complex dance movements that require great coordination, balance and flexibility. Sculptural representations of the karaṇas in the mediaeval temples of South India and in Central Java, as well as some interpretations by contemporary dancers, have elicited comparisons with yogic āsanas, notwithstanding the fact that the karaṇas were first and foremost codified in the context of Sanskrit theatre. More generally, the overlap between dance and yoga-related concepts and practices in antiquity has not been studied in depth. In this chapter, I investigate the connection of dance with the pūrvaraṅga, the preliminary rite that precedes the performance of a play, in order to highlight the connection of some of the physical practices described in the Nāṭyaśāstra’s chapter on dance with ideas of mental cultivation, ritual, and devotion. This connection is particularly evident in the case of the piṇḍībandhas, a set of movements of difficult interpretation that present ideological affinities with practices described in early religious sources, especially, but not exclusively, those of Śaiva affiliation. Finally, I argue that this interface between drama and ritual points to a shared ground for practices and beliefs connected with the body in ancient India.

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Sterzuk, Andrea, and Valerie Mulholland. "Creepy White Gaze: Rethinking the Diorama as a Pedagogical Activity." Alberta Journal of Educational Research 57, no. 1 (2011): 16–27. http://dx.doi.org/10.55016/ojs/ajer.v57i1.55452.

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Drawing on gaze and postcolonial theory, this article provides a theoretical discussion of a problematic photograph published in a provincial teachers’ newsletter. The photo consists of a White settler child and two White settler educators gathered around his heritage fair entry diorama entitled “Great Plains Indians.” This article analyzes this image to gain a better understanding of how curriculum and pedagogical activities work discursively to produce dominant and dominated racial positions in Saskatchewan. Reposant sur un regard et sur une théorie postcoloniale, cet article offre une discussion théorique d'une photographie inquiétante publiée dans un bulletin provincial pour enseignants. La photo représente un enfant et deux enseignants, tous des pionniers blancs, entourant le diorama que l'élève a préparé pour une célébration du patrimoine et qui s'intitule « Great Plains Indian ». Nous analysons cette image afin de mieux comprendre l'effet discursif des activités pédagogiques sur la production de positions raciales dominante/dominée en Saskatchewan.

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Kingery-Schwartz, Anne, Rachel S. Popelka-Filcoff, David A. Lopez, Fabien Pottier, Patrick Hill, and Michael Glascock. "Analysis of geological ochre: its geochemistry, use, and exchange in the US Northern Great Plains." Open Journal of Archaeometry 1, no. 1 (2013): 15. http://dx.doi.org/10.4081/arc.2013.e15.

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Samples of pigments indigenous to the US Northern Great Plains were collected in association with the conservation of a buffalo hide tanned and painted by a Crow Indian(s) in the 19th century, which is now in the collection of the National Museum of American Indian. The pigments were characterised using a series of analytical techniques – some common and others uncommon to the conservation science field, including portable X-ray fluorescence (pXRF), X-ray diffraction (XRD), and instrumental neutron activation analysis (INAA). XRF is not capable of differentiating between various ochre samples due to high detection limits. XRD can detect some matrix minerals in each sample, but these data cannot characterise pigments by original source location. INAA is capable of characterizing ochres from different sources based on trace element geochemistry; however, the large sample size it requires (approximately 100 mg), makes sampling from objects challenging and therefore makes it difficult to use for technical art history studies that focus on museum objects. INAA is useful if applied to reference materials, such as historic pigments or known sources for historic artistic materials.

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Pajin, Dusan. "Indian cosmogonies and cosmologies." Filozofija i drustvo 22, no. 1 (2011): 3–28. http://dx.doi.org/10.2298/fid1101003p.

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Various ideas on how the universe appeared and develops, were in Indian tradition related to mythic, religious, or philosophical ideas and contexts, and developed during some 3.000 years - from the time of Vedas, to Puranas. Conserning its appeareance, two main ideas were presented. In one concept it appeared out of itself (auto-generated), and gods were among the first to appear in the cosmic sequences. In the other, it was a kind of divine creation, with hard work (like the dismembering of the primal Purusha), or as emanation of divine dance. Indian tradition had also various critiques of mythic and religious concepts (from the 8th c. BC, to the 6c.), who favoured naturalistic and materialistic explanations, and concepts, in their cosmogony and cosmology. One the peculiarities was that indian cosmogony and cosmology includes great time spans, since they used a digit system which was later (in the 13th c.) introduced to Europe by Fibonacci (Leonardo of Pisa, 1170-1240).

