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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

Hupa fisherman

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Hupa Erik Loyer
Contents of this path:
1. Karok baskets The basketry of the Karok does not differ from that of the Hupa and the Yurok. The process is always twining, and the usual materials are hazel rod for the warp, roots of the digger or the yellow pine for the weft, and Xerophyllum grass for white overlay, bark of the maidenhair fern for black, and fibres from the stem of Woodwardia fern, dyed in alder-bark juice in the mouth of the workwoman, for red. Represented in the plate are the receptacle for the storage of seeds and nuts, the burden-basket, the winnowing tray, various sizes of mush-baskets and food containers, and the cradle-basket.
2. Hupa trout-trap
3. 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.
4. Fishing from canoe - Hupa
5. Hupa mother and child
6. Hupa woman
7. Salmon stream
8. Hupa fisherman
9. Yurok drummer
10. Fish-weir across Trinity River - Hupa Each summer a substantial structure of this kind is thrown across the river, the southern and the northern divisions of the tribe alternating. The weir remains in place until the spring freshets carry it away. A fisherman stands on each of several platforms erected below an equal number of openings in the weir, and lowers and draws his dip-net at random. As the construction of a weir is a communal undertaking, the catch is divided each evening according to the requirements of the various families.
11. Fishing platform on Trinity River - Hupa
12. Principal female shaman of the Hupa
13. Hupa woman in primitive costume
14. Smoky day at the Sugar Bowl - Hupa
15. Hupa man
16. Hupa woman
17. Hupa baskets
18. Hupa purses and money
19. Hupa house
20. Hupa sweat-house
21. Sticks used in Hupa guessing game
22. Hupa matron
23. Hupa woman's dress
24. Hupa basket and purses
25. Hupa fisherman
26. Hupa female shaman
27. White deerskin dance costume - Hupa
28. Dancer with black deer effigy - Hupa
29. Obsidian bearer, White deerskin dance - Hupa
30. Modern Hupa house
31. Costume of the obsidian-bearer - Hupa
32. Dip-netting at the sugar bowl - Hupa
33. Watching for salmon - Hupa
34. Hupa canoe
35. Hupa salmon-fishing
36. Hupa war-chief
List of Large Plates Supplementing Volume Thirteen Erik Loyer
Contents of this path:
1. Klamath woman
2. Sam Ewing - Yurok
3. Karok baskets The basketry of the Karok does not differ from that of the Hupa and the Yurok. The process is always twining, and the usual materials are hazel rod for the warp, roots of the digger or the yellow pine for the weft, and Xerophyllum grass for white overlay, bark of the maidenhair fern for black, and fibres from the stem of Woodwardia fern, dyed in alder-bark juice in the mouth of the workwoman, for red. Represented in the plate are the receptacle for the storage of seeds and nuts, the burden-basket, the winnowing tray, various sizes of mush-baskets and food containers, and the cradle-basket.
4. Hupa trout-trap
5. Old Klamath woman
6. A Klamath
7. 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.
8. Yurok canoe on Trinity River The Yurok canoe is simply a hollowed section of a redwood log. The aboriginal implements for canoe-making were a stone hammer and an elk-horn chisel for cutting the log and removing a number of slabs in order to reduce it to the desired thickness, and an elk-horn adz for finishing the surface. The actual hollowing was accomplished by means of fire. The craft shown in the plate is hardly an average example as to the workmanship, but at best Yurok canoes are rather crude.
9. Quiet waters - Yurok
10. Wife of Modoc Henry - Klamath
11. A Klamath type
12. Fishing from canoe - Hupa
13. In the forest - Klamath
14. Klamath warrior's headdress
15. Hupa mother and child
16. Hupa woman
17. Salmon stream
18. Hupa fisherman
19. Spearing salmon
20. Tolowa dancing headdress
21. Klamath lake marshes
22. Yurok drummer
23. Klamath hunter
24. Fish-weir across Trinity River - Hupa Each summer a substantial structure of this kind is thrown across the river, the southern and the northern divisions of the tribe alternating. The weir remains in place until the spring freshets carry it away. A fisherman stands on each of several platforms erected below an equal number of openings in the weir, and lowers and draws his dip-net at random. As the construction of a weir is a communal undertaking, the catch is divided each evening according to the requirements of the various families.
25. Gathering wokas - Klamath Wokas, the seeds of the water-lily, Nymphaea polysepala, is harvested in the latter part of August and throughout September. The nearly ripe pods are plucked and deposited in the canoe, but the mature ones, having burst open, are too sticky to be plucked, and are scooped up in a tule ladle and placed in a basket. After the pods have fermented, the seeds are separated from the mass by stirring in water. They are then dried, parched, hulled, dried again, and stored in bags. Wokas was formerly a staple food, and is still much used as a luxury.
26. Woman's primitive dress - Tolowa
27. Wokas season - Klamath
28. Crater Lake Crater lake, a body of water indescribably blue, occupies an extinct crater in the heart of the Cascade mountains of southern Oregon. It is on the boundary of what was formerly the territory of the Klamath Indians, who held it to be especially potent in conferring shamanistic power upon men who there fasted and bathed. An important Klamath myth seeks to account for the former absence of fish from Crater lake, a condition that was altered in 1888 by the introduction of trout.
29. Achomawi basket-maker The Achomawi, or Pit River Indians, produce baskets only by the process known as twining, which is true weaving, never by coiling, which is actually a sewing process. In general their baskets have bottoms and sides slightly rounded, openings broad, and depth rather shallow. The usual materials are willow rods for the warp, or upright elements, and pie-root strands for the weft, or horizontal elements. The structure in the background is a summer hut, a rudely conical or hemispherical tipi covered with tule mats. The workwoman is wearing a rabbit-skin robe.
30. Fishing platform on Trinity River - Hupa
31. Achomawi man
32. Principal female shaman of the Hupa
33. Hupa woman in primitive costume
34. Smelt fisher - Trinidad Yurok
35. Chief - Klamath
36. Smoky day at the Sugar Bowl - Hupa