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Miwok Dancers of 1856: Stereographic Images from Sonora, California

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Miwok Dancers of 1856: Stereographic Images from Sonora, California UC Merced Journal of California and Great Basin Anthropology Title Miwok Dancers of 1856: Stereographic Images from Sonora, California Permalink https://escholarship.org/uc/item/08h9j89m Journal Journal of California and Great Basin Anthropology, 6(1) ISSN 0191-3557 Author Bates, Craig D Publication Date 1984-07-01 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Journal of California and Great Basin Anthropology VOLS, No. 1, pp. 6-18(1984). Miwok Dancers of 1856: Stereographic Images from Sonora, California CRAIG D.BATES IVE stereographic views of Miwok people The stereographs under discussion were F(Figs. 1-5) made in Sonora, California, made by Rulofson during the 1856-1860 during the 1850s are apparently the earliest period.' Carrie Inch Segerstrom, descendant photographic representations of Sierra Miwok of the Burden family which arrived in Sonora people, and perhaps the earliest such images in 1854, was a playmate of the SeweU girls, of any Indian people in northern California. and knew both the Sewehs and the Wehses as Primarily showing individuals in ceremonial a child and young woman. It is thought that regalia, these photographs provide us with an she acquired the images from the SeweUs, unparalleled view of Cahfornia Indians at the rather than from Rulofson. The duphcates of end of the Gold Rush period in the Mother three of the stereographs suggest that the Lode region of the Sierra Nevada. images were commercially produced by Ru­ Stereoscopic images were being produced lofson, and were part of the inventory he sold in San Francisco as early as 1853 and shortly to Seweh. Carrie Segerstrom's son, the late thereafter were available in outlying areas Donald I. Segerstrom, inherited the stereo­ such as Sacramento and Marysville (Palmquist graphs as part of the family cohection of 1979: 90). The first firm date for the produc­ historic photographs, books, and other mater­ tion of stereoscopic views in Sonora is 1856, ials deahng with the Mother Lode region, when the Rulofson and Co. advertisement in which he carefully maintained. His wife, the Miners and Business Mens's Directory Mrs. Mary Etta Segerstrom, continues to [sic] boasted maintain this fine collection, and has provided background information on the collection We have invented our own plan for taking (1982-1983). It is through her courtesy that STEREOTYPES, and they cannot be the National Park Service, Yosemite National equaled elsewhere. We have as large and well Park, was able to make copy negatives of the arranged lights, as good instruments, and as fine material as the world can produce. Call pieces and to present them here. and see us. Prices reduced! [Heckendorn The stereographs bear no markings indi­ and Wilson 1856: 47]. cating the identification of the dancers or But W. H. Rulofson may have opened his photographer, and as such we must rely on studio in Sonora as early as 1850, and by the identification provided by the Segerstrom moving it quickly saved it from Sonora's collection. Although neither native dancers disastrous fire of 1852. Rulofson eventually nor mid-19th century photographs were nec­ sold the studio to Daniel Sewell, who in turn essarily sessile, the identification of the dan­ sold it to the Thomas Wells family. cers as Sierra Miwok appears to be accurate. The regalia combinations do not match with Craig D. Bates, Curator of Etlinography, Yosemite National descriptions of such dress for the people Park, CA 95389. [6] MIWOK DANCERS OF 1856 Fig. 1. Miwok man, Sonora, California, ca. 1856-1860. Courtesy of Mrs. Mary Etta Segerstrom. This and the following four images are each one side of the stereographic views made by Rulofson & Co., a Sonora, California, photographic firm. Copy negatives and prints by Michael Dixon, National Park Service, Yosemite National Park. JOURNAL OF CALIFORNIA AND GREAT BASIN ANTHROPOLOGY Fig. 2. A group of Miwok dancers, Sonora, California, ca. 1856-1860. Courtesy of Mrs. Mary Etta Segerstrom. MIWOK DANCERS OF 1856 Fig. 3. Two Miwok dancers, Sonora, California, ca. 1856-1860. Courtesy of Mrs. Mary Etta Segerstrom. 10 JOURNAL OF CALIFORNIA AND GREAT BASIN ANTHROPOLOGY Fig. 4. Miwok dancers, Sonora, California, ca. 1856-1860. Courtesy of Mrs. Mary Etta Segerstrom. MIWOK DANCERS OF 1856 11 JJ£^^^SEI225J>» " Fig. 5. Miwok dancers on Washington Street, Sonora, California, ca. 1856-1860. Note that these dancers also appear in Fig. 4. Courtesy of Mrs. Mary Etta Segerstrom. 