KAY WALKINGSTICK: Wrote a Publicist About Kay Walkingstick’S PASSION and PLACE Pastel Silhouettes in 1969

NATIONAL MUSEUM of the AMERICAN

INDIANFALL 2015

K Wa alkyingSt ick Lifetime Retrospective + Alien Abductions The Real Story of the Mawooshin Five...And a lot of Bogus History ...... Indian Women Warriors Of the War of 1812 ...... Truth, Reconciliation And Ballet

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National Museum of the American Indian magazine (ISSN 1528-0640, USPS 019-246) is published quarterly by the Smithsonian’s National Museum of the American Indian (NMAI), 4th Street and Independence Ave SW, MRC 590 P.O. Box 37012, Washington, D.C., 20013-7012. Periodical postage paid at Washington, D.C., and at additional offices. National Museum of the American Indian magazine is a benefit of NMAI Membership and constitutes $6 of an Les Namingha sha’la’ko 12” x 10” individual’s annual membership. Basic annual membership begins at $25. Smithsonian Indian Art Fall ad Namingha Shalako Pot.indd 1 6/17/15 9:40 AM Reprinting Articles: Articles may be reprinted in whole or in part at no charge for educational, non-commercial Celebrating Made in and non-profit purposes, provided the following details for the respective article are credited: “National Museum 45 years Alaska, USA of the American Indian, issue date [such as “Winter 2005”], title of the article, author of the article, page numbers and © 2015 Smithsonian Institution, National Museum of the American Indian.” Questions regarding permission to reprint and requests to use photos should be directed to the NMAI’s Office of Public Affairs in Washington, D.C., at (202) 633-6985. Letters to the Editor are welcome and may be mailed • Eight times to NMAI, Attn. Editor, Office of Public Affairs, P.O. Box warmer than 23473, Washington, D.C., 20026-3473 or an e-mail • Be part of our may be sent to [email protected]. Or, you may call NMAI’s wool by weight Public Affairs office at (202) 633-6985 or send a fax to mission to (202) 633-6920, Attn. Public Affairs. bring money • Soft, lightweight Back issues of National Museum of the American Indian are into remote and washable $5 per copy (shipping and handling included), subject to villages of availability. To order, please call (800) 242-NMAI (6624) or send an e-mail to [email protected]. Alaska Member Services: To join or renew your existing membership, or to submit a change of address, please call (800) • Traditionally 242-NMAI (6624), visit www.AmericanIndian.si.edu/give inspired designs or send an e-mail to [email protected]. You may also write to NMAI Member Services, P.O. Box 23473, Washington, D.C., 20026-3473. OOMINGMAK Anchorage Downtown Location • Corner of 6th & H Postmaster: Send change of address information to Little brown house with musk ox mural National Museum of the American Indian, P.O. Box 23473, 604 H Street, Dept. AIM • Anchorage, AK 99501 Washington, D.C. 20026-3473. Toll Free 1-888-360-9665 • (907) 272-9225 • www.qiviut.com

SMITHSONIAN INSTITUTION 7

SMITHSONIAN INSTITUTION 9 FALL 2015 Contents vol. 16 no. 3

18 26

On the Cover: “If you’ve never been in love, you won’t understand her ice NATIONAL MUSEUM of the AMERICAN cream nudes; edible strawberry, coffee, 18 blueberry bodies, inviting you to taste,” KAY WALKINGSTICK: wrote a publicist about Kay WalkingStick’s PASSION AND PLACE pastel silhouettes in 1969. The first ever In a lifetime of varied styles, the Cherokee artist retrospective of her long, prolific career INDIANFALL 2015 returned again and again to landscapes, “a living Kay WalkingStick: An American Artist, synthesis of human presence and place.” A major opens November 7 in the Third Level Gallery at the National Museum of the retrospective opening November 7 at the National American Indian in Washington, D.C. and Museum of the American Indian in Washington, runs through Sept. 18, 2016. D.C., will show the range of her long career, from y, LLC. y, KAy WAlkINgStIck her early pastel nudes to her famed diptychs.

raph LIFETIME RETROSpECTIvE

Detail from Kay WalkingStick. Me and My g Neon Box, 1971. Acrylic on canvas, 54" x hoto

60". Collection of the artist. P h + g AlIeN AbDuctIoNS ou The Real SToRy 26 of The MawooShin thr five...and a loT of GOING HOME STAR: rt

A BoguS hiSToRy ...... Reconciliation BY Ballet ine

, F INDIAN WomeN With substantial indigenous guidance, The WArrIorS of the WAr of 1812 Royal Winnipeg Ballet is turning harrowing ......

alsworth aspects of First Nations history into acclaimed t truth, recoNcIlIAtIoN S AND bAllet

ee ballets. It is following its signature work, y L b The Ecstasy of Rita Joe, with the new Going

hoto Home Star, inspired by the Truth and Reconcilia- P tion Commission examination of Canada’s Native FALL_15_COVER_FIN.indd 1 2015-07-17 12:40 PM residential boarding schools.

10 AMERICAN INDIAN FALL 2015 32 42 32 42 Alien Abductions: How the THEY ALSO SERVED: American Abenaki Discovered England Indian Women in the War of 1812 In 1605, Captain George Waymouth sailed to the Native participants in the War of 1812 included coast of Maine on a mission to kidnap Natives several Haudenosaunee women, who fought for their political and geographic intelligence. another battle years later to get their pensions. The Abenaki became embroiled in Great Power intrigues and carried enough insight back home to frustrate the colonizers. 46 INSIDE NMAI 34 Cast of Characters 46 Dia de los MuertOs 39 The Made-Up Mrs. Penobscot The annual celebration of departed friends and Squanto wasn’t Waymouth’s only stowaway. family comes again to the Museum in both New The portrait of an unknown English woman gave York and Washington, D.C. rise to a totally fictitious female abductee. 48 Best Face Forward Meryl McMaster: Second Self 41 Once is Enough Contrary to widespread misinformation, 51 Marajoara Masters Waymouth’s abductees, the Mawooshin Five, The skillful ceramics of Marajo Island in the did not include Squanto/Tisquantum of New mouth of the Amazon River have helped inspire Plymouth fame. Here is how that bogus a new appreciation of the advanced culture story got started. of indigenous peoples in Brazil. 52 EXHIBITIONS AND EVENTS CALENDAR

SMITHSONIAN INSTITUTION 11 ...... DIRECTOR’s Letter What’s in a Name? By KEVIN GOVER

resident Obama started his recent historic tour of Alaska by an- nouncing official restoration of the Koyukon Athabaskan name Denali to the nation’s highest mountain.P The State of Alaska has used that name officially since 1975 and Alaskan Natives, of course, have called the 20,000- foot peak Denali (The High One) from time images immemorial. y ett

But the change is not without contro- /G ost

versy. Interior Secretary Sally Jewell made P the decision to break a 40-year impasse at the

United States Board on Geographic Names, a shington a

body of the U.S. Geological Survey. Despite W he constant petitioning by Native groups and Alaskan state and federal officials, the Board was stymied by opposition from the Ohio congressional delegation, which wanted to preserve the former official name Mount

McKinley of Canton, Ohio. P It seems an odd thing that a place that President McKinley never visited should bear human history, and Herman focuses on origi- Herman observes, “Given the ways in his name. Still, we can understand Ohio’s nal American Indian place names. which American Indian place names have concern for its history, and wondered whether He surveys the vast literature on Indian been trammeled by colonization over the past McKinley is honored through place names names and finds three main phases. The first few centuries, it should not be surprising that within his home state. Currently, the only he calls the “hobbyist” approach, compilations the process of restoring traditional names is municipality in Ohio to bear his name is the of lists by amateur researchers often moved by fraught.” But each campaign, he says, is “an town of McKinley Heights, population 700, Romantic notions of a vanishing people. This act of sovereignty on the part of the tribal near Youngstown. Perhaps it would be more approach, also sometimes spiked with racial peoples involved.” To this I would add that appropriate to rename the state’s largest city, denigration, prevailed through the 19th cen- when such campaigns are successful, they Columbus, population over 700,000, after the tury to the 1950s. It was supplanted by a sec- advance acknowledgements by the United 25th president. Or his name could be given to ond phase more solidly grounded in linguistic States that Native people first claimed this the highest elevation in Ohio. But the use of studies. This academic approach insisted, land and introduced human civilization. McKinley’s name to supplant the Native name properly I think, on studying the rich variety His essay underscores the importance of for a mountain he never saw in a territory he of languages that produced these names. naming for defining a culture’s relation to place never visited shows just how strange the issue Herman’s third phase comes to the fore in and to the people who were here first. “The of place names can be. the activism of the ‘70s, the assertion of real romantic Indian of yore may never go away Our resident geographer Doug Herman, a living American Indians to have a say in the from American culture. But in the twenty-first member of the Museum’s Scholarship Group, names used for and about them. This push century, the American search for identity has has laid out the issue well in a recent article takes two forms. One is the campaign against a postmodern instability that includes an in- in the American Indian Culture and Research derogatory names, which readers of this space creasing recognition that Indians are alive and Journal. He reminds us that assigning place have heard about before. The other, evident well and often want their land back.” names was “a means of forging a national in the President’s Denali announcement, is “a As this process develops, the restoration of identity for the settler culture.” The practice of push to reinstitute traditional names, either in Denali is indeed a landmark.X replacing indigenous names with the nomen- place of existing non-Native names, or as new Kevin Gover (Pawnee) is the director of the National Museum clature of new arrivals is a universal feature of names for as-yet-unnamed places.” of the American Indian.

12 AMERICAN INDIAN FALL 2015 SMITHSONIAN INSTITUTION 13

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As someone who values education more highly than anything else, Mary Hopkins finds that the Smithsonian offers wonderful learning opportunities through its exhibitions, publications and travel programs. “I am always seeking new things to see, do and learn,” says Mary, who recently traveled to China and Tibet with Smithsonian Journeys. suggested bequest language We suggest using the following language to name “This legacy is a wonderful way the NMAI as a beneficiary of your will or trust. When completing retirement plan and life insurance for me to honor my husband, who beneficiary forms, you will want to be sure to use the was part Choctaw Indian.” correct legal name of the NMAI, as well as the federal tax identification number listed below.

Her late husband, Homer, shared her love of travel, and I hereby give, devise and bequeath she fondly recalls visiting Native lands with him to learn (specific dollar amount, percentage, or percentage about different tribes and cultures. “I wanted to make of the residue of my estate) to the Smithsonian a gift in my husband’s memory, but it was hard to come up National Museum of the American Indian located at 4th Street and Independence Avenue, with a concrete tribute,” reflects Mary. That is why, with SW, MRC 590, Washington, DC 20560-0590. guidance from the Smithsonian’s planned giving staff, The National Museum of the American she decided to pay tribute to her husband and support Indian’s federal tax identification number education with a bequest to endow internships at the is 53-0206027. National Museum of the American Indian.

“This legacy is a wonderful way for me to honor my husband, I would like more information on making who was part Choctaw Indian, and to support the educational a bequest to the NMAI. opportunities that I treasure at the Smithsonian,” remarks Mary. “This gift really hits the nail on the head.” I have included a gift to the NMAI in my will or other estate plan.

