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Part 1: Graphic Design for Native Americans: An Overview............................................. 3! What is Graphic Design? ................................................................................................ 3! The Lack of Native Voices.............................................................................................. 3! Designing for Native Americans..................................................................................... 5! The Role of Native Lifeways.......................................................................................... 6! Barriers to Design & Potential Solutions........................................................................ 8! Design Opportunities & Examples ............................................................................... 10! Part 2: Anishinabek Design............................................................................................... 13! Audience ....................................................................................................................... 13! Four Hundred Twenty Four, Four Hundred Twenty Eight............................................ 15! Clothing Style Among Rama Youth.............................................................................. 18! Goal............................................................................................................................... 18! Anishinabek Cultural Research..................................................................................... 19! Selected Components for Design.................................................................................. 19! Clothing Designs........................................................................................................... 23! CONCLUSION................................................................................................................. 31! BIBLIOGRAPHY............................................................................................................. 32! LIST OF FIGURES Figure 1. Map by Charles Jirô Lippert. indicating places with Anishinabek and Anishininiwag populations, with diffusion rings signifying “communities speaking an Anishinaabe language.” http://en.wikipedia.org/wiki/File:Anishinaabewaki.jpg ............ 13! Figure 2. Red lines indicate ribbon edging. ..................................................................... 23! Figure 3. Black areas reference the forms of capes, yokes, and cuffs, which were often made with a black material such as velvet. The pockets reference vests worn by Anishinabek men. ............................................................................................................. 24! Figure 4. Silver design featuring studs on the yoke area, with screenprinted floral designs referencing beadwork on the sleeves and pockets. .............................................. 25! Figure 5. Design featuring ribbonwork and a reference to bandolier bags worn over the shoulders. .......................................................................................................................... 25! Figure 6. Screenprinted floral designs highlight floral beadwork. Bottom-left hooded sweatshirt features metal cones. T-shirt design at the bottom brings together a thunderbird, underwater panthers, and floral beadwork. .................................................. 26! Figure 7. More explorations of floral designs. The top right design incorporates a graffiti-style “Anishinabek.” The deer head on the design at the bottom is a nod to the deer in Rama First Nation’s logo...................................................................................... 27! Figure 8. All three designs employ thunderbird imagery. Zigzag on bottom references waves created by an Underwater Panther. Top design and bottom right designs explore ribbon application. Bottom left design plays with shoulder decoration on bandolier bags. ........................................................................................................................................... 28! Figure 9. Explorations of abstract references to the Thunderbird and Underwater Panther, with a hip-hop inspired example at the bottom. ................................................. 29! Figure 10. Hooded sweatshirts and t-shirt reference the thunderbird forms found on woven ceremonial bags..................................................................................................... 30! 1 THEN AND NOW: ASSERTING ANISHINABEK IDENTITY THROUGH INDIGENIZED APPAREL INTRODUCTION I am Anishinabek (specifically Ojibway, also known as Chippewa), White, and a portion of Iroquois. I am a member of the Chippewas of Rama First Nation. My usage of the term Native American includes Alaskan Natives and Indigenous people residing in Canada, as well as individuals of mixed ancestry. It is my passion to learn about Native American culture and history and share what I know. I see myself as part of the revival of Native American culture spoken of in the Anishinabek prophecy of the Seventh Fire. In times that reside only too recently in the past, Native American voices and perspectives were heavily suppressed. It is my duty to speak as I can on behalf of these silenced people, as well as for the benefit of present and future generations. This undertaking, which is part of my senior graphic design project for my major, began with the realization that I could not name a single well-known Native American graphic designer. Little has been written about the subject of Native Americans in the graphic design world, and there is a lack, or at least low visibility, of Native American graphic designers. This surprised me, given the richness of Native American creative cultures and the general respect towards artists within Native American communities. Consequently, the first part of the project broadly examines the field of graphic design as it relates to Native Americans. For the second part of the project, to illustrate what designing for a Native American audience can entail, I heavily delved into research focusing on my own Anishinabek culture