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    <title>Gradhiva</title>
    <link>http://journals.openedition.org/gradhiva</link>
    <description>Fondée en 1986 par Michel Leiris et Jean Jamin, Gradhiva est publiée par le musée du quai Branly pour sa nouvelle série. La revue se veut un lieu de débats sur l'histoire et les développements actuels de l'anthropologie fondés sur des études originales et la publication d'archives ou de témoignages. Gradhiva privilégie aussi l'étude et l'analyse d'objets réels ou symboliques ainsi que des problématiques muséologiques et anthropologiques. Surtout, elle est ouverte à de multiples disciplines : l'ethnologie, l'esthétique, l'histoire, la sociologie, la littérature ou encore la musique. Elle s'attache enfin à développer par une iconographie souvent inédite et singulière une interaction entre le texte et l'image.</description>        
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        <rdf:li resource="http://journals.openedition.org/gradhiva/9796" />
        <rdf:li resource="http://journals.openedition.org/gradhiva/9831" />
        <rdf:li resource="http://journals.openedition.org/gradhiva/9806" />
        <rdf:li resource="http://journals.openedition.org/gradhiva/9827" />
        <rdf:li resource="http://journals.openedition.org/gradhiva/9791" />
        <rdf:li resource="http://journals.openedition.org/gradhiva/9798" />
        <rdf:li resource="http://journals.openedition.org/gradhiva/9778" />
        <rdf:li resource="http://journals.openedition.org/gradhiva/9785" />
        <rdf:li resource="http://journals.openedition.org/gradhiva/9771" />
        <rdf:li resource="http://journals.openedition.org/gradhiva/9836" />
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  <item rdf:about="http://journals.openedition.org/gradhiva/9796">
    <title>The Nations of the Great River. A Shared History of French Colonial Louisiana</title>
    <description><![CDATA[
      <h1 class="texte">From French Louisiana to the French-Native American Mississippi Valley</h1>
      <p class="texte">In July 1732, the governor of French Louisiana, Étienne de Perier, and the royal <em>commissaire-ordonnateur</em> (financial administrator) Edmé Gatien Salmon, wrote: "The trade that we do with the <em>Sauvages</em> in general is not out of interest, but only due to policy, to keep them on our side" (Anom: f° 155v). The two most important administrators of this colonial society thus underlined, the vital role played by the alliance with Indigenous Nations in the Mississippi Valley, without whose support the continued French presence in the region would have been impossible.</p>
      <p class="texte">Louisiana – named in honour of Louis XIV – was indeed a marginal colony within the French imperial formation. Although extending, theoretically, from the Great Lakes to the Gulf of Mexico, its development had proved laborious, even several decades after the first exploration of the region by the Jesuit father Jacques Marquette and the trader Louis Jolliet, in 167...</p>]]></description> 
    <dc:creator>Jonas Musco</dc:creator> 
    <dc:creator>Paz Núñez-Regueiro</dc:creator>
    <link>http://journals.openedition.org/gradhiva/9796</link>
    <dc:date>2025-11-18</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/gradhiva/9831">
    <title>Neil Diamond, the trickster spirit</title>
    <description><![CDATA[
      <p class="titreillustration">So Surreal : Behind the Masks</p>
      <p class="texte"><img src="docannexe/image/9831/img-1-small200.jpg" alt="Image 1000000000000320000001C1C1F14769DC266B53.jpg" /></p>
      <p class="creditillustration">Rezolution Pictures 2024</p>
      <p class="texte">We screened <em>So Surreal: Behind the Masks</em>, co-directed by Neil Diamond and Joanne Robertson, on May 25, 2025 at the <em>Domaine départemental de La Roche-Jagu </em>[the <em>départemental </em>estate of La Roche-Jagu], at the invitation of Nolwenn Herry, Cultural Activities Officer. The film follows the path taken by several Yupiit and Kwakwa̱ka̱ʼwakw masks, and explores the fascination they exerted on the Surrealist movement. La Roche-Jagu, in the Côtes-d’Armor, seemed a particularly appropriate site for the French premiere of this captivating documentary and inquiry, since at that time the exhibition "The Spirit of Nature, the Art of the Indigenous peoples of North America", was on display in the rooms of the castle (until September 28, 2025), and it included three Yupiit masks from Alaska and several Kwakwa̱ka̱ʼwakw objects linked to the potlatch ceremonies of the Northwest Coast that the film explores. After a successful festival run in the U.S.A...</p>]]></description> 
    <dc:creator>Sophie Gergaud</dc:creator>
    <link>http://journals.openedition.org/gradhiva/9831</link>
    <dc:date>2025-11-18</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/gradhiva/9806">
    <title>“Garmentless and guileless to a ‘T’”. The Translator and the Tupinambás in the graphic novel Antipodes</title>
    <description><![CDATA[