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Kay WalkingStick with Hudson y Reflection, I, October 1972. our C TES

18 AMERICAN INDIAN FALL 2015 Kay WalkingStick Passion and Place

ay WalkingStick has always been to American Indian historical figures, such as By Kathleen Ash-Milby enthralled with the beauty of the landscape. Sakajeweha: Leader of Men (1976). However, in and Bradley Pecore K Sitting last May along the edge of the Ra- a career spanning almost five decades, it is the mapo River, in northern New Jersey, a place landscape that calls to her again and again. brimming with activity as tiny insects leaped Early in her career, while she balanced the across the surface of the water and thick foliage challenge of raising a young family in north- bristled in the summer breeze, WalkingStick ern New Jersey with pursuing opportunities silently studied the scene as she sketched. in the buzzing art world of New York City, “My paintings aren’t exact depictions of a her representational imagery focused on place; they are based on the look and feel of a color and form, including numerous nudes place,” she says. “Landscape paintings are depic- depicted in silhouette, and also elegant, lightly tions of nature re-organized by an artist. This whimsical depictions of the Hudson River is what landscape painters have always done.” and a cloud-filled sky. In 1973, WalkingStick This thoughtful, but sophisticated, approach decided to pursue her MFA at Pratt Insti- to landscape painting has led WalkingStick to tute in New York City and turned wholly to her standing today as both a celebrated Native abstraction, both as a formal exploration of artist and landscape painter. geometry and as a means to express deeper The retrospective Kay WalkingStick: An meaning about Native history and leaders. American Artist, which opens this fall at the Though she had always taken her Cherokee National Museum of the American Indian in identity for granted, during this time Native Washington, D.C., will be a major milestone in people were becoming more and more visible this Cherokee artist’s career. It will provide a de- within the national media, leading her to use tailed visual history of her life’s work, from the her art to more closely examine her relation- early 1970s onward. It may come as a surprise ship to a larger American Indian identity. to some visitors that WalkingStick’s paintings Sakajeweha: Leader of Men (see page 53), have ranged from edgy, playful, candy-colored is an iconic example of WalkingStick’s work nudes, such as Me and My Neon Box (1971) from this period. The surface is covered with to dramatic abstractions which pay homage an acrylic and a cold wax emulsion, giving →SMITHSONIAN INSTITUTION 19 the green paint a cartographic texture of For the artist, the arc was a geometrical form, After a decade of abstraction, the pivotal subtle ridges and valleys. The arc, a shape a segment of a circle. experience of living in the Rocky Mountains that repeats in this painting four times, was a Whether they are meditative, pictographic while a resident artist at Fort Lewis College focus of her work throughout the 1970s and or feminist, these ambiguous shapes provoke in Durango, Colo., led the artist to reconsider early 1980s. Some primitivist readings sug- inquiry. Rich colors and bold hard-edged her abandonment of the landscape. Even as a gested that the arcs in her work “danced” or forms attract the viewer while the title ignites young girl she was enraptured with the beauty referenced the “bow.” In other cases feminist intrigue about the story of Sakajeweha, Chief of the valleys and hills near her childhood writers saw the shapes as renditions of the fe- Joseph, John Ridge and other key figures in home in Syracuse, N.Y., longing to capture it male anatomy. It is obvious that at a time rife American history. WalkingStick’s paintings through painting. By the mid-1980s this pas- with political protest these ideas could easily were an overt attempt to come to terms with a sion led to the creation of the work for which be associated with the artist and her work. history that was forgotten or ignored. she is best known, her iconic two-paneled 20 AMERICAN INDIAN FALL 2015 useum M rt A enver D the

of y courtes

hoto P

ABOVE: Farewell to the Smokies, 2007. Oil on wood panel, 36" x 72" x 1". Denver Art Museum: William, Sr., and Dorothy Harmsen Collection. 2008.14.

LEFT: Night (Usvi), 1991. Oil, acrylic, saponified wax and copper on canvas, 36¼" x 72¼" x 2". Montclair Art Museum, purchased with funds provided by Alberta Stout. 2000.10

SMITHSONIAN INSTITUTION 21 paintings (or diptychs) which combined viewer to appreciate each panel separately Driven by her interest in universal themes, abstraction and representational landscape but to read them together as one concept WalkingStick began to look more closely at the painting. For example, in the diptych Night or as a multi-layered idea. She has at times relationship between Native people and the (1991), the left panel is dominated by an oval explained this division as representing two land. Her consideration of terrestrial beauty and circle form floating across a blue gradient kinds of memory, one momentary and and the sublime led her to investigate the background. The right panel depicts a stony specific, the other timeless and nonspecific, deep connections and resonance of historical landscape with the craggy remnants of a cliff in order to create a deeper and more com- events in particular locations, seeking deep in monochromatic blues, greys and bright plete wholeness. Her interest in exploring knowledge through careful contemplation. white. Deep crater-like gouges mark the sur- broad metaphysical themes is evident in the Her paintings began to combine landscape face as meteors would mark the earth. painting Night which includes copper in the with the designs of the Native people who WalkingStick embraced the diptych for- abstract shape, a material that references an inhabited or are connected to those places. mat because it allowed her to combine her elemental connection to the environment. For the Wallowa Mountains in Oregon, for love of landscape traditions with her interest For WalkingStick it is also about “turning example, she used Nez Perce parfleche designs in addressing more complex and abstract paint, mere earth and oil, into a message, one as inspiration. As artist Robert Houle (Saul- ideas. The artist’s intention was not for the that speaks to us in a visual language.” teaux) has aptly stated, “her landscapes are a

22 AMERICAN INDIAN FALL 2015 moroso New Mexico Desert, 2011. Oil on wood panel, 40" x 80" x 2". A

Purchased through a special gift from the Louise Ann Williams Endowment, 2013. rnest y E

National Museum of the American Indian 26/9250 b

hoto P living synthesis of human presence and place.” The painting Farewell to the Smokies (2007) “...There are no figures, but bands demonstrates this synthesis between an intense of patterning lifted from Navajo sense of ancestral presence and place. Although WalkingStick was very familiar with the story of rugs and Northern Cheyenne the 19th-century forced removal of the Chero- kee people from their eastern homelands to In- beadwork float like spirits or dian Territory in Oklahoma, she never thought it would be the subject of her art. Yet upon materialized music across desert visiting the Great Smokey Mountains in North Carolina she found herself overtaken by the vistas in which Cezanne comes to contrast between the intense beauty and lush- ness of the mountains with the tragic expulsion the Rio Grande.” of her ancestors. To capture this, she spread a – Holland Cotter, New York Times Review, May 10, 2013. breathtaking view of the mountains across

SMITHSONIAN INSTITUTION 23 “If you’ve never been in love, you won’t understand her ice cream nudes; edible strawberry, coffee, blueberry bodies, inviting you to taste.” – J. Nelson, Cannabis Gallery, press release, 1969

Me and My Neon Box, 1971. Acrylic on canvas, 54" x 60". Collection of the artist.

24 AMERICAN INDIAN FALL 2015 both panels, one in hues of burnt umber and the other in radiant greens. Closer examination of this majestic vista reveals a line of Cherokee exiles depicted in silhouette traversing the bottom of the composition. They walk from left to right, ending their journey in a black miasma, representing both the loss of their homeland and their uncertain future. More recently her diptych paintings have also evolved into more unifi ed composi- tions. New Mexico Desert (2011), a focus of her retrospective and a recent acquisition by the Museum, is a luminous oil painting on wood panel. Based on the landscape south of Talking Leaves, 1993. Artist’s book: oil stick, collage on paper, 22" x 24¾" x 1½". Kay WalkingStick Chimayo, N.M., she depicts a dramatic view Collection, Billie Jane Baguley Library and Archives, Heard Museum, Phoenix, Ariz. RC 165(7):1. of soothing desert land beneath a cloud-fi lled sky. The surface is bathed in a morning glow rendered in brilliant golden tones that gives a calming effect. Across the right panel a Navajo textile design fl oats above the landscape and is impressed upon it. The design is not a precise copy; the colors have been altered to bright Hidden turquoise and a reddish-brown that references other Navajo artistic traditions such as jewelry but also makes the colors pop within the composition. Treasure The Navajo design indicates what is both Billie Jane Baguley Library and Archives known and unknown, visible and invisible within this land. For most Americans the landscapes or the places we call home are n preparing the exhibition, Kay than 25 years to magnifying the status often not recognized as Native places even WalkingStick: An American Artist, of the collection to nearly 26,000 records though there is currently a large population of the curators had access to the best of American Indian and Canadian First indigenous people within the United States. resource, the artist herself. But, sec- Nations artists. An online resource offers WalkingStick celebrates the natural beauty of ond only to the artist is one of the access to some of the most celebrated the environment, as many American artists Imost substantial archives on Kay Walk- artists in the collection, including substan- have, but also makes sure we do not forget that ingStick, the Heard Museum Billie Jane tial fi les on Harry Fonseca, Fritz Scholder this land has a much deeper story, a history Baguley Library and Archives, and its Na- and Nora Naranjo-Morse. (It’s available at that is often hidden. tive American Artists Resource Collection. www.heard.org/library/naarc.) Kay WalkingStick’s love of the land and This repository has been at forefront WalkingStick, in close collaboration with passion for painting has led to a rich and of building a Native art history since Klimiades, has been sending newspaper rewarding career. Now 80 years old, she con- 1979. Under the stewardship of librar- clippings, correspondence and exhibition tinues to seek knowledge and understanding ian Mary graham, the library began the ephemera to the archive for years, building through her art. She still seeks inspiration extensive task of gathering ephemera several substantial fi les. In addition, Walk- from the land, whether traveling in the high from artist cooperatives, traders and indi- ingStick generously donated to the Library desert of New Mexico, driving through the vidual artists. To help build this resource and Archives her only artist book, Talking Dolomites of northern Italy or sitting at the graham and colleague Carol Ruppe from Leaves (1993), which contains a series of side of the Ramapo River. X Arizona State University developed an self-portraits and text which humorously Kathleen Ash-Milby (Navajo) is an associate curator at the archive of 4,000 artists from Arizona chronicle insensitive and ignorant state- National Museum of the American Indian in New york, and and New Mexico. This information was ments about her Native identity through- co-curator, with David Penney, associate director for Museum Scholarship, of Kay WalkingStick: An American Artist. Bradley published in 1985 as the Native Ameri- out her career. The book will be part of the Pecore (Menominee/Stockbridge-Munsee/Mohican) is can Artists Directory, which became the exhibition in Washington, D.C. Curatorial Resident at the National Museum of the American foundation of the Native American Artists The Billie Jane Baguley Library and Indian in New york. Resource Collection. Archives is truly a hidden gem for anyone Current Library and Archives director interested in the history of contemporary Mario Nick Klimiades has dedicated more Native art.

SMITHSONIAN INSTITUTION 25 Going Home Star Reconciliation by Ballet

by Millie Kna pp

allet seemed an incongruous Commission for a theme just as harrowing, cerpts in Washington, D.C., this December. way, Tina Keeper thought at the destruction of Indigenous culture in the One thing was clear for Keeper, a member first, to present the story of the boarding school system. of the Canadian House of Commons in 2006 Indigenous residential boarding “We were able to get collaborators, dancers, as Liberal representative from the riding of schools, a system designed to elders and staff to feel like they were partici- Churchill, and the Opposition Critic for Pub- forciblyB assimilate Native children into Cana- pating in something beyond the dance,” says lic Health and Canadian Heritage: Indigenous dian culture. Keeper (Norway House Cree Nation), a film artists must steer the project direction. But she accepted a position on the board of producer and former award-winning actress In 2009, Keeper met RWB leaders Andre the Royal Winnipeg Ballet (RWB) to help give in the Canadian television series North of 60. Lewis, artistic director, and Jeff Herd, ex- indigenous direction to its project to develop The result was the new ballet Going ecutive director, to discuss how to envision a new Native-themed ballet. Home Star: Truth and Reconciliation. It pre- a Native-themed ballet. She joined the RWB The RWB, based in Manitoba, was already miered in October 2014 in a five-night sold- board and a programming committee where famous for a work on contemporary Indig- out run in Winnipeg, to commemorate the she became acquainted with Stephanie Bal- enous life, The Ecstasy of Rita Joe, a gritty 75th anniversary of the RWB, one of the lard, a contemporary dance school director, in depiction of the destruction of a Native girl oldest ballet companies in North America. Winnipeg where she lives. in the big city. The company turned to the Plans are underway for a national Canadian Early on, Keeper met with author Joseph work of Canada’s Truth and Reconciliation tour in 2016 and the performance of ex- Boyden (Anishinaabe) who lives in New Or-

26 AMERICAN INDIAN FALL 2015 Sophia Lee and Liang Xing in a scene from Going Home Star - Truth and Reconciliation, a new ballet from Royal Winnipeg Ballet about the First Nations trauma of the compulsory residential boarding schools.

leans, La. “Joseph, would you be willing to help us create a ballet?” she asked. He hesitated because he had no idea how to write a ballet. “It became an opportunity to cross bound- aries, to reclaim what is often considered a colonial art form,” Boyden recalls. “The heart of the Indigenous world is dance and music and story, so let’s do this,” he says. “Let’s create something that is often thought of as very Western but turn it on its head. Re-imagine the paradigm and make it

into something Indigenous.” z t a

He locked himself in a Toronto hotel room K for two days during a book tour in Canada and wrote the story. amanta y S b

For Keeper it was difficult to share and Tanya Tagaq, Joseph Boyden,

trust non-Native individuals to honor the and Tina Keeper. photos heartache of Indigenous history, but the plan- Keeper weeps when she tells a story resi- ning meetings began a reconciliation between dential school survivors told over and over RWB and Indigenous artists. “We were the again to Godden. The children’s visualization ones that felt we had something on the line of going home could never be broken. and it was really painful, but we had each “They could never forget home. I think other,” she says. that’s the part that really got to me – they were pulled away from everything. It’s that part that rtist gatherings sanctified by Canada doesn’t realize. The devastation you blessings from elders included see is not who we are. Who we are, are beauti- the singer Tanya Tagaq (Inuit), ful strong people, that would never have given KC Adams (Oji-Cree), set de- our children up,” says Keeper. signer, and Steve Wood (Cree), The choreography for the main priest ANorthern Cree lead singer. A year before re- character was cutting and harsh. hearsals, Manitoba Ojibway elders Clarence and Barbara Nepinak, met with choreogra- pher Mark Godden and dancers to talk about Indigenous dance history and its influence on contemporary work. The dancers also participated in sweat lodges.

