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Performing Archive Main Menu Visualizing the “Vanishing Race”: the photogravures of Edward S. Curtis Front Page for Visualizing the "Vanishing Race" path Curtis' Image and Life: The Network of The North American Indian, Inc. An experiment with data visualization approach to understand and contextualize Curtis' images and his life Media, Technology and Mediations Curtis's Technology, Relationships to Media and Style Contextualizing Curtis, The North American Indian, and Race the collection of essays from the contributors Consulting with Tribes as Part of Archive Development Introduction to Consulting with Tribes by Ulia Gosart Contributing Archives Information on how to participate in Performing Archive Browsing the Media A path of paths that allow users to cut through the collection in a variety of ways. Acknowledgements and Project Information Project Network

"Ceremony"

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This page has paths:

Keyword Paths Erik Loyer
Contents of this path:
1. "Ceremony"
2. "Girl"
3. "Home"
4. "Mask"
5. "Primitive"
6. "Woman"
7. "Portrait"
8. "Spirit"
9. "Dance"
10. "Food"
11. "Ancient"
12. "Material Culture"

Contents of this path:

Nesjaja Hatali - Navaho
Alhkidokihi - Navaho
Hukalowapi ceremony
Arikara medicine fraternity
Arikara medicine ceremony - Dance of the fraternity
Announcement - Arikara
Arikara medicine ceremony - The Bears
Arikara medicine ceremony - Dance of the black-tail deer
Arikara medicine ceremony - The Ducks
Arikara medicine fraternity - The prayer
Travaux - Piegan
Medicine-pipe - Piegan Medicine-pipes, of which the Piegan have many, are simply long pipe-stems variously decorated with beads, paint, feathers, and fur. Each one is believed to have been obtained long ago in some supernatural manner, as recounted in a myth. The medicine-pipe is ordinarily concealed in a bundle of wrappings, which are removed only when the sacred object is to be employed in healing sickness, or when it is to be transferred from one custodian to another in exchange for property. Such exchanges, occurring at intervals of a few years in the history of each pipe, are attended by much ceremony
Hamasaka in Tlu'wulahu costume with speaker's staff - Qagyuhl The principal chief of the Qagyuhl is depicted in a "button blanket" (which is simply a woollen blanket ornamented with hundreds of large mother-of-pearl buttons), cedar-bark neck-ring, and cedar-bark head-band. His right hand grasps a shaman's rattle, and his left the carved staff which, as a kind of emblem of office, a man always holds when making a speech. The button designs along the edge of the blanket represent "coppers" (see page 144). The tlu'wulahu ceremony is described on page 243 of Volume X.
Wedding party - Qagyuhl
Masked dancers - Qagyuhl The plate shows a group of masked and costumed performers in the winter ceremony. The chief who is holding the dance stands at the left, grasping a speaker's staff and wearing cedar-bark neck-ring and head-band and a few of the spectators are visible at the right. At the extreme left is seen a part of the painted mawihl through which the dancers emerge from the secret room; and in the centre, between the carved house-posts, is the Awaitlala hams'pek, showing three of the five mouths through which the hamatsa wriggle from the top to the bottom of the column. See page 175 and footnote.
Hesquiat maiden
Flute dancers at Tureva Spring The Flute dance is a religious ceremony concerned with bringing rain. It represents the legendary arrival of the Flute people in the Hopi country, their friendly encounter with the clans already there, and the rain-making rites subsequently performed by them for the common good. The episode here represented was photographed at Middle mesa. The individual seated near the right end is an albino, not a white man.
Hupa jumping dance costume The Jumping dance was an annual ceremony for averting pestilence. The head-dress worn by the dancers was a wide band of deerskin with rows of red woodpecker crests and a narrow edging of white deer-hair sewn on it. A deerskin robe was worn as a kilt, and each performer displayed all the shells and beads he possessed or could borrow. In the right hand was carried a straw-stuffed cylinder with a slit-like opening from end to end, an object the significance of which is unknown to the modern Hupa.
Tablita dancers and singers - San Ildefonso The ceremony called Koheye-hyare ("tablita dance"), occurring in June and again in September, is characterized by public dancing and singing for the purpose of bringing rain-clouds. The name refers to wooden "tablets" worn by female dancers. (See Volume XVII, illustrations facing pages 56,60,62,64,66,68.) In the plate the performers are dancing in to the plaza, men and women alternating in pairs. At the right is the group of singers, their aged leader slightly in advance and the drummer at one side.
Zuni woman
Tobacco ceremony - Apsaroke
Arikara corn ceremony : bearing out the osiers
Arikara medicine ceremony : The bears
Arikara medicine ceremony : Bear, buffalo, and night men
Arikara medicine ceremony : The buffalo
Arikara medicine ceremony : Night men dancing
Arikara medicine ceremony : The buffalo dancing
Dressing at Tawapa Spring, Walpi flute ceremony
Wall-painting for the summer Shiwanna ceremony - Santo Domingo