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Bagworthpony.Pdf A Bag Worth a Pony The Art of the Ojibwe Bandolier Bag MARCIA G. ANDERSON Contents Preface . 3 Part 1: A Bag Worth a Pony 9 1. Gashkibidaagan: An Introduction . 11 2. Forms, Construction, and Styles . 31 3. Design Influences and Motifs . 55 The publication of this book was supported, in part, by generous Manufactured in the United States of America 4. Gashkibidaaganag in Photographs . 83 contributions from Annette Atkins and Tom Joyce and from 5. Handicraft and Commerce . 91 Debbie Miller and BJ Lovegren. Additional funding was pro- 10 9 8 7 6 5 4 3 2 1 vided by Minnesota’s Arts and Cultural Heritage Fund, created through the vote of Minnesotans on November 4, The paper used in this publication meets the minimum 2008. The author’s research was supported by the requirements of the American National Standard for Informa- Part 2: Reservation Stories 99 Ken and Nina Rothchild Fund for Business History tion Sciences—Permanence for Printed Library Materials, and Women’s History and the Charles E. Flandrau ANSI Z39.48-1984. 6. Bois Forte . 101 Research Fund, both at the Minnesota Historical Society, as well as by a Minnesota Humanities International Standard Book Number 7. Fond du Lac . 105 Center Works in Progress Grant. ISBN: 978-1-68134-029-6 (paper) 8. Grand Portage . 112 Text copyright © 2017 by Marcia G. Anderson. Other materials Library of Congress Cataloging-in-Publication Data 9. Leech Lake . 127 copyright © 2017 by the Minnesota Historical Society. All rights 10. Mille Lacs . 144 reserved. No part of this book may be used or reproduced in any Names: Anderson, Marcia G. (Marcia Gail), 1949– author. manner whatsoever without written permission except in the Title: A bag worth a pony : the art of the Ojibwe bandolier bag / 1 1. Red Lake . 176 case of brief quotations embodied in critical articles and reviews. Marcia G. Anderson. For information, write to the Minnesota Historical Society Press, 12. White Earth . 185 Other titles: Art of the Ojibwe bandolier bag 345 Kellogg Blvd. West, St. Paul, MN 55102-1906. Description: Saint Paul, MN : Minnesota Historical Society Conclusion . 213 “Mary Remembering, on a July Afternoon,” p. 100, was published Press, [2017] | Includes bibliographical references and index. in The Sky Watched: Poems of Ojibwe Lives (Santa Fe, NM: Red Identifiers: LCCN 2016047354 | ISBN 9781681340296 (pbk. : alk. Acknowledgments . 215 Mountain Press, 2016). Copyright © 2016 by Linda LeGarde paper) Grover. Used with permission. Subjects: LCSH: Ojibwa Indians—Material culture. | Bandolier Appendix 1: Bandolier Bags bags. | Indian beadwork. at the Minnesota Historical Society . 219 “Anishinaabe Beadwork,” p. 122–26, copyright © 2000 by Classification: LCC E99.C6 A446 2017 | DDC Marcie McIntyre. Used with permission. Appendix 2: Bandolier Bag Care, 977.004/97333—dc23 Handling, Storage, and Cleaning . 237 LC record available at https://lccn.loc.gov/2016047354 www.mnhspress.org Appendix 3: Bags in Other Collections . 239 The Minnesota Historical Society Press is a member of the Notes . 241 Association of American University Presses. Bibliography . 254 Index . 259 Chapter 1 Gashkibidaagan An Introduction One of the bead- work pouches is the great ornament of an Ojibway, and any person wearing it is considered to be in full dress; it is worth a pony among the Sioux. Thus the stock of horses is every summer replenished. — Joseph A. Gilfillan, missionary, 1879 gashkibidaagan is a large, heavily beaded shoulder bag made by the A Ojibwe women of Minnesota (Figures 1.01 and 1.02). Also known as bandolier bags, similar bags are made and worn by several North Ameri- can Indian tribes. They are treasured cultural icons among the Ojibwe— also known as Anishinaabe, Chippewa, Ojibwa, and other variants. The gashkibidaagan served as a valuable form of exchange and represented leadership and status within the community. While the gashkibidaagan has existed in various culturally distinctive forms among many indigenous nations across North America, it has been most prevalent in the Midwest, and primarily among the Algonquian- speaking tribes of the Great Lakes (or Woodlands), including the Ojibwe, Menominee, Potawatomi, Ottawa (Odawa), and Mesquakie. The ancestors of these groups had migrated west together, splitting directions in 1660 when they reached the Straits of Mackinac; the Ojibwe, Potawatomi, and Ottawa are known collectively as the Three Fires. In addition, a Siouan- speaking tribe, the Ho- Chunk, also were regional makers and wearers of gashkibidaaganag. The territory now known as Minnesota is home to what were once many independent bands, now subsumed into seven Ojibwe Indian reser- vations. Six of them— Bois Forte, Fond du Lac, Grand Portage, Leech Lake, Mille Lacs, and White Earth— are included under