- Title Pages
-
Foreword Memory As Model -
Introduction The Counterculture Experiment: Consciousness and Encounters at the Edge of Art -
Part I Communal Encounters -
Chapter 1 How to Build A Commune: Drop City’s Influence on the Southwestern Commune Movement -
Chapter 2 Collective Movement: Anna and Lawrence Halprin’s Joint Workshops -
Chapter 3 The Farm by the Freeway -
Chapter 4 San Francisco Video Collectives and the Counterculture -
Part II Handmade Worlds -
Chapter 5 Handmade Genders: Queer Costuming in San Francisco Circa 1970 -
Chapter 6 Libre, Colorado, and the Hand-Built Home -
Chapter 7 Craft and the Handmade at Paolo Soleri’s Communal Settlements -
Chapter 8 Pond Farm and the Summer Craft Experience -
Chapter 9 Expanded Cinema in Los Angeles: the Single Wing Turquoise Bird -
Chapter 10 Paper Walls: Political Posters in An Age of Mass Media -
Part III Cultural Politic -
Chapter 11 The Print Culture of Yolanda M. López -
Chapter 12 The Countercultural “Indian”: Visualizing Retribalization at the Human Be-in -
Chapter 13 Goddess: Feminist Art and Spirituality in the 1970S -
Chapter 14 The Revolution Will Be Visualized: Black Panther Artist Emory Douglas -
Chapter 15 Out of the Closets, into the Woods: the Post-Stonewall Emergence of Queer Anti-Urbanism -
Part IV Altered Consciousne -
Chapter 16 Naked Pictures: Ansel Adams and the Esalen Institute -
Chapter 17 Techniques of Survival: the Harrisons and the Environmental Counterculture -
Chapter 18 Countercultural Intoxication: An Aesthetics of Transformation -
Chapter 19 Everywhere Present Yet Nowhere Visible: Chögyam Trungpa Rinpoche and Dharma Art at the Naropa Institute -
Chapter 20 Signifying the Ineffable: Rock Poster Art and Psychedelic Counterculture in San Francisco - Acknowledgments
- Contributors
The Countercultural “Indian”: Visualizing Retribalization at the Human Be-in
The Countercultural “Indian”: Visualizing Retribalization at the Human Be-in
- Chapter:
- (p.208) Chapter 12 The Countercultural “Indian”: Visualizing Retribalization at the Human Be-in
- Source:
- West of Center
- Author(s):
Mark Watson
- Publisher:
- University of Minnesota Press
This chapter discusses how the 1960s counterculture appropriated fragments of Native American cultural tradition, through citations of “Indian-ness,” to fashion what they called a “community of the tribe.” The 1960s conception of the tribe was an emergent political alternative that was historically specific, drawing from a number of idiosyncratic 1960s sources, most important the then-fashionable media theory of Marshall McLuhan. This 1960s tribe tied small-scale collectivity together with high technology and aesthetic experimentation in order to reinvent the relationship among art, technology, and politics. As the United States became increasingly dominated by high technology and the information economy—a “technocracy,” in Theodore Roszak’s 1969 coinage—this “techno-primitivist” political aesthetics grew in urgency and became a long-lasting part of late twentieth-century underground aesthetic politics.
Keywords: Indians, tribes, counterculture, countercultural movement, Native American culture, aesthetic politics, Marshall McLuhan
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- Title Pages
-
Foreword Memory As Model -
Introduction The Counterculture Experiment: Consciousness and Encounters at the Edge of Art -
Part I Communal Encounters -
Chapter 1 How to Build A Commune: Drop City’s Influence on the Southwestern Commune Movement -
Chapter 2 Collective Movement: Anna and Lawrence Halprin’s Joint Workshops -
Chapter 3 The Farm by the Freeway -
Chapter 4 San Francisco Video Collectives and the Counterculture -
Part II Handmade Worlds -
Chapter 5 Handmade Genders: Queer Costuming in San Francisco Circa 1970 -
Chapter 6 Libre, Colorado, and the Hand-Built Home -
Chapter 7 Craft and the Handmade at Paolo Soleri’s Communal Settlements -
Chapter 8 Pond Farm and the Summer Craft Experience -
Chapter 9 Expanded Cinema in Los Angeles: the Single Wing Turquoise Bird -
Chapter 10 Paper Walls: Political Posters in An Age of Mass Media -
Part III Cultural Politic -
Chapter 11 The Print Culture of Yolanda M. López -
Chapter 12 The Countercultural “Indian”: Visualizing Retribalization at the Human Be-in -
Chapter 13 Goddess: Feminist Art and Spirituality in the 1970S -
Chapter 14 The Revolution Will Be Visualized: Black Panther Artist Emory Douglas -
Chapter 15 Out of the Closets, into the Woods: the Post-Stonewall Emergence of Queer Anti-Urbanism -
Part IV Altered Consciousne -
Chapter 16 Naked Pictures: Ansel Adams and the Esalen Institute -
Chapter 17 Techniques of Survival: the Harrisons and the Environmental Counterculture -
Chapter 18 Countercultural Intoxication: An Aesthetics of Transformation -
Chapter 19 Everywhere Present Yet Nowhere Visible: Chögyam Trungpa Rinpoche and Dharma Art at the Naropa Institute -
Chapter 20 Signifying the Ineffable: Rock Poster Art and Psychedelic Counterculture in San Francisco - Acknowledgments
- Contributors
