Muscogees


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Related to Muscogees: creaks

Mus`co´gees


n. pl.1.See Muskogees.
References in periodicals archive ?
In addition to suggesting that same-sex erotic and emotionally committed relationships were--and still can be--present and accepted among traditionalist Muscogees, the novel indicates that contemporary responses to such relationships cannot be understood apart from the history of U.
As mentioned earlier, references to the "lake of tire" appear early and often in the novel, indicating the pervasive influence of white Baptist ideology on Josh's self-understanding and, by implication, on that of other Muscogees identified with white-dominated institutions.
By the late 1930s the Muscogees had lost almost 3 million acres of land, remaining with only one acre belonging to the tribe and 100,000 acres in individual allotments; eventually they bought back 5,000 acres of their lands (O'Brien, American Indian Tribal Governments, 132).
In Drowning in Fire (2001) Creek writer and scholar Craig Womack takes up this question, exploring how an investigation of queer experience can open onto an accounting of the historic and ongoing imperial project of reorganizing Muscogee peoplehood.
Sexuality, then, does not appear here as a stand-alone identity or issue; instead, views on it are depicted as illustrating one's relative knowledge of and commitment to Muscogee principles as against fragmenting social divisions inserted into Creek life by whites.
According to Angle Debo's history of the tribe, the Muscogees had a system of communal agriculture that included customs of planting, improving, and inhabiting individual fields.
The Muscogees in particular put up a vigorous resistance, trying everything from passive to armed resistance, working with and against the U.
This argument, which reflects divisions among the Muscogees and other tribes at the time over Oklahoma statehood, borders on cultural pluralism.
Genevieve does not reply that hunting and fishing are themselves critical forms of labor, for instance; nor does Wynema, or any other character, provide any concomitant discussion of communal alternatives to allotment, including those culturally hybrid forms of individual and collective ownership that the Muscogees and other Native peoples were already practicing.
Considering the real history of the Muscogees, and of other people who tried everything from armed resistance to accommodation to writing and who were nevertheless continually ignored, rebuffed, or attacked, these characters point back to U.
Joy Harjo, a poet and musician of the Muscogee peoples, fills her poems with musical images, as demonstrated in "Song for the Deer and Myself to Return On":
Speaking of tenor saxophonist Jim Pepper, Harjo relates that "when the African peoples were forced here for slavery they were brought to the traditional lands of the Muscogee peoples.