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Wearing Our Identity – the First People's Collection
Wearing our Identity – The First People’s Collection Texts of the exhibition Table of content Introduction 2. Fashioning identity 2. 1 – Wearing who I am 3. 1.1 – Wearing where I come from 3. 1.2 – Wearing life’s passages 3. 1.3 – Wearing my family 6. 1.4 – Wearing my rank 7. 2 – Wearing our culture 10. 2.1 – Wearing our traditions 10. 2.2 – Wearing our legends 15. 2.3 – Wearing our present 16. 3 – Wearing our history 17. 3.1 – Wearing our honour 18. 3.2 – Wearing our struggles 20. 3.3 – Wearing our resilience 21. 4 – Wearing our beliefs 23. 4.1 – Wearing our universe 23. 4.2 – Wearing animal power 24. 4.3 – Wearing spiritual respect 25. 2 Wearing our Identity – The First People’s Collection © McCord Museum, 2013 0 – Introduction Wearing Our Identity The First Peoples Collection Questions of identity lie at the heart of many debates in today’s rapidly changing world. Languages and traditions are threatened with extinction. When this happens, unique knowledge, beliefs and histories are wiped out. First Peoples understand well the challenges and tensions that can erode a sense of self and belonging. Yet, they have shown remarkable resilience in both preserving ancient identities and forging new ones. Whether building on the rich textures of the past or fearlessly transforming contemporary fashion, First Nations, Inuit and Métis use clothing to communicate the strength and meaning of their lives. An exploration of First Peoples dress is a compelling and emotional experience – one that must follow interwoven threads of community and spirituality, resistance and accommodation, history and innovation. -
The Bear in the Footprint: Using Ethnography to Interpret Archaeological Evidence of Bear Hunting and Bear Veneration in the Northern Rockies
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2014 THE BEAR IN THE FOOTPRINT: USING ETHNOGRAPHY TO INTERPRET ARCHAEOLOGICAL EVIDENCE OF BEAR HUNTING AND BEAR VENERATION IN THE NORTHERN ROCKIES Michael D. Ciani The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Ciani, Michael D., "THE BEAR IN THE FOOTPRINT: USING ETHNOGRAPHY TO INTERPRET ARCHAEOLOGICAL EVIDENCE OF BEAR HUNTING AND BEAR VENERATION IN THE NORTHERN ROCKIES" (2014). Graduate Student Theses, Dissertations, & Professional Papers. 4218. https://scholarworks.umt.edu/etd/4218 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. THE BEAR IN THE FOOTPRINT: USING ETHNOGRAPHY TO INTERPRET ARCHAEOLOGICAL EVIDENCE OF BEAR HUNTING AND BEAR VENERATION IN THE NORTHERN ROCKIES By Michael David Ciani B.A. Anthropology, University of Montana, Missoula, MT, 2012 A.S. Historic Preservation, College of the Redwoods, Eureka, CA, 2006 Thesis presented in partial fulfillment of the requirements for the degree of Master of Arts in Anthropology, Cultural Heritage The University of Montana Missoula, MT May 2014 Approved by: Sandy Ross, Dean of The Graduate School Graduate School Dr. Douglas H. MacDonald, Chair Anthropology Dr. Anna M. Prentiss Anthropology Dr. Christopher Servheen Forestry and Conservation Ciani, Michael, M.A., May 2014 Major Anthropology The Bear in the Footprint: Using Ethnography to Interpret Archaeological Evidence of Bear Hunting and Bear Veneration in the Northern Rockies Chairperson: Dr. -
A Review of Ethnographic and Historically Recorded Dentaliurn Source Locations
