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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
Jacqueline Wernimont
bce78f60db1628727fc0b905ad2512506798cac8
David J. Kim
18723eee6e5a79c8d8823c02b7b02cb2319ee0f1
Stephan Schonberg
23744229577bdc62e9a8c09d3492541be754e1ef
Amy Borsuk
c533a79d33d48cbf428e1160c2edc0b38c50db19
Beatrice Schuster
a02047525b31e94c1336b01e99d7f4f758870500
Heather Blackmore
d0a2bf9f2053b3c0505d20108092251fc75010bf
Ulia Gosart (Popova)
67c984897e6357dbeeac6a13141c0defe5ef3403
Chaiwa - Tewa
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Erik Loyer
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29482
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Erik Loyer
f862727c4b34febd6a0341bffd27f168a35aa637
This page has paths:
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Erik Loyer
f862727c4b34febd6a0341bffd27f168a35aa637
Tewa
Erik Loyer
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Erik Loyer
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Tewa girl
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An excellent feminine type of these early immigrants from the Rio Grande. The arrangement of her hair suggests that she is unmarried.
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Chaiwa - Tewa
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Chaiwa - Tewa, profile
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Tewa girls
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Sia buffalo dancer
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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.
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At the gateway - Acoma
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Sentinel - San Ildefonso
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In prehistoric times the Tewa were so beset by roving enemies that not a few of them, for purposes of defense, became cliff-dwellers. (See Volume XVII, illustrations facing pages 30,32.) With a watchman posted in a niche of the cliff or on a commanding elevation, there was little chance of an enemy surprising laborers in the cornfields.
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Povi-Tamu
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The flower concept is a favorite one in Tewa names, both masculine and feminine. The regular features of the comely Morning Flower are not exceptional, for most Tewa girls, and indeed most Pueblo girls, are not without attractiveness.
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On the Rio Grande - San Ildefonso
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The plate illustrates the native garb of Tewa women, a sleeveless, one piece, woollen dress, a woven belt, and white deerskin boots.
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Offering - San Ildefonso
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A pinch of cornmeal tossed into the air as an offering to the numerous deities of the Tewa, but especially to the sun, is a formality that begins the day and precedes innumerable acts of the most commonplace nature.
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Girl and jar - San Ildefonso
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Pueblo women are adept at balancing burdens on the head. Usually a vessel rests on a fibre ring, which serves to steady it and to protect the scalp. The design on the jar here illustrated recalls the importance of the serpent cult in Tewa life. (See Volume XVII, pages 19-24, 77-80.)
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Ambrosio Martinez - San Juan
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The original of this portrait could readily pass for an Indian of the southern plains. The influence of Plains blood is noticeable at all Tewa pueblos, and especially at San Juan, the most northerly of them. The typical Pueblo man is small-featured and of short to medium stature.
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Oyi
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Each Tewa pueblo is dominated by two native priests, the so-called caciques, one of whom is in charge of religious activities from the end of February to the middle of October, the other during the remainder of the year.
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Potter - Santa Clara
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The potter is polishing a vessel. The smooth pebbles used for this purpose are found in small heaps among or near deposits of fossil bones. They are the stomach pebbles of dinosaurs. Tewa women prize them highly, refuse to part with them, and foresee ill luck if one is lost.
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Pele - Tewa
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Tsetsanu - Tewa
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Shrine of Yellow Cloud Man on Tsikumupi - Tewa
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Tewa dance - costume
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Tewa war-god effigies
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Erik Loyer
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List of Large Plates Supplementing Volume Twelve
Erik Loyer
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Media Gallery
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Erik Loyer
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Loitering at the spring
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A group of Walpi and Hano girls in holiday attire. The background is a typical bit of Southwestern desert.
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Buffalo dance at Hano
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The Buffalo dance at the Upper Rio Grande pueblos was lately introduced among the Hopi, who attach no religious significance to it.
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Tewa girl
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An excellent feminine type of these early immigrants from the Rio Grande. The arrangement of her hair suggests that she is unmarried.
