Beadwork_of_Woodland_Indians

. Beadwork of woodland Indians Beadwork of woodland Indians Ardis White CPS 101 Computer Applications Ardis White CPS 101 Computer Applications ABSTRACT Beading is a traditional Native American craft. Among the Ojibwe, women especially practice the bead working arts, decorating items ranging from ceremonial outfits to personal jewelry. Long before the presence of Europeans on the American continent, Woodland Indians were adorning clothing and other objects with beads. The type of beading done by Ojibwe bead workers was specific to Woodland Indian tribes with the most prevalent pattern floral with a black background. The flowers and leaf designs were of plants typical of the environment in which the people lived. DESCRIPTION The beauty of Woodland patterns is a continuing source of pleasure for the people. The beauty of Woodland patterns is a continuing source of pleasure for the people. Historically, use of particular beadwork patterns on clothing distinguished Woodland Indian people from other tribes. Evidence of beadwork dates back thousands of years. This is documented through a discovery in the 1970’s by Milwaukee construction workers who accidentally unearthed a burial site containing thousands of handmade beads which later carbon dated as 4,000 years old. (Wisconsin Woodland Indian Project, School district of Rhinelander, 1979-1982) Beadwork served the Ojibwe in many ways. Beadwork enlivened the lives of many generations of Ojibwe people pleasantly occupying time during the long winter months. (Minnesota Folk Arts Alliance) Beaded designs might be placed on pipe bags to honor the pipe and the creator. Some say the designs on leather or deerskin weapon scabbards were placed there to “please the spirit of the animal being hunted”. (Rosenbaum, 2011) Ceremonial clothing was decorated ornately with small beads stitched into patterns of flowers, leaves or other natural elements. This is significant in relationship to the identification of the environment of the Ojibwe and also in relationship to use of plants, flowers and leaves in the healing arts and religious ceremonies of the Ojibwe. Pre-European contact artists faced formidable tasks in creating beadwork. The artist might conceptualize a design, dream it or have a picture of it in her mind’s eye, yet before actual creation of the work, had to search for raw material and actually construct the beads. Prior to Ojibwe migration to Wisconsin, the most common way to make beads was with seashells. (Monture, 1993) Other materials used were porcupine quills, animal horns, deer hooves, bone, turtle shells, seeds and wood. (Montgomery, 2009) Beads were cut or formed into an appropriate shapes and holes drilled into them. Natural dyes were used to create the eye-catching floral and leaf designs distinctive of Woodland Indians. European fur traders brought many new types of beads to this continent. The new beads were already shaped and drilled making it less arduous to create the compelling artistic compositions seen on clothing worn by chiefs and ceremonial dancers. (Peacock & Wisuri, 2006) Beadwork was learned early in life and was a skill which might be carried through generations of women within a family. Early beadwork artists did not have written directions and patterns. Perhaps these bead workers were like the Ojibwe artist, Marcie McIntire, who “says that she has a type of artistic vision and uses beads to express it”. (Minnesota Folk Arts Alliance) Bead working was learned through the oral tradition, participant- observation, and experienced guidance from family or tribal members. For anyone wanting to experience the art of beadwork, rings are interesting novice beadwork projects. Materials may be purchased online or in a local bead store. The following are instructions for a ring: * Materials: a. an assortment of appealing beads b. 12 inch piece thin thread, wire, or sinew * Thread three beads on 12” thread, centering them in the middle of the wire. * Using three more beads, thread both ends of the wire through them drawing them tightly to the first three beads. * Continue to make rows of beads until band is desired length. * To complete the ring, form a circle with the band and re-thread the wire through the 1st, 2nd and 3rd rows. * You have now completed your ring. It is ready to be worn. (Wisconsin Woodland Indian Project, School district of Rhinelander, 1979-1982) * I hope completion of this small project gives the reader a sense of the time and concentration required to create even a miniscule beadwork project. HISTORY: I became interested in bead work after viewing the amazing patterns of Ojibwe beadwork, their complexity and beauty, in displays at museums in Lac Du Flambeau, Madison, and Milwaukee, Wisconsin as well as at the Field Museum of Natural History in Chicago and the Metropolitan Museum of Art in New York City. I have seen beautiful beadwork at ceremonies and pow wows worn by contemporary Ojibwe men and women. This illustrates the continuing cultural relevance of beadwork. This art form is not relegated just to museums. I have remodeled many Victorian always dreamt and visualized ways to restore old homes. I relate the way people dream patterns in beadwork to my dreams while restoring and remodeling old homes. I dream the patterns right down to details of moving walls. The dreams persist and repeat until I complete the process. The dreams invade both my sleep and waking life. Discovering beadwork in a Traditional Native Arts course in college was a delight. I also studied beadwork at the Woodland Indian Art Center in Lac du Flambeau. I continue to bead, read books and articles about beading, collect interesting and beautiful materials and talk to the many talented bead workers within this community. SUMMARY: Beadwork is a traditional art form which is culturally relevant in contemporary Ojibwe culture. Ojibwe art, artists and Ojibwe oral traditions combine to teach tribal history to new generations. In Native American artwork, beautiful creations illustrate Indian traditions and customs. Beadwork designs may represent specific tribal stories and legends. They may also reflect stories about Ojibwe families and their experiences, telling the stories long lost words can no longer tell. Individual artists or family members may wear the products of their efforts especially on ceremonial clothing. Others use the art form to decorate clothing or enhance the beauty of their homes with such things as beaded wall hangings or pictures. Ojibwe beadwork is also a significant source of income for the artist and is a source of hard earned recognition for the individual artists and the Ojibwe people. REFERENCES Kate, M. (1996). North American Indian Motifs. Mineola, NY: Dover Publications. Minnesota Folk Arts Alliance. (n.d.). Marcie McIntire. Retrieved October 3, 2011, from Minnisota Folk Artists Directory: http://www.mnfolkarts.org/marcie/marcie.html Montgomery, D. R. (2009). Crafts and Skills of The Native Americans. New York: Skyhorse Publishing. Monture, J. (1993). The Complete Guide to Traditional Native American Beadwork. New York: Wiley Publishing, Inc. Peacock, T., & Wisuri, M. (2006). Ojibwe: Waasa Inaabidaa We Look in All Directions (1st ed.). (S. P. Rubinstein, Ed.) Afton, MN, USA: Afton Historical Society Press. Rosenbaum, L. (2011, March 15). Museums: Shows That Defy Stereotypes. The Wall Street Journal, p. D7. Wisconsin Woodland Indian Project, School district of Rhinelander. (1979-1982). Beadwork Design of American Indians. Madison: Wisconsin Department of Public Instruction.