Calenda - Arts et savoirs des Indiens des Plaines

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src="js/jquery.ui.datepicker-en.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-pt.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-es.js"></script> <script type="text/javascript" src="js/jquery.sprintf.js"></script> <script type="text/javascript" src="js/calenda.js"></script> <script type="text/javascript" src="js/common.js"></script> <div class="colwrapper"> <div id="icon" class="column"> <h2><a href="search?primary=ftype&ftype=41">Colloque</a><span><a href="search?primary=fsubject&fsubject=336">Am茅riques</a></span></h2> <div id="tabledates"> <h2>Dates</h2> <div class="list_dates"> <table> <tbody> <tr> <td class="unique_date"> <div class="day"><a href="search.html?primary=fdate&fyear=2014&fmonth=06&fday=18">18</a></div> <div class="month"><a href="search.html?primary=fdate&fyear=2014&fmonth=06">jui</a></div> <div class="year"><a href="search.html?primary=fdate&fyear=2014">2014</a></div> </td> <td class="unique_date"> <div class="day"><a href="search.html?primary=fdate&fyear=2014&fmonth=06&fday=19">19</a></div> <div class="month"><a href="search.html?primary=fdate&fyear=2014&fmonth=06">jui</a></div> <div class="year"><a href="search.html?primary=fdate&fyear=2014">2014</a></div> </td> </tr> </tbody> </table> </div> </div> <div id="listcategories"> <h2>Cat茅gories</h2> <ul> <li><a href="search?primary=fsubject&fsubject=342">脡tats-Unis</a></li> <li><a href="search?primary=fsubject&fsubject=213">Ethnologie, anthropologie</a></li> </ul> </div> </div> <div id="document" class="column"> <div id="main"> <div class="titles"> <h1 class="origt"><a href="291935">Arts et savoirs des Indiens des Plaines</a></h1> </div> <div class="mapuce2">*  *  *</div> <p id="pubdate"> Publi茅 le lundi 16 juin 2014 </p> <div id="texte"> <div id="resume"> <p class="intitule">R茅sum茅</p> <div id="resume-291935-fr" class="tabContent" lang="fr" xml:lang="fr"> <p style="text-align: justify;" align="center">Dans le cadre de l'exposition <em>Indiens des Plaines</em>, le département de la recherche et de l'enseignement du musée du quai Branly organise un colloque international sur les arts et la transmission des savoirs chez les Indiens des Plaines. Ce colloque apporte un éclairage anthropologique sur le rôle des images dans la transmission des savoirs, sur le lien entre les traditions discursives et iconographiques (pictographie, ornements corporels, peintures et gravures rupestres) et sur l'interprétation de ces traditions par les artistes contemporains.</p> <div style="text-align: left;"> <p> </p> </div> </div> </div> <div id="annonce"> <p class="intitule">Annonce</p> <div class="tabMenu"><a href="#annonce-291935-fr" hreflang="fr" class="active">Fran莽ais</a> <a href="#annonce-291935-en" hreflang="en">English</a> </div> <div id="annonce-291935-fr" class="tabContent" lang="fr" xml:lang="fr"> <div style="text-align: left;"> <h1 style="text-align: justify;">PROGRAMME DU COLLOQUE</h1> <h2 style="text-align: justify;">Mercredi 18/06/14</h2> <p style="text-align: justify;">9h30 : Allocution d’accueil par Frédéric Keck, directeur du département de la recherche et de l’enseignement, musée du quai Branly</p> <ul style="text-align: justify;"> <li>9h45 : « Ledger Art » et écriture en langue autochtone chez les Lakotas au début du 20e siècle, par<strong> Raymond DeMallie</strong>, Professeur, Département d'anthropologie, Université d’Indiana à Bloomington (USA).</li> </ul> <p style="text-align: justify;">Première partie : Rituel privé, représentation publique, circulation des images</p> <p style="text-align: justify;">10h25 :Iconographie et parallélisme : une lecture de la Bible Dakota, par<strong> Carlo Severi</strong>, EHESS-CNRS, Paris</p> <p style="text-align: justify;">Basé sur l'analyse de la « Bible Dakota » du Musée de Dahlem à Berlin, cette présentation s’intéresse à une application à l'iconographie du concept de parallélisme, généralement utilisé dans le domaine de la linguistique. Une comparaison avec l'autobiographie pictographique du chef Sioux Unkpapa « Half Moon » aide à tracer le contour d'une interprétation générale de ce type d'image-écriture. </p> <p style="text-align: justify;"><strong>Carlo Severi</strong> est Directeur d’études à l’École des Hautes Etudes en Sciences Sociales et Directeur de recherche au CNRS. Membre du Laboratoire d’anthropologie sociale du Collège de France depuis 1985, il a été Getty Scholar auprès du Getty Institute for the History of Art and the Humanities de Los Angeles, Fellow du Wissenschaftskolleg de Berlin et Visiting Fellow du King’s College à Cambridge. Il a notamment publié La memoria rituale (La Nuova Italia, Florence 1993 ; trad. esp. Abya Yala Ediciones, 1996), Naven ou le donner à voir (avec M. Houseman, CNRS Éditions de la MSH, 1994 ; éd. angl. Brill, 1998) et Le principe de la chimère, Ed. Rue d’Ulm-musée du quai Branly, 2007 (ed.it.Turin, Einaudi 2004 ; éd. Esp. Buenos Aires 2010). Il a dirigé plusieurs ouvrages collectifs, dont le numéro spécial de L’Homme consacré à Image et anthropologie (2003) et, plus récemment, celui de Gradhiva consacré à l’ambigüité visuelle (Pièges à voir, pièges à penser, 2011). Avec Julien Bonhomme, il a dirigé le numéro 5 (2010) des Cahiers d’anthropologie sociale (Paroles en actes - Anthropologie et pragmatique). </p> <p style="text-align: justify;">11h05 : Pause </p> <ul style="text-align: justify;"> <li>11h20 : De la représentation sacrée à la représentation publique : deux siècles de valeurs Lakota, parJanet Catherine Berlo, Professeur d'études visuelles et culturelles, Université de Rochester (Royaume-Uni) </li> </ul> <p style="text-align: justify;">Comme l'a démontré l'artiste et chercheur Lakota Arthur Amiotte, les représentations sacrées telles que laDanse du soleil sont depuis longtemps des représentations publiques de valeurs fondamentales des Lakota et continuent à tenir ce rôle aujourd'hui. De plus, de nombreuses représentations considérées au cours du 20e siècle comme purement « profanes » et destinées aux touristes (performances costumées dans le Wild West de Buffalo Bill, danses sur les quais de gare dans le Dakota du Nord) démontrent aussi les valeurs Lakota d'excellence artistique, de générosité et d'humilité.</p> <p style="text-align: justify;">Des artistes d'origine Sioux formés à l'université continuent à incarner et à perpétuer ces valeurs dans des médiums non traditionnels tels que la photographie et la performance artistique.</p> <p style="text-align: justify;">Leurs &oelig;uvres ont leur place dans le monde de l'art, un monde qui ne se rend peut-être pas compte que ces &oelig;uvres s'inscrivent aussi dans la droite ligne de valeurs traditionnelles profondément ancrées. </p> <p style="text-align: justify;"><strong>Janet Catherine Berlo</strong>, Professeur d'études visuelles et culturelles à l'Université de Rochester, a contribué à de nombreux catalogues d'expositions portant sur l'art amérindien, notamment Shapeshifting (2012), Infinity of Nations (2011), et Identity by Design: Plains Women’s Dresses (2008). Ses livres comprennent The Early Years of Native American Art History (1992), Plains Indian Drawings 1865-1935 (1996) et la deuxième édition de Native North American Art (with Ruth Phillips, 1998) qui sera publiée à l'automne 2014.</p> <p style="text-align: justify;">J.C Berlo a enseigné l'histoire de l'art amérindien en tant que professeur invité dans les Universités de Harvard et Yale et a reçu des bourses de la Fondation Guggenheim, de la Fondation Getty (avec Arthur Amiotte) et du National Endowment for the Humanities. </p> <ul style="text-align: justify;"> <li>12h00 : la législation américaine sur la protection du Patrimoine et des ressources culturelles, parDiane J. Humetewa, Juge fédéral des Etats-Unis </li> </ul> <p style="text-align: justify;">Cette communication dresse un historique de l’évolution du système juridique américain en matière de protection des ressources culturelles et plus particulièrement des ressources des Amérindiens. </p> <p style="text-align: justify;">Diane J.Humetewa a reçu son diplôme en droit en 1993 à l'université Sandra Day O'connor de l'Université d'État de l'Arizona. Membre de la tribu Hopi, Humetewa est la première femme amérindienne à servir comme avocat américain. En janvier 2014, elle a été nommée par le président Barack Obama, Juge fédéral des États-Unis pour le district de l'Arizona, première femme amérindienne à atteindre cette fonction.