Hagler (?–30 August 1763), chief of the Catawba Indian Nation

Author(s):  
James H. Merrell
2000 ◽  
Vol 100 (7) ◽  
pp. 833-835 ◽  
Author(s):  
TINA COSTACOU ◽  
SARAH LEVIN ◽  
ELIZABETH J MAYER-DAVIS

Author(s):  
Brooke Bauer

The Catawba Indian Nation of the 1750s developed from the integration of diverse Piedmont Indian people who belonged to and lived in autonomous communities along the Catawba River of North and South Carolina. Catawban-speaking Piedmont Indians experienced many processes of coalescence, where thinly populated groups joined the militarily strong Iswą Indians (Catawba proper) for protection and survival. Over twenty-five groups of Indians merged with the Iswą, creating an alliance or confederation of tribal communities. They all worked together building a unified community through kinship, traditional customs, and a shared history to form a nation, despite the effects of colonialism, which included European settlement, Indian slavery, warfare, disease, land loss, and federal termination. American settler colonialism, therefore, functions to erase and exterminate Native societies through biological warfare (intentional or not), military might, seizure of Native land, and assimilation. In spite of these challenges, the Catawbas’ nation-building efforts have been constant, but in 1960 the federal government terminated its relationship with the Nation. In the 1970s, the Catawba Indian Nation filed a suit to reclaim their land and their federal recognition status. Consequently, the Nation received federal recognition in 1993 and became the only federally recognized tribe in the state of South Carolina. The Nation has land seven miles east of the city of Rock Hill along the Catawba River. Tribal citizenship consists of 3,400 Catawbas including 2,400 citizens of voting age. The tribe holds elections every four years to fill five executive positions—Chief, Assistant Chief, Secretary/Treasurer, and two at-large positions. Scholarship on Southeastern Indians focuses less on the history of the Catawba Indian Nation and more on the historical narratives of the Five Civilized Tribes, which obscures the role Catawbas filled in the history of the development of the South. Finally, a comprehensive Catawba Nation history explains how the people became Catawba and, through persistence, ensured the survival of the Nation and its people.


Author(s):  
Stanley J. Thayne

Reading is a cultural activity, meaning that we read from a particular space and cultural positionality. An ethnography of reading, then, takes into account how one’s positionality affects one’s reading, and, concomitantly, how that reading reflects (and affects) one’s position in the world. As I argue and hope to subsequently demonstrate, Indigenous peoples read The Book of Mormon from a particular space that places them in a special, and potentially fraught, relationship to the text. Since The Book of Mormon claims to be a history of the peopling of the Americas, the stakes of interpretation are particularly high for Indigenous Americans, because, for those who accept the historicity and sacred status of The Book of Mormon as scripture, it has significant bearing on articulations of ancestry, identity, and Indigeneity. In this chapter I provide an ethnographic reading of an Indigenous woman’s reading of The Book of Mormon from the Catawba Indian Nation.


2008 ◽  
Vol 26 (2) ◽  
pp. 223-243 ◽  
Author(s):  
AVANTHI MEDURI

In this paper, I discuss issues revolving around history, historiography, alterity, difference and otherness concealed in the doubled Indian/South Asian label used to describe Indian/South Asian dance genres in the UK. The paper traces the historical genealogy of the South Asian label to US, Indian and British contexts and describes how the South Asian enunciation fed into Indian nation-state historiography and politics in the 1950s. I conclude by describing how Akademi: South Asian Dance, a leading London based arts organisation, explored the ambivalence in the doubled Indian/South Asian label by renaming itself in 1997, and forging new local/global networks of communication and artistic exchange between Indian and British based dancers and choreographers at the turn of the twenty-first century.


2021 ◽  
pp. 2455328X2110257
Author(s):  
Kunal Debnath

Dr B. R. Ambedkar, one of the makers of the Indian Constitution, is known best as the emancipator of the untouchables. Ambedkar’s effort to make India as a nation through ‘breaking the internal differences’ is much debated and not widely recognized as he has still been confined only to his identity as a ‘liberating leader of the Dalits’. Ambedkar’s ideas—caste annihilation, securing rights to the depressed class, representation of the oppressed in political affairs, egalitarian economic arrangement, women’s rights and thoughts on democracy—all have the potential to be linked with his ideas of a nation, which is inclusive in nature.


2021 ◽  
pp. e20200014
Author(s):  
Sitara Thobani

The development of the Hindi/Urdu cinema is intimately connected to the history of artistic performance in India in two important ways. Not only did hereditary music and dance practitioners play key roles in building this cinema, representations of these performers and their practices have been, and continue to be, the subject of Indian film narratives, genres, and tropes. I begin with this history in order to explore the Muslim religio-cultural and artistic inheritance that informs Hindi/Urdu cinema, as well as examine how this heritage has been incorporated into the cinematic narratives that help construct distinct gendered, religious, and national identities. My specific focus is on the figure of the tawa’if dancer, often equated with North Indian culture and nautch dance performance. Analyzing the ways in which traces of the tawa’if appear in two recent films, Dedh Ishqiya and Begum Jaan, I show how this figure is placed in a larger representational regime that sustains nationalist formations of contemporary Indian identity. As I demonstrate, even in the most blatant attempts to define the Indian nation as “Hindu,” the “Muslimness” of the tawa’if—and by extension the cinema she informed in ways both real and representational—is far from relinquished.


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