Sophia Lee

28 AMERICAN INDIAN FALL 2015 “When he did his solos you could feel it. approach. It’s more intense. You have to not My mum used to always say, ‘You have to find just understand but you have to feel it. Going pity in your heart for them because something through the process is a learning experience “The heart happened to them, too.’ People couldn’t do for those of us who are not dancers.” of the Indigenous world those things to other people if it didn’t happen The experience, he says, had a deep impact to them. I’m always reminded of that kind of on his company. He and his artistic director is dance and music and compassion and values that were so wise from Lewis attended sessions of the Truth and Rec- our people.” onciliation Commission. “I think it changed story, so let’s do this,” While she watched the dance, Keeper felt us on many levels,” he says. he says. “Let’s create “as horrendous as everything was, our culture, In developing the story, Boyden returned our resilience is stronger than that.” to characters he’d spent many years creating something that is The RWB team supported the Indigenous in his novel, Through Black Spruce, published perspective through to the end. “That’s why in 2008. He wanted to see what would happen often thought of as very it worked – because they were willing,” says to them in a different context. Western but turn it on Keeper. She says that if the attitude had been, “Let me try to recreate them in a world “we can only take it so far and then they are go- where dance is involved, where music is in- its head. Re-imagine the ing to take over, it would have never worked.” volved rather than the contemporary reality,” The Indigenous artists were decision- he says. “Wouldn’t that be interesting? Wouldn’t paradigm and make it makers, says Herd. Unlike classical stories that be fascinating to take characters from my into something such as Romeo and Juliet, he says, “This one novel and put them in a new place against new people had to create. They had to create the odds facing new challenges together?” Indigenous.” characters. They had to get some understand- Boyden wants the ballet to last. ing of what these characters were feeling, what “What I want this ballet to do is introduce were they thinking. This is a different kind of Canadian, American and European audiences, to an aspect of Canadian history that is dark and disturbing in terms of what was done to Native people of this country,” he says. y raph g hoto P randt B ejean y R b

hoto P SMITHSONIAN INSTITUTION 29 The RWB team supported the Indigenous perspective through to the end. “That’s why it worked – because they were willing,” says Keeper. She says that if the attitude had been, “we can only take it so far and then they are going to take over, it would have never worked.” y raph g Sophia Lee hoto P randt B ejean y R b hoto P 30 AMERICAN INDIAN FALL 2015 z t a K amanta y S b

photo

“I didn’t want as a writer or creator of some- him with tears running down her face saying, thing to hit the audience over the head with a ‘I’m sorry. I’m sorry.’ His response was, ‘It’s not “I didn’t want as a writer hammer of righteousness. I want to approach about being sorry. It’s about understanding or creator of something it and say, ‘This could be you, your daughter, how we move forward together,’” says Herd. your friend.’” Lewis’s commitment to the ballet came to hit the audience over Audiences were moved beyond emotion from meeting an elder, the late Mary Richard and perhaps to a bit of understanding about (Metis), in Winnipeg. the head with a hammer the traumatic experience of residential schools “Everybody knew her. Mary used to go to of righteousness. I want for Indigenous peoples. the ballet and say to Andre, ‘I would really “This clarified for me cause and effect: why like to talk to you.’ She made a meeting with to approach it and say, things are a certain way, what happened to the him and told him, ‘You need to create some- culture, what happened to the language, what thing new – a Native-themed creation.’ She ‘This could be you, your happened to the belief system. It was incred- was the one who inspired him. This ballet is daughter, your friend.’” ibly enlightening,” says Herd. a dedication to the late elder, Mary Richard,” “There was this wonderful incident one says Keeper. X of the elders told me about. At intermission, Millie Knapp (Anishinabe), a freelance journalist, writes about an elderly non-Indigenous person came up to art and culture. SMITHSONIAN INSTITUTION 31 Alien

AbductionsHow the Abenaki Discovered England By Ja mes Ring Adams

hen Captain George Way- Both statements are demonstrably false. mouth explored the coast of Maine in 1605, Tisquantum was from the village of Patuxet, Whe made a point of kidnapping five of his now the site of Plymouth, Mass., some 200 friendly Abenaki hosts and taking them back miles south of Waymouth’s landings and part to England, along with their bows and arrows of the Pokanet or Wampanoag federation in and bark canoes. what is now southeastern Massachusetts. Its Waymouth was following European pro- great chief was the Massasoit. The real abduct- cedure, standard from the time of the Vikings. ees were eastern Abenaki, part of a federation The captives were prized, not only for display led by Bashebas, a major figure mentioned in and proof of a successful voyage, but as po- English and French sources, whose seat was tential interpreters, sources of intelligence and near what is now Bangor, Maine. There is no possibly even Christian converts. Yet Way- contemporary record placing Squanto any- mouth’s group was exceptionally important, where near Maine in 1605. Yet we know the although now famous for the wrong reason. names, and a fair amount of the history, of the In remarkably widespread misinforma- Abenaki who were kidnapped. It is their story, tion, some historians, and apparently all of full of swashbuckling international intrigue, the Internet, believe that one of the captives that concerns us. was the famous Squanto, or Tisquantum, the go-between for the Plymouth Bay Puritans 15 years later. Wikipedia compounds the crime by saying the other abductees were members of his tribe. E 32 AMERICAN INDIAN FALL 2015 es g ma I eman g rid / B es g ma I s ' hristie © C hoto P

Posthumous 1659 edition of Sir Ferdinando Gorges’ 1640s account of his colonizing efforts in Maine, edited by his grandson, also named Ferdinando Gorges, and including other narratives falsely attributed to him. SMITHSONIAN INSTITUTION 33 Alien Abductions Cast of Characters The Mawooshin Five: Kidnapped by Capt. George Waymouth in 1605, names as given in James Rosier’s two accounts of the voyage: Tahanedo or Bhahanedo, a Sagamo or Commander, brother to the Bashabes. Amoret or Amooret, brother of Tahanedo. W aYMOuth’s Victims Skicowaros or Scikaworrowse, Gentlemen. Maneddo or Maneduck. tandard histories give the impressions that American history starts Sassacomoit or Satacomoah, a servant. with Jamestown, or Henry Hudson or the Puritans at Plymouth. But Bashabes or Bezzabes North S American Natives had been running into Europeans for most of the preceding (d. 1616), head of the eastern Abenaki confederation, century. Fishing boats from Basque, French his main campfire near present-day Bangor. and west English ports had been working the Grand Bank cod schools by the hundreds, calling at the Labrador and Newfoundland coasts. Exploration and settlement attempts The Expeditions dated from the early 1500s and had acceler- Capt. George Waymouth, ated after Queen Elizabeth’s break with Spain Commander of the Archangel, 1605. and the defeat of the Armada in 1588. The James Rosier, coast of New England was already familiar by One of Waymouth’s company, author of report on the expedition. the dawn of the 1600s. (John Smith, leader of a major exploration in 1614, complained Capt. Henry Challons, it was becoming too crowded with European commander of the Richard, 1606. Ill-fated follow-up voyage to shipping.) Waymouth – Maneddo and Sassacomoit fall into Spanish hands. One of the most important, but relatively ignored, of the early explorations was the visit John Stoneman, of Captain George Waymouth in 1605. The pilot for Challons, veteran of Waymouth voyage. voyage was highly successful for science, less so for profit. It made speedy passage, scouted Captain Thomas Hanham and Martin Pring, good harbors and gathered a wealth of intel- commander and master of relief voyage for Challons, 1606. Fails to connect ligence. It could easily have resulted in the with Challons but explores Maine coast. Journal of voyage since first permanent English settlement in North lost – returns Tahanedo a.k.a. Nahanda. America, except for a major political problem. The venture was heavily backed by Catho- Captains George Popham and Raleigh Gilbert, lic interests, looking for a refuge for religious leaders of Sagadohoc colony in Maine, 1607 – 1608. exiles. But just as it returned with a promising Skicowaros a.k.a. Skedwarres accompanies as interpreter. report, a group of Catholic extremists were plotting to assassinate King James I and most of Parliament. The group had discovered it could rent a storage space in the basement The Home Front of the Parliament building, and filled it with Sir Ferdinando Gorges (1565-1647), gunpowder covered with firewood. The infa- captain of Plymouth Fort in England, promoter and holder of charter mous Guy Fawkes, he of the ridiculous thin for a settlement in Maine. mustache and pointed goatee, guarded the stash and was arrested there November 5, just Sir John Popham (1531 – 1607), before the detonation. The explosion of the Lord Chief Justice of England (Hanging John), principal of northern branch of Virginia Company. E Squanto/Tisquantum has no role in this drama.

34 AMERICAN INDIAN FALL 2015 Sir John Popham (1531 – 1607), Lord Chief Justice of England 1602. Known as the “Hangman” for his severity toward highwaymen, a profession he is persistently rumored to have plied in his youth, to put himself through college. Popham hosted at least two of Waymouth’s abductees and led the attempt to establish the Sagadahoc colony in Maine until his death. y ibrar L chool S aw L arvard , H ollections C pecial & S istorical , H lalock /B th arnswor y F b

raph g hoto P SMITHSONIAN INSTITUTION 35 Alien Abductions

Captain John Smith’s map of New England, based on his 1614 expedition and published in 1616 in A Description of New England. Inset portrait is by Simon van de Passe. “Exploration and Gunpowder Plot whipped up an anti-Catholic English and Abenaki traded and exchanged fervor that quashed support for Waymouth’s visits for several days. Then, as almost always settlement attempts follow-up expedition. (One of Waymouth’s happened, the mood changed. dated from the early main backers was briefly arrested as a possible At a rendezvous for trading, a scout for the 1500s and had conspirator.) crew reported a large number of well-armed accelerated after The expedition did have two lasting results, tribesmen had gathered with no sign of trad- Queen Elizabeth’s a thorough and competent report by crew ing furs. Said Rosier, “We began to joyne them break with Spain and member James Rosier and the kidnapping of in the ranks of other Salvages, who have been the five Abenaki tribesmen. The abductions, by travellers in most discoveries found very the defeat of the said Rosier, were in fact a main goal of the treacherous; never attempting mischief, until Armada in 1588.” trip, “being a matter of great importance for by some remissnesss, fit opportunity affordeth the full accomplement of our voyage.” From them certaine ability to execute the same.” (It first contact in Penobscot Bay, the crew ac- never seems to cross the Europeans’ mind customed Natives to coming on board with that their own conduct might have caused the enticements of gifts and English food. The change in attitude.)

36 AMERICAN INDIAN FALL 2015 The crew turned back and determined to take whatever hostages they could before suspicions spread. The next day, two canoes with three men each came to the ship, including a regular visitor “of a ready capacity” that Waymouth and Rosier had already marked to The Mawooshin Five “W aYMOuth shortly take back to England. Three came on board. To round up the others, Rosier went on shore turned back for s soon as they set foot in England, England, realizing with a box of merchandise and a plate of peas; it was clear that the Mawooshin two of the tribesmen sat with him, and the Five were a valuable source of in- that his most English crew jumped them, wrestling them telligence. They became the target valuable cargo were into the long boat by grabbing their long hair. Aof international intrigue. Rosier reports that the five captives Waymouth also took their canoes and all their “some forrein Nation (being fully assured of below decks. Rosier bows and arrows, storing them carefully for the fruitfulnesse of the countrie)” was trying the voyage. turned his efforts to involve Waymouth “in conveying away our to restoring good By chance, the captives were more impor- Salvages,” a plot “which was busily in prac- tant than the English at first realized. Their tice.” The likely party was Spain; although it relations with the leader, Nahanendo (also spelled as Tahanendo couldn’t prevent other countries from en- bewildered former and Tahando, among others), was sagamore croaching on its claim to North America, it friends. “Although of the region and a close relative of Bashabes, did its best to spy on what they were doing. at the time when we the chief of the Abenaki confederacy. The great The still murky plot failed, but Rosier decided chief tried urgently to rescue his tribesmen. As surprised them, to keep secret most of what “his Salvages” had they made their best Waymouth continued to explore up the river, taught him, including a list of 400 to 500 Al- Bashabes sent canoes repeatedly, offering to gonquian words. resistence, not trade large quantities of fur and tobacco. “This Domestic intrigue also intervened. With knowing our purpose, we perceived to be only a mere device to get the collapse of the coalition backing Way- nor what we were, possession of any of our men,” wrote Rosier, mouth, a new grouping of businessmen nor how we meant “to ransome all those which we had taken.” stepped into the void, obtaining a royal char- to use them.” Waymouth shortly turned back for Eng- ter for a Virginia Company. The new endeavor land, realizing that his most valuable cargo had two branches. A London grouping con- “great civility farre from the rudeness of our were the five captives below decks. Rosier centrated on a new settlement at Jamestown. turned his efforts to restoring good relations common people” and talked with them at West County entrepreneurs from Bristol and length about their homeland. “And the longer with the bewildered former friends. “Although Plymouth made plans for “North Virginia,” at the time when we surprised them, they I conversed with them, the better hope they exploiting the Mawooshin captives. gave me of those parts where they did inhabit, made their best resistence, not knowing our The apparent Spanish plot against “our purpose, nor what we were, nor how we meant as proper for our uses.” Salvages” must also have raised concern about Their information included “what great to use them; yet after perceiving by their kind the security of Nahanendo and his party. They usage we intended them no harme, they have Rivers ran up into the land, what men of note wound up as “guests” of two of the best-guard- were seated on them, what power they were never since seemed discontented with us.” ed figures in England, the Lord Chief Justice Rosier was apparently in charge of their of, how allyed, what enemies they had, and the John Popham and the commander of the fort like of which in his proper place.” This intel- debriefing, and by his account it went very at Plymouth, Sir Ferdinando Gorges. Popham, well. He called them “very tractable, loving, ligence fed into a briefing paper now known with a “Hanging John” reputation for severity, to historians as “The Names of the Rivers;” it and willing by their best meanes to satisfie us had served on the tribunals that condemned was found in a cache of 17th century English in any thing we demanded of them, by words Mary Queen of Scots and Guy Fawkes. Gorges, state papers in the early 1900s and revisited as or signes for their understanding.” a veteran of European wars, had played an ap- a fresh source as late as 2007. The Mawooshin “We have brought them to understand parent double role in the attempted coup of Natives were very likely induced to be forth- some English, and we understand much of the Earl of Essex against Queen Elizabeth, sav- coming by the hope of returning home. Both their language; so as we are able to aske them ing Popham from the conspirators. Their new Gorges and Popham attempted to make good many things.” association with the Abenaki decisively turned on the promise. Among other things Rosier learned their their interests westward. names, although not how to spell them. In ad- Gorges was very taken with his house dition to Nahanendo, the sagamore, he identi- guests, whom he called Maneday and As- fied three as “gentlemen,” Amoret, Skicowaros sacomet. (These are clearly two names from E and Maneddo, and a “servant,” Assacomoit. Rosier’s account. The confusion about (Variant spelling are listed in the Cast of Char- Tisquantum/Squanto comes from one sen- acters, see page 34, but none of them remotely tence in a late memoir, in which Gorges or a resemble Squanto or Tisquantum.) They told posthumous editor inserted the Wampanoag’s him that their homeland, the territory of name in the list.) He praised the Abenaki for Bashabes, was called Mawooshin. SMITHSONIAN INSTITUTION 37 Alien Abductions y niversit U ale Y , y ibrar L anuscript M and

