As someone with Native American heritage, I second this.
THIS post explains why.
screenshot from drafting my newest map project; 50 smiling faces of missing/murdered indigenous women from west of Edmonton. it’s important to me to see actual human faces on maps portraying this kind of violence, and more than anything i wanted to showcase photos of the women smiling because i think it’s one of the few ways to begin to grasp how beautiful & unique these women are.
People need to see that our sisters and daughters and mothers and aunties and grandmothers and cousins are human beings that have been taken from us. The ability to see them in the abstract is in great part what allows this violence to happen in the first place. They are dehumanised, and this is the result. Projects like this help reassert their humanity, kinanaskomitin mistahi for this.
Data gathered by the U.S. Department of Justice indicates that Native American and Alaska Native women are more than 2.5 times more likely to be raped or sexually assaulted than women in the U.S. in general. A recent study by the U.S. Department of Justice on violence against women concluded that 34.1 percent of American Indian and Alaska Native women — or more than 1 in 3 — will be raped during their lifetime. The comparable figure for the U.S. as a whole is less than 1 in 5.
Take your finger paints somewhere else
My culture is not a costume
wannabe…at its absolute worst. Just waiting for a fake feather in the hair too or maybe a stupid little dream catcher tattoo. These kind of pictures make me so angry.White people acting as though they know what my culture means,what the heritage behind it is,the spiritual aspect of it. Its bad enough we’re ridiculed for being full blood native but this is just ignorant nd absolutely uncalled for. Just because someone doesn’t know who they are,it doesn’t give them any right to do this kind of thing.
It also show how we are not looked at as basic human being.s A Race of people is not a costume especial a costume made up of stereotypes mitch maching completely different native cultures and that don’t relate and calling it a “indian”. If there was a costume called “Black person” consistinf of Timberland boots, A oversize white tee, a “bling bling chain”, a glock, a corn rowed wig, and jeans made with a elastic band on the exposed boxers to the pants were made to look like they’re sagging. That would not be accepted. So why is this done to us? Because no one care about being racist to us. Red Skin is a Damn racial slur. And it’s a sports team named Redskins? If there was a team called “The New York Niggers”, Connecticut Crackers, Tampa Towel Heads, Washington Wops, Chicago Chinks, or Wisconsin Wetbacks It wouldn’t fly. The Cleveland Indian Mascot is exactly the same as Black face. The Atlanta braves Insulting Tamahawk chock chant -_-. Despite protest, letters, and legal action taken. They refuse to give use the basic respect to change these things. Thanks giving is Celebrated and story emphasized in schools is a COMPLETE lie. Nothing about it is accurate. It is a bit of truth with lot of lies truth can be found here ——> http://tuchesuavae.tumblr.com/post/13262393402/for-jonell. Thanksgiving was a slaughter and a betrayal. “Indian Clothes” aren’t like a pair of blue jeans. These things have religious, cultural, genealogical symbolic, and historical meaning. EVERYTHING; The colors, what color are next to other colors, the symbols used, materials they are made of, what gender is wearing them, rather you’re married or unmarried, what clan you belong to, it al means something, and has something to do with rather or how it’s worn. You literally spit in our face when you wear these “Indian Headdresses” by the way that’s not what they’re called, this “war paint”, having dream catchers in your CAR (please stope that) and other bs, It is not honoring a culture if you do not keep the meaning, it is not honoring the culture when you take something and change it’s usage or aesthetic and monetary uses. It is the EXACT OPPOSITE. It OS racist, it IS stealing, and it IS BOTH hurtful and Insulting. Did you know it was illegal for Native to speak their language, wear their clothes, practice their religion, Celebrate and partake in our customs, or even make our cultural art? Do you know that children were taken from their parents by force, placed in boarding schools, renamed with english names, dresses in euro clothes, and force to adopt settlers way of life and still were not equal or remotely respect, did you know that they never saw their parents again, and that as a result of the to this day natives still are trying to re learn their heritage and history, A large portion of all native peoples can not speak their native tongue, and are trying desperately to hold on to their way of life, and you take our culture and ,misrepresent and misuse it is beyond disrespectful. To cheaply make items of our culture and make money from which takes money out of a already EXTREMELY poverty stricken group is sick. Then you make these Extremely sexualized photos of in Native garb as the “sexy indian” or squaw Which is also a (derogatory term by the way) while you take it lightly and do it for fun It’s a danger to us and the source of a huge issue in our communities. Data gathered by the U.S. Department of Justice indicates that Native American and Alaska Native women are more than 2.5 times more likely to be raped or sexually assaulted than women in the U.S. in general. A recent study by the U.S. Department of Justice on violence against women concluded that 34.1percent of American Indian and Alaska Native women — or more than 1 in 3 — will be raped during their lifetime. The comparable figure for the U.S. as a whole is less than 1 in 5. You all doing this is not ok. I can say more but I’m really getting upset.
