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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

Tewa girl

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Tewa Erik Loyer
Contents of this path:
1. Tewa girl
2. Chaiwa - Tewa
3. Chaiwa - Tewa, profile
4. Tewa girls
5. Sia buffalo dancer The Buffalo dance of the Keres is almost exactly the same as that of the Tewa. The performers are two young men with head-dresses of buffalo-hair and horns, and a girl wearing the usual female costume and a pair of small horns. The head of the hunters' society plays the part of guard. The dance is very strenuous, and the simulated actions of t he buffalo are quite realistic and readily comprehended by the spectator.
6. At the gateway - Acoma
7. Sentinel - San Ildefonso
8. Povi-Tamu
9. On the Rio Grande - San Ildefonso
10. Offering - San Ildefonso
11. Girl and jar - San Ildefonso
12. Ambrosio Martinez - San Juan
13. Oyi
14. Potter - Santa Clara
15. Pele - Tewa
16. Tsetsanu - Tewa
17. Shrine of Yellow Cloud Man on Tsikumupi - Tewa
18. Tewa dance - costume
19. Tewa war-god effigies
List of Large Plates Supplementing Volume Twelve Erik Loyer
Contents of this path:
1. Loitering at the spring
2. Buffalo dance at Hano
3. Tewa girl
4. Hopi mother
5. Antelopes and snakes at Oraibi
6. Watching the dancers
7. Hopi girl
8. Evening in Hopi land
9. Honovi - Walpi snake priest, with Totokya Day painting
10. On the housetop
11. Walpi
12. Hopi woman
13. Hopi maiden
14. Counting the record
15. Chaiwa - Tewa
16. Chaiwa - Tewa, profile
17. At the trysting place
18. East side of Walpi
19. Snake priest
20. Potter mixing clay
21. Hopi man
22. Hopi architecture
23. Snake dancers entering the plaza
24. Primitive style of hairdressing
25. Walpi man
26. Mishongnovi
27. Potter
28. East mesa girls
29. Modified style of hairdressing
30. Walpi snake priest
31. Snake dancer in costume
32. 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.
33. Piki maker
34. Depositing a prayer-stick
35. Tewa girls
36. Water carriers
"Girl" Erik Loyer
Contents of this path:
1. Sigesh - Apache
2. Apache Nalin
3. Qahatika water girl
4. Qahatika girl
5. Mosa - Mohave
6. Hwalya - Yuma
7. Maricopa girl
8. Ogalala girls
9. Sioux girl
10. Arikara girl
11. Cheyenne girl
12. Mountain camp - Yakima
13. Nespilim girl In the early years of the nineteenth century various explorers noted that the bands dwelling along the upper course of the Columbia, among which the Nespilim were included, wore practically no clothing. Excepting as the cold made some protection necessary. The hair of the women was arranged in two knots at the sides of the face ? a method of hairdressing still in vogue among the Salish on Fraser river. Prior to the middle of the century the use of deerskin garments had become common, and gradually other customs such as the style of hairdressing here illustrated, were borrowed from the tribes east of the Rocky mountains
14. Kutenai girls
15. Fisherman - Wishham
16. Wishham girl The subject is clothed in a heavily beaded deerskin dress of the plains type. The throat is encircled by strands of shell beads of native manufacture, heirlooms which were obtained by the original Wishham possessor from the Pacific slope. Pendant on the breast are strands of larger beads of the same kind, as well as of various kinds brought into the country by the traders of the Hudson's Bay Company. An indispensable ornament of the well-born person was the dentalium-shell thrust through a perforation in the nasal septum; occasionally, as in this case, two such shells were connected by means of a bit of wood pushed into the hollow bases. Tied to the hair at each side of the face (see the following plate) is another dentalium-shell ornament, which is in reality an ear pendant transferred from the lobe of the ear (where its weight would be inconvenient) to the hair. The head-dress consists of shells, shell beads, commercial beads, and Chinese coins. The coins made their appearance in the Columbia River region at a comparatively early date. This form of head-dress was worn on special occasions by girls between the age of puberty and their marriage.
17. Wishham girl, profile
18. Wishham maid
19. Suquamish girl
20. Cowichan girl
21. Clayoquot girl
22. Hesquiat maiden
23. Loitering at the spring
24. Tewa girl
25. Watching the dancers
26. Hopi girl
27. East mesa girls
28. Tewa girls
29. Pomo girl Clam-shell beads of the kind here shown are still made by some of the old men. Fragments of shell are pierced and strung on a stem of the scouring-rush (Equisetum), which is then drawn backward and forward on a flat surface of sandstone until the fragments have become nearly circular. The feathered ornament is an ear-pendant, which in this case, because of its length and weight, is attached to a strand of hair. The large, dark-colored bead on one strand of the necklace is a cylinder of magnesite, a highly valued object
30. Coast Pomo girl
31. Taos water girls
32. Ti'mu - Cochiti
33. Sia buffalo dancer The Buffalo dance of the Keres is almost exactly the same as that of the Tewa. The performers are two young men with head-dresses of buffalo-hair and horns, and a girl wearing the usual female costume and a pair of small horns. The head of the hunters' society plays the part of guard. The dance is very strenuous, and the simulated actions of t he buffalo are quite realistic and readily comprehended by the spectator.
34. Acoma water girls
35. Povi-Tamu
36. Girl and jar - San Ildefonso
37. Tesuque buffalo dancers The Buffalo dance is performed, though the original object of exerting prenatural influence on the abundance and accessibility of the buffalo no longer prevails. The two male dancers are accompanied by the Buffalo Girl, who is fully clothed in native costume and has a pair of small horns on the head. These three give a very striking and dramatic performance under the watchful eye of the head of the hunters' society.
38. Zuni girls at the river
39. Zuni girl
40. Apache girl
41. Yuma girl
42. Sholya - Mohave girl
43. Yaqui girl
44. Maricopa water girl
45. Mandan girl
46. Piegan girls
47. Arapaho water girl
48. Young Kalispel girl
49. Kutenai girls at the lake-shore
50. Nez Perce girl
51. Umatilla girl
52. Cayuse girl
53. Wishham girls
54. Quinault girl
55. Quilliute girl
56. Tsawatenok girl
57. Hesquiat girl in cedar-bark costume
58. Hano and Walpi girls wearing atoo
59. An East Mesa girl.
60. Sherwood Valley girl - Pomo
61. A Pomo girl
62. An Isleta girl
63. A Taos girl
64. Boy and girl columns at Corn Mountain -
65. A Zuñi girl
66. A Nambe girl
67. A Cree girl
68. A Comanche girl
69. Girl's costume, Nunivak
70. Diomede girl
71. Selawik girl.