In this innovative, performative approach to the expressive culture of the Yaqui (Yoeme) peoples of the Sonora and Arizona borderlands, David Delgado Shorter provides an altogether fresh understanding of Yoeme worldviews. Based on extensive field study, Shorter's interpretation of the community's ceremonies and oral traditions as forms of "historical inscription" reveals new meanings of their legends of the Talking Tree, their narrative of myth-and-history known as the Testamento, their fabled deer dances, funerary rites, and church processions.

Santa Teresa Urrea and Don Pedrito Jaramillo were curanderos—faith healers—who, in the late nineteenth and early twentieth centuries, worked outside the realm of "professional medicine," seemingly beyond the reach of the church, state, or certified health practitioners whose profession was still in its infancy. Urrea healed Mexicans, Indigenous people, and Anglos in northwestern Mexico and cities throughout the US Southwest, while Jaramillo conducted his healing practice in the South Texas Rio Grande Valley, healing Tejanos, Mexicans, and Indigenous people there. Jennifer Koshatka Seman takes us inside the intimate worlds of both "living saints," demonstrating how their effective healing—curanderismo—made them part of the larger turn-of-the century worlds they lived in as they attracted thousands of followers, validated folk practices, and contributed to a modernizing world along the US-Mexico border. While she healed, Urrea spoke of a Mexico in which one did not have to obey unjust laws or confess one's sins to Catholic priests. Jaramillo restored and fed drought-stricken Tejanos when the state and modern medicine could not meet their needs. Then, in 1890, Urrea was expelled from Mexico. Within a decade, Jaramillo was investigated as a fraud by the American Medical Association and the US Post Office. Borderlands Curanderos argues that it is not only state and professional institutions that build and maintain communities, nations, and national identities but also those less obviously powerful.

Common understandings drawn from biblical references, literature, and art portray deserts as barren places that are far from God and spiritual sustenance. In our own time, attention focuses on the rigors of climate change in arid lands and the perils of the desert in the northern Mexican borderlands for migrants seeking shelter and a new life. Bountiful Deserts foregrounds the knowledge of Indigenous peoples in the arid lands of northwestern Mexico, for whom the desert was anything but barren or empty. Instead, they nurtured and harvested the desert as a bountiful and sacred space. Drawing together historical texts and oral testimonies, archaeology, and natural history, author Cynthia Radding develops the relationships between people and plants and the ways that Indigenous people sustained their worlds before European contact through the changes set in motion by Spanish encounters, highlighting the long process of colonial conflicts and adaptations over more than two centuries. This work reveals the spiritual power of deserts by weaving together the cultural practices of historical peoples and contemporary living communities, centered especially on the Yaqui/Yoeme and Mayo/Yoreme. Radding uses the tools of history, anthropology, geography, and ecology to paint an expansive picture of Indigenous worlds before and during colonial encounters. She re-creates the Indigenous worlds in both their spiritual and material realms, bringing together the analytical dimension of scientific research and the wisdom of oral traditions in its exploration of different kinds of knowledge about the natural world. Published in cooperation with the William P. Clements Center for Southwest Studies, Southern Methodist University

First-hand testimonials by scholars in the US who have been targeted by the Israel lobby over the content of their teaching, scholarship, activism, and/or activities as public intellectuals. An important contribution to the current debate on and off campuses about academic freedom and free speech, as well as to the growing prominence of the Israel-Palestine conflict in public discourse.

This handbook offers a global view of the historical development of educational institutions, systems of schooling, ideas about education, and educational experiences. Its 36 chapters consider changing scholarship in the field, examine nationally-oriented works by comparing themes and approaches, lend international perspective on a range of issues in education, and provide suggestions for further research and analysis. Like many other subfields of historical analysis, the history of education has been deeply affected by global processes of social and political change, especially since the 1960s. The handbook weighs the influence of various interpretive perspectives, including revisionist viewpoints, taking particular note of changes in the past half century. Contributors consider how schooling and other educational experiences have been shaped by the larger social and political context, and how these influences have affected the experiences of students, their families and the educators who have worked with them. The Handbook provides insight and perspective on a wide range of topics, including pre-modern education, colonialism and anti-colonial struggles, indigenous education, minority issues in education, comparative, international, and transnational education, childhood education, non-formal and informal education, and a range of other issues. Each contribution includes endnotes and a bibliography for readers interested in further study.