ook B are R einecke y B tes our C es g ma I

Pages showing navigational aids from Jewell of the Arte, unpublished manuscript by Captain George Waymouth, presented to King James I of England in 1604 in a quest for employment. James Rosier, in his account of Waymouth's 1605 expedition to the coast of Maine, describes the captain taking readings with his instruments, but he kept the results secret. Two copies of Waymouth's book have survived. This one is in the Beinecke Rare Book and Manuscript Library atY ale University.

The Richard Affair y the end of the next summer, in Canaries and then west to the Caribbean be- King James, King James his ship, King James August 1606, the two Abenaki fore coasting North. The route was much lon- his ship!’” lodged with Gorges sailed from ger and fraught with delays. After adventures Assacomoit had apparently been mis- Plymouth on a ship called the Rich- in the West Indies, the Richard headed north informed about the extent of the English B ard, captained by Henry Challons and bound in a great storm, and on a foggy morning in monarch’s influence. The Spaniards seized the for “North Virginia,” their home Mawooshin. November suddenly found itself in the middle ship’s supplies as spoils. They divided the 30 (The account printed in Purchas His Pilgrimes of a Spanish fleet. With three sails to the wind- crewmen among their own vessels and took in 1625 spells their names Mannido and Assa- ward and more ships emerging from the mist them back to Seville, commencing months of comoit, but they are still clearly the people in to the lee, Captain Challons had no chance to protests, lawsuits and pleas for the release of question.) Popham and Gorges, with a group flee. As Spanish fire shredded his mainsail, he the English, and the Abenaki. of West Country investors, stocked the ship hove to and instead sought to explain himself Gorges wrote an over-optimistic letter to with 12 months of supplies and men willing to the Spanish admiral. Captain Challons in March, urging him not to to stay in America. It was their bid to beat Even though Spain was then formally at accept a settlement of less than 5,000 pounds Jamestown as the first permanent English set- peace with England, the Spaniards were in no for damages. “For you knowe that the journey tlement in North America, and the Abenakis’ mood to listen. A boarding party armed with hath bene noe smale Chardge unto us that chance to go home, but it ended in a complex swords and half-pikes roughed up the English first sent to the Coast and had for our returne diplomatic disaster. sailors. Assacomoit took the worst wounds. but the five salvadges whereof two of the The trouble began when the captain ig- He was stabbed “most cruelly several places in principall you had with you.” But as the affair nored Gorges’ instruction to take the direct the body and thrust quite through the arme,” dragged on, Challons and Gorges lost touch northern route used by Waymouth. (Gorges reported John Stoneman, pilot of the Richard. with the Abenaki. “The Indians ar taken from argued that the Indian passengers could serve Panicked and baffled, “the poor creature” had me and made slaves,” Challons replied in June. as pilots along the Maine coast.) Like more tried to hide under a locker. As the Spaniards Weeks later, the captain wrote Popham that he timid mariners, Challons sailed south to the stabbed at him, “he cried still, ‘King James, was forbidden to speak “with the naturals.”

38 AMERICAN INDIAN FALL 2015 The Made-Up Mrs. Penobscot

quanto wasn’t the only stowaway recently (American Indian magazine, Summer on Captain George Waymouth’s 2013) on a widely circulated portrait presented 1605 voyage. The historian Alden T. as Pocahontas and her son Thomas Rolfe. The Vaughn tells the story of a mythi- public historian William Ryan, a student of the cal “Mrs.S Penobscot” that popular histories in Seminole, has demonstrated that it is actually the last half century have been presenting as a an 1830s painting of Pe-o-ka, wife of the Sem- female adjunct to the Mawooshin Five. inole warrior Osceola, and their son. Playing on It starts with an extra-large portrait of a the similarity in the initial syllables, an enter- woman in early 17th century Jacobean dress prising dealer apparently sold it to the English holding a feather fan that has been hanging relatives of Rebekkah Rolfe, nee Pocahontas. for centuries in the manor house The Vyne near But “Mrs. Penobscot” (or Pennicott) has Basinstoke, Hampshire, in England. Over time, acquired a legend of her own. In August 1959, the lady became known as “Mrs. (or Mlle. or American Heritage magazine ran the picture Mistress) Penobscot.” But she has no resem- with a caption saying she “was one of the blance in dress or feature to a North American Abenaki Indians whom Sir Ferdinando Gorges lantern Native. Some elaborate theories have tried to saw brought over from Maine, taught English, B an connect her to a family involved in colonization put into Elizabethan dress, and displayed at /I es g in Maine. But these “were scuttled,” Vaughn court.” As Vaughn observes, this caption was ma I writes, when in 2004 an 18th century inventory wrong in every point; in fact, it was made up rust

T of the house turned up, listing a portrait of a out of whole cloth. Yet it has since passed into “Mrs. Penniscott.” (Even that might be a mis- popular histories and the pages of The New ational identification, taken from the name of the Rev. York Times. Unlike the origin of Squanto’s bo- © N William Pennicott, an 18th century collector of gus double-kidnapping, in over-interpretation Portrait called Mrs. Penobscot (or, Mrs. Pennicott) th in the manner of Daniel Mytens,(c.1590-1747) in early English portraits.) of a 17 century editorial blunder, the myth of the Tapestry Room at the Vyne, post conservation. It wouldn’t be the only time the English the abduction of Mrs. Penobscot is simply the Property name The Vyne County Hampshire England. have struggled with Indian names. We reported invention of a 20th century caption writer.

“They will eyther Convert them or by pressure increased, Stoneman finally received What did finally happen to these two of Famine Confounde them for they ar almost a warning from a friendly Dutch merchant. the Mawooshin Five? Gorges reports that he Starved already.” The Dutchman had learned from a local finally “recovered” Assacomoit, possibly when As months dragged on, diplomats at the judge, said Stoneman, “that the Spaniards the Spanish released the rest of the crew. His highest levels debated free access to the Indies had a great hate unto me above all others, “old servant” returned to his household and and the Richard’s crew complained from the because they understood that I had beene a helped him debrief a new captive, the famed prison in Seville that they had been forgotten. former Discoverer in Virginia, at the bring- Epenow from Martha’s Vineyard. Gorges adds But there were hints of a deeper game behind ing into England of those Savages.” Because a convincing detail: the two had difficulty un- the delay, with the Abenaki as a prize. Stone- he wouldn’t enter their service or give them derstanding each other at first, since they spoke man, the pilot, wrote that after three months any useful information, they now planned different dialects, albeit of the same language. he won some freedom for his mates as the to put him to torture. Rather than “stand to In 1614, according to Gorges, Assacomoit sailed Spanish realized the extent of his experience in their mercie on the Racke,” Stoneman and with the ship that returned Epenow to Martha’s “North Virginia.” As a veteran of Waymouth’s two of his companions fled from Seville the Vinyard, but that is another story. expedition, he might have been a target of the next morning, leaving Challons, the rest of the We simply don’t know what happened to earlier plot that Rosier had mentioned. As a crew and the Indians behind. Maniddo. But perhaps some day a debriefing captive, he was now under intense pressure. With these stakes in play, it seems unlikely file will emerge from the depths of the Spanish “The Spaniards were very desirous to have me that the Spaniards had simply seized Maniddo archives with news about his fate. serve their state, and proffered me great wages, and Assacomoit for galley slaves. In fact, they which I refused to doe.” had already indicated to Challons that they Seville merchants and officials asked him planned to convert, or reconvert, the Abenaki. to make “descriptions and Maps of the Coast It is very likely the Spanish government also E and parts of Virginia,” he wrote, “which I also meant to exploit them for intelligence, as the refused to doe.” In and out of prison as the English had done.

SMITHSONIAN INSTITUTION 39 Alien Abductions

RETuRN TO SAGADOHOC count) was waiting to meet them. Skicowaros to-face meeting with the great chief never (or Skidwarres) arrived with Popham and Gil- happened. he seizure of the Richard was a major bert and translated for them. Reporting to the King’s minister in Febru- loss for Gorges, but Lord Chief Jus- In the year since his homecoming, Nah- ary 1608, in an apology for the poor return tice Popham was determined to push anendo had regained his leadership position in from Sagadohoc, Gorges blamed the Abenaki forward. Shortly after Challons sailed, his tribe. He now played a crucial, if ambigu- returnees. “They shew themselves exceeding Pophamt dispatched his own ship to resupply ous role, in relations with the new settlement. subtill and cunning, concealing from us the the projected colony. Challons wasn’t at the George Popham reported to King James that places, wheare they have the commodityes we rendezvous, so the ship explored the coast and Nahanendo had spread word among the Na- seeke for, and if they fi nd any, that hath prom- chose a site, Sagadohoc, for the colony. tives about the King’s virtues, so that “among ised to bringe us to it, those that came out of This expedition, led by Thomas Hanham the Virginians and Moassons [Mawooshins] England instantly carry them away, and will and Martin Pring, was highly important but there is no one in the world more admired.” Na- not suffer them to com neere us any more.” we know little of its details. The travel anthol- hanendo apparently was fi ghting a propaganda If Nahanendo had learned in England that ogist Samuel Purchas said he had prepared campaign against the local deity Tanto, “an the settlers needed to show a profi t to make Hanham’s journal for publication but left it evill spirit which haunts them every Moone.” the colony last, he had calculated shrewdly out to save space. It has since disappeared. Tanto’s adherents were warning the tribesmen and successfully. Three deaths eliminated the We can deduce, however, that Hanham had not to have dealings with the English. colony’s leadership, those of Justice Popham returned Nahanendo home. But Nahanendo was playing a double in England, George Popham in Maine and The colonial expedition proper, led by game in his own dealings with the colony, the older brother of Raleigh Gilbert, which Captain George Popham (nephew of the or so Gorges ultimately concluded. Nah- gave him an inheritance to go home to claim. Chief Justice) and Raleigh Gilbert (son of the anendo and Skidwarres promised rich trade Discouraged by the poor payoff, internal dis- famous Humphrey) arrived in Maine the next with the Bashebas, and produced several sension and a bitingly cold winter, the Sagado- year, 1607. Nahanendo (or Nahanada, in its ac- high-level relatives of the chief, but a face- hoc settlers packed up and went home. The Popham interests continued to send ships to trade, but for a while longer the Natives con- trolled the terrain. DID THE ABDuCTIONS WORK? Nothing is Funny The strategy of kidnapping Natives might have reached a peak with the Mawooshin About Not Having Five, but it showed itself to be double-edged. Waymouth’s captives did provide extensive in- Health Insurance Mitch Factor formation and linguistic skills that smoothed Father, Comedian, Insured contact with the English. Ten years later, John Smith listed as one of his colonizing assets “my “Juggling a career as a comedian and as a parent is acquaintance with Dohoday [another permu- one thing. Trying to do it without health insurance is tation on Nahanendo], one of their greatest another. To travel and perform with peace of mind, I Lords, who had lived long in England.” But needed health coverage for myself and my family. I the Abenaki also learned signifi cant lessons about the English. Above all they learned what went online and signed up. It was easy! Get informed. the English wanted from their settlement at Sign up like I did. Isn’t it time to get the peace of mind Sagadohoc, and how to frustrate it. you deserve?” As Europeans were rapidly learning, a signifi cant portion of their repatriated abduct- Visit www.healthcare.gov/tribal, call 1-800-318-2596, ees, like Epenow, emerged as implacable and or visit your Indian health care provider. well-informed enemies. Although perhaps not as subtle as Nahanendo in attacking the economics of the colonial ventures, abductees @CMSGov up and down the coast became the core of #CMSNativeHealth resistance to the intruders. X James Ring Adams is senior historian at the National Museum of the American Indian – Smithsonian and managing editor of American Indian magazine. 40 AMERICAN INDIAN FALL 2015 Once is Enough The Bogus Double Kidnapping of Squanto/Tisquantum

