Chippewa Mat Weaving Techniques

Traditional Anishinaabe (Ojibwe or Chippewa) knowledge, like the knowledge systems of indigenous peoples around the world, has long been collected and presented by researchers who were not a part of the culture they observed. The result is a colonized version of the knowledge, one that is distorted and trivialized by an ill-suited Eurocentric paradigm of scientific investigation and classification. In Our Knowledge Is Not Primitive, Wendy Makoons Geniusz contrasts the way in which Anishinaabe botanical knowledge is presented in the academic record with how it is preserved in Anishinaabe culture. In doing so she seeks to open a dialogue between the two communities to discuss methods for decolonizing existing texts and to develop innovative approaches for conducting more culturally meaningful research in the future. As an Anishinaabe who grew up in a household practicing traditional medicine and who went on to become a scholar of American Indian studies and the Ojibwe language, Geniusz possesses the authority of someone with a foot firmly planted in each world. Her unique ability to navigate both indigenous and scientific perspectives makes this book an invaluable contribution to the field of Native American studies and enriches our understanding of the Anishinaabe and other native communities.

An extraordinary illustrated biography of a Métis man and Anishinaabe woman navigating great changes in their homeland along the U.S.–Canada border in the early twentieth century John Linklater, of Anishinaabeg, Cree, and Scottish ancestry, and his wife, Tchi-Ki-Wis, of the Lac La Croix First Nation, lived in the canoe and border country of Ontario and Minnesota from the 1870s until the 1930s. During that time, the couple experienced radical upheavals in the Quetico–Superior region, including the cutting of white and red pine forests, the creation of Indian reserves/reservations and conservation areas, and the rise of towns, tourism, and mining. With broad geographical sweep, historical significance, and biographical depth, Making the Carry tells their story, overlooked for far too long. John Linklater, a renowned game warden and skilled woodsman, was also the bearer of traditional ecological knowledge and Indigenous heritage, both of which he was deeply committed to teaching others. He was sought by professors, newspaper reporters, museum personnel, and conservationists—among them Sigurd Olson, who considered Linklater a mentor. Tchi-Ki-Wis, an extraordinary craftswoman, made a sweeping array of necessary yet beautiful objects, from sled dog harnesses to moose calls to birch bark canoes. She was an expert weaver of large Anishinaabeg cedar bark mats with complicated geometric designs, a virtually lost art. Making the Carry traces the routes by which the couple came to live on Basswood Lake on the international border. John’s Métis ancestors with deep Hudson’s Bay Company roots originally came from Orkney Islands, Scotland, by way of Hudson Bay and Red River, or what is now Winnipeg. His family lived in Manitoba, northwest Ontario, northern Minnesota, and, in the case ofJohn and Tchi-Ki-Wis, on Isle Royale. A journey through little-known Canadian history, the book provides an intimate portrait of Métis people. Complete with rarely seen photographs of activities from dog mushing to guiding to lumbering, as well as of many objects made by Tchi-Ki-Wis, such as canoes, moccasins, and cedar mats, Making the Carry is a window on a traditional way of life and a restoration of two fascinating Indigenous people to their rightful place in our collective past.

For many people, Native American architecture calls to mind the wigwam, tipi, iglu, and pueblo. Yet the richly diverse building traditions of Native Americans encompass much more, including specific structures for sleeping, working, worshipping, meditating, playing, dancing, lounging, giving birth, decision-making, cleansing, storing and preparing food, caring for animals, and honoring the dead. In effect, the architecture covers all facets of Indian life. The collaboration between an architect and an anthropologist, Native American Architecture presents the first book-length, fully illustrated exploration of North American Indian architecture to appear in over a century. Peter Nabokov and Robert Easton together examine the building traditions of the major tribes in nine regional areas of the continent from the huge plank-house villages of the Northwest Coast to the moundbuilder towns and temples of the Southeast, to the Navajo hogans and adobe pueblos of the Southwest. Going beyond a traditional survey of buildings, the book offers a broad, clear view into the Native American world, revealing a new perspective on the interaction between their buildings and culture. Looking at Native American architecture as more than buildings, villages, and camps, Nabokov and Easton also focus on their use of space, their environment, their social mores, and their religious beliefs. Each chapter concludes with an account of traditional Indian building practices undergoing a revival or in danger today. The volume also includes a wealth of historical photographs and drawings (including sixteen pages of color illustrations), architectural renderings, and specially prepared interpretive diagrams which decode the sacred cosmology of the principal house types.

This book celebrates Dorothy Burnham’s many contributions to ongoing research on the Museum’s ethnographic collections from the Northern Athabaskan, Arctic, Plateau and Eastern Woodlands regions of North America. Eleven papers highlight the important role that comprehensive study of museum collections can play in material culture studies, as well as the value of detailed information for those seeking to revive traditional skills.

Identifies and summarizes thousands of books, article, exhibition catalogues, government publications, and theses published in many countries and in several languages from the early nineteenth century to 1981.

Because textiles rarely are preserved in the archaeological record outside of deserts and permafrost areas, in many regions of the world very little is known about their characteristics, functions, production technology, or socioeconomic importance. While this fact is also true of organic fabrics produced during the Mississippian period in southeastern North Anerica, a wide variety of Mississippian textiles has been preserved in the form of impressions on large pottery vessels. From attribute analysis of 1,574 fabrics impressed on Wickliffe pottery sherds and comparison of the impressions with extant Mississippian textile artifacts, Drooker presents the first comparative analysis of these materials and the most inclusive available summary of information on Mississippian textiles.