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Truden, John. "Where Cowboys and Indians Meet: A Southern Cheyenne Web of Kinship and the Transnational Cattle Industry, 1877–1885." Western Historical Quarterly 50, no. 4 (2019): 363–90. http://dx.doi.org/10.1093/whq/whz072.

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Abstract Between 1877 and 1885, a Southern Cheyenne chief named Stone Calf gathered a coalition of Southern Cheyenne women and men, cultural intermediaries, ranchers, missionaries, and U.S. soldiers together in northwestern Indian Territory. Bound by kinship, gendered labor, economic opportunity, and political necessity, this alliance negotiated the transnational cattle industry’s access to the environmental resources of the Southern Great Plains. Using these powerful ties, Stone Calf’s coalition successfully shaped both the cattle industry’s expansion and displaced the Office of Indian Affairs’ influence in the region. By recognizing Stone Calf’s coalition as a powerful transnational force, this article illuminates both the weight of kinship and Indigenous participation in a globally interconnected world.

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Diyora, Bharat Tulashibhai. "Music and Dance Culture in the City of Vadodara in the Nineteenth and Twentieth Centuries." Scholars Journal of Arts, Humanities and Social Sciences 9, no. 7 (2021): 310–14. http://dx.doi.org/10.36347/sjahss.2021.v09i07.002.

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The arts of dance and music are of great importance to the culture of India. Classical Indian dances and music are among the most graceful and beautiful in the world. The Maharaja Sayajirao Gaekwad as a head of state led to making Baroda a city representative of art, which is at once indigenous and modern. Expert artists from across the Indian Subcontinent were invited to perform as well as to extend the knowledge of music to the people of Vadodara. Artists were often encouraged with awards and rewards for their performances on various occasions. Maharaja Sayajirao wanted to disseminate the tradition as well as ear for music among the people of Vadodara, so he decided to employ more artists in the court. Hence, many young and old, professional and novices were appointed. So this paper covered all the aspect of music and dance which evolved under vision of the Maharaja Sayajirao.

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Toll, Shannon. "Embodying Relationality and Enacting Resistance: Celluloid Mobilities in the Silent Film The Daughter Of Dawn." American Indian Quarterly 47, no. 2 (2023): 157–80. http://dx.doi.org/10.1353/aiq.2023.a906095.

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Abstract: “Embodying Relationality and Enacting Resistance: Celluloid Mobilities in the Silent Film The Daughter Of Dawn ” discusses how Kiowa and Comanche actors embedded their respective material cultures in the 1920 silent film The Daughter of Dawn . Filmed in the Wichita Wildlife Refuge and featuring an all-Indigenous cast, this film is a unique entry in the canon of silent Westerns produced in Oklahoma during its nascent statehood. The author illustrates how the Kiowa and Comanche cast enacted what Michelle Raheja calls “visual sovereignty,” engaging in traditional cultural practices, both on and off camera, which were under attack by settler institutions. The performance and recording of these dynamic instances of buffalo culture, traditional dance, and Plains Indian Sign Language, which the author collectively refers to as “celluloid mobilities,” constituted an embodied refusal of settler-colonial interference in Indigenous cultural continuance.

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Zhong, Yafang, Zhengyu Liu, and Michael Notaro. "A GEFA Assessment of Observed Global Ocean Influence on U.S. Precipitation Variability: Attribution to Regional SST Variability Modes." Journal of Climate 24, no. 3 (2011): 693–707. http://dx.doi.org/10.1175/2010jcli3663.1.

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Abstract This paper presents a comprehensive assessment of the observed influence of the global ocean on U.S. precipitation variability using the method of Generalized Equilibrium Feedback Assessment (GEFA), which enables an unambiguous attribution of the influence from multiple ocean basins within a unified framework. The GEFA assessment based on observations for 1950–99 suggests that the tropical Pacific SST variability has the greatest consequence for U.S. precipitation, as both ENSO and meridional modes are associated with notable responses in seasonal mean precipitation. The anomalously cold tropical Indian Ocean is a good indicator for U.S. dry conditions during spring and late winter. The impact of North Pacific SST variability is detected in springtime precipitation, yet it is overshadowed by that of the tropical Indo-Pacific on seasonal-to-interannual time scales. Tropical Atlantic forcing of U.S. precipitation appears to be most effective in winter, whereas the northern Atlantic forcing is likely more important during spring and summer. Global ocean influence on U.S. precipitation is found to be most significant in winter, explaining over 20% of the precipitation variability in the Southwest and southern Great Plains throughout the cold seasons and in the northern Great Plains and northeast United States during late winter. The Southwest and southern Great Plains is likely the region that is most susceptible to oceanic influence, primarily to the forcing of the tropical Indo-Pacific. The Pacific Northwest is among the regions that may experience the least oceanic influence as far as precipitation variability is concerned.

