Bert Williams and George Walker

Edited by Native American architect Duane Blue Spruce (Laguna/Ohkay Owingeh) and illustrated with photographs of objects from the collections, archival and contemporary images of Native life, and striking architectural photography, this book both introduces the museum and its philosophy and serves as a meaningful keepsake.

Baughman, E. Earl (1971) Black Americans. New York: Academic Press.

Harding, Vincent (1981) There is a River. New York: Vintage.

—John, Sunni, Treshon, Natasha, Corey, Jason 2 June 1990

American Indian musicians, as well as musicians inspired by Native history and culture, have been active in contemporary popular music for nearly a century. The signature artists featured on this CD represent the diversity of Native achievement in American mainstream music. They broke new ground, overcoming the public’s limited expectations of Indians as musicians and inspiring others with their legacy. Mohawk guitarist Derek Miller harnessed the energy and dynamic self-expression of these artists to create this compilation of classic hits. Their stories are not just one-hit wonders in Native history, but a backstage pass to music history.

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The Native Writers Series of readings at the museum features some of the most engaging and provocative Native writers working today. This first-ever CD anthology of Native writers reading from their works includes Pulitzer Prize winner N. Scott Momaday (Kiowa), Louise Erdrich (Turtle Mountain Band of Chippewa), Simon Ortiz (Acoma Pueblo), and many more. Alternately funny and moving, angry and contemplative, the readings address the Native American experience, as well as universal themes of love, death, and family bonds.

McPherson, James et. al. (1971) Blacks in America: Bibliographic Essays. Garden City: Anchor Books.

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In Remix: New Modernities in a Post-Indian World, artists and curators Joe Baker and Gerald McMaster bring together the work of fifteen artists of mixed Native/non-Native heritage from the United States, Canada, and Mexico to create a mini-museum for a post-race, post-ethnicity, “post-Indian” world. This book raises questions about the meaning of ethnic and racial identity in an increasingly global society and individuals’ freedom to adapt or reject elements of tradition without losing their claim on the past. Through words and images, Remix challenges readers interested in art and criticism to question the meaning of cultural identity in our complex, fluid age.

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The neighborhoods of New Orleans Seventh Ward between St. Bernard and Elysian Fields combine various classes of Blacks: poor, working classes, and some upper lower–middle class families. Many families have lived there for generations, but some have moved to an area nearby called The Paris Oaks—the area east of St. Bernard and Broad, curving down along Paris Avenue and behind the St. Bernard project. Perlita is a street with a sea of kids—tall kids, babies, kids on scooters, skates, and tricycles. On Perlita, the Fitch household is a representative, medium–sized family where the parents allow their kids' friends to frequent. This creates the needed environment for a free exchange to take place between youth.

Published by the , housed at . See also, The Middle Ground's curated .

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In an effort to toughen their hearts against the continual verbal assault inflicted on them as part of the "dozens," Blacks practiced insulting each other indirectly by attacking the most sacred "mother" of the other. The person who loses his "cool" and comes to blows loses the contest. The person who outwits and out–insults the other while keeping a "cool" head is the winner. Elements of both signifying and the dozens appear in the toasts tradition.

—Sunni Maria Fitch, age 6, with John Anthony Fitch, 4 New Orleans, 1987

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Nine–year–old Sunni Maria Fitch frequently plays outside with her friend Treshon Turner (eleven). Fourteen–year–old Natasha Montgomery occasionally joins the younger girls but more frequently plays with older girls. At times, Cory Fitch (age fourteen), his younger brother John, and their friend Jason Bernard join in and play all of the games the girls play but they also rap. Rapping tends to happen when the girls go inside.

The museum opens in Washington this Saturday, Sept.

24, 2016, aiming to tell the story of black people in the U.S.

The topics range from familiar rhymes and songs to adult–style "bragging" strategies. These songs are much more relevant to their day—such as the existence of crack in following example that is sung to a sidewalk dance or stomp (a group line dance).