The Historical and Archaeological Evidence for Wampum at Fort Niagara
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Ghana's Glass Beadmaking Arts in Transcultural Dialogues
Ghana’s Glass Beadmaking Arts in Transcultural Dialogues Suzanne Gott PHOTOS BY THE AUTHOR EXCEPT WHERE OTHERWISE NOTED hanaian powder-glass beads first captured spread of West African strip-weaving technologies. my attention in 1990, when closely examin- With the beginnings of European maritime trade in the late ing a strand of Asante waist beads purchased fifteenth century, an increasing volume of glass beads and glass in Kumasi’s Central Market. Looking at the goods were shipped to trade centers along present-day Ghana’s complex designs of different colored glasses, Gold Coast,1 stimulating the growth of local beadworking and I was struck with the realization that each powder-glass beadmaking industries. The flourishing coastal bead had been skillfully and painstakingly crafted. This seem- trade achieved a more direct engagement between European Gingly humble and largely unexamined art merited closer study merchants and trading communities than had been possible and greater understanding (Fig. 1). I worked with Christa Clarke, with the trans-Saharan trade, and enhanced European abilities Senior Curator for the Arts of Global Africa at the Newark to ascertain and respond to local West African consumer pref- Museum, to develop the 2008–2010 exhibition “Glass Beads of erences. This interactive trade environment also facilitated the Ghana” at the Newark Museum to introduce the general public impact of the demands of Gold Coast consumers on European to this largely overlooked art (Fig. 2). The following study pro- product design and production, a two-way dynamic similar to vides a more in-depth examination of Ghanaian glass beadmak- the trade in African-print textiles (Nielsen 1979; Steiner 1985). -
Venetian Beads
BEADS: Journal of the Society of Bead Researchers Volume 10 Volume 10-11 (1998-1999) Article 9 1998 Venetian Beads Frank Hird Follow this and additional works at: https://surface.syr.edu/beads Part of the Archaeological Anthropology Commons, History of Art, Architecture, and Archaeology Commons, Science and Technology Studies Commons, and the Social and Cultural Anthropology Commons Repository Citation Hird, Frank (1998). "Venetian Beads." BEADS: Journal of the Society of Bead Researchers 10: 57-62. Available at: https://surface.syr.edu/beads/vol10/iss1/9 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in BEADS: Journal of the Society of Bead Researchers by an authorized editor of SURFACE. For more information, please contact [email protected]. VENETIAN BEADS Frank Hird Interesting accounts of the manufacture of Venetian glass It was in the thirteenth or fourteenth centuries beads turn up in the most unlikely places. The one repro historians do not agree upon the exact date-that duced here was published in The Girl's Own Paper for Febru bead-making was established at Murano, and through ary 1, 1896 (Vol. 17, No. 840, pp. 292-294). In addition to all the years during which Ven ice exercised her almost presenting a decent description ofthe manufacture ofdrawn and blown beads during the latter part of the 19th century, imperial sway, the glass manufacture, on this ugly and Mr. Hird gives us details concerning the setting in which the dirty little island, was one of her glories. The beadmakers and bead stringers worked. -
Beaded Jewelry Designs Class-A Piece of Delicate Valentines Day Gifts For
