This study considers the Cherokee Booger Dance as a purely religious phenomenon by reinterpreting anthropologist Frank G. Speck's observations of a performance held by the Eastern Band of Cherokee Indians through the lens of Mircea Eliade's theory of religion.

"In addition to tracing the development of Cherokee art, Power reveals the wide range of geographical locales from which Cherokee art has originated. These places include the Cherokee's tribal homeland in the southeast, the tribe's areas of resettlement in the West, and abodes in the United States and beyond to which individuals subsequently moved. Intimately connected to the time and place of its creation, Cherokee art changed along with Cherokee social, political, and economic circumstances. The entry of European explorers into the Southeast, the Trail of Tears, the American Civil War, and the signing of treaties with the U.S. government are among the transforming events in Cherokee art history that Power discusses."--BOOK JACKET.

Traditionally, the Cherokees dance to ensure individual health and social welfare. According to legend, the dance songs bequeathed to them by the Stone Coat monster will assuage all the ills of life that the monster brought. Winter dance (including the Booger Dance, which expresses the Cherokees’ anxiety at the white invasion) are to be given only during times of frost, lest they affect the growth of vegetation by attracting cold and death. The summer dance (the Green Corn Ceremony and the Ballplayer’s Dance) are associated with crops and vegetation. Other dances are purely for social intercourse and entertainment or are prompted by specific events in the community. When it was first published in 1951, this description of the dances of a conservative Eastern Cherokee band was hailed as a scholarly contribution that could not be duplicated, Frank G. Speak and Leonard Broom had achieved the close and sustained interaction that very best ethnological fieldwork requires. Their principal informant, will West Long, upheld the unbroken ceremonial tradition of the Big Cove band, near Cherokee, North Carolina.

For some 20 years, Stonham (linguistics, U. of Newcastle-upon-Tyne) has been researching the language of the Nuuchahnulth, a group of First Nations peoples occupying the west coast of Vancouver Island. His dictionary is the first attempt to provide a detailed account of the lexicon of the Nuuchahnulth language, complete with examples and grammatical information. The work is based primarily on fieldnotes gathered by Edward Sapir between 1910 and 1922, fieldnotes by Morris Swadesh in the 1940s, and Stonham's own field research since the 1980s. The volume includes a Nuuchahnulth-English dictionary with some 7,000 main entries, an English-Nuuchahnulth glossary of some 8,500 entries consisting of English headwords and their Nuuchahnulth equivalents, and appendices of grammatical paradigms and place names. Annotation : 2004 Book News, Inc., Portland, OR (booknews.com).