</p> <p style="text-align: justify;">13h15 : Pause </p> <p style="text-align: justify;">Deuxième partie : Pictographies, systèmes graphiques et écriture </p> <ul style="text-align: justify;"> <li>14h30 : Présentation d’une peau peinte Lakota inédite (env. 1850) acquise par le musée du quai Branly, par <strong>André Delpuech</strong>, conservateur du patrimoine, responsable de la zone Amériques au musée du quai Branlyet Michel Petit ethno-archéologue(France). </li> <li>14h50 : L'origine et le développement de l'art biographique des Plaines, par<strong> James D. Keyser</strong>, archéologue, spécialiste de l'art rupestre des Indiens des Plaines </li> </ul> <p style="text-align: justify;">Chez les Indiens des Plaines, les artistes guerriers des périodes historiques dessinaient des pictographies biographiques sur des supports aussi variés que des couvertures de tipis, des peaux de bison, des « ledgers », des vêtements et différents outils. Ces récits détaillés peints à la gloire de leurs hauts-faits d’armes sont surtout connus grâce aux peaux de bisons peintes présentes dans de nombreux musées du monde et aux milliers de dessins des « ledgers » fréquemment proposés à la vente par les maisons de ventes aux enchères. Mais les racines de l'évolution de cette forme artistique sont ancrées bien plus tôt, dans la préhistoire, là où les seules preuves encore existantes sont les pictographies et les pétroglyphes gravés et peints sur les falaises et les parois des grottes dans l'ensemble des Plaines, du Sud du Canada aux canyons bordant le Rio-Grande dans l'État mexicain de Coahuila, dans le Nord-Est du pays.</p> <p style="text-align: justify;">Ces sites comptant des milliers de représentations d'art rupestre relevant des traditions artistiques cérémonielle et biographique montrent que l'art traditionnel biographique s'est développé directement à partir de l'imagerie cérémonielle plus ancienne et datant d'avant les premiers contacts entre les Euro-Américains et les tribus des Plaines.</p> <p style="text-align: justify;">Contenant des exemples de toutes les sortes de narration biographique rencontrées sur des supports plus tardifs, ces sites d'art rupestre illustrent les changements et évolutions de cet art ainsi que des éléments de culture matérielle inconnus ailleurs. </p> <p style="text-align: justify;"><strong>James Keyser</strong> a grandi dans la réserve indienne de Flathead, dans l'Ouest du Montana, où il a vu son premier site pictographique en 1959. Quinze ans plus tard, c'est en tant qu'étudiant de cycle supérieur à l'Université du Montana qu'il mène son premier projet de recherche sur l'art rupestre, ce qui l'amènera ensuite à effectuer le premier travail d’inventaire intensif de Writing-On-Stone, le principal complexe de sites d'art rupestre des Plaines du Nord-Ouest. Depuis ce projet en 1977, il a effectué des recherches sur plus de 30 sites et complexes de sites d'art rupestre de l'Alaska au Nouveau-Mexique ainsi que dans la Valcamonica, en Italie. J. Keyser a signé plus de 125 publications sur l'art rupestre. Il est aussi l'auteur de cinq livres, dont Indian Rock Art of the Columbia Plateau, Plains Indian Rock Art, The Five Crows Ledger: Warrior Art of the Flathead Indians et L'Art des Indiens des Grandes Plaines.</p> <p style="text-align: justify;">Il partage actuellement son temps entre Portland, dans l'Oregon, et San Giorgio Scarampi dans le Piémont, en Italie. </p> <p style="text-align: justify;">15h30 : Discerner les différences ethniques dans les peintures, par <strong>Arni Brownstone</strong>, Conservateur, Musée royal de l’Ontario </p> <p style="text-align: justify;">Les peintures figuratives des Indiens des Plaines constituent l’un des ensembles les plus importants et intéressants de tout l'art natif américain. Pendant la plus grande partie du 19e siècle, ces peintures considérées comme des récits en images ont surtout abordé deux thèmes : les événements surnaturels et les faits de guerre. Cet article passe en revue de manière générale les peintures consacrées aux exploits de guerre et datant approximativement de 1800 à 1860, surtout dans les Plaines du centre et du Nord-Ouest. Les travaux examinés proviennent des Mandan, Hidatsa, Dakota, Blackfoot, Crow et d'autres groupes.</p> <p style="text-align: justify;">Toutes les tribus d'Indiens des Plaines ou presque comptaient des guerriers victorieux qui communiquaient autour de leurs exploits en exposant au public des peaux d'animaux peintes, le plus souvent du bison. En dépit d'un riche héritage de peintures d'exploits de guerre préservées, de nombreux obstacles empêchent de prendre conscience de leur potentiel en tant que sources de savoir culturel. La représentation tribale est très inégale et les documents fiables concernant les origines culturelles manquent cruellement. Pour la plupart, nous n'avons qu'une compréhension rudimentaire des dynamiques d’évolution de cet art au fil du temps et d'une culture à l'autre. D'une surface importante, les peaux peintes présentent des silhouettes de petite taille et souvent effacées, ce qui fait qu'une photographie ne permet que rarement d'avoir en même temps une lecture claire d'un détail et son emplacement dans la composition générale. </p> <p style="text-align: justify;"><strong>Arni Brownstone</strong> est né à Regina, dans le Saskatchewan (Canada), en 1947. Il a obtenu un diplôme d'art visuel à l’Université York de Toronto en 1974. La même année, il est entré au Département d'ethnologie du Musée royal de l’Ontario, où il travaille encore aujourd'hui. Il a également été artiste visuel jusqu'en 1985, date à laquelle il a préféré arrêter pour mieux se consacrer à l'étude des peintures des Indiens des Plaines. En 1993, il a publié War Paint, un livre sur les peintures Blackfoot et Tsuu T'ina (Sarcee). Depuis, il a publié 15 articles sur différents aspects de la peinture des Indiens des Plaines. Un de ses livres sur les peintures Tsuu T'ina est actuellement en cours d'impression et il travaille en ce moment à un ouvrage qui examine avec un large spectre et à grande échelle la peinture des Indiens des Plaines du début du 19e siècle au début du 20e siècle. </p> <p style="text-align: justify;">16h10 :Pause </p> <ul style="text-align: justify;"> <li>16h25 :Une uniformité en surface : l'art pictural des Plaines,par <strong>Candace S. Greene</strong>, ethnologue au Département d'anthropologie du Musée national d’histoire naturelle du Smithsonian, Washington (USA) </li> </ul> <p style="text-align: justify;">Le terme « ledger art », qui fait référence aux livres de comptes dans lesquels les artistes des Plaines plaçaient parfois leurs dessins, a progressivement été appliqué à une grande variété de formes artistiques picturales des Plaines. Il est possible de déceler des points communs stylistiques sur des supports très variés au cours d'une très longue période, des pétroglyphes du Montana aux peintures des supporters de Floride.