      <p class="resume">This article examines the ethnographic and historical realism of a graphic novel, <em>Antipodes</em>, whose hero is a Calvinist translator who lives among the Tupinambá in Antarctic France, in the second half of the 16<sup>th</sup> century. Although the text leaves plenty of space for the imagination, and the drawing style resolutely turns its back on naturalism, <em>Antipodes</em> paints a relatively accurate picture of the Native Americans, and successfully exploits the multimodal potential of the graphic novel to do so. The album thus renews the vast repertory of artworks, many of which are influenced by Antarctic France, that have shaped the Western image of the Americas over the centuries. <em>Antipodes</em> is an ode to tolerance, and also to reversibility, conveyed as much by the content of the story as by the album’s formal characteristics.</p>]]></description> 
    <dc:creator>Philippe Erikson</dc:creator>
    <link>http://journals.openedition.org/gradhiva/9806</link>
    <dc:date>2025-11-18</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/gradhiva/9827">
    <title>Visual and Textual Records of Choctaw Country from the First Half of the 18th century</title>
    <description><![CDATA[
      <p class="texte">What is the logic behind bringing together the different documents presented in this section, apart from their common status as historical sources bearing on an area - Lower Louisiana - in the early decades of French colonial settlement there, in the 18th century? Although disparate, all these records represent the same operation of giving form to knowledge, here concerning Choctaw Country, from the name of the Native American people living there, inland and to the northwest of Mobile Bay, and whom the French called "Chacta". Lists of villages, censuses, itineraries noting place names and water courses, a short glossary or an attempt at a written sociological and geographical overview: in every case these records constitute "inscriptions" (Latour 1985) that colonial agents produced and circulated, and that were added to an archival repository. Merely intermediary and transitional forms in the order of knowledge, these inscriptions converted very variable experiences of interactions ...</p>]]></description> 
    <dc:creator>Benjamin Balloy</dc:creator>
    <link>http://journals.openedition.org/gradhiva/9827</link>
    <dc:date>2025-11-18</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/gradhiva/9791">
    <title>An Interview with Joseph T. Byrd. “Robes of Splendor”: Memories of an Encounter in Quapaw Homeland</title>
    <description><![CDATA[
      <p class="texte">Joseph T. Byrd is a lawyer, artist, and scholar, with a background in business administration and Indian law from the University of New Mexico. He served as Chairman of the Quapaw Nation from 2020-2023 and is an enrolled citizen of Cherokee, Osage, and Quapaw Nations<em></em>. Byrd was deeply influenced by the teachings of his Quapaw grandmother, Ardina Moore, whose guidance led him to embrace his Indigenous culture and traditions from an early age. In 1995, Ardina Moore played a key role in organizing the transfer to Little Rock (Arkansas), of the Three-villages Robe preserved in Paris, an exceptional 18th-century painted bison hide that embodies Quapaw artistry and international diplomacy. This event marked a turning point in the cultural revitalization for the Quapaw community and in Byrd’s own journey. His visit to the Musée du quai Branly-Jacques Chirac in April 2023, as part of the CRoyAN research project, provided a new opportunity to reconnect with the Quapaw robes. It also allowed h...</p>]]></description> 
    <dc:creator>Joseph T. Byrd</dc:creator> 
    <dc:creator>Jonas Musco</dc:creator> 
    <dc:creator>Paz Núñez-Regueiro</dc:creator>
    <link>http://journals.openedition.org/gradhiva/9791</link>
    <dc:date>2025-11-18</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/gradhiva/9798">
    <title>Cultural Revitalization in our Communities Today: Why it Matters, How it is Achieved, and Where it Leads</title>
    <description><![CDATA[
      <p class="resume">This article, based on an open discussion held in April 2025 between the authors and the coordinators of this issue, explores the ongoing efforts of cultural revitalization among Native American nations. It addresses the wide-ranging definitions and diverse practices encompassed by this complex concept. Cultural revitalization is not only a method or initiative – it is a way of life, a deeply-rooted commitment that connects individuals to their communities. It strengthens identity and cohesion, drawing from ancestral knowledge while remaining firmly grounded in the present and looking ahead to the future.<br />The reader is invited to engage with the dialogue between Everett Bandy (Executive Director of Culture, Quapaw Nation), Elizabeth Ellis (Associate Professor of History, Princeton University, and Tribal History Liaison, Peoria Tribe of Indians of Oklahoma), George Ironstrack (Assistant Director of the Myaamia Center at Miami University, Miami Tribe of Oklahoma), Logan York (Tribal Hi...</p>]]></description> 
    <dc:creator>Everett Bandy</dc:creator> 
    <dc:creator>Elizabeth Ellis</dc:creator> 
    <dc:creator>George Ironstrack</dc:creator> 
    <dc:creator>Ryan Spring</dc:creator> 
    <dc:creator>Ian Thompson</dc:creator> 
    <dc:creator>Logan York</dc:creator>
    <link>http://journals.openedition.org/gradhiva/9798</link>
    <dc:date>2025-11-18</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/gradhiva/9778">
    <title>Matachées: Painted Hides, Indigenous Nations, and French Colonial Encounters along the Mississippi Valley</title>
    <description><![CDATA[