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De Mars, Annmaria. "Internet Usage by Native Americans with Disabilities Living on American Indian Reservations in the Great Plains." Rural Special Education Quarterly 29, no. 2 (2010): 34–40. http://dx.doi.org/10.1177/875687051002900208.

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Hartmann, William E., and Joseph P. Gone. "Psychological-Mindedness and American Indian Historical Trauma: Interviews with Service Providers from a Great Plains Reservation." American Journal of Community Psychology 57, no. 1-2 (2016): 229–42. http://dx.doi.org/10.1002/ajcp.12036.

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Tate, Michael L. "White Man's Paper Trail: Grand Councils and Treaty-Making on the Central Plains, and: War Dance at Fort Marion: Plains Indian War Prisoners (review)." Southwestern Historical Quarterly 111, no. 1 (2007): 95–97. http://dx.doi.org/10.1353/swh.2007.0081.

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Marathe, Aishwarya, and Rekha Wagani. "ROLE OF GURU IN THE SUSTENANCE OF PASSION TOWARDS CLASSICAL DANCE: A QUALITATIVE ENQUIRY." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (2022): 326–40. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.213.

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Guru is held in great respect and significance in Indian culture since he is the source of all wisdom and learning. India has a rich heritage of several art forms that are closely related to many aspects of life and are still practiced today and passed down from one generation to the next through the "Guru Shishya Parampara". The present study focuses on Indian classical dancers where each shishya has his own unique journey of learning wherein he evolves as a dancer and a human being. During this learning process, the role of guru plays a significant role in the life of the shishya and his overall grooming and continuing the dance journey for years together. Thus, understanding exactly the elements which keep the dancer going is extremely crucial. Therefore, this study aims to explore and understand the possible factors that help classical dancers to continue this long journey and sustain their passion throughout. The present study adopts a qualitative approach in which twelve Indian classical dancers were interviewed telephonically after contacting them using purposive sampling. Thematic analysis was done to illuminate the hidden meaning of the experiences shared by participants which reflected dancers’ experiences and perceptions regarding their guru and how it has shaped them as dancers and human beings both. In addition to this, it also the dancers also expressed how they could sustain their interest and passion for Indian classical dance and could pursue it further.

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Meister, Michael W. "Mountain Temples and Temple-Mountains: Masrur." Journal of the Society of Architectural Historians 65, no. 1 (2006): 26–49. http://dx.doi.org/10.2307/25068237.

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In the first half of the eighth century, Indian craftsmen cut back a high ridge of sandstone, its back to the Beās River and the plains beyond, and carved a grand temple-complex facing northeast toward the Dhauladhar range, the first outcropping of the great Himalayan Mountains. Never completed, and damaged by successive earthquakes that sheered the stone and folded parts of the complex back into the hill, the temple at Masrur-in the modern Indian state of Himachal Pradesh-seems today half returned to its primordial condition. Its ground plan, partial section, and a roof plan, drawn by an unidentified Indian draftsman, were published in the second decade of the twentieth century, but scholarship since has neglected and misrepresented the site. It is possible to reconstruct the intention of the planning of this important complex, however, and to reposition it in a historical and symbolic context. Its creation not only marked a movement of political power into the hills in the eighth century, but also mapped cosmological power and kingship in a new way. The metaphor of temple as mountain runs throughout India's traditions of building, but, as this article demonstrates, the temple at Masrur, beyond all others from the Indian subcontinent, provides the antecedent and conceptual model for the great "temple-mountains" of Cambodia soon to be built by kings in southeast Asia.

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Bleed, Peter. "Operations Research and Archaeology." American Antiquity 56, no. 1 (1991): 19–35. http://dx.doi.org/10.2307/280969.