</p> <p style="text-align: justify;">Toutefois, derrière ces apparences similaires se cachent des significations très différentes. Au-delà du style, cette présentation s'intéresse aux questions de production, de consommation, d'exposition et de circulation des peaux peintes, mousselines, comptes d'hiver, &oelig;uvres destinées à être vendues et, oui, même des livres de compte. </p> <p style="text-align: justify;"><strong>Candace S. Greene</strong> a obtenu un Doctorat en anthropologie à l'Université de l’Oklahoma. Ses recherches portent sur la culture matérielle de la région des Plaines et particulièrement sur l'art pictural. Ses publications comprennent Silver Horn: Master Illustrator of the Kiowa (2001); The Year the Stars Fell: Lakota Winter Counts (2007); et One Hundred Summers: A Kiowa Calendar Record (2010). Elle s’intéresse à l’amélioration de l'utilisation des collections muséales à des fins de recherche et dirige le Summer Institute in Museum Anthropology, un programme de formation à la recherche basé au Smithsonian et soutenu par la National Science Foundation. </p> <p style="text-align: justify;">17h05 :Débat </p> <p style="text-align: justify;">Modérateur : <strong>Christian Feest</strong>, ethnologue, ancien directeur du Musée d'Ethnologie de Vienne (Autriche). </p> <h2 style="text-align: justify;">Jeudi 19 juin 2014</h2> <p style="text-align: justify;">Première partie : L'identité par le motif (vêtements et parures corporelles) </p> <ul style="text-align: justify;"> <li>9h30 :L'art de l'enchantement : Tatouages et paquets magiques d'ustensiles à tatouer des Grandes Plaines, par <strong>Lars Krutak</strong>, Département d'anthropologie, National Museum of Natural History, Smithsonian Institution (USA) </li> </ul> <p style="text-align: justify;">Les parois recouvertes d'art rupestre dans le Missouri apportent la preuve que le tatouage a probablement été une pratique culturelle dans les Grandes Plaines pendant au moins un millier d'années, si ce n'est davantage. Au cours de cette période historique, des documents ethnographiques révèlent que le tatouage était pratiqué au sein de la plupart des groupes qui peuplaient cette vaste zone culturelle, une tradition qui atteignait son apogée avec les groupes Siouan, notamment les Hidatsa, Mandan, Osage, Ponca, Omaha, Otoe et Ioway. Bien que chaque société tribale ait recours à des motifs abstraits spécifiques, agencés de manière rituelle, la structure religieuse des croyances ayant donné naissance à ces symboles corporels reste étonnamment similaire.</p> <p style="text-align: justify;">Le tatouage avait beau être une pratique omniprésente dans les Grandes Plaines, tout le monde ne pouvait pas arborer de tatouages pour autant. Les guerriers devaient faire leurs preuves sur le champ de bataille en accomplissant certains faits d'arme pour gagner le droit d'être tatoués. Traditionnellement, les femmes gagnaient leurs « marques d'honneur » par le biais de leur père, qui offraient de généreux cadeaux aux personnes présentes lors de la cérémonie afin d'assurer la place de leur progéniture au sein des familles de la classe supérieure. </p> <p style="text-align: justify;">Les tatouages des Plaines étaient aussi un rituel permettant d'améliorer l'accès de la personne tatouée au domaine du surnaturel. L'énergie spirituelle était incarnée dans des formes particulières d'iconographie, dans le corps humain qui l'absorbait et surtout dans les paquets magiques d'ustensiles à tatouer à partir desquels ces motifs étaient créés. </p> <p style="text-align: justify;">Puisque ces trousses à outils ancestrales constituaient le point de départ de la transmission du pouvoir sacré, cette présentation examine les propriétés, significations et usages des nécessaires à tatouage en se référant plus particulièrement aux religions et pratiques de tatouage traditionnelles des Plaines de l'Est dans le cadre d'une narration exploratrice basée sur l'étude de la culture matérielle et de sources ethnographiques.</p> <p style="text-align: justify;">En décrivant cet univers de culture visuelle nettement délaissé par les chercheurs, il cherche à approfondir nos connaissances, non seulement sur les traditions de tatouage des Grandes Plaines mais aussi sur les biographies et systèmes de croyances autochtones qui les ont inspirées. </p> <p style="text-align: justify;"><strong>Lars Krutak</strong> est le collaborateur scientifique chargé du rapatriement pour l’Alaska au National Museum of Natural History. Ses recherches portent sur les pratiques globales de l’art corporel autochtone. Ses publications comprennent : The Tattooing Arts of Tribal Women (2007); Kalinga Tattoo (2010); Magical Tattoos and Scarification (2012); et Tattoo Traditions of Native North America (2014).</p> <ul style="text-align: justify;"> <li>10h10:Exposition Identity by design par <strong>Emil Her Many Horses</strong>, Commissaire au Smithsonian’s National Museum of the American Indian à Washington (USA) </li> </ul> <p style="text-align: justify;">Cinquante-cinq robes autochtones des régions des Plaines, du Plateau et des Grands Bassins composent « Identity by Design: Tradition, Change and Celebration in Native Women’s Dresses » exposition présentée en septembre 2007 au Smithsonian’s National Museum of the American Indian à Washington, D.C. et en 2008 à New York, au Centre George Gustav Heye. Cette exposition comprend des robes et des accessoires datant du début du 19e siècle à nos jours.</p> <p style="text-align: justify;">« Identity by Design » examine le rôle des femmes autochtones à travers ces &oelig;uvres, depuis une cape et une jupe aux nombreuses franges portées par les jeunes filles White Mountain Apache au début de leur passage vers l'âge adulte jusqu'aux nombreux chefs-d'&oelig;uvre réalisés en épines de porc-épic ou en perles nés de la main d'artistes expérimentés et accomplis.</p> <p style="text-align: justify;">L'exposition retrace l'essor de la robe à pli latéral (env. 1830) et des styles de robe à deux et à trois peaux avant d'évoquer la tenue raffinée de pow-wow créée par les couturiers contemporains tels Joyce Growing Thunder Fogarty (Assiniboine/Sioux) et Rebecca Brady (Cheyenne/Sac and Fox). </p> <p style="text-align: justify;"><strong>Emil Her Many</strong> Horses est commissaire au bureau de Museum Research, Museum of the American Indian, Smithsonian Institution. Il est spécialiste des cultures des Plaines centrales et est membre de la nation Oglala Lakota du Dakota du Sud. Il a été commissaire principal de l'exposition permanente inaugurale, « Our Universes: Traditional Knowledge Shapes Our World ».</p> <p style="text-align: justify;">E. Her Many Horses a par ailleurs été co-commissaire pour l'exposition intitulée « Identity by Design: Tradition, Change and Celebration in Native Women’s Dresses » et commissaire principal pour les expositions communautaires « Our Peoples » consacrées à l'histoire des Apaches Chiricahua du Nouveau-Mexique et des Blackfeet du Montana. Il a également été commissaire de l'exposition « A Song for the Horse Nation » présentée au Centre George Gustuv Heye du NMAI à New York en novembre 2009 et au musée du NMAI sur le National Mall à Washington, D.C. en octobre 2011. </p> <p style="text-align: justify;">10h50 : Pause </p> <ul style="text-align: justify;"> <li>11h10 :Tradition et transition,par <strong>Rhonda Elaine Holy Bear</strong>, artiste créatrice de poupées Lakota (USA) </li> </ul> <p style="text-align: justify;"><strong>R. E Holy Bear</strong> explique comment elle a aidé les poupées des Plaines à accéder au statut de forme artistique, pour instiller des éléments des beaux-arts dans ses poupées lors de leur création. Elle a réutilisé bon nombre des leçons apprises au cours de ses recherches pour créer des poupées qui rendaient hommage aux méthodes traditionnelles tout en faisant progresser cette forme artistique grâce à des techniques contemporaines. » </p> <p style="text-align: justify;">Rhonda Holy Bear est née dans le Dakota du Sud en 1959. Depuis plus de 35 ans, Rhonda est créatrice de poupées Lakota. Après avoir passé plusieurs années à se former dans la réserve indienne Sioux de Cheyenne River, puis à Chicago, Rhonda s'est ensuite déplacée vers le sud-ouest pour s'établir tout d'abord dans le Nouveau-Mexique puis récemment à Las Vegas, dans le Nevada. Dans sa jeunesse, elle a mené des recherches sur le travail de ses ancêtres dans les salles du Field Museum de Chicago.