12 JOURNAL OF CALIFORNIA AND GREAT BASIN ANTHROPOLOGY south or east of the Miwok, nor are the 401-402, 1927: 230, 1955: 307). Still others specific styles of the flicker-quill bands and spread from the Southern Maidu (Nisenan) at arrangements of certain regalia like those of Colfax via the Northern Miwok to the Central the Maidu or other north-central California Miwok (Gifford 1955: 317), while among the groups who use similar items. While details of Miwok at lone the patterns for certain cere­ the regalia of the more westerly groups, monial regalia, and presumably the ceremo­ including the Costanoan, Bay Miwok, and nies in which to use it, were purchased from Plains Miwok, are barely known (Bates 1982), Plains Miwok people at Lockford (Aginsky the extant information for these people pro­ 1943: 457). In addition to such changes, the vides similarities only in general styles, rather consohdation of individual tribelets into sin­ than in specific details. gle settlements after the disruption of the The five images, three of which are in Gold Rush period (Levy 1978: 410) must duplicate, show Miwok people dressed in an have altered at least some Miwok ceremonial array of ceremonial regalia. The images are practices. Such upheaval of cultural patterns quite varied, and some of the individuals was evident in the fall of 1906 when C. Hart appear in more than one of the views. A Merriam attended the annual mourning cere­ search of published materials regarding Miwok mony held at the Northern Miwok village at dances, unpubhshed field notes in several Railroad Flat, where the dancers wore only archival collections, and conversations since parts of the regalia needed in the Kal-la-ah 1968 with Miwok people knowledgeable dance. "They complained that they should about ceremonial regalia have been used in an have had complete feather suits, but did not attempt to gain insight concerning the kinds possess them" (Merriam 1955: 58). In a 1905 of dances for which the individuals in the letter to C. C. Willoughby of the Peabody photographs are dressed. With few exceptions Museum, collector Grace Nicholson (personal (cf. Gifford 1917, 1955;Merriam 1955), most communication to C. C. Willoughby 1905) available accounts give little detail on Miwok related similar evidence of change in Miwok ceremonial dance regaha (cf. Barrett and dance regaha secured at the Northern Miwok Gifford 1933; Dixon 1903; Hudson 1899- village of West Point: 1902; Kroeber 1925; Levy 1978; Maniery As 1 have it from El Capitan, who is over 50 1982). years of age, the dance had become obsolete, Miwok ceremony undoubtedly underwent having been done away with for many years. considerable change between the 1850s and There were a few old men still living who the turn of the century, when ethnographers knew it. So Capt. Eph some 6 or 7 years ago got the old men to teach the young men, began collecting data on Miwok dances and Capt. Eph included, the then almost forgot­ when the oldest people now living partici­ ten dance, and also the making of the dance pated in or saw dances taking place. Some suit. One old man knew how to make the documentation of changes in Miwok dances net, only one understood the weaving in of and regalia has been collected, and suggests the feathers, and so among them they reconstructed the old time dress and revived dances and possibly also regalia were adopted the dances. It would be an absolute impossi­ from other groups on occasion. Certain dan­ bility to get an old outfit, and in fact there ces were introduced to the Central Miwok as was only this one complete suit in the early as the 1850s by Chiplichu from Contra possession of the few living members of the Costa County (Gifford 1926: 400-401, 1927: tribe .. .^ 230, 1955: 301), others were derived from An additional factor contributing to the native peoples near Pleasanton (Gifford 1926: lack of knowledge about Miwok dance regalia MIWOK DANCERS OF 1856 13 is the behef that it is endowed with super­ the streets for money is substantiated for natural power and only certain individuals are Central Miwok people in Sonora and James­ able to handle these objects. This, coupled town, where the Central Miwok performed with the practice of destroying dance regaha the Helikna dance for money given by whites upon the death of the owner (Gifford 1926: (Gifford 1955: 305). During the 1800s in 406), could easily have accounted for younger nearby Columbia ". local Miwok Indians, persons not having knowledge of the manu­ adorned in feathers, shells, beads and body facture of such objects, as they may have only paint attracted spectators as they whistled seen them in use and never actually handled and danced on the streets. A leader accom­ them. The continuing importance of these panied them with chants and rattles, while practices is illustrated by a recent incident. In Miwok women circulated among the curious the late 1920s Mattie Jim, who late in life bystanders hoping for a contribution" (Dyer married Miwok doctor and dancer Pedro 1981: 43). The scene of the Miwok dancers in O'Connor, died. Pedro O'Connor reportedly the street in Fig. 5, and their subsequent did not bury her flicker-quill headbands with image taken inside the studio in Fig.
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