Early Indigenous LiteraturesMain MenuThe Child Who Would be Sovereign: Settler Colonial Frustrations and the Figure of the Child in Gertrude Simmons Bonnin's American Indian StoriesBy: Kai ChaseIllicit Relations: The Challenges and Possibilities of Black and Indigenous Relationssoumya rachel shailendraLegibility and Ambivalence in 19th Century Indigenous Women's WritingAn exhibit on E. Pauline Johnson and Sarah Winnemucca by Emma CohenLyric Histories: An Investigation of Early Black (and) Native America through Poetic Vignettesby Kira TuckerMarriage and Empire in 19th Century Native American Women's Literatureby Angad SinghNot-not blood quantum: the Dawes Act and ambivalent Indigeneityby Yasmin YoonReading Indigenous Authorial Presence in 18th- and 19th-century ParatextsTitle Page for Isabel Griffith-Gorgati's ExhibitResistance on and off the Page: A Collaborative Conversation between Black and Indigenous Literary ContributorsFeaturing James Printer, Katherine Garret, Phillis Wheatley, and John Marrant (17th-18th Century Early Print Culture Participants)- By Lauren JohnsonSpiritual Armies, Resurrected Bones, and “Boundless” Continents: How Indigenous Activists in Early New England Reconfigured Puritan Millennialist NarrativesFeaturing texts of Samson Occom, William Apess, and the Wampanoag Bible. By Surya MilnerSovereignty or Removal: The Conflicting Indigenous Policies of 1835 in the Continental United StatesJulia GilmanWhat Does Water Do For Indigenous Peoples of the Great Lakes Region?Featuring Heid E. Erdrich, Simon Pokagon, Black Hawk, and Simon Kofe by Sarah Nisenson(Re)introducing Black Hawk and The Life (1833)BHR 1-IntroYasmin Yoonf7f231e474bf43796f973cd0ee560919050f7427Lydia Abedeen321b94302eca10e499769fd0179e64cd33bc4cd5Kira Tuckeracf97d948460e98cd439646cc2db7ae17c5ebd9dsarah nisenson7cb5d2c1682fbd145e76716f3924f03bf25c616aKai Chased7cab5968a3a916efd1a14a48cc4832d5d5514aeSoumya Shailendra86c246fcc4aea83787381bffd2b839885bef5096Bennett Herson-Roeserc8289125445a56c819045a0091daf0402b3e0875Surya Milner077f837f3d662fd5ef9055f8258e5c47bb11f714Julia Gilmanb860a8277eea484f91a1a9e0423cab4b52bae522Lauren Johnson98dac03e7c9c1ad41e1c0a8583704e55802f98baAngad Singhd2b8d1d68ec374981c9e99b7cb400803bc678231Emma Cohen146e757b9fc3b3b416edecbf79592e8d743d4ba1Charlotte Goddu2d4c020870148128c7824ece179e04cffe180d95Isabel Griffith-Gorgati985a05928a67a856791fffac3dbba8acc85f6f37
Howe Fleeing a Massacre
1media/Howe Fleeing a Massacre_thumb.jpeg2022-12-10T08:55:27-08:00Kai Chased7cab5968a3a916efd1a14a48cc4832d5d5514ae416962Oscar Howe (Yanktonai Dakota, 1915-1983), "Fleeing a Massacre," 1969; casein on paper, BankWest, Pierre, South Dakota.plain2022-12-11T20:18:56-08:00Kai Chased7cab5968a3a916efd1a14a48cc4832d5d5514ae
This page has annotations:
12022-12-11T20:20:38-08:00Kai Chased7cab5968a3a916efd1a14a48cc4832d5d5514aeDakota teachings as integral to artKai Chase2plain2022-12-11T20:26:54-08:00Kai Chased7cab5968a3a916efd1a14a48cc4832d5d5514ae
12022-12-11T19:34:01-08:00Kai Chased7cab5968a3a916efd1a14a48cc4832d5d5514aeDisrupting inevitability of the settler stateKai Chase2plain2022-12-11T19:41:02-08:00Kai Chased7cab5968a3a916efd1a14a48cc4832d5d5514ae
12022-12-11T19:42:15-08:00Kai Chased7cab5968a3a916efd1a14a48cc4832d5d5514aeExclamations and the use of withheld informationKai Chase2plain2022-12-11T19:51:35-08:00Kai Chased7cab5968a3a916efd1a14a48cc4832d5d5514ae
12022-12-11T19:52:19-08:00Kai Chased7cab5968a3a916efd1a14a48cc4832d5d5514aeMotion and control belong to the central images.Kai Chase2plain2022-12-11T19:53:58-08:00Kai Chased7cab5968a3a916efd1a14a48cc4832d5d5514ae
12022-12-11T19:55:56-08:00Kai Chased7cab5968a3a916efd1a14a48cc4832d5d5514aeBlood and paint joinKai Chase2plain2022-12-11T20:00:21-08:00Kai Chased7cab5968a3a916efd1a14a48cc4832d5d5514ae
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1media/Howe Fleeing a Massacre.jpeg2022-12-10T15:58:27-08:00Oscar Howe, "Fleeing a Massacre"22Using Howe's art, we locate ourselves toward a theoretical premise of cyclical time centered around a Dakota Yankton horse rider.structured_gallery2022-12-12T10:02:06-08:00
Oscar Howe's "Fleeing a Massacre," itself a depiction of his grandmother's (Shell Face) narrative to him as a boy about her experiences. I read the painting as both art and history as well as a theoretical lens through which viewers might imaginatively undermine time as a linear passage. In doing so, Howe orients viewers toward thinking across time as a circling, albeit one with specific moments and connections. This will help, for instance, to conceptualize how one might flesh out the touchstones of changing litigation and contexts across both the US settler project and Yankton Dakota narratives and art.
Here we turn to Oscar Howe's painting in order toorient ourselves toward the cycling of time which ties together the atrocities of settler structures while not forgetting that it is the central Indigenous rider who moves the circle forward.
*Scroll over the image to engage with its annotations*