</p> <p style="text-align: justify;">Son travail de recherche méticuleux et ses dons artistiques lui ont permis de devenir une figure remarquée dans son domaine. Ses poupées novatrices, alliant la sculpture et les techniques traditionnelles, ont favorisé l'accession des poupées des Indiens des Plaines au rang d'&oelig;uvres d'art autochtone américain contemporain. Auparavant considérées comme des jouets, elles sont aujourd'hui des objets de collection très demandés. Son travail a été mis en avant lors d'expositions dans des musées et des collections privées, aux États-Unis comme dans le reste du monde. Plus récemment, ses &oelig;uvres ont été exposées au Musée national des Indiens d’Amérique de l’Institution Smithsonian et à l'Art Institute de Chicago. Rhonda a récemment été honorée lors d’une cérémonie de baptême dans son état natal, le Dakota du Sud. Son nom Lakota est « Wakah Wayuphika Win » (La femme qui fabrique [la beauté] avec des compétences exceptionnelles. </p> <p style="text-align: justify;">11h50 : Débat </p> <p style="text-align: justify;">Modérateur : <strong>Pierre Deleage</strong>, anthropologue CNRS</p> <p style="text-align: justify;">12h45 : Pause </p> <p style="text-align: justify;">Deuxième partie : De la tradition des « ledgers » à l'art contemporain</p> <ul style="text-align: justify;"> <li>14h00 :Les artistes de « ledger » et de style « ledger », passé et présent : enregistrer les narrations dynamiques et vitales, par <strong>Joyce M. Szabo</strong>, Professeur d'Histoire de l'art à l'Université du Nouveau Mexique, (USA) </li> </ul> <p style="text-align: justify;">À la fin du 19 e et au début du 20e siècle, les guerriers-artistes des Plaines créaient des images sur les pages de livres de comptes commerciaux aussi bien que sur d'autres sources de papier. Ces dessins aujourd'hui généralement appelés « ledger art » immortalisaient le plus souvent des faits de bataille, mais, puisque le confinement dans les réserves a limité les nouvelles descriptions de combats aux souvenirs des époques précédentes, les hommes ont commencé à élargir le champ de leurs sujets artistiques en direction de la chasse, de la séduction et des scènes rituelles en plus de nombreuses autres images tirées de la vie quotidienne. Les hommes des Plaines du Sud incarcérés à Saint Augustine, en Floride, entre la moitié de l'année 1875 et la moitié de l'année 1878 ont également dessiné dans le style « ledger » la nouvelle vie à laquelle ils étaient confrontés sur la Côte-Est, tout en exprimant leurs souvenirs très nets des foyers et des familles dont ils avaient été séparés. </p> <p style="text-align: justify;">Après les premières décennies du 20e siècle, les dessins « ledger » ont été remplacés par d'autres styles et types de dessins et peintures, favorisés dans les pensionnats puis dans les universités.</p> <p style="text-align: justify;">Toutefois, les années 1970 ont vu les artistes des Plaines s'intéresser à nouveau au « ledger art » de leurs ancêtres en tant que source d'inspiration et produire un nombre important de dessins inspirés du style « ledger » et faisant appel à des contours linéaires, des motifs riches et des narrations visuelles pleines de vie.</p> <p style="text-align: justify;">Aujourd'hui, nombreux sont les artistes hommes et femmes à créer des &oelig;uvres dans le style « ledger » dont certains rappellent les raisons de la naissance de ces dessins, à savoir conserver une trace des exploits. D'autres encore utilisent ce style pour réécrire l'Histoire depuis une perspective autochtone, ajoutant à l'Histoire archivée un point de vue autochtone longtemps ignoré. Ils sont aussi nombreux à commenter leur quotidien et à remplir leurs dessins d'humour et de satire, adressés à la fois à des publics autochtones et non-autochtones. Comme leurs prédécesseurs, les artistes autochtones contemporains conçoivent les images de style « ledger » comme des narrations dynamiques de la vie à leur époque. </p> <p style="text-align: justify;"><strong>Joyce M. Szaboa</strong> a obtenu sa licence en Art et en Anglais à Wittenberg University, son master en Histoire de l'art à l’Université Vanderbilt et son doctorat en Histoire de l'Art à l'Université du Nouveau Mexique. Elle a été professeur invitée Gordon Russell d'études natives américaines au Dartmouth College durant l'été 2013 et Distinguished Fellow du Dartmouth College à l'automne 2010. Ses autres distinctions comprennent sa sélection au poste de lecteur Oscar Howe par la Oscar Howe Memorial Association et The Institute of American Indian Studies à l’University of South Dakota en 2005. Ses publications comprennent Imprisoned Art, Complex Patronage: Plains Drawings by Howling Wolf and Zotom at the Autry National Center (2011); Fort Marion Art: The Arthur and Shifra Silberman Collection (2007); A Life in Balance: The Art of Conrad House (2006); Painters, Patrons, and Identity: Essays in Native American Art to Honor J. J. Brody, éditrice et conseillère de rédaction (2001); Howling Wolf and the History of Ledger Art (1994); et Howling Wolf: An Autobiography of a Plains Warrior-Artist, (1992). </p> <ul style="text-align: justify;"> <li>14h40 :Entre deux mondes. Les artistes autochtones en transition, par <strong>Joëlle Rostkowski</strong>, ethno-historienne, docteur d’État (EHESS), conseiller scientifique de l’exposition INDIENS DES PLAINES </li> </ul> <p style="text-align: justify;">Pendant la seconde moitié du 20e siècle, les artistes amérindiens ont eu accès à l'art américain en général mais ont aussi tenté d'exprimer des valeurs traditionnelles et de réinterpréter leur propre histoire. En vivant entre ces deux mondes, ils ont été partagés entre les formes artistiques traditionnelles et les « beaux-arts », destinés à un public international. Au sein de cette perspective générale, cette présentation évoque le travail de plusieurs artistes (tous représentés dans l'exposition INDIENS DES PLAINES) qui ont marqué la transition entre art tribal et art contemporain : Dick West, Oscar Howe, T.C. Cannon et Allan Houser. </p> <p style="text-align: justify;"><strong>Joëlle Rostkowski</strong> est ethno-historienne, docteur d’État (EHESS), et détentrice d'un Master en Études américaines (Cornell University). Elle enseigne à l'École des hautes études en sciences sociales de Paris. Elle est consultante internationale et l'une des fondatrices de l'American Indian Workshop, le premier groupe de recherche européen sur les études amérindiennes. Joëlle Rostkowskiest conseiller scientifique de l’exposition INDIENS DES PLAINES.Elle a participé à de nombreuses publications et expositions dans le cadre de l'UNESCO.</p> <p style="text-align: justify;">Elle est également l'auteur de : The Incomplete Conversion: North American Indians and Christianity (Albin Michel 1998), Native American Renaissance: A Century of Reconquests, récompensé par le Prix d'Histoire de l'Académie française, et Conversations with Remarkable Native Americans (SUNY Press, 2012).</p> <p style="text-align: justify;">Avec Nelcya Delanoë, elle a publié : Indians in American History (Armand Colin, 1996, actualisé in 2014), Indian Voices, American Voices, Two Visions of the Conquest of America (Albin Michel, 2003) et a traduit Native North American Art, Janet Berlo and Ruth Phillips, Oxford History of Art, 1998 (Amérique du Nord, Arts premiers, Albin Michel, 2006).</p> <p style="text-align: justify;">15h20 : Pause </p> <ul style="text-align: justify;"> <li>15h40 :De l'Art des Indiens des Plaines au modernisme amérindien. Histoire et développement dans un monde artistique en pleine évolution, par <strong>Peter Bolz</strong>, ancien conservateur du département amérindien, Musée d'ethnologie de Berlin (Allemagne) </li> </ul> <p style="text-align: justify;">Les écrits de John Ewers et d'autres ne laissent aucun doute quant à l'existence d'un style artistique spécifique aux Indiens des Plaines au 19e siècle. Comment cela a-t-il évolué au cours des 20e et 21e siècles ? Les artistes des Plaines travaillent-ils toujours dans un style spécifique aux Plaines ? Et que pouvons-nous dire au sujet des artistes non originaires des Plaines qui utilisent des motifs venus des Plaines ? Existe-t-il toujours un style des Plaines dans l'art amérindien moderne, s'agit-il plutôt d'un art pan-indien, de modernisme pluraliste ou simplement d'art individuel ?</p> <p style="text-align: justify;"><strong>Peter Bolz</strong> a travaillé au Musée d'ethnologie de Berlin de 1986 à 2012. Pendant cette période, il a rassemblé environ 40 peintures, sculptures et lithographies d'artistes amérindiens modernes et environ 100 sérigraphies de la côte Nord-Ouest.