quanto (or more precisely them Manida and Skettwarrows. and adds is plausible in the sense that Sir Ferdinando’s Tisquantum), the English-speak- Tasquantum to the list, even though the latter faculties must have declined even more sharply ing Patuxet Indian, famously is totally absent from Rosier’s report. This last after his death. This account was not published helped save the Puritan settle- clearly garbled statement is the sole evidence until 1659, in a posthumous edition supervised ment in New Plimoth in 1621. for Squanto’s supposed first abduction. And the by his grandson, also named Ferdinando. SHe learned English and about the English as entire publication is problematic. It’s not even certain that the original Sir the victim of a kidnapping in 1614 in a rogue Gorges wrote two histories of his American Ferdinando wrote the conflated sentence, since slaving raid by Captain Thomas Hunt. ventures, confusingly called the “Brief Relation” his handwritten version of the book has not Hunt was part of the New England explora- (published in 1622) and the “Brief Narration” survived. And this publication was troubled in tion led by Captain John Smith, but the slaving (published in 1659.) The 1622 account, dealing other aspects. venture was his own idea, and he was roundly with Gorges’ personal involvement, picks up This posthumous narration was published denounced for ruining English relations with the story in 1606, with the Richard affair. as the third of four tracts in a single volume the Cape Cod tribes. Tisquantum was one of 27 Tisquantum or Squanto is not mentioned in any entitled America Painted to the Life (See title Natives who were taken to Spain to be sold. account of the affair. page on p. 33 ). The first tract was a history After redemption of Spanish misdeeds by in Spain by “the friars,” “The misattribution was scandalous the younger Gorges, but Tisquantum wound up in enoughthat Ferdinando the grandson the second, attributed England as house guest apologized for it publically in a newspaper to Sir Ferdinando, was of one Thomas Slanie, a previously published merchant and investor in ad the year after. Young Ferdinando, the work by another author. a settlement in New- putative editor, declared himself ‘injured’ (The fourth tract was a foundland. Tisquantum by the conduct of the publisher.” remaindered work by yet joined the colony of Cu- another writer, that the pid’s Cove as interpreter printer threw in for good and for his services was given passage home But Tisquantum does appear two pages measure.) The misattribution was scandal- to Patuxet. The kidnapping by Hunt and what later in Gorges’s 1622 book, in an accurate ous enough that Ferdinando the grandson followed are well documented. account of his abduction in 1614 by Captain apologized for it publically in a newspaper ad But there is an often-told tale, wide- Hunt. It is clear from the context that he has the year after. Young Ferdinando, the puta- spread on the Internet, that Tisquantum was no connection with the group brought over in tive editor, declared himself “injured” by the also one of five Natives kidnapped in Maine 1605 or the two sent back with Captain Chal- conduct of the publisher. We have to wonder by the Waymouth expedition of 1605. This lons. Gorges wrote, “Notwithstanding these how carefully he supervised any part of the would give him the singular distinction of disasters [the seizure of the Richard], it pleased publication. Was the conflation of Tisquantum having been abducted by aliens twice. But God so to worke for our encouragement again, with Waymouth’s captives the fault of sloppy the earlier kidnapping by Waymouth quite as hee sent into our hands Tasqantum, one of editing, or even the error of a printer confused certainly never happened. those salvages that formerly had been betrayed by all the strange names? The confusion comes from one sentence. by this unworthy Hunt before named.” Either way, we must conclude that the Two of Waymouth’s victims wound up as The conflation of Tisquantum with the first supposed first kidnapping of Tisquantum “guests” of Sir Ferdinando Gorges, commander group of captives comes at least two decades never happened. None of the first-hand of the fort at Plymouth, England. (See main later, when Gorges wrote his second book, or sources support it. The tale is a historian’s article.) We know their names from reports of even later than that, when the book was finally extrapolation based solely on one conflated the expedition written by James Rosier and in published. Many writers attribute the confusion sentence in an unreliably edited publication. recognizable variants in Gorges’ contemporary to Gorges’ declining memory. The manuscript, The tale should remind us of the dangers of account – Manedo and Assacomoit. But in a they assume, must have been written after relying uncritically on the Internet and on late-in-life memoir, Gorges (or an editor) calls 1640, when he was in his 70s. This argument written histories themselves.

SMITHSONIAN INSTITUTION 41 By Laurence M. Hauptman

THEY ALSO SERVED American Indian Women in the War of 1812

ome of the most famous members Dolly, the wife of Oneida war hero Captain cially serving as “cooks”: Polly Cooper, Susan of the Haudenosaunee (Iroquois) Honyere (Han Yerry Tewahgaraahken, also Jacob(s), Dinah John, Julia John and Dolly Confederacy fought on opposing known as Doxtater) fought alongside Oneida Schenandoah (there are at least five other sides during the War of 1812, a warriors at the Battle of Oriskany, “using her spellings of the latter’s surname: Skanando- conflict that proved, much like gun to good advantage. When her husband be- ah, Scanandoa, Scananadoah, Schanandoah the American Revolution, to be came wounded in the right wrist, she loaded his and Skenandoah). anotherS disastrous civil war for Six Nations gun for him and continued to fire her own gun Polly Cooper, perhaps a relative of the people. What is not known about the war was when not busy assisting her husband.” With the legendary Oneida heroine of the American the presence of Six Nations women in Ameri- heavy combat on the Niagara Frontier during Revolution who had the same name, enlisted can military service. the War of 1812, it is not far-fetched to suggest as a 31-year-old for three-months’ service in In 1985, while undertaking research for that Iroquois women were more than “cooks” September 1813, in a regiment of “Indian vol- several publications on American Indian during the war. The presence of one extraor- unteers” headed by Captain Peter Elm under military history, I found references to Native dinary woman in particular, Dinah John, also the overall command of Seneca Chief Farm- women who participated in the War of 1812. suggests something else. er’s Brother. Later, in 1857, she sought $53 These women were classified as “cooks” in the Arthur C. Parker, the noted museologist compensation for a hat, one pair of leggings, pension records of the War of 1812. Yet, it of Seneca ancestry, claimed that 15 Native should be noted that Haudenosaunee women women, from New York served in the War of had fought in combat and did participate in 1812. According to records in the New York supply capacities in the American Revolution. State Archives, five of these women or their According to historian Barbara Graymont, families received military pensions for offi- E 42 AMERICAN INDIAN FALL 2015 Aunt Dinah John, by Phillip S. Ryder, Syracuse photographer, charcoal on photograph. Onondaga Historical Association, Syracuse, NY. Courtesy of the Onondaga Historical Association, 1876, 33 5/8" x 48 11/16". THEY ALSO SERVED sociation s A istorical H a g nonda y O tes our C hoto P SMITHSONIAN INSTITUTION 43 from Allegany to the Niagara Frontier, a much lower reimbursement rate than either Cooper or Schenandoah. At least two Onondaga women also served, Susan Jacob(s) and Dinah John. Jacob(s), a 20-year-old Onondaga from the Buffalo Creek Reservation, enlisted for three-months’ service in a regiment headed by Ut-ha-wah, Captain Cold (Cole), the most eminent On- ondaga chief at Buffalo Creek, under the overall command of Farmer’s Brother. The most famous of these five women pensioners, Dinah John, was one of the most prominent Iroquois women of the 19th century. A leading Onondaga basketmaker and potter, she was one of the first Iroquois women depicted in portraiture. In 1876, Phil- ip S. Ryder photographed her, and a painted copy of the print now hangs in the Onondaga Historical Association in Syracuse. Ryder’s popular photograph of this Onondaga cen- tenarian was widely distributed throughout central New York. The image showed Dinah as a shriveled old woman, seated in her rocking chair with a cane in her left hand. Widely known in the non-Indian world as “Aunt Dinah,” she was frequently men- y tioned in accounts of the period. Although

Galler she had no official birth certificate, Thomas

rt Donaldson in his Six Nations of New York, a y A y federal census publication of 1892, estimated

niversit the age of the Onondaga elder and described U her extraordinary vitality: “Old Aunt Dinah, ale Y y who died at the age of 107, on the Onondaga reservation, is kindly remembered by the courtes citizens of Syracuse, as well as by her own Captain Cold, or Ut-ha-wah (died 1845). one dress, two blankets, one pair of mocca- people. After the age of 90, she walked seven Principal Onondaga chief on the Buffalo Creek sins and one neckerchief. In her request, she miles to the city and back.” When she died Reservation during the War of 1812. Artist: William sought $22 in compensation for 400 miles of on May 26, 1883, Iroquois and non-Indians John Wilgus, American, (1819 - 1853). 1838. Oil on canvas. 40" x 30". Gift of de Lancey Kountze, B.A. transportation, back and forth from the Onei- both honored her, and, in July of the same 1899 1939.39. da Reservation to the Niagara Frontier. Dolly year, they dedicated a five-foot limestone Schenandoah, an Oneida aged 29, enlisted statue to her memory. for three-months’ service in June 1813, in the Dinah was born Ta-wah-ta-whejah-quan, same regiment of Indian volunteers. Later, “the earth that upholds itself,” at Onondaga after her death in 1837, Schenandoah’s rela- in the late 1770s or early 1780s, and possibly tives sought $38 compensation. They asked as early as 1774. Some sources claim that she $10 for round-trip travel expenses for the 400 was old enough to remember Colonel Goose miles from Oneida to Buffalo, less than half Van Schaick’s military expedition during the the travel expenses filed by Cooper. American Revolution that destroyed the On- Julia John, a 25-year-old Seneca from ondaga villages in 1779. Some also claim that the Allegany Indian Reservation, enlisted as a child she met George Washington on the in December 1813, in a regiment of Indian General’s trip to Rome, N.Y., in 1788. Either volunteers headed by Governor Blacksnake, in the 1790s or in the early years of the 19th the noted Allegany Seneca Chief, under the century, she married Thomas John. overall command of Farmer’s Brother. Unlike In the summer of 1812, the Onondagas in the previous two women, Julia John enlisted central New York, allied with the United States for one-year service. She later sought $46 in since the federal Treaty of Canandaigua of compensation, but only $4 in round-trip 1794, joined in with the Americans against the transportation expenses for the 140 miles British. Sadly, Haudenosaunee from New York

