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Spring 2000 Celebrating Native Traditions & Communities American Indian Spring 2000 Celebrating Native Traditions & Communities t 3 Smithsonian National Museum of the American Indian SUBSCRIBE TO NATIONAL CAMPAIGN OFFICE 306 Diamond Street Canastota, NY 13032 INDIAN NEWS SOURCE Ph. (315) 697-7777 Fax (315) 697-9099 indiancountry.com EDITORIAL HEADQUARTERS 1920 Lombardy Drive Rapid City, SD 57703 Ph. (605) 341-0011 Fax (605) 341-6940 Mrnmmm AN ENTERPRISE OF THE ONEIDA INDIAN NATION CONTENTS Volume 1, Number 2 Spring 2000 DEPARTMENTS PERSPECTIVES.......................................... 5 MUSEUM NEWS...................................... 6 COYOTE’S PLACE..................................22 COLLECTIONS........................................ 24 CALENDAR OF EVENTS........................25 DID YOU KNOW?..................................29 GUEST ESSAY.......................................... 30 FEATURES 10 Virtual Trade Routes While the Internet is playing an unexpected role in saving the buffalo and preserving the Pueblos, Indian commerce is mounting a comeback. 12 Wampum Shells: A Gift from Earth and Sea On Martha’s Vineyard, gifted Wampanoag artisans like Donald Widdiss and Carol Lopez are '7 leading a resurgence in the ancient and uniquely beautiful art of wampum shell beadwork. ' .1 18 Jim Ihorpe: World’s Greatest Athlete Olympic champion, NFL Hall-of-Famer and a pretty good major league ballplayer, Jim Thorpe must be considered the dominant figure in 20th century sport. Cover photography by Roberto Ysais American Indian Volume 1, Number 2, Spring 2000 Celebrating Native Traditions & Communities Editorial Board Editorial Committee Tim Johnson (Mohawk) James May Thomas W. Sweeney Ramiro Matos (Quechua) Karen Lincoln Michel (Keetoowah Band of (Citizen Potawatomi) Gabrielle Tayac (Piscataway) (Ho-Chunk) Cherokee) Millie Knapp Marty Kreipe de Montano José Barreiro (Taino) Luci Tapahonso (Navajo) (Kitigan Zibi Anishnabe) (Prairie Band Potawatomi) Richard LaCourse (Yakima) Mark Trahant Terence Winch Russ Tall Chief (Osage) Charlotte Heth (Cherokee) (Shoshone-Bannock) Bruce Bernstein Edison Wato (Zuni) Leslie Logan (Seneca) Liz Hill (Red Lake Ojibwe) Board of Trustees Billy L. Cypress (Seminole) Vine Deloria Jr. George Gund Hon. Ted Stevens Chairman (Standing Rock Sioux) Lawrence E. Small Luci Tapahonso (Navajo) James Block Charles Diker Peter Johnson Bernard Julian Whitebear Ellsworth Brown Jorge A. Flores Ochoa Loretta Kaufman (Colville Confederated Duane Champagne (Quechua) Henrietta Mann Tribes) Director: (Turtle Mountain Chippewa) Catherine S. Fowler (Southern Cheyenne) Phyllis Young W. Richard West Eloise Cobell (Blackfeet) Doug George-Kanentiio Joann Sebastian Morris (Standing Rock Sioux) (Southern Cheyenne) George L. Cornell (Mohawk) (Sault Ste. Marie Ofelia Zepeda (SaultSte. Marie Chippewa) Dwight Gourneau Chippewa/Upper Cayuga) (Tohono O'odham) Publisher: (Turtle Mountain Chippewa) J. Dennis O'Connor Elizabeth Duggal nternational ounders ouncil Editor in Chief: I F C Thomas W. Sweeney Gene Keluche (Wintun) Charles M. Diker Peter J. Johnson Lewis S. Ranieri (Citizen Potawatomi) Co-Chair Valerie T. Diker Loretta A. Kaufman David Rockefeller, Sr. I. Michael Heyman Joan Donner Victor A. Kaufman Ellen Napiura Taubman Editor: Co-Chair John L. Ernst Mrs. Seymour H. Knox III William S. Taubman Millie Knapp (Kitigan Zibi Robert McC. Adams Margot P. Ernst Gerald M. Levin R. E. Turner Anishnabe) Ann Simmons Alspaugh Jane Fonda Ivan Makil (Pima) Thomas W. Weisel Barbara H. Block George Gund Nancy Fields O'Connor Peterson Zah (Navajo) Coyote’s Place Editors: James A. Block Brian C. McK. Henderson (Shawnee/Crow) Rosalind Zah (Navajo) Shawn Termin (Lakota) and Barber B. Comble, Jr. Johanna Gorelick eorge ustav eye enter oard of irectors Calendar Editor G G H C B D Russ Tall Chief (Osage) Barbara H. Block John L. Ernst Barbara Riley Levin Jane F. Safer James A. Block Margot Paul Ernst Ellen Liman Ellen Napiura Taubman Art Director: Wahleah Faulkner Davis Brian C. McK. Henderson Nancy Fields O'Conner Ann G. Tenenbaum David Beyer (Cree) ( Cherokee) Loretta Kaufman William A. Potter Times Two Idea Corporation Charles M. Diker Alan J. Kirschfield Ann Reynolds Valerie T. Diker Janet Carter Krissel Ann R. Roberts Membership/Circulation Manager: Edison Wato (Zuni) National Campaign Honorary Committee Advertising Manager: The Rt. Rev. Kevin Costner Wilma Mankiller (Cherokee) W Ann Reynolds Carol Grace Hicks Robert M. Anderson President Gerald R. and José Matos Mar Rabbi A. James Rudin (202) 357-3164 ext. 179 Mr. and Mrs. Mrs. Ford Paul Newman Douglas W. Schwartz Robert O. Anderson R. C. Gorman (Navajo) Arnold Palmer Sargent Shriver Production Management: Willard L. Boyd LaDonna Harris (Comanche) Janine Pease Windy-Boy Martin Sullivan Richard Kirk (Tuscarora/Onondaga) President George Bush James A. Joseph (Crow) Maria Tallchief (Osage) Kirk/Marsland Advertising, Inc. Jimmy and Rosalynn Carter Doris Leader Charge President and Mrs. Stewart L. Udall President Bill Clinton (Rosebud Lakota) Ronald Reagan James D. Wolfensohn Administrative