Author: Emily L. Moore File Type: pdf Among Southeast Alaskas best-known tourist attractions are its totem parks, showcases for monumental wood sculptures by Tlingit and Haida artists. Although the art form is centuries old, the parks date back only to the waning years of the Great Depression, when the US government reversed its policy of suppressing Native practices and began to pay Tlingit and Haida communities to restore older totem poles and move them from ancestral villages into parks designed for tourists.Dramatically altering the patronage and display of historic Tlingit and Haida crests, this New Deal restoration project had two key aims to provide economic aid to Native people during the Depression and to recast their traditional art as part of Americas heritage. Less evident is why Haida and Tlingit people agreed to lend their crest monuments to tourist attractions at a time when they were battling the US Forest Service for control of their traditional lands and resources. Drawing on interviews and government records, as well as the totem poles themselves, Emily Moore shows how Tlingit and Haida leaders were able to channel the New Deal promotion of Native art as national art into an assertion of their cultural and political rights. Just as they had for centuries, the poles affirmed the ancestral ties of Haida and Tlingit lineages to their lands.**ReviewMoore demonstrates how the Tlingit and Haida were agents in this government-sponsored project as they worked to express their cultural and political sovereignty at a time of considerable discrimination. She makes clear that these totem parks were and remain significant features of Tlingit and Haida cultural life.Aldona Jonaitis, author of Discovering Totem PolesProud Raven fills in gaps in the literature on the art of the Pacific Northwest and offers a nuanced and balanced interrogation of the history of Alaskan tourism.Elizabeth Hutchinson, author of The Indian CrazeProud Raven, Panting Wolfis a rich, fascinating account of Alaskas Haida and Tlingit history as told through their totem poles and their subsequent restorations. The text is a first in describing the important, previously undocumented, stories of how the pole restorations contributed to Alaska Native sovereignty, and an illuminating contribution to understanding the ongoing indigenous cultural renaissance Alaska.Jeane Taaw xiwaa Breinig, professor of English, University of Alaska AnchorageMoores well-researched and highly readable study of an importantand often overlookedperiod in Native American art history makes a significant contribution to the field.Jennifer McLerran, Northern Arizona UniversityThis exhaustively researched, poignant, and highly readable Native American art history illuminates Tlingit and Haida art in Southeast Alaska during the Depression era, where the Northwest Coast arts were long thought to be dying, dormant, or otherwise compromised. Instead, Moore demonstrates just how vibrantly alive they really were. Overlooked artiststhough still remembered by our Native communitiesincluding 20th century masters George Benson, Lkeinaa, and John Wallace, as well as Tom Ukas, Gunaanasti, and Charles Brown, can now be recognized and celebrated by a broader public.Ishmael Hope, Inupiaq and Tlingit scholar About the Author Emily L. Moore is assistant professor in the Department of Art and Art History at Colorado State University. She grew up in Ketchikan, Alaska.

Author: Yehuda Kalay File Type: pdf The use of new media in the service of cultural heritage is a fast growing field, known variously as virtual or digital heritage. New Heritage, under this denomination, broadens the definition of the field to address the complexity of cultural heritage such as the related social, political and economic issues. This book is a collection of 20 key essays, of authors from 11 countries, representing a wide range of professions including architecture, philosophy, history, cultural heritage management, new media, museology and computer science, which examine the application of new media to cultural heritage from a different points of view. Issues surrounding heritage interpretation to the public and the attempts to capture the essence of both tangible (buildings, monuments) and intangible (customs, rituals) cultural heritage are investigated in a series of innovative case studies. **

Author: Bernadette Wegenstein File Type: pdf Tracing the evolution of contemporary body discourse Getting Under the Skin analyzes the tension between a fragmented and holistic body concept in performance art, popular culture, new media arts, and architecture. The body as an object of critical study dominates disciplines across the humanities to such an extent that a new discipline has emerged body criticism. In Getting Under the Skin, Bernadette Wegenstein traces contemporary body discourse in philosophy and cultural studies to its roots in twentieth-century thought -- showing how psychoanalysis, phenomenology, cognitive science, and feminist theory contributed to a new body concept -- and studies the millennial body in performance art, popular culture, new media arts, and architecture. Wegenstein shows how the concept of bodily fragmentation has been in circulation since the sixteenth centurys investigation of anatomy. The history of the body-in-pieces, she argues, is a history of a struggling relationship between two concepts of the body -- as fragmented and as holistic. Wegenstein shows that by the twentieth century these two apparently contradictory movements were integrated both fragmentation and holism, she argues, are indispensable modes of imagining and configuring the body. The history of the body, therefore, is a history of mediation but it was not until the turn of the twenty-first century and the digital revolution that the body was best able to show its mediality. After examining key concepts in body criticism, Wegenstein looks at the body as raw material in twentieth-century performance art, medical techniques for visualizing the human body, and strategies in popular culture for getting under the skin with images of freely floating body parts. Her analysis of current trends in architecture and new media art demonstrates the deep connection of body criticism to media criticism. In this approach to body criticism, the body no longer stands in for something else -- the medium has become the body. **

Author: Noah J. Toly File Type: epub Each day, the worlds urban population swells by almost 200,000. With every passing week, more than a million people new to cities faceunexpected realities and challenges of urban life. Just like the sheer volume of people in the city, these challenges can be staggering. As with the height and breadth of our metropolises, the wonders of urban life can be breathtaking. Like the city itself, the questions and challenges of urban life are both sprawling and pulsing with vitality.As part of Zondervans Ordinary Theology series, this volume offers a series of Christian reflections on some of the most basic and universal challenges of 21st century urban life. It takes one important dimension of what it means to be humanthat human beings are made to be for God, for others, and for creationand asks, What are the implications of who God made us to be for how we ought to live in our cities?This book is intended for Christians facing the riddle of urban creation care, discerning the shape of community life, struggling with the challenges of wealth and poverty, and wondering at the global influence of cities. It is meant for those whose lives and livelihoods are inextricably bound up in the flourishing of their neighborhood and also for those who live in the shadow of cities. Most of all, it is meant for those grappling with the relationship between the cities of tomorrow and the glorious city to come.**