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The Rebirth of Southeastern Woodlands Beadwork

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The Rebirth of Southeastern Woodlands Beadwork garters are primarily sewn on blue or red brought in 18th-century southeastern wool stroud, backed by calico. beadwork from Scotland that had not been in the Americas in over two centuries. She White is the predominant color for the brought in the work of other southeastern beads; imported glass beads replaced beadworkers, such as Jerry Ingram and precontact pearl and shell beads. Many Brian Zepeda. designs are simply red, blue, and black, but others have wild palettes of pinks, Seeing was believing. While still only Stitches greens, golds, pastels—all arranged for a few dozen people bead Southeastern maximum visual impact. The fluid designs Woodlands-style beadwork, the are abstract, floral, zoomorphic, and very numbers are far larger than they were rarely anthropomorphic. They have been 15 years ago, and the knowledge of the compared to one-celled organisms viewed beadwork among the tribes has jumped through a microscope. exponentially. I interviewed four beadwork artists instrumental in this in Time: The “Golden Era” of Southeastern remarkable revival to get their stories. Woodlands beadwork was the late 18th century until the Removal Era in the The Rebirth of 1830s. Alabama, Koasati, Cherokee, Jerry Ingram Chickasaw, Choctaw, Muscogee Creek, “When I was a kid, I was interested in Natchez, Seminole, and Yuchi people were beadwork,” says Jerry Ingram, “and the forcibly removed from their southeastern Southeastern only place I saw any was the department homelands to Indian Territory, now Jerry Ingram (Choctaw). Photo: A. Meredith store in Idabel.” An enrolled member of Oklahoma. Some tribes stayed in the the Choctaw Nation of Oklahoma, Ingram southeast, and today Southeastern with Powwow Highway. Most recently Woodlands was born in Battiest, a small town in the Ingram created the horsehair headgear Woodlands tribes are headquartered in southeastern corner of Oklahoma. Alabama, Louisiana, Mississippi, North designed by Patricia Michaels for her Beadwork Carolina, Oklahoma, South Carolina, and “When I was little, I’d draw on grocery Project Runway finale. Texas. Mississippi Choctaw have beaded bags, or backs of calendars.” He Despite these successes in the intertribal baldric sashes continuously to the present. attended high school in Chilocco Indian arena, Ingram says, “I know I’m Choctaw, Florida Seminoles beaded bandolier bags Agricultural School. “Just before I left I By America Meredith so I still make southeastern clothes.” He until the 1920s. found out Josephine Wapp had an Indian shows regularly in Oklahoma. “Martha Club that taught beadwork.” In end Berry helped me out. She got me in to the DON’T THINK Cherokees had much of a While women had beaded purses and Ingram just taught himself how to bead. Cherokee Heritage Show. I sent an entire beading tradition,” I blurted out to my sister at the moccasins, overwhelmingly, women outfit. I finally met her in person at the 2005 opening of the Oklahoma History Center’s created beadwork for the men in their lives “I just wanted to do it, so I looked at Cherokee Art Market.” Native American gallery. The museum curator to wear. “Humans are just like peacocks,” things in the museum and figured out how “I observes Choctaw bead artist Jerry Ingram. they were made. I read all kinds of books,” overheard and asked if he could show me something. That something was a 1840s Cherokee beadwork sampler of “All the males want to show off.” says Ingram. Between him and his wife a vine with stylized flowers and strange blue growths, Sally, “We have a library filled with art Martha Berry Seminole traditionalist Pedro Zepeda outlined in white. It was psychedelic. That was my first taste books.” Her grandmother taught her how to sew, agrees: “One thing about Seminoles, we of Southeastern Woodlands beadwork, and I was hooked. so Martha Berry felt beading would be tend to dress up more than other tribes.” Studying graphic arts at Ocmulgee, a way to honor her Cherokee ancestors. Martha Berry (Cherokee Nation), a leading advocate for Ingram focused on painting and first only Several Cherokee traditionalists in Finding no books on Cherokee beadwork, the revival of Southeastern Woodlands beadwork, beaded a beaded and quilled items to have realistic Oklahoma refused to believe that we had she began collecting photographs of bandolier bag called, Hidden in Plain Sight. It’s an apt term, props from which to paint. Eventually, our own traditional beadwork styles. southeastern people wearing beadwork— since, after that day in 2005, I encountered Southeastern the beadwork and quillwork took over Martha Berry, an enrolled member of the most of which was Plains-style beadwork. Woodlands beadwork in books, museum collections, and Ingram’s art practice. The first southeastern beadwork she