Beaded jewelry designs class-a piece of delicate valentines day gifts for her Via learning today’s beaded jewelry designs class, you will gain another method to bead some delicate valentines day gifts for her. While practicing the tutorial, you only need several inches of Tiger tail wire and a few pearlized Acrylic Beads and 12/0 Seed Beads. Giving peculiar valentines day gifts for her, to the special women, is an unexceptionable chance to get her a little bit more wild with joy. Not only for the Valentine’s Day on routine, but also for her birthday or Christmas, etc. Valentine’s Day is about romantic, but never underestimates the significant value of individual gifts. Hence, in this article, I will show you one of the numerous beaded jewelry designs classes relate to the unique occasion. Things you will need: 8mm Acrylic Beads-Imitation Shell & Pearl 8mm Rondelle Swarovski Crystal Beads 12/0 Seed Beads Crimp bead Earring hooks Tiger tail wire Side Cutting Plier Wire-cutter Plier How to make valentines day gifts for her? Step1: bead the first flower portion 1. Prepare 50cm long Tiger tail wire and then form a loop with 6 pieces of 12/0 Seed Beads; 2. Slide the following beads on outer wire tip in order: 8mm Pearlized Acrylic Bead*1, 12/0 Seed Bead, 8mm Pearlized Acrylic Bead*1, 12/0 Seed Bead. Next, cross both tips through another 8mm Pearlized Acrylic Bead; 3. Do the same with outer wire. Further, thread the inner tip through its adjacent seed bead. At last, cross both tips through one 8mm Pearlized Acrylic Bead again; 4. -
Wampum Belts Were Used to Record Events and Memories
Wampum belts were used to record events and memories. The use of patterns and symbols were a method of storytelling. Lesson : WAMPUM UNIT PRE-VISIT SUGGESTIONS Discuss with students the context for Wampum. Ask students “Do you have an article of clothing that commemorates an event or vacation?” Note: this item may or may not contain the description of time, date, and place, but still holds the memorial significance. Have students bring in an object of memorial significance, but not something of great value, to show how the individual brings significance to otherwise ordinary objects. Wampum belts Keywords & Vocabulary quahog - a bivalve mollusk, a hard clam, native to North America’s Atlantic coast that was prized for the purple interior part of the shell, used to make purple wampum. whelk - a marine gastropod (snail-like with a hard shell) whose shell was used to make the white beads for wampum. wampum - purple and white shell beads strung together in patterns or on a ‘belt’ used to record events and memories used by American Indians of the Eastern Woodlands. Guiding Questions What meaning did wampum have for American Indians? What materials were used? Grade Ranges K-2 students use a coloring page with pattern of wampum and tell a story Quahog shells 3-6 students design a wampum belt on graph paper and use it to tell a story Differentiated Instruction 7-12 students design a wampum belt on graph As needed for less able, students will be paired to paper and use it to tell a story facilitate activity success. -
Dewdrop Beaded Bead. Beadwork: ON12, 24-26 Bead Four: Treasure Trove Beaded Bead
Beadwork Index through December 2017/January 2018 Issue abbreviations: D/J =December/January FM = February/March AM = April/May JJ = June/July AS=August/September ON=October/November This index covers Beadwork magazine, and special issues of Super Beadwork. To find an article, translate the issue/year/page abbreviations (for example, “Royal duchess cuff. D10/J11, 56-58” as Beadwork, December 2011/January 2012 issue, pages 56-58.) Website = www.interweave.com or beadingdaily.com Names: the index is being corrected over time to include first names instead of initials. These corrections will happen gradually as more records are corrected. Corrections often appear in later issues of Beadwork magazine, and the index indicates these. Many corrections, including the most up-to-date ones, are also found on the website. 15th Anniversary Beaded Bead Contest Bead five: dewdrop beaded bead. Beadwork: ON12, 24-26 Bead four: treasure trove beaded bead. Beadwork: AS12, 22-24 Bead one: seeing stars. Beadwork: FM12, 18-19 Bead three: stargazer beaded bead. Beadwork: JJ12, 20-22 Bead two: cluster beaded bead. Beadwork: AM12, 20-23 Beaded bead contest winners. Beadwork: FM13, 23-25 1800s-era jewelry Georgian jewels necklace. Beadwork: D14/J15, 80-81 1900s-era jewelry Bramble necklace. Beadwork: AS13, 24-27 Royal duchess cuff. Beadwork: D10/J11, 56-58 1920s-era jewelry Art Deco bracelet. Beadwork: D13/J14, 34-37 Modern flapper necklace. Beadwork: AS16, 70-72 1950s-era jewelry Aurelia necklace. Beadwork: D10/J11, 44-47 2-hole beads. See two-hole beads 20th anniversary of Beadwork Beadwork celebrates 20 years of publication. -
