scholarly journals Three Mid-1800s Caddo Vessels from the Brazos Reserve

2001 ◽  
Author(s):  
Timothy K. Perttula
Keyword(s):  
New York ◽  
New York City ◽  
Indian Territory ◽  
Brazos River ◽  
North Central ◽  
Central Texas ◽  
Ceramic Vessels ◽  
Anglo American ◽  
Brooklyn Museum ◽  
Considerable Body

Although a considerable body of historic archival and documentary information is available on the Caddo Indian peoples that lived in Texas between ca. 1836 and 1859 -- the removal period -- not much archaeological evidence has been uncovered for their settlements. By the late 1830s and early 1840s, most of the Caddo groups had been removed from Northeast Texas as their traditional homelands were taken and settled by Anglo-American farmers and planters. Instead, they took up residence in Oklahoma, or settled with other affiliated groups (such as the Delaware, Cherokee, and others) on the Brazos River in north central Texas. There they continued to farm and hunt bison, even after they had been placed on the Brazos Reserve (in present-day Young County, Texas) in 1854. The Caddo peoples on the Reserve, about 1050 in number, were removed in August 1859 to the Indian Territory and the Wichita agency in western Oklahoma. In this paper, I discuss three ceramic vessels in the collections of the Brooklyn Museum in New York City. They were apparently collected in the rnid-1850s from the Caddo peoples living on the Brazos Reserve. As such, the vessels provide a unique record and look at the kinds of ceramic vessels being manufactured by the Caddo immediately before they were removed to Oklahoma, and has considerable cultural and archaeological significance.

scholarly journals Aboriginal Ceramic Wares from Sites in the Yegua Creek Drainage of the Brazos River Basin, East Central Texas

2019 ◽  
Author(s):  
Timothy Perttul
Keyword(s):  
River Basin ◽  
Aboriginal Peoples ◽  
Way Of Life ◽  
Brazos River ◽  
East Central ◽  
Post Oak ◽  
Central Texas ◽  
Ceramic Vessels ◽  
Ceramic Sherd ◽  
Trade And Exchange

Sherds from aboriginally-made ceramic vessels have been recovered on sites dating after ca. 2000 years B.P. in the Yegua Creek drainage of the Brazos River basin in the Post Oak Savannah of Burleson, Lee, and Washington counties in east central Texas (Figure 1). These sherds are from several different wares, including sandy paste Goose Creek Plain sherds made by Mossy Grove peoples, ancestral Caddo tempered and decorated wares made in East Texas, bone-tempered sandy paste wares that may be representative of a local ceramic tradition, and bone-tempered sherds from Leon Plain vessels made by Central Texas Toyah phase peoples. None of the ceramic sherd assemblages from the 18 sites discussed herein are substantial, ranging only from 1-72 sherds per site (with an average of only 13.3 sherds per site), indicating that the use (much less their manufacture) of ceramic vessels by Post Oak Savannah aboriginal peoples was not of much significance in their way of life, but may signify interaction, trade, and exchange between them and other cultures, such as the Caddo, inland and coastal Mossy Grove, and Toyah phase peoples that relied on ceramic vessel manufacture and use as key parts of their subsistence pursuits. It is likely that the benefits of trade (ceramics being just one of the items that was being traded) between these different peoples was to help establish cooperative alliances, and reduce competition and violence in the region, and such alliances were established and maintained by aboriginal peoples over a long period of time in the region.

Caddisflies (Insecta: Trichoptera) of the Brazos River Drainage in North-Central Texas

1993 ◽  
Vol 38 (1) ◽  
pp. 19 ◽  
Author(s):  
Stephen R. Moulton ◽  
Daniel Petr ◽  
Kenneth W. Stewart
Keyword(s):  
Brazos River ◽  
North Central ◽  
River Drainage ◽  
North Central Texas ◽  
Central Texas

Staging Ethnologic Dance

2019 ◽  
pp. 72-119
Author(s):  
Rebekah J. Kowal
Keyword(s):  
New York ◽  
New York City ◽  
World War Ii ◽  
Latin American ◽  
York City ◽  
Modern Dance ◽  
The Other ◽  
World War ◽  
Anglo American ◽  
The One

Chapter 2 examines La Meri’s controversial legacy in American concert dance. An Anglo-American dance artist who specialized in Asian and Latin American dance practices, La Meri fashioned herself as a dance polyglot, having studied with instructors at stops along the way of her worldwide performance tours in the 1920s and 1930s. When World War II commenced in Europe, La Meri settled in New York City in 1940 and established herself as one of the world’s foremost ethnologic performers. This chapter investigates debates that surrounded La Meri in the 1940s to illuminate the tensions that developed between so-called ethnic dance and modern dance, on the one hand, and cultural formations of whiteness, on the other.

Wanting More

differences ◽  
2020 ◽  
Vol 31 (1) ◽  
pp. 64-97
Author(s):  
Shannan L. Hayes
Keyword(s):  
New York ◽  
New York City ◽  
Black Women ◽  
Women Artists ◽  
York City ◽  
Feminist Art ◽  
Subject Formation ◽  
Waiting Room ◽  
Feminist Politics ◽  
Brooklyn Museum

This essay interrogates the forms of feminist political desire and subject formation being reproduced under the heading of contemporary feminist art. The author considers two recent exhibitions, similarly organized around the theme of intersectionality, that took place over two consecutive summers in New York City: Simone Leigh’s The Waiting Room at the New Museum (2016), and the group exhibit We Wanted a Revolution at the Brooklyn Museum (2017). While both exhibitions promote the work of black women artists at the center of their institutional program-building initiatives, each exhibition forwards a notably distinct version of what counts as “revolutionary” feminist politics. Hayes argues ultimately for an interpretation of Leigh’s work as a prefigurative, utopian feminism that demands more—for example, than mere inclusion—from progressive institutions and feminist art.

An Important Armenian MS. with Greek Miniatures

1942 ◽  
Vol 74 (3-4) ◽  
pp. 155-162
Author(s):  
H. Kurdian
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Christian Iconography

In 1941 while in New York City I was fortunate enough to purchase an Armenian MS. which I believe will be of interest to students of Eastern Christian iconography.

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