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Operations research is the systematic study of resource utilization through the manipulation of conceptual models. Used most often by engineers and managers, these models also have potential application in archaeology. Event tree analysis, which models multipart systems with a number of potential consequences resulting from a series of events, makes it possible to analyze artifact-production processes or the operation of complex economic activities such as hunting. Fault tree analysis models the interactions of factors that can cause a technological system to fail. It offers a framework for the interpretation of archaeological remains such as flintlock firearm parts at Indian and Euroamerican sites of the Great Plains.

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Shinstine, Debbie S., and Khaled Ksaibati. "Road Safety Improvement Program on Indian Reservations in North Dakota and South Dakota." Transportation Research Record: Journal of the Transportation Research Board 2531, no. 1 (2015): 146–52. http://dx.doi.org/10.3141/2531-17.

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Tribal communities recognize the need to improve roadway safety. A five-step methodology was developed by the Wyoming Technology Transfer Center, Local Technical Assistance Program (WYT2/LTAP), to improve roadway safety on Indian reservations. This methodology was implemented initially on the Wind River Indian Reservation (WRIR); the success of this implementation was the impetus for the Wyoming Department of Transportation, Cheyenne, to fund three systemwide, low-cost safety improvement projects. Given the success of the program on the WRIR, tribes across the country became interested in the program. WYT2/LTAP and the Northern Plains Tribal Technical Assistance Program (NPTTAP) assist tribes to implement this program on their reservations in the Great Plains region and developed criteria to identify tribes to participate. Reservations in North Dakota and South Dakota applied to NPTTAP, and three tribes were accepted to participate: the Standing Rock Sioux Tribe (SRST), the Sisseton Wahpeton Oyate Tribe, and the Yankton Sioux Tribe. Although work had begun on all three reservations, this study focused on the implementation on the roadway safety program by the SRST. Members of the SRST were located in North Dakota and South Dakota, and crash data were collected from each state separately. Because the reporting and years of data differed, several analyses were performed to identify trends in crashes on the SRST. The South Dakota portion of the reservation was compared with statewide rural roads and with the WRIR because the two reservations were of similar size and character. Many challenges and differences were identified through the analysis, which demonstrated that a single procedure would not work for all reservations. Through extensive coordination and collaboration with the tribes and government agencies, WYT2/LTAP and the technical assistance program centers could provide the technical assistance that the tribes would need to develop their own road safety improvement programs.

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Li, Jiaxin. "Research on the Origin and Evolution of Hu Jia." Lecture Notes in Education Psychology and Public Media 39, no. 1 (2024): 82–87. http://dx.doi.org/10.54254/2753-7048/39/20240677.

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The Silk Road originated from the Western Han Dynasty. The word Silk indicates that it was originally a trade route, which eventually developed into a bridge for economic, cultural, and artistic exchanges between the East and the West. It connected Central Asia, West Asia, and countries around the Mediterranean, allowing different countries and different styles of music and dance to collide, promoting music exchanges and development in the surrounding countries along the Silk Road. As for the introduction of musical instruments and music into the Central Plains, the Silk Road has undoubtedly had a positive impact on the development of Chinese music. It can be said to be a music canal that runs through the East and the West. Jia, with its mournful sound, is originally a musical instrument played by the Hu people. The wooden Hu Jia of the Han Dynasty was introduced to the Central Plains by Zhang Qian's expedition to the Western Regions, while the reed Hu Jia was popular in Mongolian ethnic regions. This ancient ethnic musical instrument has almost disappeared and has gone through a legendary journey. Its structure and changes are of great research value. This paper uses methods of literature analysis and case analysis to study the playing techniques of Hu Jia and its evolution from the Western Han Dynasty to the present. Through the argumentation in this paper, it is discovered that the three-hole Hu Jia used in the Xinjiang Altay region in 1985 was still the same as those used in the Western Jin Dynasty and the Qing Dynasty, indicating that Hu Jia has not been lost.

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Miracle, Jared. "Supernatural sources of martial power: a cross-cultural investigation." Revista de Artes Marciales Asiáticas 9, no. 1 (2014): 42. http://dx.doi.org/10.18002/rama.v9i1.1010.