</p> <p style="text-align: justify;">Avec les peintures et sculptures précédemment acquises, Berlin possède aujourd'hui l'une des plus vastes collections d'art amérindien moderne en Europe, qui a fait l'objet du catalogue d'exposition « Lemodernisme amérindien. Art d'Amérique du Nord » publié en 2012.</p> <p style="text-align: justify;">Peter Bolz a par ailleurs signé des publications concernant les collections nord-américaines du musée de Berlin, l'histoire muséale et la culture, l'histoire et la religion des Lakota. </p> <p style="text-align: justify;">16h20 : Débat </p> <p style="text-align: justify;">Modérateur : <strong>Marie Mauzé</strong>, Directrice de recherche au CNRS, Laboratoire d'anthropologie sociale, Collège de France (France) </p> <p style="text-align: justify;">17h10 :Allocution de clôture</p> </div> </div> <div id="annonce-291935-en" class="tabContent hidden" lang="en" xml:lang="en"> <h1 style="text-align: left;">Argument</h1> <p style="text-align: left;">As an extension of the Plains Indians exhibition held at the musée du quai Branly from April 9th to July 20th, 2014), the department of Research and Higher education is organising a two-day international conference on the subject of Plains Indians’ art and transmission of knowledge. Freely open to the public, this meeting will take place on the 18th and 19th of June 2014 in our cinema room.</p> <p style="text-align: left;">Through its different sessions, the Symposium Arts and the transmission of Plains Indian knowledge will provide anthropological insights on the role of images in the transmission of knowledge, on the relationship between iconographic and discursive traditions (Pictography, body ornaments, paintings and carvings) and the interpretation of these traditions by contemporary artists.</p> <h1 style="text-align: left;">PROGRAM </h1> <h2 style="text-align: left;">Wednesday June 18th 2014 </h2> <p style="text-align: left;">9:30 Opening and welcoming remarks </p> <ul style="text-align: left;"> <li>9:45-10:25 Ledger art as it blended with native language writing among the Lakotas in the early twentieth century</li> </ul> <p style="text-align: left;">Raymond DeMallie, Professor, department of Anthropology, University of Indiana, Bloomington Key note Speaker </p> <p style="text-align: left;">Private ritual, public representation, circulation of images </p> <ul style="text-align: left;"> <li>10:25-11:05 Iconography and Parallelism: a reading of the Dakota Bible</li> </ul> <p style="text-align: left;">Carlo Severi, EHESS-CNRS, Paris</p> <p style="text-align: left;">Carlo Severi is Directeur d’études at the École des hautes études en sciences sociales and directeur de recherche at the CNRS. A member of the Laboratoire d’anthropologie sociale of the Collège de France since 1985, he has been a Getty Scholar at the Getty Institute for the History of Art and the Humanities in Los Angeles (1994-95) and a Fellow of the Wissenschaftskolleg in Berlin (2002-2003). Last year, he has been elected to a Visiting Fellowship at King’s College, Cambridge. (UK). Among his books : La memoria rituale (La Nuova Italia, Florence 1993, Naven ou le donner à voir (with M. Houseman, CNRS Éditions de la MSH, 1994 ; English Transl. Brill, 1998) and Le principe de la chimère, Ed. Rue d’Ulm-Musée du Quai Branly, 2007. </p> <p style="text-align: left;">Abstract</p> <p style="text-align: left;">Based on the analysis of the so-called Dakota Bible of the Dahlem Museum in Berlin, this paper presents an application of the concept of parallelism, generally used in the field of Linguistics, to iconography. A comparison with the pictographic autobiography of the Unkpapa Sioux Chief “Half Moon” will help to outline a general interpretation of this kind of picture-writing. </p> <p style="text-align: left;">11:05-11:20 coffee break </p> <ul style="text-align: left;"> <li>11:20-12:00 From Sacred Performance to Public Performance: Two Centuries of Lakota Values</li> </ul> <p style="text-align: left;">Janet Catherine Berlo, Professor of Visual and Cultural Studies, University of Rochester</p> <p style="text-align: left;">Janet Catherine Berlo, Professor of Visual and Cultural Studies at the University of Rochester, has contributed to many exhibition catalogues of Native art, including Shapeshifting (2012), Infinity of Nations (2011), and Identity by Design: Plains Women’s Dresses (2008). Her books include The Early Years of Native American Art History (1992), Plains Indian Drawings 1865-1935 (1996) and the second edition of Native North American Art (with Ruth Phillips, 1998) which will be published in the autumn of 2014. She has taught Native American art history as a visiting professor at Harvard and Yale Universities and has received grants from the Guggenheim Foundation, the Getty Foundation (with Arthur Amiotte), and the National Endowment for the Humanities. </p> <p style="text-align: left;">Abstract</p> <p style="text-align: left;">As Lakota artist and scholar Arthur Amiotte has demonstrated, sacred performances such as the Sun Dance have long been public enactments of core Lakota values, and continue to operate in that fashion today. In addition, many performances that have been interpreted as purely “secular” enactments for tourists during the twentieth century—costumed performances in Buffalo Bill’s Wild West, or dances on train platforms in North Dakota-- also demonstrate Lakota values of artistic excellence, generosity, and humility. University-trained artists of Sioux descent continue to embody and enact such values in non-traditional media such as photography and performance. Their works of art have a place in the global art world, a world that might not realize that such works resonate with deeply-held traditional values as well. </p> <ul style="text-align: left;"> <li>12:00-12h45 American Cultural Resources and Heritage Protection Laws</li> </ul> <p style="text-align: left;">Diane J. Humetewa, Special Advisor to ASU President Michael M. Crow, Special Counsel, General Counsel’s Office & Professor of Practice, College of Law, Arizona State University</p> <p style="text-align: left;">Diane J. Humetewa was nominated by President Obama in January 2014 to be a federal district court judge for the District of Arizona and is currently awaiting U.S. Senate confirmation. Since 2011, she has served as Special Advisor to the President and Special Counsel in the Office of General Counsel at Arizona State University. She is also a Professor of Practice at Arizona State University’s Sandra Day O’Connor College of Law. From 2009 to 2011, Humetewa was Of Counsel with Squire, Sanders & Dempsey LLP. She worked in the United States Attorney’s Office in the District of Arizona from 1996 to 2009, serving as Senior Litigation Counsel from 2001 to 2007 and as the United States Attorney from 2007 to 2009. During her tenure in the United States Attorney’s Office, Humetewa also served as Counsel to the Deputy Attorney General from 1996 to 1998. From 1993 to 1996, she was Deputy Counsel for the United States Senate Committee on Indian Affairs. Humetewa received her J.D. in 1993 from Arizona State University College of Law and her B.S. in 1987 from Arizona State University. She is a member of the Hopi Indian Tribe and, from 2002 to 2007, was an Appellate Court Judge for the Hopi Tribe Appellate Court.