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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

Primitive style of hairdressing

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"Primitive" Erik Loyer
Contents of this path:
1. Vanishing race - Navaho
2. Scout - Apache
3. Jicarilla women
4. Son of the desert - Navaho
5. Ogalala woman
6. Kutenai camp
7. Rush gatherer - Kutenai
8. Primitive Quinault
9. Kwakiutl house-frame The two long beams in the middle are twin ridge-timbers, which are supported in the rear, as in the front, by a transverse beam resting on two uprights. At the extreme right and left are the eaves-timbers. The longitudinal and circular flutes of the columns are laboriously produced by means of a small hand-adze of primitive form. This frame is at the village Memkumlis. Another view is given in the illustration facing page 36. Kwakiutl houses are discussed on page 6.
10. Rounding into port - Qagyhl The primitive Kwakiutl sail for canvas was a sheet of cedar-bark matting, and on catamarans a large, square section of thin boards was propped up against the wind. Canvas is now used. The painting on the canoe at the left represents "sisiutl", the mythical double-headed serpent. The carved figure-heads of the middle canoe and the one on the right are respectively an eagle and a bear. The bear canoe is further embellished with highly conventionalized paintings of the head, flipper and tail of a whale.
11. On the shores at Nootka
12. Boarding the canoe
13. Oldest man of Nootka
14. Bark gatherer
15. Primitive style of hairdressing
16. A Klamath
17. Woman's primitive dress - Tolowa
18. Hupa woman in primitive costume
19. Diegueño home
20. Primitive artist - Paviotso
21. Primitive Apache home
22. Primitive Mohave
23. Primitive transportation - Mohave
24. Primitive dress - Quinault
25. A primitive camp
26. Primitive Chemehuevi dwelling
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