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<p>This paper utilizes a cross-cultural comparison model of cultural inquiry to approach the question of whether or not there are generalizable trends in the intersection of fighting arts and cultural conceptions of the supernatural. The methods are outlined and background presented to explain how the investigation was undertaken. Sources are limited to the eighteenth and nineteenth centuries and bounded geographically. The regions included are the Japanese archipelago, China, the Afro-Atlantic, the Great Plains of North America, and the Indian subcontinent. The five regions were chosen at random and do not represent an attempt to be comprehensive. Explanation of the evidence is followed by a comparative discussion. While further study is required, the most apparent tentative conclusion is that cultural understanding of supernatural intervention combines with the martial arts in cases where not only physical, but socio-political power is sought in asymmetrical conflict.</p>

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Akhil Bali and Deepak Thakur. "The Effect of Revamping of Punjabi Culture on Punjab Tourism." International Journal for Multidimensional Research Perspectives 2, no. 4 (2024): 91–96. http://dx.doi.org/10.61877/ijmrp.v2i4.136.

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Effect of Revamping of Punjabi culture on Tourism represents the effect of different cultures in Punjab.The culture is called as the background of every living being. Punjabis are known as soft hearted people who live their lives with great enthusiasm and who celebrates every festival and event with utmost zest. The current research paper presents the survey on satisfaction level of Punjabi youth on the Modernization of traditional Punjabi culture, it will also identify the area of its effect whether it is positive or in negative way in Indian tourism industry. The lesser the youth will satisfy the more will be the need to eliminate modernization from culture. This entitled research paper also represents the effect of western culture on Punjabi culture. Punjabi culture is one of the oldest in the world history. People of Punjab are very warm hearted and are also famous for their hospitality. They take active part in happiness and grieve of everyone and pay special attention to their culture, norms and live their lives according to their set of traditions. This paper will give detailed information about revamping of various cultures of Punjab like folk dances, folk music, rituals, costumes, places, cuisines and religion in Punjabi region. It will help to find out the exposure of Tourism in Punjab. This title clearly justifies the westernization of Punjabi culture.

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Uhlir, Shelly. "Mounting Multiple-piece Ensembles for an Exhibit of Plains, Plateau, and Great Basin Attire at The National Museum of the American Indian." Journal of the American Institute for Conservation 51, no. 1 (2012): 99–116. http://dx.doi.org/10.1179/019713612804480853.

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Varley, Julia. "Sanjukta Panigrahi: Dancer for the Gods." New Theatre Quarterly 14, no. 55 (1998): 249–73. http://dx.doi.org/10.1017/s0266464x00012197.

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The great classical Indian dancer and co-founder of the International School of Theatre Anthropology, Sanjukta Panigrahi, died in June 1997. An outstanding exponent – and virtually the rediscoverer – of Odissi dance, Sanjukta Panigrahi was born in Orissa into a Brahmin family, and defied the prejudice of her caste as the first girl to pursue Odissi dance as a career. With the support of her family, she began studying at the age of five under the guru Kelucharan Mahapatra, with whom she worked for many years, and also trained in Bharata Natyam for six years with the master Rukmini Devi. Julia Varley, an Odin Teatret actress since 1977, knew and worked with Sanjukta for twenty years, and in the following article offers her memories and reconstruction of the experiences of apprenticeship, performance, technique, cultural exchange, teaching, and family and work relationships, both in India and within the multicultural context of ISTA. Sanjukta's own descriptions of her life and work, drawn from a wide variety of sources, are interspersed throughout the article, in an attempt to keep alive this remarkable actress/dancer's way of thinking and being, coloured by her particular female strength. Julia Varley was born in London in 1954, spent her childhood in Milan, joined Odin in 1976, and has been a participant in the ISTA sessions since their conception in 1980.

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Capotondi, Antonietta, and Michael A. Alexander. "Relationship between Precipitation in the Great Plains of the United States and Global SSTs: Insights from the IPCC AR4 Models." Journal of Climate 23, no. 11 (2010): 2941–58. http://dx.doi.org/10.1175/2009jcli3291.1.