FISHINGFOR IVORYWORMS: A REVIEWOF ETHNOGRAPHICAND HISTORICALLY RECORDEDDENTALIUM SOURCE LOCATIONS Andrew John Barton B.A., Simon Fraser University, 1979 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE DEPARTMENT OF ARCHAEOLOGY Q Andrew John Barton 1994 SIMON FRASER UNIVERSITY Burnaby October, 1994 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means without permission of the author. Name: Andrew John Barton Degree: Master of Arts (Archaeology) Title of Thesis: Fishing for Ivory Worms: A Review of Ethnographic and Historically Recorded Dentaliurn Source Locations Examining Committee: Chairperson: Jack D. Nance - -, David V. Burley Senior Supervisor Associate Professor Richard Inglis External Examiner Department of Aboriginal Affairs Government of British Columbia PARTIAL COPYRIGHT LICENSE I hereby grant to Simon Fraser University the right to lend my thesis or dissertation (the title of which is shown below) to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copying of this thesis for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Title of ThesisIDissertation: Fishing for Ivory Worms: A Review of Ethnographic and Historically Recorded Dentalium Source Locations Author: Andrew John Barton Name October 14, 1994 Date This study reviews and examines historic and ethnographic written documents that identify locations where Dentaliurn shells were procured by west coast Native North Americans. -
Marine Shell Hoard from the Late Neolithic Site of :Epin-Ov;Ara (Slavonia, Croatia)
Documenta Praehistorica XLIII (2016) Marine shell hoard from the Late Neolithic site of :epin-Ov;ara (Slavonia, Croatia) Boban Tripkovic´ 1, Vesna Dimitrijevic´ 2 and Dragana Rajkovic´ 3 1 Department of Archaeology, Faculty of Philosophy, University of Belgrade, RS [email protected] 2 Laboratory for Bioarchaeology, Department of Archaeology, Faculty of Philosophy, University of Belgrade, RS [email protected] 3 Museum of Slavonia in Osijek, HR [email protected] ABSTRACT – The focus of this paper is the ornament hoard from the Sopot culture site of ∞epin-Ov- ≠ara in eastern Slavonia (the Republic of Croatia). The hoard contained pendants and beads made of shells of marine clam Spondylus gaederopus and scaphopod Antalis vulgaris. The paper analyses the context and use wear of the objects in the hoard. The results form a basis for: the reconstruction of the role of some of the items and the ways in which they were worn; the premise that the dynam- ics and mechanisms of acquisition of ornaments made of the two Mediterranean mollusc species could have differed; and the identification of a cross-cultural pattern of deposition of ornament hoards. IZVLE∞EK – V ≠lanku se osredoto≠amo na zakladno najdbo z nakitom iz ≠asa sopotske kulture na najdi∏≠u ∞epin-Ov≠ara v vzhodni Slavoniji (Republika Hrva∏ka). Depo vsebuje obeske in jagode, iz- delane iz lupin morskih ∏koljk vrste Spondylus gaederopus in pol∫kov vrste Antalis vulgaris. V ≠lanku analiziramo kontekste in sledove uporabe teh izdelkov. Rezultati nam nudijo osnovo za: rekonstruk- cijo vloge nekaterih izdelkov in na≠inov no∏enja nakita; premiso o razli≠nih dinamikah in mehaniz- mih pridobivanja okrasov iz dveh sredozemskih vrst mehku∫cev; in za prepoznavanje medkulturnih vzorcev odlaganja zakladnih najdb z nakitom. -
Content and Activities for Teaching About Indians of Washington State, Grades K-6
DOCUMENT RESUME ED 252 367 RC 015 132 AUTHOR Janda, Janet TITLE Content and Activities for Teaching about Indians of Washington State, Grades K-6. INSTITUTION .Washington Office of the State Superintendent of Public Instruction, Olympia. PUB DATE Sep 84 NOTE 245p. PUB TYPE Guides - Classroom Use - Guides (For Teachers) (052) EDRS PRIC2 MF01/PC10 Plus Postage. DESCRIPTORS American Indian Culture; American Indian History; American Indian Reservations; *American Indians; *American Indian Studies; Clothing; Communication (Thought Transfer); *Cultural Enrichment; Elementary Education; Enrichment Activities; Food; Housing; *Learning Activities; Maps; Recreation; *Social Studies; *Supplementary Reading Materials; Technology; Transportation; Tribes; Units of Study IDENTIFIERS Chinookan (Language); Chinook Jargon: *Washington ABSTRACT The purpose of this curriculum guide is to suggest content and appropriate activities for the study of Washington State Indians and is designed as a supplement to regular social studies curriculum for grades K-3 and 4-6. Objectives for studying about Indians in three geographic regions in Washington (the Coast, Puget Sound, and the Plateau) are to build knowledge, understanding, and appreciation for historical and contemporary Indian culture and to examine how people meet their needs through the use of natural resources, adaptation, and change. The unit of study is arranged in eight topic areas of natural environment and basic needs of people, food, shelter, clothing, transportation, communication and trade, recreation, -