photographs and have often wondered why I never knew Cherokee Nation, collectively convinced Ingram visited museum collections encountered was the red stroud bandolier about this artwork before? the tribe by curating the art show, Beadwork Storytellers: A Visual Language at such as the University of Pennsylvania bag at the Denver Art Museum. “It blew Southeastern Woodlands beadwork is characterized by the Cherokee Heritage Center in Park Museum, where William Wierzbowski, me away,” says Berry. “I thought, ‘What curvilinear designs and the strategic use of negative space. Hill, Oklahoma, in 2008. keeper of collections, purchased two of is that?!’” Since that discovery, Berry has Beaded moccasins are usually deerhide and cloth. Beaded his contemporary southeastern bandolier been a woman on a mission. sashes, belts, bandolier bags, jackets, purses, leggings, and “The biggest problem in reviving bags for the permanent collection. Ingram southeastern beadwork is there is so little has taught beadwork at the Institute of “Everything I do is to educate people and Left: Martha Berry (Cherokee Nation), The Fourth Estate in Oklahoma,” says Berry. The key was American Indian Art, and many of his art get the beadwork in front of their faces. Bandolier Bag, Czech glass beads, pony beads, wood stroud, bringing the beadwork to the tribes. She pieces have appeared in films, beginning When I do a class, I do an hour of history calico lining, yarn tassels, 2009, 17 x 11 in. Photo: Dave Berry. 46 | WWW.FIRSTAMERICANARTMAGAZINE.COM FALL 2013 | 47 advocates beading in a historical way of linen no matter how hot it is.” “People might make a bag or a sash, but once in a while I’ll see Plains beadwork two-needle appliqué, using an embroidery the only other consistent beader of the that looks southeastern and vice versa. I hoop to stretch the hide or wool. Since the Though she lives in Tahlequah, Oklahoma, southeast style here is Carol Cypress. think they traded back then just as much as hoops can be turned any angle, the stitches Rutherford regularly travels and exhibits Carol and I are always showing each other we do today.” come out even. in Cherokee, North Carolina. She our beadwork.” Zepeda also stays in touch collaborates with Eastern Band Cherokee with Eastern Band Cherokee beaders, such The number of tabs on the straps can help Her method is to draw designs on graphic artists such as Andy Grant, Ernest “Beaver” as Bo Taylor. identify the tribe. Shawnee, Delaware, and paper, trace them onto muslin, and then Grant, and Robert “Hoss” Tramper. In Seminole might have three tabs on each baste the design through the muslin to the North Carolina bead artists tend to be The first bandolier bag Zepeda made, the side, while Cherokee only have two or wool stroud. “That way I don’t have to more experimental since beadwork is Ah-Tah-Thi-Ki Museum bought. The four. use marking pens.” She chooses her colors taught from a young age in local schools. subsequent bags were in such demand that then begins beading. “A lot of design is on finally, he had to turn down offers so he “The easiest ones to pick out are the fly—I adjust the design while I bead.” “People always ask what size beads I use. I would have a bag of his own to wear. Choctaw,” says Brian Zepeda. “They use use any beads I can get my hands on,” she With so many orders, Berry doesn’t always red and white beads, with white spirals. says. “I might outline a design with larger “I’ve made a bag in 30 days, but when I’m have work available to enter shows, but Cherokees used a lot of plant insignia. beads and fill it with smaller beads.” using those 24° beads, I’ve taken two years she tries to enter Cherokee art shows. She Creeks and Seminole use animal designs.” to finish a bag. I usually have two to five creates her own designs incorporating “I do original designs. I don’t want to copy different projects going on at a time,” says Many of the designs represent clans. Pedro ancestral motifs. In her bag, The Fourth the old designs exactly.” An example is Zepeda. “I make beadwork for myself, my Zepeda explains, “Some of the symbols Estate (page 46), she uses precontact sun her bag Old School. Sitting in the Owen kids, my brother Pedro, elders, museums, are not a direct correlation to the clans, circles, Sequoyah’s Cherokee syllabary, and School’s building, Rutherford looked up at and collectors.” but X-symbol would be used when there’s computer icons to express the history of the antique tin ceiling tiles. “The designs X-clan, and Z-symbol represents Z-clan.” written communication. looks like a bird, so I used it.” In 2005, Martha Berry had a booth at “Looking at the older beadwork, they Symbolism and Among Seminoles, Brian Zepeda points the Heard Museum Guild Art Market. didn’t all make them the same way,” out, “In Oklahoma, they still have the Joe Baker, Delaware beadworker, was Brian Zepeda Tribal Distinctions Raccoon Clan.
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