</p> <p style="text-align: left;">Abstract</p> <p style="text-align: left;">How the American legal system evolved to protect cultural resources, including American Indian/Native American cultural resources. </p> <p style="text-align: left;">1:00-2:30 pm lunch break</p> <p style="text-align: left;">Pictographs, graphic and writing systems </p> <ul style="text-align: left;"> <li>2:30 – 2:50 “Pitch” by André Delpuech on an unseen Lakota painted Hide (ca 1850) – musée du quai Branly acquisition</li> <li>2:50-3:30 The Origin and Development of Plains Biographic Art</li> </ul> <p style="text-align: left;">James D. Keyser, archaeologist, specialist of Plain Indian Rock Art</p> <p style="text-align: left;">James Keyser grew up on western Montana’s Flathead Indian Reservation where he saw his first pictograph site in 1959. Fifteen years later as a University of Montana graduate student he conducted his first rock art research project that ultimately led to a position doing the initial intensive documentation of Writing-On-Stone, the Northwestern Plains’ premier rock art site complex. Since that 1977 project he has completed research on more than 30 rock art sites and site complexes from Alaska to New Mexico and in the Valcamonica in Italy. Keyser has authored more than 125 publications on rock art. He is also the author of five books including Indian Rock Art of the Columbia Plateau, Plains Indian Rock Art, The Five Crows Ledger: Warrior Art of the Flathead Indians, and L'Art des Indiens des Grandes Plaines.</p> <p style="text-align: left;">Keyser currently splits his residence between Portland, Oregon and San Giorgio Scarampi in Piemonte, Italy. </p> <p style="text-align: left;">Abstract Historic period Plains Indian warrior artists drew biographic pictographs on media as diverse as tipi covers, bison robes, ledger books, clothing, and various tools. Painted to glorify their war records, these detailed narratives are best known from painted bison robes found in dozens of museums worldwide and thousands of ledger drawings that are frequently sold by top auction houses. But the evolutionary roots of this art form extend far earlier into prehistory where the only evidence that still exists is the pictographs and petroglyphs carved and painted on cliffs and in caves across the Plains from southern Canada to the canyons along the Rio Grande in the northeastern Mexican state of Coahuila.</p> <p style="text-align: left;">These sites, with thousands of rock art images from Ceremonial and Biographic tradition art, show that Biographic tradition art developed directly from earlier Ceremonial tradition imagery that dates prior to the first contacts between Euro-Americans and Plains tribes. Showing examples of every sort of Biographic narrative known in later media, these rock art sites illustrate evolutionary changes in this art and items of material culture that are known nowhere else. </p> <ul style="text-align: left;"> <li>3:30-4:10 Discerning ethnic differences in Plains Indian hide painting.</li> </ul> <p style="text-align: left;">Arni Brownstone, curator, Royal Ontario Museum,</p> <p style="text-align: left;">Arni Brownstone was born in Regina, Saskatchewan, in 1947. He graduated from York University in Toronto with a degree in visual art in 1974. In the same year he began employment in the ethnology department of the Royal Ontario Museum where he continues to work today. He was also a visual artist until 1985 when he discontinued that practice in favour of studying of Plains Indian painting. In 1993 he published War Paint, a book on Blackfoot and Tsuu T’ina (Sarcee) paintings. Since then he has published fifteen articles on various aspects of Plains Indian painting. At the moment he has a book in press on Tsuu T’ina painting and is writing a book that broadly surveys large-scale Plains Indian paintings from the early 1800s to the early 1900s. </p> <p style="text-align: left;">Abstract</p> <p style="text-align: left;">Plains Indian figurative paintings comprise one of the most significant, and interesting, bodies of Native American art. Best characterized as pictorial narrative paintings, for much of the nineteenth century they were largely concerned with two subjects: events of the supernatural and events of war. This paper will broadly survey war-exploit paintings executed between about 1800 and 1860, largely from the central and northwestern plains. Works from the Mandan, Hidatsa, Dakota, Blackfoot, Crow and other groups will be considered.</p> <p style="text-align: left;">In virtually all the Plains Indian tribes there were successful warriors who communicated their achievements on publically displayed animal hide paintings, most often on buffalo skin robes. Although there is a rich legacy of surviving war-exploit paintings, there are significant impediments to realizing their potential as sources of cultural knowledge. Tribal representation is very uneven and there is a paucity of reliable documentation on cultural origins. For the most part, we have only a rudimentary understanding of the dynamics of how this art form changed over time and from one culture to the next. The large surfaces of hide paintings are covered with small and often faded figures, so photographs rarely permit a clear reading of both details and their placement in the overall composition.</p> <p style="text-align: left;">To overcome these obstacles, this paper will utilize as many tools as possible to shed light on these paintings. The problem of visual access will be addressed through accurate illustrations of the originals. Formal and iconographic qualities will be analyzed in an effort to identify cultural and regional styles and patterns. Relevant information drawn from the ethnographic record will also be considered, as will the structure of painting supports and other technical matters. </p> <p style="text-align: left;">4:10 – 4:25 coffee break </p> <ul style="text-align: left;"> <li>4:25-5:05 A superficial sameness: plains pictorial art</li> </ul> <p style="text-align: left;">Candace S. Greene, ethnologist with the Department of Anthropology of the Smithsonian’s National Museum of Natural History, Washington, USA</p> <p style="text-align: left;">Candace S. Greene holds a PhD in Anthropology from the University of Oklahoma. Her research focuses on material culture of the Plains region, particularly pictorial art. Her publications include Silver Horn: Master Illustrator of the Kiowa (2001); The Year the Stars Fell: Lakota Winter Counts (2007); and One Hundred Summers: A Kiowa Calendar Record (2010). She is interested in increasing the research use of museum collections and directs the Summer Institute in Museum Anthropology, a research training program based at the Smithsonian and supported by the National Science Foundation. </p> <p style="text-align: left;">Abstract</p> <p style="text-align: left;">The term "ledger art," referencing the ruled account books in which Plains artists sometimes placed drawings, has come to be applied to a broad range of Plains pictorial art. Stylistic commonalities can be recognized across a diversity of media and a broad sweep of time, ranging from petroglyphs in Montana to painted fans in Florida. Behind this superficial similarity, however, lie vast differences in meaning. Moving beyond style, this paper will consider issues of production, consumption, display, and circulation in painted hides, muslins, winter counts, works made for sale, and yes, even ledger books. </p> <p style="text-align: left;">5:05-6:00 general discussion</p> <p style="text-align: left;">Discussant:Christian Feest, ethnologist, former director of Ethnology Museum in Wien.</p> <h2 style="text-align: left;">Thursday June 19th, 2014 </h2> <p style="text-align: left;">Identity by design : clothing and body adornment </p> <ul style="text-align: left;"> <li>9:30 -10:10 The Art of Enchantment: Tattoos and Tattooing Bundles of the Great Plains</li> </ul> <p style="text-align: left;">Lars Krutak, Department of Anthropology, National Museum of Natural History, Smithsonian Institution</p> <p style="text-align: left;">Lars Krutak is the Repatriation Case Officer for Alaska at the National Museum of Natural History. His research focuses on global practices of Indigenous body art and his publications include: The Tattooing Arts of Tribal Women (2007); Kalinga Tattoo (2010); Magical Tattoos and Scarification (2012); and Tattoo Traditions of Native North America (2014).</p> <p style="text-align: left;">Abstract</p> <p style="text-align: left;">Rock art panels in Missouri provide evidence that tattooing probably has been an indelible feature of Great Plains culture for at least one thousand years, if not longer. In the historic period, ethnographic records reveal that tattooing was practiced amongst most groups inhabiting this vast culture area, with the tradition reaching its apex amongst Siouan groups, including the Hidatsa, Mandan, Osage, Ponca, Omaha, Otoe, and Ioway. Although each tribal society employed specific abstract designs in ritualistically mandated patterns, the religious structure of belief behind the origins of these corporeal symbols was remarkably similar.