Millefiori Set (Pendant + Earrings) Beading Pattern by Nela Kabelova
Millefiori set (pendant + earrings) beading pattern by Nela Kabelova 1 | Design and tutorial by Nela Kábelová | www.gianelle.beadforum.cz | www.facebook.com/nela.kabelova International Beading Week 2019 - www.internationalbeadingweek.com - www.facebook.com/internationalbeadingweek This free pattern is intended for personal use only and for and for teaching free workshops during IBW. Re-sale of this pattern is strictly prohibited. Sale of the finished items is allowed, as long as they are all handmade by the seller. If you have any questions regarding this pattern, feel free to contact me at [email protected] or via facebook.com/nela.kabelova. Have a lot of fun! Millefiori set Difficulty: Intermediate, some prior beading experience required Material (for one pendant and one pair of earrings): Findings • 4mm firepolished beads (approx. 70 pcs) • For earrings: jump rings, earring components • Matubo 8/0 (or 8/0 Japanese seed beads) (approx. 40 pcs) • For necklace: jewelry chain, jump rings, a clasp, a bail • Matubo Miniduo (24 pcs, approx. 1.4 gram) (optional) • 11/0 Japanese seed beads (approx. 0.6 gram) • Optionally you can add some more embellishment to your • 15/0 Japanese seed beads (approx. 0.4 gram) jewelry (like chain or textile tassels or drop-shaped • Beading needle and thread of your choice beads). (Nymo, Superlon, Fireline. ..) 1) String four 4mm FPs and slide them all to the end of the thread. Tie a square knot to form a circle. Then pass through the nearest 4mm FP bead. 2 | Design and tutorial by Nela Kábelová | www.gianelle.beadforum.cz | www.facebook.com/nela.kabelova 2) Add three 4mm FPs and pass through the same bead the thread is exiting from. -
19Th Century Glass Tade Beads
19TH CENTURY GLASS TRADE BEADS From two Zulu royal residences Sharma Jeanette Saitowitz University of Cape Town The.sis presented to the University of Cape Town in fulfilment of the requirements for the degree of Master of Arts June 1990 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town ABSTRACT This thesis is a formal analysis of beads from the two Zulu capitals of Mgungundlovu ( occupied by Dingane between 1829 and 1838) and Ondini (held by Cetshwayo between 1873 and 1879). It contains a set of procedures for producing a bead taxonomy, most of which has been adopted from work done in North America, bur some of which consists of analytical methods original to this study. The taxonomy is based on visual and physical screening of large collections, followed by chemical analysis. It provides a standardized system for South African bead studies. Results of the analysis are employed for the following purposes: 1) To provide a database of the varieties of glass beads in circulation in Zululand for two relatively short periods of time in the nineteenth century. 2) To determine the spatial and temporal variability in relative abundance of bead types in the two sites. Subtle differences occur between beads excavated from one section of Mgungundlovu and another. -
Glass Beads for Teachers
GLASS BEADS FOR TEACHERS A small collection of images of beads and beadwork serves as a context for further investigation and study of how HBC, through its trade with First Nations, was a major contributor to Canada’s story. Information about Glass Beads • Beading is a craft that has been practised by almost every culture in the world. • Glass beads were highly valued by the First Nations because they were durable and came in a wide variety of colours. • Before glass beads arrived on the scene, the First Nations were accustomed to using pieces of bone, shell or rock to adorn their clothing. Quillwork using dyed porcupine quills was also popular. • HBC sourced beads from Europe specifically for the trade. They