TO PLEASE the SPIRITS Native American Clothing
Discover... TO PLEASE THE SPIRITS Native American Clothing For thousands of years, Native American women have made beautiful and functional clothing for their families. They used their skills to prepare hides and to cut and sew tailored clothing to protect their families from harsh weather. In making clothing, women also expressed values central to Native American societies: industry, generosity, and especially kinship. The garments on display in the North American clothing case (case 10.A, near the totem pole) were labours of love and skill. It takes about 40 hours of hard physical work to prepare a hide properly so it can be used for clothing: the hide must be carefully removed from the animal, scraped of flesh, and preparations rubbed into it to prevent it from rotting. It then needs to be stretched and rubbed to soften it, and then evenly smoked to a beautiful tan colour. Native women had very high standards for the preparation of hides, and would notice if someone’s hides were poorly prepared. Cutting and sewing a hide shirt, dress, or coat also involved very skilled work. Garments were cut to take advantage of the natural shape of hides. The leather was cut using flint blades, and later, scissors or steel knives traded from Europeans. Seams were sewn with thread made from sinew, the long muscles along the back of a hoofed mammal, which was carefully dried and split into even lengths. Even after European contact, women preferred to use sinew for sewing, which they simply passed through a hole in the hide made with an awl. -
Infinity of Nations: Art and History in the Collections of the National Museum of the American Indian
Infinity of Nations: Art and History in the Collections of the National Museum of the American Indian Exhibition Checklist: Kuna Kantule hat Darién Province, Panama Headdresses ca. 1924 Palm leaves, macaw and harpy feathers, reed, cotton Assiniboine antelope-horn headdress cord Saskatchewan, Canada 12/9169 ca. 1850 Antelope horn, deer hide, porcupine quills, feathers, Mapuche head ornament horsehair red wool, brass bells, glass beads Trumpulo Chico, Chile 10/8302 ca. 1975 Wool, ostrich feathers 25/9039 Miccosukee Seminole turban Florida Haida frontlet headdress ca. 1930 Prince of Wales Islands, British Columbia Cotton, silver, ostrich feathers, hide ca. 1850 20/4363 Ermine, wood, haliotis shell, sea lion whiskers, wool, cotton Yup'ik hunting hat 10/4581 Yukon River, Alaska ca. 1870 Wood, ivory, baleen, iron alloy, cordage Patagonia 10/6921 Mapuche machi’s rewe pole Tiwanaku four-cornered hat Collico, Chile Chimbote, Peru ca. 1920 A.D. 600–1000 Wood Alpaca wool, dye 17/5773 22/3722 Diaguita vessel Mebêngôkre krokrokti (feather headdress or cape) Temuco, Chile Brazil A.D. 1500s ca. 1990 Clay, paint Macaw feathers, heron feathers, cotton cordage 17/7543 25/4893 Mapuche breast ornament Yoeme deer dance headdress Chile Sonora, Mexico ca. 1925 ca. 1910 Silver Deer hide, glass eyes, antlers 23/147 11/2382 Diaguita bowl Elqui Province, Chile Karuk headdress A.D. 950–1450 California Clay, paint ca. 1910 17/5128 Deer hide, woodpecker and bluejay feathers 20/9651 1 Infinity of Nations: Art and History in the Collections of the National Museum of the American Indian Early Mapuche whistle Enxet pipe Quitratúe, Chile Paraguay A.D. -
Incised Dentalium Shell Beads in the Plateau Culture Area