44 AMERICAN INDIAN FALL 2015 , INC. ewiston L of

sociation s A istorical H of y courtes , carpenter

william y b

hoto P The Tuscarora Heroes Monument in Lewiston, N.Y., Susan Geissler, sculptor. On Dec. 19, 1813, the village of Lewiston faced a devastating assault by a joint British-Mohawk force which had just captured Fort Niagara. The only effective resistance came from local Tuscarora tribesmen, outnumbered by 30 to 1, who managed to divert the attack and escort dozens of villagers to safety. This monument was erected by the Historical Association of Lewiston for the bicentennial of the battle. found themselves facing off against British- the New York State Legislature in 1878 for her At a time when white civic leaders in cen- allied Haudenosaunee from the Six Nations military service, just five years before her death. tral New York and Albany politicians were Reserve in Ontario. In the war, Thomas John She was awarded an $8 per month pension as still labeling the Onondagas as “savages,” served for more than two years in two dif- well as a lump sum payment of $400. describing reservation life as “depraved” and ferent units, in Tall John’s company of New Her pension had been denied for more urging the replacement of the traditional York Indians and with Ut-ha-wa’s company than 20 years by the Federal Bureau of Pen- council of chiefs with an elected system, John of New York Militia. He fought at three major sions since, among other reasons, she had became the noble exception, the vanishing battles – the battles of Chippawa, Fort Erie refused to take an oath of allegiance to the “full blood,” the friendly native woman with and Lundy’s Lane, in which he was wounded. United States. Like other sovereignty-mind- artistic, entrepreneurial and social skills who His wife Dinah accompanied him for a part of ed Onondagas, her allegiance was first and was allowed to freely enter the white space of his enlistment time. foremost to the Haudenosaunee, although Syracuse’s downtown commercial center. When her husband returned from war, the she considered her Native peoples allies of By 1880, when she became blind, infirm Johns settled in their home, a one-and-a-half the United States and was willing to serve as and housebound, her failing condition be- story house that was just south of the council a volunteer. came major news even for the Syracuse news- house on the reservation. There she raised two The Onondaga elder was able to navigate papers. At the time of her death on May 26, children, a son named Abram and a daughter, herself through both the Iroquois world and 1883, Dinah John was anywhere between 99 Elizabeth Tallchief George. Along with her the white man’s space of Syracuse and beyond. and 109 years of age. In death, she remained famous Onondaga contemporary and friend, Even though she remained an Onondaga con- true to her Onondaga ways. Her funeral pro- Captain Samuel George, Wolf clan chief and servative to the end of her life, she became cession went from a Syracuse funeral parlor keeper of the wampum, she was rooted in On- “Aunt Dinah” to whites in central New York. directly to the council house, followed by the ondaga traditions, but she understood that the She used her gentle demeanor, advanced age, Methodist chapel and cemetery. X world around her was rapidly changing. Later, gender and merchandising skills to win favor Laurence M. Hauptman is SUNY Distinguished Professor after two decades of incredible persistence, and sell her handicrafts in Syracuse’s central Emeritus of History. she was finally able to secure a pension from commercial district. SMITHSONIAN INSTITUTION 45 ...... INSIDE NMAI

commemorate the lives of the deceased and welcome the return of their spirits. Skulls are used to symbolize death and rebirth. The fes- THE DAY OF THE tival was first held during the Aztec summer, but after the Spanish arrived, the celebration BY CLAUDIA LIMA was moved to the fall to correspond with the Catholic holidays called All Saints’ Day and DEAD All Souls’ Day. As a result of this cultural mixing, modern Mexicans commemorate their deceased ancestors by visiting their graves and decorating the tombs with colorful flowers and candles. “Day of the Dead is an excellent teaching opportunity for the Museum,” said Gaetana DeGennaro (Tohono O’odham), the Re- source Center manager for the National Museum of the American Indian’s George Gustav Heye Center in New York. “The activities we have designed are very interactive. People often tend to think that this is something only for children, but adults will also find that they can take part in the events, have some fun and learn cultural facts that enrich the experience.” It is believed that during Dia de los Muertos the souls of the dead return to visit their living relatives. This is a reason for a big celebration. The main focus of these fes- tivities is a vibrantly decorated altar called an ofrenda. The purpose of this altar is to welcome the souls returning home to their families. The altar consists of many significant objects, such as pictures of the loved ones, religious items and the four elements: water, wind, fire and earth. Many traditions and customs are based on observance, and the different regions of Mexico may attribute diverse significance to the objects commonly found at ofrendas. Throughout the festival, staff and special guests of the museums in New York and An ofrenda on display at the National Museum of the American Indian - New York. Washington, D.C., describe and illustrate different indigenous beliefs and guide visitors as ative peoples consider death as During the Day of the Dead, indigenous they design their own pieces for the ofrendas. the continuance of life. Death people honor their deceased loved ones. This The Smithsonian’s National Museum of does not mean the end of one’s unique festival has at least 3,000 years of tra- the American Indian will host the Day of the life but rather a creation of a dition behind it. Many other peoples in South Dead at the Museum on the National Mall in new one. So every year, on the America, as well as some American Indian Washington, D.C., on October 31 and No- first and second day of Novem- and several Mexican–American communities vember 1, and in New York City on October ber, many communities celebrate the Dia de in the United States, now celebrate it. 31. For more information please visit Ameri- N los Muertos, a custom from Central America Rather than grieve over the loss of a canIndian.si.edu. X associated primarily with Mexico, especially much-loved family member or a friend, in- Claudia Lima is a former intern of the Museum’s Office of central and southern Mexico. digenous groups of Mesoamerica chose to Public Affairs. 46 AMERICAN INDIAN FALL 2015 tevens S

A member of the Native dance group Cetiliztli oshua y J b Nauhcampa Quetzalcoátl in Ixachitlán performs during Day of the Dead at the National Museum of hotos the American Indian - New York. P

SMITHSONIAN INSTITUTION 47 ...... INSIDE NMAI

Best Face Forward Me ryl McMaster: Second Self By J OSHUA STEVENS y

Meryl McMaster, Meryl 2, 2010. ontemporar Digital Chromogenic Print, C man

36" x 36". z t a K and

tist ar

the

of y tes our E C G IMA

48 AMERICAN INDIAN FALL 2015 hrough social interaction, people make decisions about their self-identity that have consequences on the perception others make of them. The Canadian artist Meryl McMaster (Plains Cree Member of the Siksika Nation) reflects this concept in her portrait collection Second Self. T The collection, now on view at the National Museum of the Ameri- can Indian in New York, explores questions of how people construct their sense of self through lineage, history and culture. Second Self represents the complexities of identity; the drawings and sculptures act like masks or personas to conceal and change the individual. It was first exhibited in 2013 when McMaster was selected for the RED: Eiteljorg Contemporary Art Fellowship, a biennial program of the Eiteljorg Mu- seum in Indianapolis. tist

“I began this series being interested in exploring the challenges of ar

the accurately representing identity through portraiture and, similarly, in of first impressions when you meet someone,” says McMaster. “This series y is also an observation on both traditional and modern portraiture; the tes subject is often depicted in a way that emphasizes their desired pro- our jected self.” PHOTO C PHOTO The artist points to social media as a “vivid example” of a platform where people create a digital performance of themselves, but then make “I have found that it better it difficult for others to accurately gauge a person’s truer self. suits my practice to combine McMaster says, “In Second Self, the images feature two constructions – the subjects’ bust and the sculpture of the subjects’ blind-contour multiple media,” she says. self-portrait. I would like viewers to consider which of these is the more “My resulting works take accurate representation of the subjects’ inner self. The answer is not advantage of both the necessarily clear.” The image Meryl 2, a self-portrait of the artist, has become a ban- spontaneity of photography ner image for the exhibition during its current run at the Museum. It and the systematic craft of features McMaster in a serious, contemplative gaze looking directly at other media, namely sculpture.” the camera while pulling a wire sculpture that hangs over her head. She explains that the image is meant to portray the attempt to “tear away” and “warp” the construction that has been built around her, a possible representation of the “desire to shed these protective social masks or personas.” Growing up, McMaster found a love of photography from interact- ing with her family, most notably her parents and great-grandfather, who experimented with photographic techniques and portraiture. By the time she was in high school, her interest solidified and she discovered artistic influences in works by many different artists, including Cindy Sherman, Man Ray and Frida Kahlo. Later, the work of New York Times illustrator Saul Steinberg in Le Masque proved invaluable as a source of inspiration for Second Self. Her work often utilizes a mixed-media approach, something she began to hone while attending OCAD University in Toronto, Ont. “I have found that it better suits my practice to combine multiple media,” she says. “My resulting works take advantage of both the spontaneity of photography and the systematic craft of other media, namely sculpture. Nowadays I don’t find myself looking at any one artist or

SMITHSONIAN INSTITUTION 49 ...... INSIDE NMAI tevens S oshua y J b Close-up of Meryl 1. hoto P medium. I have taken inspiration from not just art but documentaries, radio programs, books, etc.” The viewer’s experience of McMaster’s work is top of mind for the artist. A main goal for her is to provide surreal, “dreamlike imagery.” By creating a synergy between the photography and the other media she uses, she hopes to give viewers the opportunity to “become lost within their own thoughts and transported out of ordinary life.” McMaster’s exhibition has continued a legacy within the Museum. Her father, Gerald McMaster (Plains Cree Member of the Siksika Na- tion) worked on many projects for the organization, including cura- tion of two exhibitions. She says that it’s “pretty cool” to be showing her work in a place she remembers visiting with her parents as a child. Currently, McMaster is working on a new project called Wanderings for tevens the Museum of Contemporary Native Arts in Santa Fe, N.M. S

Meryl McMaster: Second Self runs through Dec. 11, 2015 in the Mu- oshua y J b seum’s second floor Photo Gallery. Experience the exhibition the artist

says “speaks to the challenge of exploring the self within today’s society hoto P and the exploration of identity that is always in progress.” X Joshua Stevens is public affairs specialist for the National Museum of the American Indian.

50 AMERICAN INDIAN FALL 2015 ...... INSIDE NMAI marajoara masters By Claudia Lima arrimore L ter al y W b

hoto P

Marajo Jar, AD 400–1300. Island of Marajo, Brazil. Clay, Slip; 61/3" x 71/2". National Museum of the American Indian, Smithsonian Institution (24/1938).

arajoara ceramics rep- The ceramics produced between AD 600 and archaeological work over the last two decades. resent one of the oldest, 1200 are the most studied. The carved and The Pre-Columbian Society of Washington, most detail-oriented embossed lines have been shown to represent D.C., will present a major overview of this forms of art found in social classes in the Marajoara culture. Some new understanding in its September seminar Brazil. The Marajoara of the objects had human and animal forms. “Amazonia and the Making of the Andean nation created incred- Complex techniques were used for the World” to be held September 26 at the U.S. ibly sophisticated bowls, vessels made for rituals. The standardization Navy Memorial & Naval Heritage Center, 701 jars, plates, cups, burial urns, jewelry, figurines suggests fabrication by ceramics specialists. Pennsylvania Ave. N.W., Washington, D.C. M and other items. Perhaps most well-known for The Marajoara culture occupied the This jar is a part of the exhibition Infinity its symmetry with deep lines, the Marajoara Marajo Island in the mouth of the Amazon of Nations, and can be currently seen at the culture also used sharply contrasting colors, River between AD 400 and 1300. The indig- National Museum of the American Indian in such as white, red and black. The Marajo jar enous peoples around the river had great New York City. X shown here is a ceremonial piece. communication skills and kept up continuous Claudia Lima is a former intern of the Museum’s Office of Amazonian peoples have a highly devel- exchange of materials. Still today, their culture Public Affairs. oped knowledge of ceramics. Studies show is strongly represented in northern Brazil. that the Marajoara culture used seashell The traditional view of Amazonia as a powder and tree bark powder mixed with refuge for primitive hunters and gatherers clay to increase the durability of the artifacts. has come under serious challenge thanks to

SMITHSONIAN INSTITUTION 51 exhibitions + EVENTS CAlendar september/October/november 2015

Smithsonian’s National EXHIBITIONS: Museum oF the American Indian ON THE NATIONAL MALL IN WASHINGTON, D.C.

WASHINGTON EXHIBITIONS Our Universes: Traditional Knowledge Shaping Our World As We Grow: Traditions, Toys and Games Window on Collections: Many Hands, Many Voices erderosa V Return to a Native Place: ulia y J b

Algonquian Peoples of the Chesapeake hoto P Kay WalkingStick: Kay WalkingStick in her studio, Easton, Pa, 2014. An American Artist Opens Nov. 7, 2015 Commemorating Controversy: Society, the Minnesota Humanities Center, the The Dakota–U.S. War of 1862 Minnesota Historical Society and the people Commemorating Through Dec. 29, 2015 of Minnesota through a grant supported by The Controversy: Sealaska Gallery, Second Level an appropriation to the Minnesota Historical Dakota—U.S. War of 1862 In the late summer of 1862, a war raged Society from the Minnesota Arts and Cultural Through Dec. 29, 2015 across southern Minnesota between Dakota Heritage Fund. Nation to Nation: akicitas (warriors) and the U.S. military and Treaties Between the immigrant settlers. In the end, hundreds were Nation to Nation: Treaties Between United States and dead and thousands more would lose their the United States and American American Indian Nations homes forever. On Dec. 26, 1862, 38 Dakota Indian Nations Through Fall 2018 men were hung in Mankato, Minn., by order Through Fall 2018, Fourth Level The Great Inka Road: of President Abraham Lincoln, the largest Nation to Nation examines treaty-making Engineering an Empire mass execution in United States history. The between American Indians and European Through June 2018 bloodshed of 1862 and its aftermath left deep powers, and between American Indians and wounds that have yet to heal. What happened the nascent United States, when those treaties 150 years ago continues to matter today. were serious diplomatic nation-to-nation Commemorating Controversy: The Dakota– agreements based on the recognition of each U.S. War of 1862 – an exhibition of 12 panels nation’s sovereignty. The exhibition then ex- exploring the causes, voices, events and long- amines the shift in U.S. policy toward Indians lasting consequences of the conflict – was and the way the United States subsequently produced by students at Gustavus Adolphus used treaties to gain land as it expanded College, in conjunction with the Nicollet westward. The exhibition ends by examining County Historical Society. important 20th century legislation upholding The project was funded by Gustavus Adol- American Indian treaty rights. phus College, the Nicollet County Historical

52 AMERICAN INDIAN FALL 2015 nsitution I mithsonian , S amison J lex y b

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Kay WalkingStick. Sakajeweha: Leader of Men, 1976. Acrylic, saponified wax, and ink on canvas, 72" x 96". Collection of the New Jersey State Museum, gift of the artist in memory of R. Michael Echols. FA1992.25.