introduced glass beads from Venice, the Czech Republic, the Netherlands, and Germany to the First Nations in exchange for provisions or simply to gain their goodwill. • Beads were a staple of the trade right up to the modern period. Seed beads were the most popular over time. • The First Nations incorporated the beads into a well-established tradition of craft, custom and beliefs. • Beads became common items to offer in gift exchanges when alliances and treaties were formed. • The First Nations adapted European materials to their traditional ways of making clothing and accessories, substituting cloth for hide, beads for quillwork, and silk ribbon appliqué for painted designs. • Native beading became something of a commodity in the Victorian period. First Nations began a craft tradition of making beaded items for commercial sale back to non-natives • Starting in the early 1800s, the First Nations developed beaded souvenirs. -
Polymer Clay Millefiori Cane Beads Objectives
Activity: Polymer Clay Millefiori Cane Beads Objectives: Students will show an under- standing of how millefiori beads are con- structed by making some of polymer clay. Age: approximately 10 through Adult Time Required: one hour to form and cut beads; 30 minutes to bake; 30 minutes to string Museum Web site URL: http://www.museum.state.il.us/ismdepts/ anthropology/collections/Frost Frost Trade Bead Collection online http://www.museum.state.il.us/exhibits/barker/ techniques/tech_millefiori.php Barker Paperweight Collection Web module with a galleryof millefiori weights and instruc- tions and diagrams of the technique. Motivation: Venetian glass millefiori beads have complex patterns that reflect the multi- step process of construction. Designs are endless, and by going through the process is polymer clay instead of molten glass, more people can understand and appreciate them. Native American tribes traded pelts and other objects for these beads and for seed beads. They saw the advantage of getting many colors of hard, glass beads without having to shape and drill them themselves. This trading eventually caused the waning of the use of porcupine quills and bone and shell beads. It also lead to an evolution in beading patterns and techniques, influenced by styles in the larger culture. Learn how these beads were made and adapt the patterns to your own designs. Although millefiori beads look very complicated in design, the process is simple when broken down into steps. Keep in mind the methods used by glass artists when working with the clay. Materials: For Forming Beads: · two or more packages (and colors) of Sculpey III® polymer clay (softer to work with than Fimo® and some other brands. -
BEADS and the DISCOVERY of the NEW WORLD Peter Francis, Jr
OCCASIONAL PAPERS of the CENTERfor BEAD RESEARCH OCCASIONAL PAPER No. 3 BEADS AND THE DISCOVERY OF THE NEW WORLD Peter Francis, Jr. THE CENTER FOR BEAD RESEARCH 4 Essex Street Lake Placid, New York 12946 (U.S.A.) Jl Occasional Papers of the Center for Bead Research OCCASIONAL PAPER No. 3 BEADS AND THE DISCOVERY OF THE NEW WORLD Peter Francis, Jr. The Centerfor Bead Research 4 Essex Street Lake Placid. New York 12946 (U.SA) This book has been published by Lapis Route Books for The Center for Bead Research at Lake Placid, New York. Copyright ~ 1986 by Peter Francis, Jr. All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means without permission in writing from the publisher. LAPIS ROUTE BOOKS Lake Placid, N.Y. Printed by The Bead Press, Lake Placid, N.Y. Manufactured in the United States of America ISBN 0-910995-09-5 TABLE OF CONTENTS NOTES TO THE READER ii PART I: BEADS OF THE NATIVE AMERICANS SECTION ONE: FIRST IMPRESSIONS 1 The Skraelings; "Naked as Their Mothers Bore Them"; The Body as Ornament SECTION TWO: NATIVE MADE BEADS 5 Introduction; Unicorn Horn and Other Beads SECTION THREE: BEADS SOUGHT BY THE EUROPEANS 8 Introduction; Precious Metals I: Immutable Gold; Precious Metals II: Silver and Potos1; Gems from the Sea: Pearls; Jade: The Most Valuable Bead; Some Other Precious Materials SECTION FOUR: WAMPUM: AMERICA'S MOST IMPORTANT BEAD 22 Introduction; Wampum Use: Native and European; The Distribution of Wampum and Wampum Making; The Origin of Wampum PART II: BEADS BROUGHT TO AMERICA SECTION -
