ARTS 1111: Walking in Nashville: Art, Landscape, and Urbanism

Was Nashville once home to a giant race of humans? No, but in 1845, you could have paid a quarter to see the remains of one who allegedly lived here before The Flood. That summer, Middle Tennessee well diggers had unearthed the skeleton of an American mastodon. Before it went on display, it was modified and augmented with wooden "bones" to make it look more like a human being and passed off as an antediluvian giant. Then, like so many Nashvillians, after a little success here, it went on tour and disappeared from history. But this fake history of a race of Pre-Nashville Giants isn't the only bad history of what, and who, was here before Nashville. Sources written for schoolchildren and the public lead us to believe that the first Euro-Americans arrived in Nashville to find a pristine landscape inhabited only by the buffalo and boundless nature, entirely untouched by human hands. Instead, the roots of our city extend some 14,000 years before Illinois lieutenant-governor-turned-fur-trader Timothy Demonbreun set foot at Sulphur Dell. During the period between about AD 1000 and 1425, a thriving Native American culture known to archaeologists as the Middle Cumberland Mississippian lived along the Cumberland River and its tributaries in today's Davidson County. Earthen mounds built to hold the houses or burials of the upper class overlooked both banks of the Cumberland near what is now downtown Nashville. Surrounding densely packed village areas including family homes, cemeteries, and public spaces stretched for several miles through Shelby Bottoms, and the McFerrin Park, Bicentennial Mall, and Germantown neighborhoods. Other villages were scattered across the Nashville landscape, including in the modern neighborhoods of Richland, Sylvan Park, Lipscomb, Duncan Wood, Centennial Park, Belle Meade, White Bridge, and Cherokee Park. This book is the first public-facing effort by legitimate archaeologists to articulate the history of what happened here before Nashville happened.

Knowing Native Arts brings Nancy Marie Mithlo's Native insider perspective to understanding the significance of Indigenous arts in national and global milieus. These musings, written from the perspective of a senior academic and curator traversing a dynamic and at turns fraught era of Native self-determination, are a critical appraisal of a system that is often broken for Native peoples seeking equity in the arts. Mithlo addresses crucial issues, such as the professionalization of Native arts scholarship, disparities in philanthropy and training, ethnic fraud, and the receptive scope of Native arts in new global and digital realms. This contribution to the field of fine arts broadens the scope of discussions and offers insights that are often excluded from contemporary appraisals.  

Recent decades have seen an upsurge in visitation to rock art sites as well as an increase in commercial reproduction of rock art and attempts to understand the meaning and function of that art within the indigenous cultures that produced it. What motivates this growing interest and what do these interpretations and appropriations of Native American petroglyphs and pictographs reveal about contemporary cultural dynamics? Focusing on the southwestern U.S., this book critically examines the contemporary implications of the interpretation, appropriation, commodification, and management of indigenous rock art.   Neither archaeological interpretations nor commercial reproductions of rock art operate in a cultural vacuum. Both the motivation to seek out rock art and the specific meanings attached to it are deeply embedded in narratives about Native Americans already created by anthropologists, archaeologists, photographers, novelists, film and television producers, the tourism industry, and New Age discourse. For those interested in rock art as a window into indigenous cultures of the past, our contemporary projections of meanings are of great concern. Applying the tools of critical/cultural studies to both academic and popular discourse, Rogers explores the implications of such projections for rock art studies, contemporary gender dynamics, and the neocolonial relationship between Euro-Americans and Native Americans.  

A distinctly Indigenous form of landscape representation is emerging among contemporary Indigenous artists from North America. For centuries, landscape painting in European art typically used representational strategies such as single-point perspective to lure viewers?and settlers?into the territories of the old and new worlds. In the twentieth century, abstract expressionism transformed painting to encompass something beyond the visual world, and, later, minimalism and the Land Art movement broadened the genre of landscape art to include sculptural forms and site-specific installations. In Shifting Grounds, art historian Kate Morris argues that Indigenous artists are expanding and reconceptualizing the forms of the genre, expressing Indigenous attitudes toward land and belonging even as they draw upon mainstream art practices. The resulting works evoke all five senses: from the overt sensuality of Kay WalkingStick?s tactile paintings to the eerie soundscapes of Alan Michelson?s videos to the immersive environments of Kent Monkman?s dioramas, this art resonates with a fully embodied and embedded subjectivity. Shifting Grounds explores themes of presence and absence, survival and vulnerability, memory and commemoration, and power and resistance, illuminating the artists? engagement not only with land and landscape but also with the history of representation itself.

Subjects: Cherokee Indians
Slaveholders
Indians of North America
African Americans -- Relations with Indians
Slavery -- United States

This collection, addressing a topic of ongoing interest and debate in American archaeology, examines the evolution of ranked chiefdoms in the Midwestern and Southeastern United States during the period A.D. 700-1200.

