Although Hopi carver Brian Honyouti (1947-2016) was deeply embedded in his culture and produced ritual artworks throughout his life, he nevertheless also created unique commercial artworks. The latter, the focus of this volume, increasingly diverged from the world view embodied in Hopi art, ceremony, and philosophy to become a new form of storytelling. While it is unlikely that anyone familiar with Hopi carvings (dolls) would look to Honyoutis artworks expecting to unearth political, social, or environmental truths and circumstances, these are, nonetheless, the messages he determined to convey. In Brian Honyouti: Hopi Carver, art historian Zena Pearlstone explores the ideas Honyouti sought to communicate through his work. She examines as well how he transmitted them by turning a traditional art form, the carved representations of katsinas, into a modernistic critique of local Native American and global concerns. It is as a result of these universal implications that Honyoutis art will endure. Because Honyoutis attachment to Hopi culture was so profound, he veiled his critical reflections with humor and imagination to avoid exposing too much to public scrutiny. Feeling that there should be a public record of his intentions, however, he set aside many of his self-imposed limitations when he agreed to collaborate with Pearlstone. It was his hope that having made his intentions public for the first time, his work would be seen as a window into Hopi life as well as a reflection of contemporary mainstream American society.

In this lively work, Beatrice K. Otto takes us on a journey around the world in search of one of the most colorful characters in history—the court jester. Though not always clad in cap and bells, these witty, quirky characters crop up everywhere, from the courts of ancient China and the Mogul emperors of India to those of medieval Europe, Africa, the Middle East, and the Americas. With a wealth of anecdotes, jokes, quotations, epigraphs, and illustrations (including flip art), Otto brings to light little-known jesters, highlighting their humanizing influence on people with power and position and placing otherwise remote historical figures in a more idiosyncratic, intimate light. Most of the work on the court jester has concentrated on Europe; Otto draws on previously untranslated classical Chinese writings and other sources to correct this bias and also looks at jesters in literature, mythology, and drama. Written with wit and humor, Fools Are Everywhere is the most comprehensive look at these roguish characters who risked their necks not only to mock and entertain but also to fulfill a deep and widespread human and social need.

The author of Hopi Kachinas (page 11), one of Northland's best-selling books, takes an in-depth look at Hopi clowns, their purposes, and their historical backgrounds.

This clear and engaging guide introduces students to key areas of the field and shows how to apply an anthropological approach to the study of religion in the contemporary world. Written by an experienced teacher, it covers major traditional topics including definitions, theories, and beliefs, as well as symbols, myth, and ritual. The book also explores important but often overlooked issues such as morality, violence, fundamentalism, secularization, and new religious movements. The chapters all contain lively case studies of religions practiced around the world. The third edition of Introducing Anthropology of Religion is fully updated and contains additional content on material religion, visual religion, and affect theory, and a new chapter takes a closer look at medical and health topics. The author encourages the reader to engage throughout with the unifying themes of race, gender, and power, and how these themes are intertwined with anthropology of religion. Images, a glossary, and questions for discussion are included and additional resources are provided via a companion website.