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Pacific Northwest Tribe totem poles
Pacific Northwest Tribe totem poles
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In the Pacific Northwest, British Columbia and Southeast Alaska there are 6 styles of carved art. The most well commonly known art form is known as Totem poles also known as “story-telling poles.” Totem poles are tall poles carved from red cedar tree logs that represent the mythology and beliefs of tribes. The most well-known tribes who created totems along the coast are the Haida and Tlingit tribes. The carvings may include animals, plants, ancestor or mythological creatures. The Hadia tribe is located in British Columbia; which the largest group can be found in Ninstints Village. Their totem poles are known for their prosperous detail and exclusive style. Haida had four primary figures which include Orca, Bear, Frog, and Raven. The animals …show more content…
are considered more perceptive than a human and can convert into human form. Reincarnation is something the Haida people still believe in. Haida created funeral poles for their chiefs after several days of lying in their home they would then be transferred to a grave yard once their totem was completed they would be placed into a small wooden box and placed in the very top of the burial totem which will show one man’s compelling events in his life on his totem post. The totem will then be presented at a potlach and food, music, gifts and dances will be present. Each figure on the totem has a special meaning rather it being imaginary or real. The malformed faces and distort body positions imply a spirt world beyond human belief. They are also notorious for totem poles as house front poles, memorial poles, and mortuary columns. The colors typically used in Haida totem poles are black, red and blue-green. The meaning of the colors are listed below Black- Power and Strength Red- Blood, was and bravery Blue- Rivers, Oceans lake, and sky “Sincerity and happiness” Green- Nature The Tlingit tribe which is very similar to Haida tribe is located in Southeast Alaska.
They also use the Northern style which uses the color scheme red, black, and blue-green “turquoise.” Tlingit people carved interior house post, Portal entrance and totem poles. These figures have animals, sea creatures, and birds. They combined realism and symbolism in there art work. The Tlingit tribe is separated into two moieties raven and eagle then are put in several different clan. These clans have crest that represent their clan embedded on their totems. When creating totem poles they follow a stylistic rule to be able to easily identify. For example the ravens must have straight beaks and eagles will have curved beaks. One of the greatest things Tlingit tribe is known for is their potlach ceremonies. Potlach’s consist of music, dancing, gifts and a feast. They are typically celebrated when a totem is raised, or celebration of a death lasting for an estimated of 4 …show more content…
day. One of the very interesting mythological stories that illustrates their views in creations begins as follows.
The Raven also known as the “tricksters” story began when he discovered an old rich man named Naas-shaki; who had a box containing the sun, moon and stars “the light” which the raven wanted to steal from him after many unsuccessful attempts the raven decided to transform himself into a hemlock needle and dropped into the water his daughter had been drinking from the river. She then became pregnant and gave birth to the Raven as a baby boy. The grandfather began to spoil him and give him whatever he desired. The raven began to cry over the box on the shelf continuously after telling his grandchild no. Days later he gave in and allowed him to play with the stars, as he was playing with the stars rolling the box on the floor back and forth he then allowed them to roll up the smoke whole and into the sky. The following day he began to cry again until he received the box with the moon he was then given the box as well and began to roll it back and forth across the floor and up the chimney into the sky. The final day he cried and cried until the box was given to him with the sun but this time he did not roll it up the chimney. He began to play and waited for everyone to sleep he then turned into a bird and gathered the box in his beak and goes up the chimney not releasing it into the sky he had taken it to show off that he has captured the sun from the rich man and when he
had open the box the sun is then released into the sky.
One such group, the Tlingit, used art to create and portray its rights, privileges, and talents inherited to them and became symbols of tribal importance. As they lived in extended family tribal canoe houses, they used art to decorate and empower their tribe in their social structures and often commissioned elaborate artwork in order to create jealousy within the groups. Because the Tlingit culture believed that they were all descendants of animals, the subject matter of most Tlingit art is a highly stylized representation of their ancestor animal. Though religious belief was integrated into Tlingit artwork, it remained an iconographic representation of a tribe’s lineage serving many roles such as power and protection.
