Armstrong includes the 4 main capacities in which we function. They include physical, emotional, thinking & spirituality of oneself. It makes a connection to how it relates to a community, but also without these 4 capacities how one could become "lifeless". Armstrong makes connections to the earth's world of how it connects to our well-being. Armstrong also talks about community & its ways of dehumanization in which has been caused because of technology, which has led to the lack of humanity and making connections through communication. 

Armstrong, Jeanette. “Sharing One Skin: The Okanagan Community,” in Jerry Mander and Edward Goldsmith (eds), The Case Against the Global Economy. San Francisco, CA, Sierra Club Books, 1996. Pp 460-470.

There are different ways that the memories and stories that have been shared impact the views on the land. "Recognition of a landscape produces an inner experience." The article states how feelings, beliefs, & values identify different individual's descriptions of a place of land. It also includes how there is questioning on who knows the true story, a non-natives journal or a story that was told from the elders. 

Toastie, B. “How place names impact the way we see landscape.” High Country News:    Know the West, 1 May 2022, https://www.hcn.org/issues/54.5/people-places-how-place-names-impact- the-way-we-see-landscape.

A little boy describes the life he has living in Cochiti with his grandmother. The boy explains how he was raised indigenous, grew up within the pueblo, was very culturally involved, and his native language was the first language. All until school started up for him when he was 6, after this everything begins to start changing. Starting with the language, at school the students were to not speak their native language. Next was how unsanitary natives were claimed to be, so it was the student's duty to make cleanliness a priority. Another problem was never being home in his tribe. Having to face all of this changes his perspective of how life once was, and how he becomes ashamed of who he is. He soon realizes how much of the Whiteman ways have taken him over. In the end, he is parted by having to pick between his two worlds. In which he chooses the Whiteman ways. 

Suina, Joseph “And I went to school” memories of a pueblo childhood,”. New Mexico Journal of Reading, Winter 1985, Vol. V, No.2.

Bert Phillips & Ernest Blumenschein listened to Joseph Sharp about his life changing travels to Taos NM, as he told about the landscape & Native people. "They envisioned a 'Real American Art' based on uniquely American imagery and Native American Symbolism." 4 years later Phillips moved to Taos & Blumenschein visited before moving there. In 1915, 6 artists made their main work focused on Taos. They began sending their work across the county showing the diversity of cultures & landscapes. This made Taos an important art destination.

“100 Years of Art in Taos, New Mexico.” Taos.org, https://taos.org/discover/100-years-of-art/. Accessed 3 October 2024. 

Dorothy Dunn was the first artist to open the Studio School at SFIS. She started in 1932 and remained until 1937. She spent a few years studying different "Native American cultures and believed their artistic styles could be consolidated into one universal style for Native American art." The style she used is described by its flat appearance, she uses earthy tones to show Native American culture. She was non-native but wanted to support the Native American community. During this time Native Americans thought that they were going to go extinct and wanted to be known for more than just the petroglyphs within the pueblo. So she used the art that they created to show who we are. She argued that the style is to be "Pure Symolism with stylized natural forms." Her form of art had been liked but also disliked by numerous amounts of Native American communities (including students). She had nice intentions of just giving to Native American communities, while others saw it as Native American appropriation.

“Studio Style Painting – Transcending Duality: The Santa Fe Studio Style.” Transcending Duality: The Santa Fe Studio Style, https://jennifermclerran.wordpress.com/after-the-santa-fe-indian-school/. Accessed 4 October 2024. 

MMIW is a big case within Native American Reservations & Alaska Native Women. There is a higher rate for Indigenous women to get killed within these areas compared to the rest of the U.S. The Savanna's Act & Not Invisible Act were both signed into law on October 10, 2020. The Savanna's Act holds "federal, state, tribal & local law enforcement responsibilities with respect to missing or murdered Indians". The Not Invisible Act "increase intergovernmental coordination to identify & combat violent crime within Indigenous lands and of Indians". In other words, this Act addresses disappearances, murder, & trafficking of Native Americans & Alaska Natives, by local, tribal, & federal stakeholders. These 2 new laws are the first step taken by the U.S. in supporting the MMIW case. 

“Savanna’s Act and the Not Invisible Act Signed into Law.” Indian Law Resource Center, 10 October 2020, https://indianlaw.org/swsn/savanna_not_invisible_laws. Accessed 6 October 2024. 

In different countries & cities around the world, JR has posted many womens stories to empower them. "Women are primary victimis of war, crime, sexual assualt, & political or religous freedom." His objective of his project "Women are Heroes" is to empower women by using picture of their faces or eyes and allowing it to tell their emotions or stories just through their look. This project started in 2008 and ended in July 2014. He worked in Cambodia, Sierra Leone, Liberia, Sudan, Le Havre, Paris, Brazil, India & Kenya.

René, Jean. “Women Are Heroes.” JR-ART, JR, 2008, https://www.jr-art.net/projects/rio-de-janeiro. Accessed 10 February 2025.

MUTE is statues displayed in Syrai to tell the stories of victims & survivors. The project is for "justice & accountability for the violation committed over the past years." This spot lights justice for over 100,000 missing in Syria. There are 49 figures displayed, all frozen heads removed, & faces turned into horn-like openings. These 4 designs have significant illustration & meaning to the piece. Each part is a part of their story for fighting for freedom & justice. 

“Art for Justice & Accountability: no peace without justice. MUTE in Brussels.” coculture, https://www.coculture.org/projects/art-for-justice-accountability. Accessed 10 February 2025.

Many African women have been made to feel underminded within society & the art world. African women artists are focusing their work on promoting justice for themselves & future generations. For African women "It is a form of activism, a platform for their voices & a way to create visibility for issues that affect them personally & collectively". Many of African women work focuses on social change in thier communities, breaking gender norms in a male dominate are world, for American activism such as social inequality, poverty, education & war impacts, connecting in Feminism as it demonstrates who they are, & global recognition such as the underrepresentation of African American artwork. Becuase of the women who are doing this work now, future generations of women can pursure to keep influencing these soical changes & will have more success with getting their work seen.

“Empowerment Through Art: How African Women Artists Are Shaping Social Change.” TingTingAfricaArt, 30 January 2025, https://www.tingatingaart.com/blogs/articles/empowerment-through-art-how-african-women-artists-are-shaping-social-change?srsltid=AfmBOoqnSylq1bfdL76vTZXLA78Y5lMy8TkNTqpbwKFpQ9bgFlANyG6X. Accessed 11 February 2025.