the federal tribal gov- ernment umbrella known as the Minnesota Chippewa Tribe, established in 1934. Red Lake remained unaffiliated with the Minnesota Chippewa 11 1.01 (right) Earlier gashkibidaaganag terms non- Indians used to describe featured woven beadwork, created as them: apron. Unlike bandoliers, strips and a panel that were stitched to gashkibidaaganag have no associa- the straps and pocket of a cloth bag. This bag was probably made in the last third tion with weapons.1 of the nineteenth century. MNHS 9120.2 A gift of a gashkibidaagan was a significant display of gratitude 1.02 (far right) By the 1890s, many and respect to friends, family, other beadworkers were stitching beads directly onto the bag’s cloth pocket. This spot- tribes, and government officials. stitch appliqué gashkibidaagan from the Gashkibidaaganag were also pre- late nineteenth or turn of the twentieth sented to signify respect for an- century, acquired by Bishop Benjamin other individual’s accomplishments Whipple before 1901, may have been made by Sophia Smith of White Earth or contributions. By the 1870s and (see page 203); it carries its original price 1880s, the bags were in use as a tag of $40. MNHS 1831 form of currency, exchanged with the Dakota and other Plains na- tions for a pony. While the bags no longer served this particular form of exchange by the early twentieth century, their symbolic embodiment of status, gratitude, respect, and leadership remained. Like most functional objects, gashkibidaaganag have been documented in various uses, roles, and Tribe and consistently resisted allotment of its lands, instead maintaining settings. In their earliest use, they were worn pri- communal possession and self- governance. Ojibwe people also live on marily by men at community events, dances, visits reservations or reserves in Michigan, Montana, North Dakota, Wisconsin, by notables, presentations, and formal portraits. In Manitoba, Ontario, Alberta, and Saskatchewan— and in non- reservation recent decades, the bags have also appeared at holiday communities around the world. programs, historical commemorative events, tourist When the form defined as a gashkibidaagan first emerged in the pageants, and parades and in instructional settings. mid- nineteenth century and perhaps earlier, it was, I would maintain, They can be worn by adults of both genders and by the Ojibwe of Minnesota who gained the distinction of being the most children. The gashkibidaagan’s long- term primary accomplished practitioners of this art and the greatest enthusiasts of the role has been as a symbol of prestige, power, rank, and gashkibidaagan as a cultural icon. Gashkibidaaganag (the plural form of wealth, and also as an emblem of respect and com- gashkibidaagan) have been the singular and most visually significant art munity cohesion— and sometimes of friendship with and craft of the Ojibwe. white allies. The Ojibwe name comes from word parts gashk- , meaning “enclosed, Photographs help to identify the roles of gashki- attached together,” and -bid , “tie it.” The English word bandolier, defined bidaaganag in Ojibwe society. In Figure 1.03, White as a “broad band, belt, or scarf worn over one shoulder and under the Earth participants and visitors gather in front of the Indian agent’s home 1.03 (top) A scene outside the Indian other,” comes from the French word bandouliere, meaning “shoulder belt,” in 1915, during the Annual White Earth Reservation Celebration, held agent’s office at the Annual White Earth Reservation Celebration, 1915. MNHS and traces back to the Spanish bandolera, the diminutive of banda, “sash.” every June. Three men with their backs to the camera each wear two spot- Collection I.364.23 A bandolier was a broad belt that had loops to hold powder charges or stitch appliqué bags in the traditional manner. In Figure 1.04, William cartridges; European infantry soldiers wore them across the chest as early Hanks and his wife (likely the maker of the four spot- stitch appliqué 1.04 (above) William Hanks and family, as the sixteenth century. Non- Indians probably began using this term gashkibidaaganag the two of them are wearing) pose in front of their White Earth Reservation, 1915. MNHS E97.31 r134 because gashkibidaaganag are worn in a similar fashion: across the chest, birchbark wigwam at White Earth in 1915. Just as early white settlers with the strap over one shoulder and the pocket resting on the opposite posed with favorite possessions in front of their log cabins, the Hankses hip. These bags were only occasionally worn with the strap around the show off three generations of their family and display, with pride, the neck and the pocket on the chest, which no doubt explains one of many beaded shoulder bags, cradleboard bands (dikinaagan), and a woven
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