The Tohono O’odham tribe has been weaving baskets for at least 2000 years. Although the reason for weaving has changed through the years the Tohono O’odham are still using the same weaving styles as their ancestors. Basket weaving for the Tohono O’odham has gone from an everyday essential to a prestigious art form. Basket weaving for the Tohono O’odham represents an active way of preserving their culture, valuing traditions, and creating bonding ties within the tribe; consequently weaving has transcended into an economic resource.
Edger Allen Poe’s Raven goes to the sad man who is lamenting for his love, and says the one word that he knows, which is “Nevermore.” The Raven basically tells the man that his love will never come back, and on every statement or question, he merely answers “Nevermore!” At first, the raven is a mere guest to the man, but as the conversation continues, the man realizes that he does not want the bird with him. He tries to have the bird leave, but “Nevermore” keeps coming back at him. The poem ends with him wallowing in sorrow as the bird never leaves, and the bird represents the shadow of his grief over him, “…still is sitting…And my soul from out that shadow that lies floating on the floor Shall be lifted—Nevermore!” (344) The raven from Native American myths seems to be naughty but at the same time helpful. The Native American myth, “Raven steals the light,” shows Raven’s naughty yet helpful side. In the story, Raven decides to get the sunlight back from a man who took it. Raven hides as a fish in a river and the man’s daughter comes for the water. When she drinks, the raven in disguise as a fish goes into her water and gets inside her. The girl gets pregnant and gives birth to a baby, who is actually Raven. Raven one day cried, and so his grandfather gave him the sun to play with. Raven took the sun outside and threw into the air, restoring light everywhere, and flew
When most people look at a piece of pottery the first thing that comes to mind is the significance of the symbols and the stories behind these symbols. There are some symbols of Hopi pottery that have stories behind them and some that are symbols of either lost significance or the story is unknown. Some of the symbols we think of as symbols, are really the potters own design. Most people make the mistake that symbols and designs are the same thing, but in fact they are very different. Hopi potters, mostly women, have been instrumental in both preserving and developing traditional symbols and innovating designs in response to changes in and challenges to their culture.
Their Sundance ceremony surrounds the story of the tai-me, “The Kiowas were hungry and there was no food. There was a man who heard his children cry from hunger, and he went out to look for food. He walked four days and became weak. On the fourth day he came to a great canyon. Suddenly there was thunder and lightning. A voice spoke to him and said, ‘Why are you following me? What do you want?’ The man was afraid. The thing standing before him had the feet of a deer, and its body was covered in feathers. The man answered that the Kiowas were hungry. ‘Take me with you,’ the voice said, ‘and I will give you whatever you want.’ From that day Tai-me has belonged to the Kiowas”(36). This story is used to tell how the tai-me came to be a part of the Kiowa tribe and why they worship it as a part of the sun dance ceremony. Momaday describes that the “great central figure of the kado, or sun dance, ceremony is the taime”(37). It was a small image representation of the tai-me on a dark-green stone. As a symbolic part of this ceremony, it is kept preserved in a rawhide box of which it is never exposed to be viewed other than during this
Scientists have recently discovered links to the Kiowa and Aztec religions. For example both tribes worshiped a stone image, Taimay, and both tribes followed a pictographic calendar. The language that the Kiowa spoke can be traced back to the Uto-Aztecan language like Latin and English. The Kiowa languages also have connections to the Bannocks, Comanche’s, Paragons, Paiutes, Pima, Shoshones, and Utes. The Kiowa and Aztec preformed many dances of praise including the Sun Dance. However, the Kiowa also had many unique dances including the Scalp, Corning, Feather, and Ghost praising nature and life. Each dance was preformed to celebrate different achievements. For example, the scalp dance was preformed when men returned ...
Wallis, Wilson D. and Ruth Sawtell. The MicMac Indians of Eastern Canada. St. Paul, Minnesota: North Central Publishing Company, 1955. 14, 21-22, 27-28, 51, 68, 192-194.
The Navajo also made blankets which have simple geometric patterns. Notice how in Figure 4 the artist combined a solid center with rectangles and diamonds on the edge to represent the Navajo’s cultural emphasis on restrained aggressiveness and controlled movement (Parr, 2002). It is important for the Navajo to maintain a balance between static and active, and so they represented this the symmetric designs of their blankets as seen in Figure 5 (Parr, 2002).