BEADS: Journal of the Society of Bead Researchers Volume 16 Volume 16 (2004) Article 7 1-1-2004 Incised Dentalium Shell Beads in the Plateau Culture Area Roderick Sprague 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 Sprague, Roderick (2004). "Incised Dentalium Shell Beads in the Plateau Culture Area." BEADS: Journal of the Society of Bead Researchers 16: 51-68. Available at: https://surface.syr.edu/beads/vol16/iss1/7 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]. INCISED DENTALIUM SHELL BEADS IN THE PLATEAU CULTURE AREA Roderick Sprague Whole dentalium and segments of dentalium shell have been used Her study of the archaeological occurrence of marine-shell as beads in the Northwest Coast and interior Plateau culture areas beads in the Fort Rock Basin within the Oregon portion of both prehistorically and ethnographically. Incised whole shells, the Great Basin revealed almost 200 shell beads of which and no more than five known examples of incised segments, have over half were olivella but only four were dentalium been recovered from the Plateau, limited to archaeological contexts. (Largaespada 2006: 19). None of the dentalium was incised. A review of the reported incising clearly shows the use of design Other dentalium in the Great Basin bordering on the Plateau elements typical of the Plateau Culture Area as often also used on are rare with Bonnichsen (1964:32) the only published bone, antler, wood, and historic copper in addition to dentalium. -
Table of Contents
American Indian Art Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators March 4, 2009 Table of Contents Page Contents 2 Reproduction List 3 Splendid Heritage: American Indian Art Written by Bernadette Brown 8 Shirt, Plains , Sioux Written by Dr. Ted J. Brasser 10 lesson plan for Sioux Shirt Written by Lola Beatlebrox 12 Dance Stick, Plains , Sioux From the Splendid Heritage catalogue 14 lesson plan for Sioux Dance Stick Written by Tracey Matthews 20 Cradle, Plains , Kiowa From the Splendid Heritage catalogue 22 lesson plan for Kiowa Cradle Written by Tracey Matthews 27 Doll, Northeast , Seneca Compiled from NMAI and Indians.org 28 lesson plan for Seneca Doll Written by Tiya Karaus 33 Moccasins, Northeast , Huron From the Splendid Heritage catalogue 34 lesson plan for Huron Moccasins Written by Tiya Karaus 39 Bandolier Bag, Northeast , Sauk Written by Dr. Ted J. Brasser 40 lesson plan for Sauk Bandolier Bag Written by Lola Beatlebrox This Evening for Educators, held in conjunction with Splendid Heritage: Perspectives on American Indian Art , has been generously underwritten by John and Marva Warnock and the StateWide Art Partnership. 1 American Indian Art Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators March 4, 2009 Reproduction List 1. Shirt , ca. 1860 Plains, Sioux Tanned deerskin; natural and dyed porcupine quills; glass seed beads; human hair; sinew; mineral pigments (blue) From the private collection of John and Marva Warnock WC8803013 2. Dance Stick , ca.1885 Plains, Sioux Wood; commercial tanned leather; iron; pewter; red and blue paint From the private collection of John and Marva Warnock WC8805005 3. -
A Life in Beads: the Stories a Plains Dress Can Tell Grade Levels: 4–6 | Time Required: 4 Class Periods
a life in BEADS The Stories a Plains Dress Can Tell A Life in Beads: The Stories a Plains Dress Can Tell grade levels: 4–6 | time required: 4 class periods Overview In this poster, students will be introduced to three generations edge a male family member’s valor, or to recognize a sacrifi ce. of Assiniboine (pronounced Uh-SINNA-boyn)/Sioux In most cases, men painted the battle scenes on dresses. A dress (pronounced SUE) women who make traditional dresses. with these images would only be worn by a family member: Through their stories and their art, students will learn about a wife, mother, sister, daughter, or granddaughter. the importance of preserving Native culture and see how The Assiniboine and Sioux are two separate tribes from families share and pass down traditions. Students will gain an the Northern Plains region, both situated on the Fort Peck understanding