The Central Mississippi Valley, defined as the region along the Mississippi River from where the Ohio River joins in the north to its confluence with the Arkansas River in the south, lies between the two most important archaeological areas of the Southeast: American Bottom/Cahokia and the Lower Yazoo Basin. The valley has been influenced by these major centers and has a complex history of its own. Contributions from experts throughout the region present current, if sometimes conflicting, views of the regional cultural sequences supported by data from recent surveys and excavations, as well as radiocarbon and chronometric determinations. By examining this new information and reevaluating earlier interpretations of local archaeological sequences, this volume provides a comprehensive overview of the valley and defines future research goals.

One hundred years of archaeological excavations at an important American landmark, the Shiloh Indian Mounds archaeological site, a National Historic Landmark The Shiloh Indian Mounds archaeological site, a National Historic Landmark, is a late prehistoric community within the boundaries of the Shiloh National Military Park on the banks of the Tennessee River, where one of the bloodiest battles of the Civil War was fought in April 1862. Dating between AD 1000 and 1450, the archaeological site includes at least eight mounds and more than 100 houses. It is unique in that the land has never been plowed, so visitors can walk around the area and find the collapsed remains of 800-year-old houses and the 900-meter-long palisade with bastions that protected the village in prehistoric times. Although its location within a National Park boundary has protected the area from the recent ravages of man, riverbank erosion began to undermine the site in the 1970s. In the mid-1990s, Paul Welch began a four-year investigation culminating in a comprehensive report to the National Park Service on the Shiloh Indian Mounds.   These published findings confirm that the Shiloh site was one of at least fourteen Mississippian mound sites located within a 50 km area and that Shiloh was abandoned in approximately AD 1450. It also establishes other parameters for the Shiloh archaeological phase. This current volume is intended to make information about the first 100 years of excavations at the Shiloh site available to the archaeological community.  

When European explorers began their initial forays into southeastern North America in the 16th and 17th centuries they encountered what they called temples and shrines of native peoples, often decorated with idols in human form made of wood, pottery, or stone.  The idols were fascinating to write about, but having no value to explorers searching for gold or land, there are no records of these idols being transported to the Old World, and mention of them seems to cease about the 1700s.  However, with the settling of the fledgling United States in the 1800s, farming colonists began to unearth stone images in human form from land formerly inhabited by the native peoples. With little access to the records of the 16th and 17th centuries, debate and speculation abounded by the public and scholars alike concerning their origin and meaning. During the last twenty years the authors have researched over 88 possible examples of southeastern Mississippian stone statuary, dating as far back as 1,000 years ago, and discovered along the river valleys of the interior Southeast. Independently and in conjunction, they have measured, analyzed, photographed, and traced the known history of the 42 that appear in this volume. Compiling the data from both early documents and public and private collections, the authors remind us that the statuary should not be viewed in isolation, but rather as regional expressions of a much broader body of art, ritual, and belief.

For thousands of years, the inhabitants of the Middle Cumberland River Valley harvested shellfish for food and raw materials and then deposited the remains in dense concentrations along the river. Very little research has been published on the Archaic period shell deposits in this region. Demonstrating that nearly forty such sites exist, this volume presents the results of recent surveys, excavations, and laboratory work as well as fresh examinations of past investigations that have been difficult for scholars to access.

The residents of Mississippian towns principally located in the southeastern and midwestern United States from 900 to1500 A.D. made many beautiful objects, which included elaborate and well-crafted copper and shell ornaments, pottery vessels, and stonework. Some of these objects were socially valued goods and often were placed in ritual context, such as graves. The funerary context of these artifacts has sparked considerable study and debate among archaeologists, raising questions about the place in society of the individuals interred with such items, as well as the nature of the societies in which these people lived. By focusing on how mortuary practices serve as symbols of beliefs and values for the living, the contributors to Mississippian Mortuary Practices explore how burial of the dead reflects and reinforces the cosmology of specific cultures, the status of living participants in the burial ceremony, ongoing kin relationships, and other aspects of social organization.

The prehistoric native peoples of the Mississippi River Valley and other areas of the Eastern Woodlands of the United States shared a complex set of symbols and motifs that constituted one of the greatest artistic traditions of the pre-Columbian Americas. Traditionally known as the Southeastern Ceremonial Complex, these artifacts of copper, shell, stone, clay, and wood were the subject of the groundbreaking 2007 book Ancient Objects and Sacred Realms: Interpretations of Mississippian Iconography, which presented a major reconstruction of the rituals, cosmology, ideology, and political structures of the Mississippian peoples. Visualizing the Sacred advances the study of Mississippian iconography by delving into the regional variations within what is now known as the Mississippian Iconographic Interaction Sphere (MIIS). Bringing archaeological, ethnographic, ethnohistoric, and iconographic perspectives to the analysis of Mississippian art, contributors from several disciplines discuss variations in symbols and motifs among major sites and regions across a wide span of time and also consider what visual symbols reveal about elite status in diverse political environments. These findings represent the first formal identification of style regions within the Mississippian Iconographic Interaction Sphere and call for a new understanding of the MIIS as a network of localized, yet interrelated religious systems that experienced both continuity and change over time.