Mandan villages were the center of the social, spiritual, and economic lives of the Mandan Indians. Villages were strategically located on bluffs overlooking the river for defense purposes, limiting attacks to one land approach. The Mandan lived in earth lodges, which are extremely large, round huts that are 15 feet high and 40-60 feet in diameter. Each hut had a vestibule entrance, much like the pattern of an Eskimo igloo, and a square hole on top, which served as a smokestack. Each earth lodge housed 10-30 people and their belongings, and villages contained 50-120 earth lodges. The frame of an earth lodge was made from tree trunks, which were covered with criss-crossed willow branches. Over the branches they placed dirt and sod, which coined the term earth lodge. This type of construction made the roofs strong enough to support people on nights of good weather. The floors of earth lodges were made of dirt and the middle was dug out to make a bench around the outer edge of the lodge. Encompassing...
Zságer, L., 2010. 'Miniature Carvings in the Canadian Dorset Culture: the Paleo-Eskimo Belief System'. Perspectivas Colombo-Canadienses, Volume vol. 3, pp. 108-121 [Online]. Available at: http://revistas.urosario.edu.co/index.php/perspectiva/issue/view/206/showToc [Accessed 17 December 2013]
Did you know that the Ancient Indian people of the Southwestern United States have dated back to the year 10,000 BC? First appearing toward the end of the last Ice Age, they were the first “Americans.” (Noble, 1998) When Christopher Columbus arrived in the America’s in 1492 and seeing the people of this land for the first time, he thought that he had landed in India, thus giving them the name “Indians.” (Noble, 1998) However, he was nowhere near India, or that region of the world. Because the Ancient Indians were nomadic people, (people who wondered the lands with no permanent home) through the years they developed, separated, and re-located their clans, developing into what we know today as the American Indian. One group or tribe, are the Hopi Indians. Although the Hopi are still a tribe today, mostly living in Arizona, their population, traditions, skills, and crafts have dwindled throughout the years. Let us sit back, relax, and explore the ancestor’s of the Hopi tribe and learn about their traditions, skill, and crafts.
Leeming, David. "Native North American Mythology." The Oxford Companion to World Mythology. N.p.: Oxford University Press, 2005. Oxford Reference. Web. 2 Mar. 2014.
The exhibit “Our Universes: Traditional Knowledge Shapes Our World” on the fourth floor of the NMAI museum does an amazing job of representing cultural sovereignty for many different First American tribes. The exhibit has alcoves for each of eight different tribes that range from Canada, around the USA all the way down to Peru. The exhibits act as a celebration of culture, spirituality, language, stories, life and family. Each exhibit is unique to the culture and recreates a depiction of an aspect of life. By having having such a diverse set of aspects represented in each gallery, the exhibit retains and presents the cultural sovereignty of First Americans.
Edgar Allan Poe?s ?The Raven? is a dark reflection on lost love, death, and loss of hope. The poem examines the emotions of a young man who has lost his lover to death and who tries unsuccessfully to distract himself from his sadness through books. Books, however, prove to be of little help, as his night becomes a nightmare and his solitude is shattered by a single visitor, the raven. Through this poem, Poe uses symbolism, imagery and tone, as well as a variety of poetic elements to enforce his theme of sadness and death of the one he loves.
According to McWilliams the Raven “was as fickle and unpredictable as nature and its seasons” (McWilliams) and because of this, it was easy to deceive animals and humans alike. The “Raven was a shapechanger, who could assume any form- human or animal” (McWilliams) also that he is “a glutton and trickster” (McWilliams) in addition to “his trickery brought them the essentials for existence in a harsh world” (McWilliams). For example, in the story Raven Steals the Light, Raven wanted the light and he “had to find a way to get inside the hut” (Billman) and he used his shape shifting powers to turn himself “into a tiny hemlock needle” (Billman) which the girl drank. Since then, he changes himself into “a small human being” (Billman) and with that the Raven gained entrance into the hut where the light was kept. The story shows how the Raven will use patience and his trickery to get what he