</p> <p style="text-align: left;">Although the practice of tattooing was ubiquitous across the Great Plains, tattoos could not be worn by just anyone. Warriors had to prove themselves on the field of battle by winning specific war honors to merit the right to be tattooed. Women traditionally earned their "marks of honor" through their fathers, who, upon lavishing large quantities of gifts on those individuals who witnessed the ceremony, reserved their progeny's place among families of high social standing.</p> <p style="text-align: left;">Tattooing on the plains also provided a ritual means by which to enhance one's access to the supernatural. This spiritual energy was embodied in specific forms of iconography, the human bodies that absorbed it, and especially the tattooing bundles from which such designs were created. Because these ancestral toolkits served as the primary repository for the transfer of sacred power, this paper will examine the properties, significance, and use of tattooing bundles with specific reference to traditional Eastern Plains religion and tattooing practices through an exploratory narrative based on studies of associative material culture and ethnographic sources. Through describing this largely understudied world of visual culture, I seek to expand not only our knowledge of Great Plains tattooing traditions but also the Indigenous biographies and belief systems that inspired it. </p> <ul style="text-align: left;"> <li>10:10 -10:50 Identity by design</li> </ul> <p style="text-align: left;">Emil Her Many Horses, curator, National Museum of the American Indian, Smithsonian Institution.</p> <p style="text-align: left;">Emil Her Many Horses is a curator in the office of Museum Research at the National Museum of the American Indian, Smithsonian Institution. He specializes in the central Plains cultures. He is a member of the Oglala Lakota nation of South Dakota and served as lead curator for the inaugural permanent exhibition, “Our Universes: Traditional Knowledge Shapes Our World”.</p> <p style="text-align: left;">Emil Her Many Horses served as co-curator for the exhibition titled, “Identity by Design: Tradition, Change and Celebration in Native Women’s Dresses” and served as the lead curator for the “Our Peoples community” exhibitions featuring the history of the Chiricahua Apache of New Mexico and the Blackfeet from Montana.</p> <p style="text-align: left;">He has also curated the exhibition titled, “A Song for the Horse Nation” which opened at the NMAI’s George Gustuv Heye Center in New York City in November of 2009 and NMAI’s mall museum on October 29, 2011. </p> <p style="text-align: left;">Abstract</p> <p style="text-align: left;">Fifty five Native dresses from the Plains, Plateau and Great Basins regions comprise “Identity by Design: Tradition, Change and Celebration in Native Women’s Dresses,” which opened in September of 2007 at the Smithsonian’s National Museum of the American Indian in Washington, D.C. and in 2008 in New York, at the George Gustav Heye Center. The exhibition included dresses and accessories from the early 1800s to the present.</p> <p style="text-align: left;">“Identity by Design” examines the roles of Native women through these works, from a heavily fringed White Mountain Apache’s cape and skirt, worn at the start of a girl’s entry into womanhood to the many masterful quillwork and beadwork designs that signify the hand of a mature, accomplished artist.</p> <p style="text-align: left;">The exhibition traces the development of the side-fold dress (ca. 1830), the two-hide dress and the three hide dress styles, to the elaborate beaded powwow regalia by contemporary dressmakers Joyce Growing Thunder Fogarty (Assiniboine/Sioux) and Rebecca Brady (Cheyenne/Sac and Fox). </p> <p style="text-align: left;">10:50 - 11:10 coffee break </p> <ul style="text-align: left;"> <li>11:10 - 11h50 Tradition and Transition</li> </ul> <p style="text-align: left;">Rhonda Elaine Holy Bear, Lakota Doll Artist</p> <p style="text-align: left;">Rhonda Holy Bear was born in South Dakota in 1959. Rhonda is a Lakota doll artist. She has been creating dolls for over 35 years. She spent her formative years on the Cheyenne River Sioux Indian Reservation in South Dakota and, later, in Chicago. Rhonda would eventually move to the southwest, settling in New Mexico and, most recently, Las Vegas Nevada. As a youth, Rhonda researched the work of her ancestors in the vaults of the Chicago Field museum. Her meticulous research and artistic gifts would establish Rhonda as a notable leader in her field. Her innovative dolls, a combination of sculpture and traditional techniques, have elevated the prominence of Plains Indian dolls in contemporary Native American art. What were once primarily considered playthings are now highly collectible art figures. Her work has been prominently displayed in museums and private collections in United States and around the world. Most recently, her work has been featured in Smithsonian Institution's National Museum of the American Indian and at the Art Institute ofChicago. Rhonda was recently honored in a naming ceremony in her native South Dakota. Her Lakota name is "Wakah Wayuphika Win" (Making (beauty) with Exceptional Skills Woman).</p> <p style="text-align: left;">Abstract</p> <p style="text-align: left;">I will speak about how I helped to advance plains dolls as an art-form. I strove to instil elements of fine art in the creation of my figures. I incorporated many of the lessons I learned through my research to create figures which paid homage to the old ways, while advancing the art-form, using contemporary techniques. </p> <p style="text-align: left;">11:50-12:40 discussion</p> <p style="text-align: left;">Discussant: Pierre Déléage, CNRS, Laboratoire d’anthropologie socialeor Baptiste Gille, post-doctoral researcher at the musée du quai Branly</p> <p style="text-align: left;">12:45 – 2:00pm lunch break </p> <p style="text-align: left;">From the tradition of ledgers to contemporary art </p> <ul style="text-align: left;"> <li>2:00-2:40 pm Ledger and Ledger-Style Artists Past and Present: Recording Dynamic and Vital Narratives</li> </ul> <p style="text-align: left;">Joyce M. Szabo, Regents’ Professor of Art History at the University of New Mexico, USA</p> <p style="text-align: left;">Joyce M. Szabo, , obtained her undergraduate degree in Art and English from Wittenberg University, her MA in Art History from Vanderbilt University, and her PhD in Art History from the University of New Mexico. She was the Gordon Russell Visiting Professor of Native American Studies at Dartmouth College in the summer of 2013 and the William H. Morton Distinguished Fellow at Dartmouth College in the fall 2010. Other awards include her selection as the Oscar Howe Lecturer by the Oscar Howe Memorial Association and The Institute of American Indian Studies at The University of South Dakota in 2005. Her publications include Imprisoned Art, Complex Patronage: Plains Drawings by Howling Wolf and Zotom at the Autry National Center (2011); Fort Marion Art: The Arthur and Shifra Silberman Collection (2007); A Life in Balance: The Art of Conrad House (2006); Painters, Patrons, and Identity: Essays in Native American Art to Honor J. J. Brody, editor and contributing author (2001); Howling Wolf and the History of Ledger Art (1994); and Howling Wolf: An Autobiography of a Plains Warrior-Artis (1992). </p> <p style="text-align: left;">Abstract</p> <p style="text-align: left;">Late nineteenth and early twentieth century Plains warrior-artists rendered images on the pages of commercial ledger books as well as other sources of paper. Today generally referred to as ledger art, these drawings most often recorded battle encounters, but as confinement to reservations limited additional depictions of war beyond those of memories from earlier eras, men began to expand the subjects they drew to include hunting, courting and ritual scenes as well as diverse other genre images from daily life. Southern Plains men incarcerated in St. Augustine, Florida, between mid-1875 and mid-1878, also created ledger-style drawings of the new life they faced on the East Coast as well as many expressing their clear memories of the homes and families from whom they were separated.