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This generously illustrated guide introduces visitors to NMAI’s building on the National Mall, walking them through the exhibitions and other aspects of the building as well as its landscaping. The guide includes a foldout map and floor plans, and focuses on the museum’s collections and public programs. A short history of American Indians in Washington, D.C., and a list of the city’s other Native-related points of interest round out the book.

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production of Twelfth Night. Some of his regional credits include Bruce in Finding Nemo – The Musical (Walt Disney Creative Entertainment), Javert in Les Misérables, David in Company, Peter in Jesus Christ Superstar, Carl in Bus Stop, Zoser in Elton John and Tim Rice's Aida, Adam in Seven Brides for Seven Brothers, Smudge in Forever Plaid and The Baker in Into the Woods. His film work includes Fire Creek (Lifesong Productions). His recordings include the concept albums of The Legend of Sleepy Hollow and Savior of the World. He has also performed as a featured soloist in Carnegie Hall with the National Alliance for Excellence. Daveline received his B.F.A.


A desert is a place that has few, or sometimes even no, life forms

Economic geography is defined as: a field of geography that helps to describe and explain the areas where economic activities are carried out.

Essays on Native Modernism: Complexity and Contradiction in American Indian Art, which grew out of a symposium held by NMAI in May 2005, explores the legacies of George Morrison (Grand Portage Band of Chippewa, 1919–2000) and Allan Houser (Warm Springs Chiricahua Apache, 1914–1994)—two giants of 20th-century art—as well as investigates the basis of a Native modernism by eliciting a broad discussion about the critical perspectives and practices of Native artists across North America. Also examined is the place of Native modernism in the canon of American art and the currents of influence between them.


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His musical Amphigorey, written with Edward Gorey, was nominated for a Drama Desk Award. For 10 years he was Composer-in-Residence at Charles Ludlam's legendary Ridiculous Theatrical Company in Greenwich Village. His film scores include Countdown to Zero, Frozen River, The Great Debaters, Wordplay, The Laramie Project and These Amazing Shadows. He is the composer of numerous concert works and ballets and is the Director of the Sundance Film Music Program.

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Officially Indian explores the symbolic importance of American Indians in the visual language of U.S. democracy since before the country’s founding. In the first in-depth study of this extraordinary archive—including maps, monuments and architectural features, stamps, and currency—the author argues that these representations are not empty symbols but reflect how official and semi-official government institutions, from the U.S. Army and the Department of the Treasury to the patriotic fraternal society Sons of Liberty, have attempted to define what the country stands for. American Indian imagery—almost invariably distorted and bearing little relation to the reality of Native American–U.S. government relations—sheds light on the United States’ evolving sense of itself as a democratic nation. Such images as a Plains Indian buffalo hunter on the 1898 four-cent stamp and Sequoyah’s likeness etched into glass doors at the Library of Congress in 2013 reveal how deeply rooted American Indians are in U.S. national identity. While the meanings embedded in these artifacts can be paradoxical, counterintuitive, and contradictory to their eras’ prevailing attitudes toward actual American Indians, the imagery has been crucial to the ongoing national debate over what it means to be an American.

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Long the capital of the art world, New York City is also home to the largest concentration of Indian people in the United States. New Tribe: New York focuses on New York-based Native artists who have maintained a sense of tribal or cultural identity while drawing inspiration from modern, urban culture. Essays by Gerald McMaster, Gabrielle Tayac (Piscataway), Paul Chaat Smith (Comanche), and John Haworth (Cherokee) explore the concept of a “new tribe” of urban Indians, replacing reservation stereotypes with the lively and diverse realities of contemporary Native American urban experience.