Possessing, Dispossessing, and Repossessing Lost Wampum Belts
University of Pennsylvania ScholarlyCommons Department of Anthropology Papers Department of Anthropology 3-2018 Broken Chains of Custody: Possessing, Dispossessing, and Repossessing Lost Wampum Belts Margaret Bruchac University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/anthro_papers Part of the Anthropology Commons Recommended Citation Bruchac, M. (2018). Broken Chains of Custody: Possessing, Dispossessing, and Repossessing Lost Wampum Belts. Proceedings of the American Philosophical Society, 162 (1), 56-105. Retrieved from https://repository.upenn.edu/anthro_papers/179 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/anthro_papers/179 For more information, please contact [email protected]. Broken Chains of Custody: Possessing, Dispossessing, and Repossessing Lost Wampum Belts Disciplines Anthropology | Social and Behavioral Sciences This journal article is available at ScholarlyCommons: https://repository.upenn.edu/anthro_papers/179 Broken Chains of Custody: Possessing, Dispossessing, and Repossessing Lost Wampum Belts MARGARET M. BRUCHAC Assistant Professor of Anthropology Coordinator, Native American and Indigenous Studies University of Pennsylvania Introduction In the spring of 2009, two historical shell bead wampum belts1—iden- tified as “early” and “rare” and valued at between $15,000 and $30,000 each—were advertised for sale at a Sotheby’s auction of Amer- ican Indian art objects2 belonging to the estate of Herbert G. Welling- ton.3 One belt, identified as having been collected by Frank G. Speck from the Mohawk community in Oka (Kanesatake, Quebec) before 1929, was tagged with an old accession number from the Heye Foun- dation/Museum of the American Indian (MAI; MAI #16/3827). The second belt, collected by John Jay White from an unknown locale before 1926, was identified as Abenaki; it, too, was tagged with an old MAI number (MAI #11/123; Figure 1). -
CONVERGING CULTURES and BELIEFS: NATIVE AMERICAN ART: FOCUS (Art of the Lenape, Navajo, and Eastern Shoshone) TITLE Or DESIGNATION: Bandolier Bag
CONVERGING CULTURES and BELIEFS: NATIVE AMERICAN ART: FOCUS (Art of the Lenape, Navajo, and Eastern Shoshone) TITLE or DESIGNATION: Bandolier Bag CULTURE or ART HISTORICAL PERIOD: Lenape Delaware tribe, Eastern Woodlands DATE: c. 1850 C.E. MEDIUM: beadwork on leather TITLE or DESIGNATION: Sandpainting weaving depicting “The Skies” from Shooting Chant CULTURE or ART HISTORICAL PERIOD: Navajo DATE: 20th century C.E. MEDIUM: wool weaving ONLINE ASSIGNMENT: https://www.khanacademy.or g/humanities/art-africa- oceania-americas/native- north-america/a/eastern- shoshone-hide-painting-of- the-sun-dance-attributed-to- cotsiogo-cadzi-cody TITLE or DESIGNATION: Painted Elk Hide of the Wind River Reservation ARTIST: Attributed to Cotsiogo (Cadzi Cody) CULTURE or ART HISTORICAL PERIOD: Eastern Shoshone DATE: c. 1890-1900 C.E. MEDIUM: painted elk hide CONVERGING CULTURES and BELIEFS: NATIVE AMERICAN ART: SELECTED TEXT (Art of the Lenape, Navajo, and Eastern Shoshone) Lenape Bandolier Bag of the Eastern Delaware, c. 1850 CE, beadwork on leather Woodland peoples made belts and strings of cylindrical purple and white shell beads called wampum. The Iroquois and Delaware peoples used wampum to keep records (the purple and white patterns served as memory devices) and exchanged belts of wampum to conclude treaties. Few actual wampum treaty belts have survived. In spite of the use of shell beads in wampum, decorative beadwork did not become commonplace until after European contact. In the late eighteenth century, Native American artists began to acquire European colored-glass beads, and in the nineteenth century they favored the tiny seed beads from Venice and Bohemia. Early beadwork mimicked the patterns and colors of quillwork.