More than 125 objects from the Museum’s ments in history. A network nearly 25,000 of the Inka world and the legacy of the Inka collection and other lenders, including origi- miles long, crossing mountains and tropical Empire during the colonial period and in the nal treaties, archival photographs, wampum lowlands, rivers and deserts, the Inka Road present day. Through images, maps, models belts, textiles, baskets and peace medals will linked Cusco, the administrative capital and 140 objects, including a ceramic Chavin be featured. and spiritual center of the Inka world, to stirrup spout bottle (the oldest item in the An original treaty, on loan from the the farthest reaches of its empire. The road exhibition, ca. 800–100 B.C.), impressive gold National Archives for six months, will be continues to serve contemporary Andean ornaments, necklaces made from shells from installed in the exhibition through Febru- communities across Argentina, Bolivia, Chile, the Lambayeque region, stone carvings, silver ary 2016: Horse Creek Treaty (The Great Colombia, Ecuador and Peru and as a sacred pendants and figurines and various textiles Smoke; Fort Laramie Treaty; Treaty of Long space and symbol of cultural continuity. In made from camelid hair, the items illustrate Meadows) among the Arapaho, Arikara, As- 2014, the United Nations cultural agency, important concepts found throughout siniboine, Cheyenne, Crow, Hidatsa, Mandan UNESCO, recognized the Inka Road as a Andean culture. and Sioux Nations and with the United World Heritage site. States, 1851. The Great Inka Road: Engineering an Kay WalkingStick: Empire explores the foundations of the Inka An American Artist The Great Inka Road: Road in earlier Andean cultures, technolo- Nov. 7, 2015 – Sept. 18, 2016 Engineering an Empire gies that made building the road possible, Third Level Gallery Through June 1, 2018, Third Level the cosmology, the principles of duality, Kay WalkingStick: An American Artist is the Construction of the Inka Road stands as one reciprocity and integration of infrastructure first major retrospective of the artistic career of the monumental engineering achieve- and spirituality and political organization of Kay WalkingStick (b. 1935), an enrolled

SMITHSONIAN INSTITUTION 53 exhibitions + EVENTS CAlendar september/October/november 2015

Margaret Archuleta (Tewa/Hispanic), Jessica Horton, Robert Houle (Saulteaux), Lucy Lippard, Erica WalkingStick Echols Lowry (Cherokee), Miles Miller (Yakama/Nez Perce), Kate Morris, Judith Ostrowitz, Lisa Seppi and Kay WalkingStick herself. The publication Kay WalkingStick; An American Artist (National Museum of the American Indian, Washington, D.C.: 2015), distributed by Smithsonian Books.

PUBLIC PROGRAMS:

Hispanic Heritage Month Celebrates “The Great Inka Road” Sunday, Sept. 13 10 a.m. – 5 p.m. ionstar Museum-wide L This bilingual family day will include music, ichael dance and hands-on activities that highlight y M b the Inka contributions and legacy in the arts hoto

P and sciences in both the Pre-Columbian and Join best-selling journalist and author member of the Cherokee Nation and one of contemporary areas. Visitors will participate Charles C. Mann. the world’s most celebrated artists of Native in creating weavings like those used to create ancestry. Featuring more than 75 of her most the amazing suspension bridges in Peru, notable paintings, drawings, small sculptures, work with wayruro seeds to create their own notebooks and the diptychs for which she is bracelet, enjoy contemporary and tradi- best known, the exhibition traces her career tional Andean music and dance and make an over more than four decades and culminates Andean-inspired gold pendant or decorate with her recent paintings of monumental a clay pendant based on the animals in the landscapes and Native places. Her distinc- exhibition. A pop-up planetarium will show- tive approach to painting emerged from the case the unique constellations of the Andean cauldron of the New York art world, poised culture. The day will be full of Andean music between late modernism and postmodern- and dance. ism of the 1960s and 1970s. Over decades Co-sponsored by the National Air & Space of intense and prolific artistic production, Museum’s Udvar-Hazy Center, Smithsonian she sought spiritual truth through the acts Institution Traveling Exhibition Service and of painting and metaphysical reflection. the Smithsonian Latino Center. Organized chronologically around themes that mark her artistic journey, Kay Walk- An Evening with Charles Mann ingStick: An American Artist traces a path of Thursday, Sept. 24 constant invention, innovation and evolving 6 p.m. artistic and personal growth through visually Rasmuson Theater brilliant and evocative works of art. Spend an evening with best-selling journalist The exhibition is co-curated by NMAI and author Charles C. Mann in a conversa- curator Kathleen Ash-Milby (Navajo) and tion with Museum Director Kevin Gover. associate director David W. Penney, in close Mann won the U.S. National Academy of collaboration with the artist. Ash-Milby and Sciences Keck Award for “Book of the Year” Penney are also co-editors and authors of a for his groundbreaking 1491: New Revelations substantial companion catalogue, the first of the Americas Before Columbus. A cor- of its kind, which also features writings by respondent for The Atlantic Monthly, Science and Wired, Mann has covered the intersec- 54 AMERICAN INDIAN FALL 2015 avis L es y a y H b

hoto P tion of science, technology and commerce for program. This colorful celebration of life Playing Comanche hand games during many newspapers and magazines in the U.S. includes food demonstrations by the the Comanche festival. and abroad. Museum’s Mitsitam Native Foods Cafe and a cultural presentation of La Danza Choctaw Nation Festival: de los Tecuanes (Dance of the Jaguars and We Are Here Dance of the Old Men). Learn how to Friday, Oct. 2 and Saturday, Oct. 3 create papel picado butterflies, marigolds 10 a.m. – 5 p.m. and sugar skulls. Museum-wide Co-sponsored by the Smithsonian The Choctaw Nation of Oklahoma presents Latino Center. a tribal festival, We Are Here! This two-day festival highlights Choctaw culture through SYMPOSIUM a variety of events that include music, dance Seizing the Sky: Redefining and cultural demonstrations. American Art Thursday, Nov. 5 Dia de los Muertos: Rasmuson Theater Day of the Dead Seizing the Sky celebrates Kay WalkingStick Saturday, Oct. 31 and Sunday, Nov. 1 and considers her renowned work as a 10 a.m. – 5 p.m. launching point for a fresh perspective and Museum-wide dialogue about contemporary American The migration of the monarch butterflies art. Speakers from diverse viewpoints and home to Mexico is believed by many com- backgrounds will discuss how WalkingStick munities to be the spirits of their ancestors and other Native artists are redefining art returning and marks the start of the Dia de in America. los Muertos, or Day of the Dead. Join the A reception and preview of the exhibition Museum in its annual Dia de los Muertos will follow. CONTINUED E

SMITHSONIAN INSTITUTION 55 Ceramics! A Native American families to make bracelets shields and mini Heritage Month Celebration tipis, films and more. On Friday, Nov. 27, Saturday, Nov. 14 and Sunday, Nov. 15 celebrate Native American Heritage Day with 10 a.m. – 5 p.m. the Museum and the Comanche Nation. Museum-wide Experience a unique opportunity to see how Native Art Market Native communities express themselves Saturday, Dec. 5 and Sunday, Dec. 6 through clay. Visitors will explore various Washington, D.C. pottery techniques, such as the Cherokee 10 a.m. – 5:30 p.m. tradition of decorating clay vessels with Potomac Atrium carved paddles, hear the story behind the Pueblo storyteller figurines and discover how New York City clay can protect seeds, how clay is used for 10 a.m. – 5 p.m. cooking and much more! Diker Pavilion The Native Art Market – held in both Comanche Nation Festival Washington, D.C., and New York City – offers Thursday, Nov. 26 – Saturday, Nov. 28 one of a kind, handmade, traditional and 10 a.m. – 5:30 p.m. contemporary items created by Native artists. Museum-wide More than 35 Native artists from North and The Comanche Nation from Oklahoma will South America will participate in this annual present a three-day festival featuring their rich weekend market featuring a wide selection of culture and heritage through dance perfor- items for purchase, including handmade jew- mances, singing, storytelling, demonstrations elry, beadwork, pottery, prints and sculpture. of shawl-making, beadwork, bow and arrow making, hands-on activities for kids and

56 AMERICAN INDIAN FALL 2015 exhibitions + EVENTS CAlendar september/October/november 2015

Smithsonian’s National EXHIBITIONS: Museum oF the American Indian In new york city Caribbean male figure, 1000-1500 AD. Las Mercedes, Limon Province, Costa Rica. Scoria. Excavated in 1916–1917 by Museum of the NYC EXHIBITIONS American Indian staff member Alanson B. Skinner. 07/3430. Meryl McMaster: Second Self THROUGH DECEMBER 11

Ceramica de los Ancestros: Central America’s Past Revealed THROUGH january 2017

Glittering World: Navajo Jewelry of the Yazzie Family THROUGH JAN. 10, 2016 *THE GLITTERING WORLD GALLERY tevens

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JEWELRY FOR SALE. hoto P Circle of Dance Through Oct. 8, 2017 MERYL MCMASTER: SECOND SELF CERAMICA DE LOS ANCESTROS: Through Dec. 11, Photo Gallery CENTRAL AMERICA’S PAST REVEALED Infinity of Nations: Meryl McMaster (Plains Cree Member of the Through January 2017, West Gallery Art and History in the Siksika Nation) is an emerging artist from This bilingual (English/Spanish) exhibition Collections of the Ottawa, Ont., whose work is comprised of illuminates Central America’s diverse and National Museum of the visually stunning large-scale photography. dynamic ancestral heritage with a selection of American Indian This exhibition includes selections from more than 150 objects. For thousands of years, ONGOING Second Self, a playful but compelling series Central America has been home to vibrant of portraits that engage with self-perception civilizations, each with unique, sophisticated and constructed identity. This series was first ways of life, value systems and arts. The exhibited in the United States in 2013 when ceramics these peoples left behind, combined McMaster was selected for RED: Eiteljorg with recent archaeological discoveries, help Contemporary Art Fellowship, a biennial tell the stories of these dynamic cultures and program of the Eiteljorg Museum in India- their achievements. Ceramica de los Ancestros napolis, Ind., which honors contemporary examines seven regions representing distinct Native artists through an exhibition, catalog, Central American cultural areas that are art purchases and cash prize. today part of Belize, Guatemala, Honduras, El Salvador, Nicaragua, Costa Rica and Panama. Spanning the period from 1000 BC to the present, the featured ceramics, selected from the Museum’s collection of more than 12,000 pieces from the region, are augmented with SMITHSONIAN INSTITUTION 57 exhibitions + EVENTS CAlendar september/October/november 2015

significant examples of work in gold, jade, shell and stone. These objects illustrate the richness, complexity and dynamic qualities of the Central American civilizations that were connected to peoples in South America, Mesoamerica and the Caribbean through social and trade networks sharing knowledge, technology, artworks and systems of status and political organization. This exhibition is a collaboration of the Smithsonian’s National Museum of the American Indian and the Smithsonian Latino Center.

GLITTERING WORLD: NAVAJO JEWELRY OF THE YAZZIE FAMILY Through Jan. 10, 2016, East Gallery Glittering World presents the story of Navajo jewelry through the lens of the gifted Yazzie family of Gallup, N.M., one of the most celebrated jewelry-making families of our time. The silver, gold and stone inlay work of Lee Yazzie and his younger brother, Raymond, has won every major award in the field. Their sister, Mary Marie, makes outstanding jewelry that combines fine bead and stonework; silver beads are handmade by other sisters. Featuring almost 300 examples of contemporary jewelry, Glittering World shows Nugget Necklace. Raymond C. Yazzie, 2009. Fossilized Lone how the Yazzie family’s art flows from their Mountain turquoise, lapis lazuli, Southwest environs and strong connection coral, sugilite, opal, 14-karat gold. to their Navajo culture. With historic pieces Overall length, 31". Collection of from the museum’s collections, the exhibi- Susan Heyneman. tion places Navajo jewelry-making within its historic context of art and commerce, illustrates its development as a form of ell B cultural expression and explores the meaning hil y P

b behind its symbolism. The Glittering World

gallery store, located within the exhibition, hoto P will complement the show and offer fine jewelry for sale.

CIRCLE OF DANCE Through Oct. 8, 2017, Diker Pavilion Circle of Dance presents Native dance as a vibrant, meaningful and diverse form of cultural expression. Featuring 10 social and ceremonial dances from throughout the Americas, the exhibition illuminates the significance of each dance and highlights the unique characteristics of its movements and music. Each dance is showcased by a single

58 AMERICAN INDIAN FALL 2015 arker anderw

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mannequin dressed in appropriate regalia (Haida) painted spruce root hat. This and posed in a distinctive dance position. An unparalleled assemblage of American Indian accompanying media piece complements and cultural material represents the tremendous enhances the mannequin displays. Presenting breadth of the collections and the richness the range of dances featured in the exhibi- of Native traditional and contemporary art. tion, this high-definition video captures It also explores the historic importance of a the variety of the different Native dance significant number of these deeply cultural, movement vocabularies and the music that is profoundly social objects. Free audio guide of integral to their performance. the exhibition is available.