The author presents the following themes in this book: 1. Why believe in someone we cannot even see? 2. Where do we find music to dance with the Spirit? 3. What happens when we dance solo without God to lead us? 4. How do we learn to dance with Gods Spirit? 5. Dancing through the Gracegate. 6. Examples of working with pride, faith, truth and obedience . 7. The dance of the prayer warrior is presented, as well as dancing in imago deithe image of God. 8. The authors own personal experience with the Son of God is revealed. 9. A glimpse of the night before the crucifixion . 10. Reasons why we dance in celebration.

The Truth of Myth is a thorough and accessible introduction to the study of myth, surveying the intellectual history of the topic, methods for studying myth cross-culturally, and emerging trends. Readers will encounter insightful commentaries on such questions as: What is the relation of mythology to religion? To science? To popular culture? Did the events recounted in myths actually occur? Why does the term "myth" have so many contradictory definitions and connotations? Offering serious students with an intellectual "toolkit" for launching into this fascinating field, the book is especially useful in conjunction with case studies of individual mythological traditions.

This book investigates the phenomenological ways that dance choreographing and dance performance exemplify both Truth and meaning-making within Native American epistemology, from an analytic philosophical perspective. Given that within Native American communities dance is regarded both as an integral cultural conduit and “a doorway to a powerful wisdom,” Shay Welch argues that dance and dancing can both create and communicate knowledge. She explains that dance—as a form of oral, narrative storytelling—has the power to communicate knowledge of beliefs and histories, and that dance is a form of embodied narrative storytelling. Welch provides analytic clarity on how this happens, what conditions are required for it to succeed, and how dance can satisfy the relational and ethical facets of Native epistemology.

The vital role of dance in enacting the embodied experiences of Indigenous peoples In Dancing Indigenous Worlds, Jacqueline Shea Murphy brings contemporary Indigenous dance makers into the spotlight, putting critical dance studies and Indigenous studies in conversation with one another in fresh and exciting new ways. Exploring Indigenous dance from North America and Aotearoa (New Zealand), she shows how dance artists communicate Indigenous ways of being, as well as generate a political force, engaging Indigenous understandings and histories. Following specific dance works over time, Shea Murphy interweaves analysis, personal narrative, and written contributions from multiple dance artists, demonstrating dance’s crucial work in asserting and enacting Indigenous worldviews and the embodied experiences of Indigenous peoples. As Shea Murphy asserts, these dance-making practices can not only disrupt the structures that European colonization feeds upon and strives to maintain, but they can also recalibrate contemporary dance. Based on more than twenty years of relationship building and research, Shea Murphy’s work contributes to growing, and largely underreported, discourses on decolonizing dance studies, and the geopolitical, gendered, racial, and relational meanings that dance theorizes and negotiates. She also includes discussions about the ethics of writing about Indigenous knowledge and peoples as a non-Indigenous scholar, and models approaches for doing so within structures of ongoing reciprocal, respectful, responsible action.

A source of profound insights into human existence and the nature of lived experience, phenomenology is among the most influential intellectual movements of the last hundred years. The Oxford Handbook of the Phenomenology of Music Cultures brings ideas from the phenomenological tradition of Continental European philosophy into conversation with theoretical, ethnographic, and historical work from ethnomusicology, anthropology, sound studies, folklore studies, and allied disciplines to develop new perspectives on musical practices and auditory cultures. With sustained theoretical meditations and evocative ethnography, the book's twenty-two chapters advance scholarship on topics at the heart of the study of music and culture today--from embodiment, atmosphere, and Indigenous ontologies, to music's capacity to reveal new possibilities of the person, the nature of virtuosity, issues in research methods, the role of memory, imagination, and states of consciousness in musical experience, and beyond. Thoroughly up-to-date, the handbook engages with both classical and contemporary phenomenology, as well as theoretical traditions that have drawn from it, such as affect theory or the German-language literature on cultural techniques. Together, these essays make major contributions to fundamental theory in the study of music and culture.