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Hopi mother
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Antelopes and snakes at Oraibi
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The Antelope fraternity, at the right, and the Snake fraternity facing them at the left, engage in singing prior to handling the reptiles in the Snake dance. At the extreme right is the kisi, a cottonwood booth in which sits the custodian of the snake-jars, ready to hand out the reptiles one by one to the dancers.
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Watching the dancers
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A group of girls on the topmost roof of Walpi, looking down into the plaza.
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Hopi girl
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Soft, regular features are characteristic of Hopi young women, and no small part of a mother's time is used to be devoted to dressing the hair of her unmarried daughters. The aboriginal style is rapidly being abandoned, and the native one-piece dress here illustrated is seldom seen even at the less advanced of the Hopi pueblos.
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Evening in Hopi land
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Honovi - Walpi snake priest, with Totokya Day painting
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This plate depicts the accoutrement of a Snake dancer on the day of the Antelope dance (see Volume XII, pages 146-149). The right hand grasps a pair of eagle-feathers - the "snake whip" - and the left a bag of ceremonial meal. Honovi was one of the author's principal informants.
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On the housetop
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A typical village scene illustrating many features of pueblo architecture. At the extreme left is the entrance of an underground kiva, with the tips of the ladder projecting. In the central foreground is a baking-room, where piki is prepared, and to the left is an outdoor oven for baking loaf-bread.
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Walpi
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Picturesque Walpi, perched on the point of a rocky island in a sea of sand, is an irregular, rambling community-house, built without design, added to in haphazard fashion as need arose; yet it constitutes a perfectly satisfying artistic whole.
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Hopi woman
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Hopi maiden
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Counting the record
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A series of marks cut into the rock at Middle mesa records the losses inflicted on the marauding enemies in a former generation.
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Chaiwa - Tewa
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Chaiwa - Tewa, profile
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At the trysting place
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East side of Walpi
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Few illustrations of Hopi architecture show as much regularity as this view of a Walpi street.
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Snake priest
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The white markings, typifying the antelope, indicate that the subject is accoutred for the semi-final day of the Snake dance, when the public performance consists of the dance and the ceremonial race of the Antelope fraternity.
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Potter mixing clay
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This woman, so aged that her shrivelled skin hangs in folds, still finds pleasure in creating artistic and utilitarian pieces of pottery.
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Hopi man
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In this physiognomy we read the dominant traits of Hopi character. The eyes speak of wariness, if not downright distrust. The mouth shows great possibilities of unyielding stubbornness. Yet somewhere in this face lurks an expression of masked warmheartedness and humanity.
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Hopi architecture
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The house-walls are about eighteen inches thick, and consist of fragments of sandstone, shaped by fracture but undressed, and bound together with mud plaster. The upper levels of the terraced buildings are reached by ladders and by stone steps.
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Snake dancers entering the plaza
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At the right stand the Antelopes, in front of the booth containing the snake-jars. The Snakes enter the plaza, encircle it four times with military tread, and then after a series of songs remarkable for their irresistible movement, they proceed to dance with the reptiles.
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Primitive style of hairdressing
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The arrangement imitates the squash-blossom and indicates virginity. Within the last decade it has become rare, except on ceremonial occasions.
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Walpi man
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Mishongnovi
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A comprehensive view of this interesting Middle Mesa pueblo. On an eminence in the middle background is Shipaulovi, and at the right, several miles distant, is Shongopavi, on another tongue of the mesa.
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Potter
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Every visitor at East mesa knows Nampeyo, the potter of Hano, whose creations excel those of any rival. Stranger wander into her house, welcome though unbidden, but Nampeyo only works and smiles. In the plate her paint-stone occupies the central foreground.
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East mesa girls
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Modified style of hairdressing
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Walpi snake priest
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This subject is Koyawaima ("gray [dawn] walking"), who has been chief of the fraternity since 1899.
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Snake dancer in costume
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Flute dancers at Tureva Spring
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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.
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Piki maker
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Piki is cornbread baked in colored sheets of paper-like thinness. The batter is spread on the baking stone with the bare hand, and the quickly baked sheet is folded and laid on the basket at the baker's left.
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Depositing a prayer-stick
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Round, painted sticks with feathers attached by cotton cords are deposited in various places, particularly in springs and at shrines, in supplication to the spirits associated with the locality.
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Tewa girls
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Water carriers
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