of the ongoing Plains traditions of beadwork Reservation in northeastern Montana. They are just two nations and quillwork—decorative arts done with beads and porcupine out of more than 550 Native nations in the United States today quills—and the “giveaway” (an honoring celebration). Students who still adorn their clothing, accessories, and other implements will explore the signifi cance of designs and symbols found on with materials that refl ect their surroundings and relate their dresses and better understand the Plains peoples’ long-standing, beliefs and values. Each Native nation expresses itself in its own close connection to their surroundings and natural resources. unique way—using different colors, symbols, designs, and mate rials. -
Beads and Beadwork of the American Indians : a Study Based On
BEADS AND BEADWORK OF THE AMERICAN INDIANS A STUDY BASED ON SPECIMENS IN THE MUSEUM OF THE AMERICAN INDIAN, HEYE FOUNDATION BY WILLIAM C. ORCHARD ***•—««.—••** NEW YORK MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION 192 9 ^jt^j^ Smithsonian £ ^3 Institution X^}^ Libraries Bequest from the library of William C. Sturtevant CONTRIBUTIONS FROM THE MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION VOLUME XI BEADS AND BEADWORK OF THE AMERICAN INDIANS A STUDY BASED ON SPECIMENS IN THE MUSEUM OF THE AMERICAN INDIAN, HEYE FOUNDATION BY WILLIAM C. ORCHARD NEW YORK MUSEUM OF THE AMERICAN INDIAN HEYE FOUNDATION 19 2 9 LANCASTER PRESS, INC. LANCASTER, PA. JAN 1 5 i CONTENTS PAGE Illustrations 6 Dedication 11 Introduction 1.3 Shell Beads 17 Shell Beads in General 17 Runtees, or Shell Discs 24 Discoidal Beads 25 Pearl Beads 29 Bone Beads 29 Stone Beads 32 Drilling 38 Metal Beads 47 Beads of Gold 47 Beads of Silver 57 Beads of Copper 59 Wampum 61 Wampum-making Tools 70 Odd Forms and Materials 74 Seed Beads 74 Basketry Beads 75 Wooden Beads 75 Gum Beads 75 Earthenware Beads 76 Beads of Dried Otter's Liver 78 Native Manufacture of Glass Beads 78 Other Aberrant Objects 81 Trade Beads 82 Age and Distribution 82 Manufacture 82 Varieties 83 Trade Values 87 Polychrome Glass Beads 89 Funnel Beads 90 Sinew-like Beads 91 Woven Beadwork 91 Square Weave 92 The Heddle 98 Bow-loom 100 Variations of the Square Weave 103 Bias Weave 112 Net-like Weave 121 Sewing Techniques 128 Edgings 135 Bead Inlays 136 Beaded Baskets 138 5 ILLUSTRATIONS PLATES PAGE I. -
Burns, Siŋté Máza
ISSN: 2471-6839 Cite this article: Emily C. Burns, “Siŋté Máza (Iron Tail)’s Photographic Opportunities: The Transit of Lakȟóta Performance and Arts,” Panorama: Journal of the Association of Historians of American Art 6, no. 2 (Fall 2020), https://doi.org/10.24926/24716839.10913. Siŋté Máza (Iron Tail)’s Photographic Opportunities: The Transit of Lakȟóta Performance and Arts Emily C. Burns, Associate Professor, Department of Art and Art History, Auburn University In 1907, the San Francisco Call printed a full- page collage that evocatively mingles drawings, half-tone photographs, and text to present “The Indian and the Auto: A Meeting of Extremes” (fig. 1). Implying an uneasy clash of old and new, a large central sketch depicts an Indian figure sitting on a blanket wearing a war bonnet and trailer, facing the front grate of an automobile.1 His chin rests meditatively in one hand, and he holds a wrench, with his sleeve rolled up in anticipation of work. The scene implies that the horse, seen in the background, has been rendered obsolete. While this figure is not captioned, the photographs reproduced around the drawing represent Siŋté Máza (Iron Tail, c. 1840s–1916), a longtime Lakȟóta “chief” in Buffalo Bill’s Wild West who appeared frequently in early twentieth-century mass media. In the oval photograph to the left, Siŋté Máza leans against the hood of the car wearing regalia, cranking the handle to start the vehicle’s Fig. 1. “The Indian and the Auto: A Meeting of engine. At right, a photographic silhouette of Extremes” San Francisco Call, September 1, 1907, 1.