Charlotte Anne Wilson Heth (1937-) is a North American ethno-musicologist, a citizen of the Cherokee Nation. She is notable for her scholarship in and teaching of the traditional music, dance, and ceremonies of indigenous North Americans and for her publications and recordings in this field. [1] [2] [3] [4] [5] [6] [7] She has worked to strengthen Native American studies for K-12 and has also curated exhibitions in museums such as the Smithsonian Institution and the Musical Instrument Museum of Phoenix. She was the director of UCLA's American Indian Studies Center. She set up the first American Indian Studies Master’s degree program and was the assistant director for public programs at the National Museum of the American Indian. [8] [9]
Heth was born on 29 October, 1937 in Muskogee, Oklahoma, the daughter of Eula Jewel (Seabolt) Wilson and Woodrow Curt.[ citation needed ] She started learning the piano at age six. [10] She went to Will Rogers High School in Tulsa Oklahoma, a school named after William Penn Adair Rogers, an American actor and a Cherokee citizen. Heth graduated in the class of 1955 and was inducted into their hall of fame in 2016. [11]
Continuing her early interest in music, Heth directed several church youth choirs in Tulsa. She gained a Bachelor’s degree in 1959 with a minor in English and then a Master’s degree in music in 1960 from the University of Tulsa. From 1960, Heth worked as a teacher of English and music in New Mexico and Oklahoma before joining the Peace Corps to volunteer in Ethiopia in 1962 along with ethno-musicologist Cynthia Tse Kimberlin. [10]
In 1964, she moved to Los Angeles County and taught Music and English for six years. Heth was interested in African music at that time. On searching however, she discovered that little had been published about Cherokee music. The few pages she found were about the music of North Carolina and published by Gertrude Prokosch Kurath. To rectify this regional lack of scholarship, Heth started field research in Oklahoma in 1971, gaining a PhD in Music (Ethno-musicology) from UCLA in 1975. In 1973, Heth set up a ten-week survey course on comparative American Indian music at UCLA. Over her time at UCLA, Heth was an assistant, associate, then full professor and professor emerita. [12] She gave graduate seminars on Contemporary American Indian issues and Cultural World Views of Native America until she retired. [11]
Heth was director of UCLA's American Indian Studies Center from 1977 to 1978 and of the American Indian Program at Cornell University Ithaca from 1987 to 1989. [13] She was a panel member folk arts at the National Endowment for the Arts from 1980 to1982. [8] From 1990 to 1992, Heth was chair of UCLA's Department of Ethnomusicology and Systematic Musicology. In the years 1993 to 1995, Heth was also president of the American Folklore Society (AFS), a sister organization of the Society for Ethnomusicology. Heth retired from UCLA in 1994 to become assistant director for public programs at the National Museum of the American Indian, Smithsonian Institution. She was also visiting curator at the Musical Instrument Museum in Phoenix. [11] Heth was also invited as a visiting speaker and on summer appointments in music at universities including the University of Colorado. [14] [8]
Heth contributed an Overview in The Garland Encyclopedia of World Music. Volume 3. Edited by Ellen Koskoff pp. 366–373. 2000 Routledge
Heth and Karen Taborn contributed Seminole Music to The Grove Dictionary of American Music. 2nd ed. AmeriGrove. 2013 Ed. Charles Hiroshi Garrett.
Heth's publications are cited in the references lists of pages of this encyclopedia, for example those on Native American Flute, Weapon Dance, Gertrude Prokosch Kurath, Flute circle, Native American Hoop Dance, Indigenous music of North America and Seminole music.
Heth produced Songs and Dances of the Eastern Indians from Medicine Spring and Allegeny in 1985. [19] She also produced Songs of Earth, Water, Fire and Sky. [12] [20] for New World Records.
Heth co-produced the 1994 Smithsonian Folkways album Creation’s Journey: Native American Music.