      <p class="resume">Drawing on art history, anthropology, and colonial history, this article explores the production and cultural significance of <em>matachées</em> (painted) hides in the Mississippi Valley during the 18th century, under French colonial rule. Markers of identity and status, these hides circulated in both Indigenous and colonial spheres, where they played a key role in trade, diplomacy, and regional ceremonial practices. On the basis of some rare specimens attributed to Quapaw and Illinois artists, today preserved in Paris and Besançon, and in order to resituate these workswithin their original cultural trajectories, this study seeks to reinterpret these objects by combining archival research, material analysis, and collaboration with contemporary Indigenous scholars.</p>]]></description> 
    <dc:creator>Paz Núñez-Regueiro</dc:creator> 
    <dc:creator>Everett Bandy</dc:creator> 
    <dc:creator>George Ironstrack</dc:creator> 
    <dc:creator>Jonas Musco</dc:creator> 
    <dc:creator>Ian Thompson</dc:creator> 
    <dc:creator>Céline Daher</dc:creator>
    <link>http://journals.openedition.org/gradhiva/9778</link>
    <dc:date>2025-11-18</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/gradhiva/9785">
    <title>Sovereignty, Nations, and Diplomacy: the French and Native American Alliances in Louisiana</title>
    <description><![CDATA[
      <p class="resume">In French Louisiana, the colonial presence was based on alliances with several Native American nations. The King recognized the sovereignty of these allied nations, but unlike in other areas, no written treaty testified to this recognition of Indigenous sovereignty. This article studies this paradox of sovereignty without treaties. It shows that Native American sovereignty is first and foremost developed in practice. On the one hand, the example of the calumet ceremony shows that the French adapted to Native American diplomatic rules, involving a regular, ritualized updating of the alliance. On the other hand, the example of the creation of the “Youanis” post, in Choctaw country, illustrates the importance of oral negotiations in the French-Native American alliance, and the ability of the Choctaw, in particular, to control the modalities of French settlement in their own territory. </p>]]></description> 
    <dc:creator>Jonas Musco</dc:creator> 
    <dc:creator>Elizabeth Ellis</dc:creator> 
    <dc:creator>Ryan Spring</dc:creator>
    <link>http://journals.openedition.org/gradhiva/9785</link>
    <dc:date>2025-11-18</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/gradhiva/9771">
    <title>Ancestral Objects, Homelands, and Stories: A Miami Perspective</title>
    <description><![CDATA[
      <p class="resume">Ancestral objects, like those that are cared for by the Musée du quai Branly-Jacques Chirac, embody a multitude of uses, stories, ideas, and connections to places, people, and other-than-human beings. Myaamia scholars and cultural experts recognize that much of this complexity cannot currently be deciphered, but with work and time, powerful meanings can be reclaimed. This essay explores Myaamia efforts to draw together the threads of their people’s ongoing experiences and weave a web around these objects that links them to <em>Myaamiaataweenki</em> (Miami language), <em>Myaamionki</em> (Miami homelands), and <em>Aalhsoohkaana neehi Aacimoona</em> (Myaamia stories). Myaamia scholars and cultural experts believe that collaborative research that combines intergenerational cultural knowledge with the outcomes of academic research, some of which Myaamia are also trained to implement, creates a richer analysis that benefits Indigenous people and the general public. </p>]]></description> 
    <dc:creator>George Ironstrack</dc:creator>
    <link>http://journals.openedition.org/gradhiva/9771</link>
    <dc:date>2025-11-18</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/gradhiva/9836">
    <title>Reconstructing the History of Native American Items from French Colonial Louisiana in French Collections (18th to 21st centuries)</title>
    <description><![CDATA[
      <p class="resume"><span xml:lang="he" lang="he">The Musée du quai Branly-Jacques Chirac holds an important collection of Native American artifacts from the 18th-century colonization of the Mississippi Valley whose provenance is poorly documented. This article revisits a corpus attributable to the Lower Mississippi region, particularly to the Choctaw culture, identified through research combining historical sources, inventories established at the time of the French Revolution, and traditional knowledge. Our research focuses in particular on the cabinet of curiosities collected by Antoine-Denis Raudot (1679–1737), the co-intendant of New France from 1705 to 1710. It was later acquired by the Prince of Condé and transferred to the Château de Chantilly where it was seized during the Revolution. Our study makes no claim to being exhaustive, but rather proposes a collaborative and evolving approach which aims at restituting the voices of objects from colonial Louisiana.</span></p>]]></description> 
    <dc:creator>Paz Núñez-Regueiro</dc:creator> 
    <dc:creator>Frédérique Servain-Riviale</dc:creator> 
    <dc:creator>Ian Thompson</dc:creator>
    <link>http://journals.openedition.org/gradhiva/9836</link>
    <dc:date>2025-11-18</dc:date>
  </item>
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