A tradition that dates back almost ten thousand years, basketry is an integral aspect of Cherokee culture. Cherokee Basketry describes the craft's forms, functions and methods and records the tradition's celebrated makers. In the mountains of Western North Carolina, stunning baskets are still made from rivercane, white oak and honeysuckle and dyed with roots and bark. This complex art, passed down from mothers to daughters, is a thread that bonds modern Native Americans to ancestors and traditional ways of life. Anna Fariello, associate professor at Western Carolina University, reveals that baskets hold much more than food and clothing. Woven with the stories of those who produce and use them, these masterpieces remain a powerful testament to creativity and imagination.

In this innovative study, Sarah Hill illuminates the history of Southeastern Cherokee women by examining changes in their basketry. She explores how the incorporation of each new material used in their craft occurred in the context of lived experience, ecological processes, social conditions, economic circumstances, and historical eras. 110 illustrations. 6 maps.

How to weave a Cherokee double weave basket from a Cherokee National Treasure Basketmaker Vivian Garner Cottrell.

In Cherokee Asegi udanto refers to people who either fall outside of men’s and women’s roles or who mix men’s and women’s roles. Asegi, which translates as “strange,” is also used by some Cherokees as a term similar to “queer.” For author Qwo-Li Driskill, asegi provides a means by which to reread Cherokee history in order to listen for those stories rendered “strange” by colonial heteropatriarchy. As the first full-length work of scholarship to develop a tribally specific Indigenous Queer or Two-Spirit critique, Asegi Stories examines gender and sexuality in Cherokee cultural memory, how they shape the present, and how they can influence the future. The theoretical and methodological underpinnings of Asegi Stories derive from activist, artistic, and intellectual genealogies, referred to as “dissent lines” by Maori scholar Linda Tuhiwai Smith. Driskill intertwines Cherokee and other Indigenous traditions, women of color feminisms, grassroots activisms, queer and Trans studies and politics, rhetoric, Native studies, and decolonial politics. Drawing from oral histories and archival documents in order to articulate Cherokee-centered Two-Spirit critiques, Driskill contributes to the larger intertribal movements for social justice.

Shows examples of traditional Cherokee crafts, such as jugs, baskets, pottery and the like.