Indians of the U.S.A.

An uncommon celebration of the indigenous populations across the United States.

This magnificent map of the United States is one of the most vibrant commemorations of indigenous history that was produced during the 20th century. Numerous illustrations, text boxes, and labels across the map identify the rich diversity of nationwide tribal groups and highlight many of the iconic and celebrated Native American figures.

Perhaps more mundane, but no less important, Native Americans are also shown as productive members of the Armed Services and the general workforce. Their brown skin tone looks natural and contrasts sharply with the few white men depicted, whose faces are as bright as the sheet on which the map was printed. Native American symbology and artwork is also shown throughout, from the geometric border to the decorative title cartouche.

Despite the upbeat theme and positive message, the triangles on the map represent the darker side of our indigenous past. Each allegedly shows the historic location of a tribe that has since been forced to move and live in other areas. Several such groups are identified as ‘now living in Oklahoma’, presumably having not gotten there along the route of the Trail of Tears, noted nearby.

The map was drawn by Louise Jefferson, an African-American woman, and published in New York City by Friendship Press, Inc. in 1944. According to Rumsey,

Louise E. Jefferson, the daughter of a calligrapher for the United States Treasury Department, was encouraged to draw from a young age. Her father taught her his craft at home and she later studied fine and commercial art in private lessons and at Howard University. She moved to New York to continue her education at the School of Fine Arts at Hunter College. In Harlem, Jefferson came in contact with other African-American artists and in 1935 she was a founding member of the Harlem Artists Guild, a program sponsored by the Works Progress Administration. A freelance job with the National Council of Churches’ publishing operation, Friendship Press, led to a full-time position. Jefferson eventually became the press’s art director. Jefferson was perhaps the first African-American woman to hold such a position in the publishing industry. Jefferson freelanced for major publishing houses, such as Viking and Doubleday, throughout her career. She was known as a designer of both skill and artistry.”

Source: David Rumsey Map Collection