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Abstract Multicentury preindustrial control simulations from six of the Intergovernmental Panel on Climate Change Fourth Assessment Report (IPCC AR4) models are used to examine the relationship between low-frequency precipitation variations in the Great Plains (GP) region of the United States and global sea surface temperatures (SSTs). This study builds on previous work performed with atmospheric models forced by observed SSTs during the twentieth century and extends it to a coupled model context and longer time series. The climate models used in this study reproduce the precipitation climatology over the United States reasonably well, with maximum precipitation occurring in early summer, as observed. The modeled precipitation time series exhibit negative “decadal” anomalies, identified using a 5-yr running mean, of amplitude comparable to that of the twentieth-century droughts. It is found that low-frequency anomalies over the GP are part of a large-scale pattern of precipitation variations, characterized by anomalies of the same sign as in the GP region over Europe and southern South America and anomalies of opposite sign over northern South America, India, and Australia. The large-scale pattern of the precipitation anomalies is associated with global-scale atmospheric circulation changes; during wet periods in the GP, geopotential heights are raised in the tropics and high latitudes and lowered in the midlatitudes in most models, with the midlatitude jets displaced toward the equator in both hemispheres. Statistically significant correlations are found between the decadal precipitation anomalies in the GP region and tropical Pacific SSTs in all the models. The influence of other oceans (Indian and tropical and North Atlantic), which previous studies have identified as potentially important, appears to be model dependent.

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Singleton, Brian. "K. N. Panikkar's Teyyateyyam: Resisting Interculturalism Through Ritual Practice." Theatre Research International 22, no. 2 (1997): 162–69. http://dx.doi.org/10.1017/s0307883300020563.

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Indian theatre practice under British colonial rule was marked by differing strategies of resistance: agit-prop drama to promote social and political reform; the preservation of classical dance as cultural heritage; and the continuing practice of folk rituals in rural areas outwith the immediate control of the colonial authorities. Postindependence India, however, has witnessed those ‘deviant’ practices of resistance become the dominant ideological performance practices of modern India. Much actor training continued to be modelled on British drama schools such as RADA (Royal Academy of Dramatic Art); classical dances have survived to incorporate certain aspects of western ballet (for example, group sequences in Kathak); and the folk rituals have come increasingly under the microscope of western cultural tourists. Indian theatre practice, therefore, succumbs to the power of the dollar, as western academics and practitioners, with their financial and technological power, act as legitimizing agents for the global recognition of Asian culture. We are at a time when great currency is being attached to the notion of intercultural rejuvenation of home cultures by acts of productive reception with foreign cultures (a more positive definition of the practice by Erika Fischer-Lichte in direct response to Edward Said's charge of cultural colonialism which he terms orientalism). It is worthwhile taking note of how certain forms of modern Indian theatre are resisting intercultural practices, not by refusal or direct opposition, but by theatrical acts of intra-cultural rejuvenation, without the injection of the foreign culture as a serum.

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Niranjan, Sujatha. "How to Read Carnatic Music on Violin." Shanlax International Journal of Tamil Research 6, no. 2 (2021): 70–75. http://dx.doi.org/10.34293/tamil.v6i2.4349.

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The violin is a major stringed instrument in South Indian music. It is played as the main instrument in Carnatic music and as an accompaniment to musical performances such as vocals. This is not the heritage instrument of India. Today there is no concert without Carnatic music. Thus it plays an important role in Carnatic music.The present form of this violin was composed in 16th century Italy. The violin, a folk instrument, was first used in South Indian music in the 18th century. It is also more important than any other instrument. It also plays an important role in major concerts. There are many reasons why it is played as the main instrument in Carnatic music more than any other instrument. It has developed to the point where it can be read more than any other instrument in the 20th century for various performances such as vocals, other instrumental events, orchestras, and dance performances. It is also found that Carnatic musicians (male/female) can adjust their pitch to suit their convenience. Since its introduction to Carnatic music, many great scholars have read and succeeded in Carnatic music. In addition, it plays a very important role in Palliya music and has a wide place in Carnatic music.

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Hill, Polly. "Kerala is Different." Modern Asian Studies 20, no. 4 (1986): 779–92. http://dx.doi.org/10.1017/s0026749x0001372x.

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While it is very well known that the small Indian state of Kerala has many extraordinary anthropological, demographic, ecological, economic, educational, historical, political, religious, etc. features (which are reflected in a vast and to some extent learned literature), so that it is quite unlike what Stokes denotes as ‘the great agricultural plains areas, which for centuries before the British had experienced large-scale political organization’, it is yet possible that certain of its peculiarities are still insufficiently appreciated. So I here note some of the ‘surprises’ (as well as the uncertainties) which I experienced as a result of spending nearly three months in 1981–82 doing fieldwork in the lowlands of rural Trivandrum District, in the extreme south of Kerala, while also consulting the excellent library of the Centre for Development Studies near Trivandrum city. Whether Kerala bears comparison with Java, as some have claimed, I cannot say; but, of course, it provided an extraordinary contrast to the villages in southeastern Karnataka where I had worked in 1977–78.

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