</p> <p style="text-align: left;">After the first couple of decades of the twentieth century, ledger drawings were replaced by other styles and types of drawing and painting that were encouraged in boarding schools and ultimately colleges and universities. However, by the 1970s, Plains artists were again looking to their ancestors’ ledger art tradition for inspiration, and ledger-style drawings using linear outlines, rich patterning and vital visual narratives began to be made in significant numbers. Today many artists, both men and women, create ledger-style work that, in some cases, recall the reasons that such drawings were initially created as records of achievements. Others employ the style to rewrite history from a Native understanding, drawing back into recorded history a Native point of view long ignored. Many comment on daily life and fill their images with humor and satire aimed at both Native and non-Native audiences. Contemporary Native artists, like their predecessors, render ledger-style images as dynamic narratives of contemporary life. </p> <ul style="text-align: left;"> <li>2:40-3:20 Between Two Worlds. Native Artists in Transition</li> </ul> <p style="text-align: left;">Joëlle Rostkowski, ethnohistorian, docteur d’État (EHESS)</p> <p style="text-align: left;">Joëlle Rostkowski is an ethnohistorian, docteur d’État (EHESS), M.A. in American Studies (Cornell University). She teaches at the School of Higher Studies in Social Sciences in Paris. She is an international consultant and one of the founders of the American Indian Workshop, first European Research Group on Native American Studies. Joëlle Rostkowski is the Scientific Advisor to the “Plains Indians” exhibition at the musée du quai Branly. She has contributed to many publications and exhibitions with the framework of UNESCO. She is also the author of: The Incomplete Conversion: North American Indians and Christianity (Albin Michel 1998), Native American Renaissance: A Century of Reconquests, winner of the French Academy History Prize and Conversations with Remarkable Native Americans (SUNY Press, 2012).</p> <p style="text-align: left;">With Nelcya Delanoë she has published : Indians in American History (Armand Colin, 1996, updated in 2014), Indian Voices, American Voice, Two Visions of the Conquest of America (Albin Michel, 2003) and translated Native North American Art, Janet Berlo and Ruth Phillips, Oxford History of Art, 1998 (Amérique du Nord, Arts premiers, Albin Michel, 2006). </p> <p style="text-align: left;">Abstract</p> <p style="text-align: left;">During the second part of the twentieth century, Native American artists have had access to mainstream American art but they also have tried to express traditional values and to reinterpret their history. Living between two worlds, they have been torn between traditional art forms, and « fine art », appealing to a universal audience. Within that general perspective the paper will discuss the work of some artists (all represented in the Plains Indian Exhibition at the Quai Branly Museum) who have marked the transition between tribal art and contemporary art, namely Dick West, Oscar Howe, T.C. Cannon and Allan Houser.</p> <p style="text-align: left;">3:20-3:40 coffee break </p> <ul style="text-align: left;"> <li>3:40- 4:20 From Plains Indian Art to Native American Modernism.</li> </ul> <p style="text-align: left;">History and Development in a Changing Art World</p> <p style="text-align: left;">Peter Bolz, former curator, Native American department, Ethnological Museum Berlin, Germany.</p> <p style="text-align: left;">Peter Bolz worked from 1986 to 2012 at the Berlin Ethnological Museum. During this time he collected about 40 paintings, sculptures and lithographs from modern Native American artists, and about 100 silkscreen prints from the Northwest Coast. Together with the paintings and sculptures collected earlier, Berlin today owns one of the largest collections of modern Native American art in Europe, published 2012 in the exhibition catalog “Native American Modernism. Art from North America”. Besides this, Peter Bolz published about the North American collections of the Berlin museum, museum history, and the culture, history and religion of the Lakota.</p> <p style="text-align: left;">Abstract:</p> <p style="text-align: left;">The writings of John Ewers and others leave no doubt that there was a specific Plains Indian art style in the 19th century. How did this change in the 20th and 21st centuries? Do plains artists still work in a specific plains style? And what can we say about those non-plains artists using plains motives? Is there still a plains style in modern Native art, or is this only pan-Indian art, pluralistic modernism, or just individual art? </p> <p style="text-align: left;">4:20 - 5:10 General discussion</p> <p style="text-align: left;">Discussant : Marie Mauzé, Research director at CNRS, Laboratoire d'anthropologie social. </p> <p style="text-align: left;">5:10 - 5:50 Closing remarks</p> </div> </div> <div id="categories" class="cat"> <p class="intitule">Cat茅gories</p> <ul> <li><a href="search?primary=fsubject&fsubject=336">Am茅riques</a> (Cat茅gorie principale)</li> <li><a href="search?primary=fsubject&fsubject=327">Espaces</a> > <a href="search?primary=fsubject&fsubject=336">Am茅riques</a> > <a href="search?primary=fsubject&fsubject=342">脡tats-Unis</a></li> <li><a href="search?primary=fsubject&fsubject=200">Soci茅t茅s</a> > <a href="search?primary=fsubject&fsubject=213">Ethnologie, anthropologie</a></li> </ul> </div> <div id="lieux"> <p class="intitule">Lieux</p> <ul> <li class="location"> mus茅e du quai Branly | salle de cin茅ma - 218 rue de l'Universit茅 | 35 quai Branly <br/> Paris, France (75007) </li> </ul> </div> <div id="eventformats"><br></div> <div id="dates"> <p class="intitule">Dates</p> <ul> <li>mercredi 18 juin 2014</li> <li>jeudi 19 juin 2014</li> </ul> </div> <div id="attachments"> <p class="intitule">Fichiers attach茅s</p> <ul> <li><a href="291939?file=1" target="_blank">Symposium on Plains Indians.pdf</a></li> <li><a href="291940?file=1" target="_blank">MQB _COLLOQUE INDIENS DES PLAINES.pdf</a></li> </ul> </div> <div id="motscles"> <p class="intitule">Mots-cl茅s</p> <ul> <li>arts, traditions, Indiens des Plaines,</li> </ul> </div> <div id="contacts"> <p class="intitule">Contacts</p> <ul> <li>Anna GIANOTTI LABAN<br/><em>courriel :</em> anna [dot] gianotti-laban [at] quaibranly [dot] fr<br/></li> </ul> </div> <div id="refurl"> <p class="intitule">URLS de r茅f茅rence</p> <ul> <li><a href="http://www.quaibranly.fr">Mus茅e du quai Branly</a></li> </ul> </div> <div id="source"> <p class="intitule">Source de l'information</p> <ul> <li>Anna GIANOTTI LABAN<br/><em>courriel :</em> anna [dot] gianotti-laban [at] quaibranly [dot] fr</li> </ul> </div> <div id="license"> <p class="intitule">Licence</p> <p><a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/"><img alt="CC0-1.0" class="cc" src="images/cc0-88x31.png" /></a> Cette annonce est mise 脿 disposition selon les termes de la <a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/">Creative Commons CC0 1.0 Universel</a>.</p> </div> <div id="citation"> <p class="intitule">Pour citer cette annonce</p> <p>芦 Arts et savoirs des Indiens des Plaines 禄, <span class="category">Colloque</span>, <em>Calenda</em>, Publi茅 le lundi 16 juin 2014, <a class="url" href="https://doi.org/10.58079/qgl">https://doi.org/10.58079/qgl</a></p> </div> </div> </div> </div> <div id="news" class="column last"> <div id="imprimable"> <a id="impression" 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