Coordinator Ralph T. Coe George F. MacDonald Robert Redford Leonda Levchuk (Navajo) American Indian (ISSN 1528-0640) is published quarterly by the Smithsonian’s National Museum of the American Indian. Articles may be reprinted at no charge provid­ ed that by-lines are retained and the name “Smithsonian’s National Museum of the American Indian” is fully credited. Letters to the Editor are welcome. Write to us at: NMAI, Office of Public Affairs, P.O. Box 23473, Washington, D.C., 20026-3473. Telephone: (202) 357-3164. Or e-mail letters to the editor to [email protected] To become a NMAI Charter Member, call 1-800-242-NMAI (6624) or write NMAI, National Campaign Office, P.O. Box 23473, Washington, D.C., 20026-3473. Or visit NMAI’s Web site at www.si.edu/nmai or e-mail us at [email protected] For change of address requests for Charter Members, please call 1-800-242-NMAI (6624). 4 American Indian © PERSPECTIVES Exhibition Design a Matter of Respect by JAMES VOLKERT n 1992, during the reno- I vation of the George I Gustav Heye Center I (GGHC) in New York City JL and before pencil had touched paper for the design of the Cultural Resources Center in Suitland, Md., or the Museum on the Mall in Washington, D.C., new approaches to exhibitions were emerging for the National Museum of the American Indian (NMAI). At that time, development of the GGHC’s inaugural exhibi­ tions was well under way and proceeding in response to one of the most basic questions in museum work, “For whom do these objects hold the most potent meaning?” The answers led to the exhibition All Roads Are Good: Native Voices on Life and Culture. Twenty-three Native selectors from all walks of life were invited to visit the collec­ tions to view, discuss, and select objects that held particular sig­ nificance for them. These selec­ tions formed the basis of the exhibition, and the resulting discussions The installation of the Crow shields in the George Gustav Heye Center’s permanent exhibit, served as the platform for exhibition design. All Roads Are Good, was designed to keep the shields from seeing each other. One of the selectors was a respected elder and storyteller, Joe Medicine Crow (Crow), regard the thunderbird as the most powerful of conversations with Medicine Crow and grandson of a scout who rode with Custer. bakbeh. The word bakbeh can be interpreted in became a part of the design aesthetic. For him, Medicine Crow is an important historian of several ways, but it basically means power - this was the proper way to share the shields his people. His extensive knowledge of Crow mysterious power, sacred power,” he said. This with the visitors. traditions drew him to three particular shields prompted a question that I had to ask when we Exhibitions for the Museum on the Mall carrying images of a thunderbird, a red buffa­ were talking about designs for the installation are now in development. The three permanent lo, and other personal symbols. These objects of the shields: “Given the power of the shields, exhibitions, Our Universes, Our Peoples, and balanced great beauty and deep spiritual can the public view them?” His response was Our Lives, will bring forward philosophies, his­ meaning for the makers, and they carried great direct and clear. “Oh, sure,” he said, “no prob­ tories, and identities. Each will come directly power. Trained as an anthropologist, Medicine lem with that - but the shields shouldn’t see from the conversations that result from con­ Crow said of himself, “I have a kind of dual each other.” He did not want the shields’ pow­ necting Native people with the collections. The nature. 1 can see objects both as a scientist and ers to conflict. designs of the exhibitions will reflect these as a traditionalist. I've studied anthropology, This is where content and exhibition design aspects in a rich contextual environment, so I can see these objects from a scientific per­ intersect. Today the shields are installed in the using all of the tools available to us: objects, spective. But at certain times, I feel like burn­ exhibition. If you look carefully at the display sense of place, images, and media. We hope the ing incense, saying proper prayers and all that.” case, you’ll notice the three shields are separat­ result will reflect something Medicine Crow In developing the designs for the exhibi­ ed by dividers that seem to create an aesthetic said to me many years ago, “Understanding. tion, we had several extended conversations balance and proportion. In fact, the sole reason That’s important.” ■ with Medicine Crow that always seemed to for the dividers is to keep the shields from see­ James Volkert is the NMAI’s Assistant Director return to the power of the shields. “The Crows ing each other. This element grew directly out for Exhibitions and Public Spaces. Smithsonian Institution 5 En Pointe: The Lives and Legacies of Ballet’s Native Americans features (left to right) Moscelyne Larkin, Marjorie Tallchief Maria Tallchief Rosella Hightower, and Yvonne Chouteau, who were named Oklahoma State Art Treasures by Governor Frank Keating in 1997.
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