Heth was a member of the Western Social Science Association, National Indian Education Association, American Society of Ethnohistory, American Folklore Society, and the Society for Ethnomusicology.[ citation needed ]
Heth received a postdoctoral fellowship from the Southern Fellowship Fund in 1978-1979, a Senior Postdoctoral fellowship, Newberry Library, Chicago, 1978-1979, a National Research Council award, 1984-1985. In December 2022, Heth received an American Folklore Society Lifetime Scholarly Achievement Award for her sustained work “examining and affirming the diversity of human creativity” and for “advocating for respect and mutual understanding of the world’s diverse cultures.” [8]
Heth's nominator for the AFS Lifetime Scholarly Achievement Award stated that Heth has "enabled generations of scholars, as well as Native artists and community members, to appreciate the complexities and nuances of Native American music, dance, and cultural ceremonies. Her depth of understanding, and first-hand knowledge has informed her curated exhibits at the Smithsonian Institution and Musical Instrument Museum of Phoenix, and her leading role from 1994-1999 as Assistant Director for Public Programs at the National Museum of the American Indian." [8]
James Mooney was an American ethnographer who lived for several years among the Cherokee. Known as "The Indian Man", he conducted major studies of Southeastern Indians, as well as of tribes on the Great Plains. He did ethnographic studies of the Ghost Dance, a spiritual movement among various Native American culture groups, after Sitting Bull's death in 1890. His works on the Cherokee include The Sacred Formulas of the Cherokees (1891), and Myths of the Cherokee (1900). All were published by the US Bureau of American Ethnology, within the Smithsonian Institution.
Kiowa music is the music of the Kiowa Tribe of Oklahoma. The Kiowa are a federally recognized tribe, meaning they have a functioning government-to-government relationship with the United States government.
Charles Marius Barbeau,, also known as C. Marius Barbeau, or more commonly simply Marius Barbeau, was a Canadian ethnographer and folklorist who is today considered a founder of Canadian anthropology. A Rhodes Scholar, he is best known for an early championing of Québecois folk culture, and for his exhaustive cataloguing of the social organization, narrative and musical traditions, and plastic arts of the Tsimshianic-speaking peoples in British Columbia, and other Northwest Coast peoples. He developed unconventional theories about the peopling of the Americas.
William N. Fenton was an American scholar and writer known for his extensive studies of Iroquois history and culture. He started his studies of the Iroquois in the 1930s and published a number of significant works over the following decades. His final work was published in 2002. During his career, Fenton was director of the New York State Museum and a professor of anthropology at the State University of New York.
The Cherokee Nation, formerly known as the Cherokee Nation of Oklahoma, is the largest of three federally recognized tribes of Cherokees in the United States. It includes people descended from members of the Old Cherokee Nation who relocated, due to increasing pressure, from the Southeast to Indian Territory and Cherokees who were forced to relocate on the Trail of Tears. The tribe also includes descendants of Cherokee Freedmen and Natchez Nation. As of 2024, over 466,000 people were enrolled in the Cherokee Nation.
Cynthia Tse Kimberlin is an American ethnomusicologist. She is the executive director and publisher of the Music Research Institute and MRI Press, based in Point Richmond, California. Her primary area of expertise is the music of Africa, in particular Ethiopia and Eritrea.
Gertrude Prokosch Kurath (1903–1992) was an American dancer, researcher, author, and ethnomusicologist. She researched and wrote extensively on the study of dance, co-authoring several books and writing hundreds of articles. Her main areas of interest were ethnomusicology and dance ethnology, with some of her best known works being "Panorama of Dance Ethnology" in Current Anthropology (1960), the book Music and dance of the Tewa Pueblos co-written with Antonio Garcia (1970), and Iroquois Music and Dance: ceremonial arts of two Seneca Longhouses (1964), in the Smithsonian Institution Bureau of American Ethnology bulletin. She made substantial contributions to the study of Amerindian dance, and to dance theory. From 1958 to January 1972 she was dance editor for the journal Ethnomusicology.
Paul Apodaca is an emeritus associate professor of Anthropology and American Studies at Chapman University.
Native American Hoop Dance is one of the individual dances, and it is performed as a show dance in many tribes. It features a solo dancer dancing with a dozen or more hoops and using them to form a variety of both static and dynamic shapes. Most of the hoop dances in tribes across North America belong to modern hoop dance, which was invented in 1930.
David Park McAllester was an American ethnomusicologist and Professor of Anthropology and Music at Wesleyan University, where he taught from 1947–1986. He contributed to the development of the field of ethnomusicology through his studies of Native American musics and traditions, and he helped to establish the ethnomusicology department and the World Music Program at Wesleyan University. His recordings of Navajo and Comanche music led to the establishment of the World Music Archives at the University. He is noted for having co-founded the Society for Ethnomusicology.
