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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

Hopi mother

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Hopi Erik Loyer
Contents of this path:
1. Getting water - Havasupai
2. Buffalo dance at Hano
3. Hopi mother
4. Hopi girl
5. Evening in Hopi land
6. Hopi woman
7. Hopi maiden
8. East side of Walpi
9. Hopi man
10. Hopi architecture
11. 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.
12. Kiva stairs, San Ildefonso Pueblo ceremonial chambers are known as kivas (the Hopi name) or estufas (the name applied to them by the Spaniards under the misapprehension that they were sudatories). They are circular or rectangular, wholly or partly subterranean, or simply cells in the communal structure that forms a pueblo. The character of the underlying soil or rock was probably the factor that determined the degree to which a kiva was made subterranean. The one here illustrated is mostly underground, and has a walled stair leading to the roof, which is surrounded by a parapet. Similar structures have been found in excavating ruined pueblos. (See Volume XVII, illustration facing page 68.
13. Hopi architecture
14. A Hopi flock
15. Hopi bridal costume
16. Hopi farmers, yesterday and today
17. A Hopi woman
18. A Hopi mother
19. Tahopik, Diomede
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