The works in “Community & Autonomy” reflect the ongoing tensions and conflicts between the internal integrity of Southeastern Native societies and external nonNative jurisdictions that disregard their right of self-determination. Some of the artists represented here reflect the influence of nonNative social institutions that were assimilated into Southeastern tribal societies, often resisted by Indigenous advocates of traditional cultural integrity.
All of the featured artists are descended from Southeast Woodland and Mississippian Mound Builder civilizations. Many works in this theme group reflect how, at the time of European contact they had evolved into tribes, each with familial clans led by clan mothers. Towns of the Southeast had civic features such as council houses and game fields. Yet, due to their adoption of Euro-American ways, Southeastern tribes were called “civilized.”
All of the featured artists are descended from Southeast Woodland and Mississippian mound builder civilizations. Many works in this theme group reflect how, at the time of European contact they had evolved into tribes, each with familial clans led by clan mothers. Towns of the Southeast had civic features such as council houses and game fields. Yet, due to their adoption of Euro-American ways, Southeastern tribes were called “civilized.”
Some of the pieces reflect how intercultural integration was often a culprit behind illegal treaties made between mixed-blood tribal authorities and the U.S. government to relocate and remove their people from Southeastern homelands to territories in the West. Many of the same part-European tribal leaders also enslaved Africans and favored male dominated tribal leadership in matriarchal societies.
These works suggest that while Southeastern nations are still dealing with internal issues including honoring the rights of women and granting tribal citizenship to Black Native Americans, they still struggle to gain respect, recognition and representation from nonNative governments and mainstream society. Yet, the artists’ references to their heritage in the South in their subject matter represents a current trend for Southeastern Native people to become involved in civic issues that relate to their homelands from afar. Such Native/nonNative interface reflects the Southeastern Native legacy of favoring diplomacy over conflict.