Jason Baird Jackson is an American anthropologist who is Professor of Folklore and Anthropology at Indiana University Bloomington. He is "an advocate of open access issues and works for scholarly communications and scholarly publishing projects." At IUB, he has served as Chair of the Department of Folklore and Ethnomusicology and as Director of the Folklore Institute. According to the Journal of American Folklore, "Jason Baird Jackson establishes himself as one of the foremost scholars in American Indian studies today."
Métis fiddle is the style that the Métis of Canada and Métis in the northern United States have developed to play the violin, solo and in folk ensembles. It is marked by the percussive use of the bow and percussive accompaniment. The Métis people are a poly-ethnic post-contact Indigenous peoples. Fiddles were "introduced in this area by Scottish and French-Canadian fur traders in the early 1800s", where the Metis community adopted the instrument into their culture.
Mary Golda Ross was the first Native American female engineer. She was also the first female engineer in the history of the Lockheed Corporation. She worked at Lockheed from 1942 until her retirement in 1973, where she was best remembered for her work on aerospace design. She was one of the 40 founding engineers of the renowned and highly secretive Skunk Works project while at Lockheed Corporation. Throughout her life, Ross was dedicated to the advancement of young women and Native Americans in STEM fields. Ten years after her death, in 2018, Ross was chosen to be depicted on the 2019 Native American $1 Coin by the U.S. Mint celebrating Native Americans in the space program.
Indian House is a Taos, New Mexico based record company specialized in traditional Native American Indian music in the United States and Canada. Founded in 1966 by Tony and Ida Lujan Isaacs, the Indian House catalog has now around 150 titles. The company originally issued recordings on phonodisc and cassette tape, however almost all albums are now available in the CD format.
David Emmett Williams was a Native American painter, who was Kiowa/Tonkawa/Kiowa-Apache from Oklahoma. He studied with Dick West at Bacone College and won numerous national awards for his paintings. He painted in the Flatstyle technique that was taught at Bacone from the 1940s to the 1970s.
Helen Heffron Roberts (1888–1985) was an American anthropologist and pioneer ethnomusicologist. Her work included the study of the origins and development of music among the Jamaican Maroons, and the Puebloan peoples of the American southwest. Her recordings of ancient Hawaiian meles are archived at the Bernice P. Bishop Museum in Honolulu. Roberts was a protege of Alfred V. Kidder and Franz Boas.
Donald Knight Wilgus was an American folk song scholar and academic, most recognized for chronicling 'Hillbilly', blues music and Irish-American song and his contribution to ballad scholarship.
Marcia Alice Herndon was an American ethnomusicologist and anthropologist. She specialized in the ways culture and music reflect each other. Herndon grew up in a family of country music performers in North Carolina. After completing her master's degree in 1964 at Tulane University, she performed classical music for several years. Earning a PhD in anthropology and ethnomusicology in 1971, she taught at the University of Texas at Austin, the University of California, Berkeley, and the University of Maryland. She is widely known for her contributions to Native American music studies with books such as Native American Music, as well as collaborating on Music as Culture, and Music, Gender, and Culture, which analyze the overlapping of musical forms and cultural structures.
Rayna Diane Green is an American curator and folklorist. She is Curator Emerita, in the Division of Cultural and Community Life at the National Museum of American History, Smithsonian Institution.
Atalie Unkalunt was a Cherokee singer, interior designer, activist, and writer. Her English name Iva J. Rider appears on the final rolls of the Cherokee Nation. Born in Indian Territory, she attended government-run Indian schools and then graduated from high school in Muskogee, Oklahoma. She furthered her education at the New England Conservatory of Music in Boston, Massachusetts. After a thirteen-month engagement with the YMCA as a stenographer and entertainer for World War I troops in France, she returned to the United States in 1919 and continued her music studies. By 1921, she was living in New York City and performing a mixture of operatic arias, contemporary songs, and Native music. Her attempts to become an opera performer were not successful. She was more accepted as a so-called "Indian princess", primarily singing the works of white composers involved in the Indianist movement.
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