Pomo


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Pomo,

Native Americans of N California, belonging to the Hokan branch of the Hokan-Siouan linguistic stock (see Native American languagesNative American languages,
languages of the native peoples of the Western Hemisphere and their descendants. A number of the Native American languages that were spoken at the time of the European arrival in the New World in the late 15th cent.
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). The Pomo were the most southerly Native Americans on the California coast not brought under the mission influence of the Franciscans in the early 18th and 19th cent. The Pomo have been especially noted for their basketry arts, and many of their works are now valued art objects in museums and private collections. Of these arts, the Pomo developed feather-covering, lattice-twining, checker-work, single-rod coiling, and several other specializations. They now occupy several reservations in N California; the reservation near Clearlake Oaks is the site of gambling casinos. In 1990 there were about 5,000 Pomo in the United States.
References in periodicals archive ?
Pomo: Leaders establish general principles and vectors to guide and influence behavior.
Together they provide a fitting showcase for not only Hudson's exquisitely detailed paintings but also the Pomo artifacts collected by her ethnographer husband, John Hudson.
Lest you still be uncertain (though as Brown says, buying into postmodernism does not come cheap), let me summarize Brown's arguments for being into PoMo.
Historical consciousness is critical in this work, which portrays twentieth century disruption in Pomo culture, the damaging impact on community integrity of Mormon missionaries, the loss of native villages and traditions, and the continuation, in changing forms, of other traditions such as the Strawberry Festival.
How "the left" came to be identified as the pomo left would make an interesting Ph.D.
Hudson hired Pomo Indian mothers to do housework in order to get the chance to make portraits of their children; she would find some way to distract the mothers, then surreptitiously paint the children.
Apart from these shady motives for embracing the pomo label, a more positive one relates to the capacity to excite (Burrell 1994).
Using a direct-historical approach, the work documents the culture persistence and change of the Kashaya Pomo of the Fort Ross region.