INFINITY OF NATIONS: ART AND HISTORY IN THE COLLECTIONS PUBLIC PROGRAMS: OF THE NATIONAL MUSEUM OF THE SORT YBOOK READING & AMERICAN INDIAN HANDS-ON ACTIVITY Ongoing, South Gallery Saturday, Sept. 12 This exhibition presents more than 700 1 p.m. works of art from throughout Native North, Education Classroom Central and South America. Objects include

moroso Listen to The Star People: A Lakota Story by

A an exquisite Olmec jade head, an exception- S.D. Nelson (Standing Rock Sioux). Learn Northern ally rare Anishinaabe man’s outfit and a traditional rnest about the importance of the “Morning Star” y E

b remarkable Charles and Isabelle Edenshaw dance regalia. design and then make a design of your own. hoto P SMITHSONIAN INSTITUTION 59 exhibitions + EVENTS CAlendar september/October/november 2015 tevens avis S L es y a oshua y H y J b b

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HISPANIC HERITAGE FAMILY DAY as learn about and recreate the topography of Saturday, Sept. 19 Joya de Ceren, El Salvador, a pre-Columbian 12 p.m. – 4 p.m. Mayan farming village and UNESCO World Rotunda Heritage Site. All participants will receive a Bring the whole family and celebrate gallery guide, exhibition catalog and bilingual Hispanic Heritage Month. In conjunction coloring book. The workshop is appropriate with the exhibition Ceramica de los Ancestros: for teachers of all grades and abilities. Please Central America’s Past Revealed, a variety of note this is only one class offered on multiple activities will include decorating a jaguar dates; it is not a multi-session course. $15 mask, coloring an animal pendant, bracelet material fee. Register at NMAI-NY-Educa- weaving, button making and animal bingo. [email protected] and be sure to indicate preferred Learn about the importance of corn and date of training. watch corn grinding demonstrations. STORYBOOK READING & TEACHER’S WORKSHOP: HANDS-ON ACTIVITY CENTRAL AMERICAN CERAMICS Saturday, Oct. 10 Thursday, Oct. 1 & Thursday, Oct. 15 1 p.m. 4 p.m. – 6:30 p.m. Education Classroom Diker Pavilion Celebrate Hispanic Heritage Month! Join members of the Smithsonian Latino Listen to Love and Roast Chicken: Center and the National Museum of the A Trickster Tale from the Andes Mountains American Indian in New York for a tour of by Barbara Knutson. Hands-on activity Ceramica de los Ancestros: Central America’s immediately following. Past Revealed and a hands-on workshop.

Participants will create their own ceramic pot tevens S based on designs from the exhibition, as well oshua y J b

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60 AMERICAN INDIAN FALL 2015 tevens S Hispanic Heritage Family Day. oshua y J b

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SMITHSONIAN INSTITUTION 61 activities. Led by renowned Taino musician Irka Mateo. First come, first served. For information contact NMAINYToddlers@ si.edu. Toddler Music is generously supported by Con Edison. jian

oumd FILM & VIDEO y ou K SCREENINGS: ram *Daily Screenings will no longer take The Chocalate Farmer, place during the construction of the

©2010 A ©2010 directed by Rohan Fernando. imagiNations Activity Center. hoto P SPECIAL SCREENING NATIVE AMERICAN HERITAGE MONTH CELEBRATION THE CHOCOLATE FARMER Saturday, Nov. 14 (2011, 71 min.) Canada. Rohan Fernando. 11 a.m – 3 p.m. Produced by the National Film Board Rotunda of Canada. Navajo, or Diné, culture will be the focus Saturday, Sept. 19 of the Museum’s Native American Heritage 3 p.m. Month Celebration. Demonstrations will Auditorium include rug and basket weaving by well- In an unspoiled corner of southern Belize, known artists, with presentations that cacao farmer and father Eladio Pop manually highlight Navajo pottery, jewelry and other works his plantation in the tradition of his art forms. Artist discussions will focus on the Mayan ancestors – as a steward of the land. importance and significance of turquoise, The film captures a year in the life of the coral and other gemstones to Navajo culture. Pop family as they struggle to preserve their Specialty tours will take place in the exhibi- values in a world that is dramatically chang- th o

R tion Glittering World: Navajo Jewelry of the ing around them. A lament for cultures lost, n y Yazzie Family. The Chocolate Farmer challenges our deeply athr

y C held assumptions of progress. ar STORYBOOK READING & y M b HANDS-ON ACTIVITY Day of the Dead. hoto Saturday, Nov. 14 AT THE MOVIES: P 1 p.m. DIA DE LOS MUERTOS: Education Classroom EDGE OF AMERICA DAY OF THE DEAD Listen to The Goat in the Rug by Charles (2003, 105 min.) United States. Saturday, Oct. 31 L. Blood and Martin Link and illustrated Chris Eyre (Cheyenne/Arapaho). 12 p.m. to 5 p.m. by Nancy Winslow Parker. Make a finger- Saturday, Nov. 7 Rotunda weaving bookmark to take home. 6 p.m. Enjoy a fun-filled day for the entire family in Auditorium this annual celebration of Dia de los Muertos, Inspired by a true, made-in-New Mexico or Day of the Dead. Traditional dances DAILY AND WEEKLY story, this upbeat feature follows a girls’ high honoring the ancestors will be performed PROGRAMS: school basketball team as they learn how to by Cetiliztli Nauhcampa by a community win. Led by their coach, the girls discover the ofrenda, or altar. Hands-on activities include TODDLER MUSIC WITH IRKA MATEO values of passion, dedication and discipline as embellishing paper skull masks, decorating Wednesdays through Dec. 16 they climb from the bottom of their division skeleton puppets, creating paper flowers and 10:15 a.m. and 11:15 a.m. to compete for the state title. painting plaster skulls. Education Classroom Drop in with your toddlers (14 months–three years) and learn about Taino culture through stories, song, movement and hands-on 62 AMERICAN INDIAN FALL 2015 Editorial Committee Tim Johnson (Mohawk) Katherine Fogden (Mohawk) Eileen Maxwell Jose Barreiro (Taino) John Haworth (Cherokee) Cameron McGuire James Ring Adams Doug Herman Gabrielle Tayac (Piscataway) Kathleen Ash-Milby (Navajo) Ramiro Matos (Quechua)

Board of Trustees Brenda Toineeta Pipestem (Eastern Band William K. Butler II Lance Morgan (Winnebago Tribe of of Cherokee), Chair Brenda Child (Red Lake Ojibwe) Nebraska) Patricia M. Zell, Vice Chair Kristopher Easton Deborah Parker (Tulalip/Yaqui) Andrew J. Lee (Seneca), Secretary The Honorable William H. Frist, MD Brian Patterson (Oneida Indian Nation) Bill Anoatubby (Chickasaw) Sven Haakanson (Alutiiq) Gregory E. Pyle (Choctaw Nation of S. Haunani Apoliona (Native Hawaiian) LaDonna Harris (Comanche) Oklahoma) Kim Baird (Tsawwassen First Nation) Richard Kurin, ex officio Valerie Rowe danah boyd Richard Luarkie (Pueblo of Laguna) Loretta Tuell (Nez Perce) Margaret L. Brown (Yup’ik) Victor Montejo (Jakaltek Maya) Darreld “Deacon” Turner II (Cherokee)

New York Board of Directors Valerie Rowe, Chair Stephen J. Friedman Benita Potters (Agua Caliente Band Michael Bernstein Catherine Morrison Golden of Cahuilla), Vice-Chair Barbara H. Block, Emerita Bradford R. Keeler (Cherokee) Jane F. Safer James A. Block, Emeritus Andrew Lee (Seneca), Vice-Chair Bernard Selz Peggy Burns Lance E. Lindblom Ann Silverman (Ojibwe) Charles M. Diker, Founding Co-Chair Oliver Niedermaier Howard Teich Valerie T. Diker, Founding Co-Chair Jacqueline Johnson Pata (Tlingit) Leslie A. Wheelock (Oneida Tribe of Lois Sherr Dubin Antonio Pérez Wisconsin) John L. Ernst, Immediate Past Co-Chair Brenda Toineeta Pipestem (Eastern Band Randall L. Willis (Oglala Lakota) Margot P. Ernst, Immediate Past Co-Chair of Cherokee)

National Council Allison Hicks (Prairie Band of Potawatomi Dawson Her Many Horses (Sicangu Lakota) Alice N. Rogoff Indians), Co-Chair Nevada Alaska California Summerly Horning Angie Yan Schaaf and Gregory Schaaf Gregory A. Smith, Co-Chair New York New Mexico Maryland Zackeree Sean Kelin (Caddo Nation) and Shelby Settles Harper (Caddo Nation) Elizabeth M. Alexander Maria Bianca Garcia Kelin Maryland Virginia New Mexico V. Heather Sibbison Stephanie A. Bryan (Poarch Band of Creek Natasha Maidoff District of Columbia Indians) California John Snider Alabama Gina McCabe (Hualapai) and Sean McCabe Pennsylvania Uschi and William Butler (Navajo Nation) Joan and Marx Sterne Virginia New Mexico Virginia David Cartwright Paul Moorehead Ernest L. Stevens, Jr. (Oneida Tribe of New Mexico District of Columbia Wisconsin) Vincent R. Castro Lori Nalley (Muscogee Creek Nation) Wisconsin Delaware Oklahoma Jerry C. Straus Brian Cladoosby (Swinomish) Susan Napier District of Columbia Washington California Geoffrey D. Strommer Charles M. Froelick Brenda Toineeta Pipestem (Eastern Band Oregon Oregon of Cherokee) Tishmall Turner (Rincon Band of Luiseño Keller George (Oneida Indian Nation) Oklahoma Indians) New York Clara Lee Pratte (Navajo Nation) California Lile R. Gibbons District of Columbia Jeff Weingarten Connecticut Robert Redford District of Columbia Marilyn S. Grossman Utah Leslie A. Wheelock (Oneida Tribe of District of Columbia Robert W. Roessel (Diné) Wisconsin) LaDonna Harris (Comanche) Arizona District of Columbia New Mexico

SMITHSONIAN INSTITUTION 63 museumguide

NMAI ON THE NATIONAL MALL IN WASHINGTON, D.C.

HOURS: 10 a.m.–5:30 p.m. daily, closed Dec. 25. LOCATION: 4th St. and Independence Ave. SW, Washington, D.C. 20560 (Located on the National Mall between the Smithsonian’s National Air and Space Museum and the U.S. Capitol) PHONE: (202) 633-1000 TTY: (202) 633-5285 www.AmericanIndian.si.edu NEAREST METRO STATION: L’Enfant Plaza (Blue/Orange/Green/Yellow lines). Take the Maryland Avenue/Smithsonian Museums exit. ADMISSION: Free to the public. FREE HIGHLIGHTS TOURS: Free, daily highlights tours led by Native cultural interpreters. Visit the Welcome Desk the day of your visit for tour times. DINE & SHOP: Eat in the critically acclaimed Mitsitam Native Foods Cafe; open daily from 10 a.m. to 5 p.m. The full menu is available from 11 a.m. to 3 p.m., with a smaller menu from 3 p.m. to 5 p.m. Shop for unique gifts in the Roanoke Museum Store; open daily from 10 a.m. to 5:30 p.m. GROUP ENTRY: Groups of 10 or more may schedule an entry time for admission through the reservations office via the education office: (202) 633-6644 or (888) 618-0572 or email [email protected]. School groups can also arrange for an educational visit by calling the numbers above.

NMAI IN NEW YORK CITY

HOURS: The museum is open daily 10 a.m.–5 p.m., Thursdays until 8 p.m.; closed Dec. 25. Free admission. SHOP: The Gallery Shop features a large collection of books on Native cultures as well as authentic pottery and handcrafted jewelry and has a variety of children’s books, posters, toys, souvenirs and musical instruments. Open daily 10 a.m.-5 p.m. Call (212) 514-3767 for more information. LOCATION: National Museum of the American Indian in New York, One Bowling Green, New York, NY 10004

Call (212) 514-3700 for more information. For program updates, visit www.AmericanIndian.si.edu and click “events.” For Film and Video updates call (212) 514-3737 or visit http://nmai.si.edu/explore/ film-video/programs/

All programs are subject to change. For membership information, call (800) 242-NMAI.

64 AMERICAN INDIAN FALL 2015 Mitch Battese (Prairie Band Potawatomi & Chickasaw)

Potawatomi Studio Lawrence, Kansas 785-843-0680

Sacred Pipe Woman Oil on canvas 3' x 6'

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