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I sigh and smile at your glorious beauty. Ladies, I swoon for you and cherish your existence.
Native American Portraits
The New Mexico History Museum is displaying a collection of more than 50 images from its archives.
ABOVE: Hoiio-Wotoma, 1909, by De Lancey W. Gill. BELOW (clockwise from left): Woman and Child, 1912, by Jesse Nusbaum. The Three Graces, 2003, by Hulleah Tsinhnahjinnie. Loti, 1907, by Carl Moon.
Photography: (All images) courtesy Palace of the Governors Photo Archives. Hoiio-Wotoma, Cheyenne (neg. 86994); Woman and Child, Jemez Pueblo, New Mexico (neg. 61712); Loti, Laguna Pueblo (neg. 14660)
Since the advent of photography, the camera lens has found an unusually compelling subject in the American Indian. Around the time of the Civil War, photographers began trying to capture the lives of Native Americans: their clothing and customs, their horses and shelters. And, of course, their faces, resulting in some of the most captivating portraits ever taken.
In a salon-style exhibition titled Native American Portraits: Points of Inquiry, the New Mexico History Museum has mounted more than 50 images from its extensive collection and arranged them according to the various ways in which Native Americans have been regarded as photographic subjects.
There’s the systematic ethnological stance of the formal portraits of Native dignitaries visiting Washington, D.C., in the late 1800s by photographers such as Charles M. Bell and A. Zeno Shindler. There are the famous romanticized and staged photos of Edward S. Curtis and Carl Moon, alongside the elegant but casual at-home photographs of New Mexico’s Pueblo Indians by T. Harmon Parkhurst. And then there are the more modern perspectives of contemporary Native American photographers, including Larry McNeil, Hulleah Tsinhnahjinnie, and Zig Jackson.
“I personally am very impressed by the aesthetic of the De Lancey Gill photographs,” says Palace of the Governors photo archivist Daniel Kosharek.
Native American Portraits: Points of Inquiry will be on display through November 4 at the New Mexico History Museum in Santa Fe. 505.476.5200,www.nmhistorymuseum.org
“These are spectacular platinum prints that exhibit tremendous tonal range from rich black to bright white. The subjects, delegates to Washington, carry such a sense of authority and responsibility, which is reflected in the portraits. From a historical perspective, the Antonio Zeno Shindler photographs, which are copy photographs of much earlier images onloan to the Smithsonian, capture some of the most important players in the early struggles between Western expansion and Native Americans.”
With co-curators Kosharek and Andrew Smith of Santa Fe’s Andrew Smith Gallery, Museum of Indian Arts & Culture photo archivist Diane Bird helped to select images of Native Americans “that resisted — actively or subversively — the intrusions of European or American photographers with their own agendas.” For her, all of the images are personal. “Each portrait reflects the history of a Native person’s life, his or her identity, and his or her respective tribal nation,” says Bird, who is from the Santo Domingo Pueblo in New Mexico. “The images of the Montauk man and the Chukchansi man hold special significance for me because they reflect the strength, hospitality, and generosity valued by Native peoples. They are the ‘pillars’ of the exhibition, signifying the East Coast and the West Coast of what is known today as the United States. They remind us that indigenous peoples of many nations are alive today.”