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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 woman in primitive costume

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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
"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 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
"Woman" Erik Loyer
Contents of this path:
1. Apache reaper
2. Pima woman
3. Mohave water carrier
4. Judith - Mohave
5. Tonovige - Havasupai
6. Ogalala woman
7. Sioux girl
8. Two Bear Woman - Piegan
9. Dusty dress - Kalispel
10. Nespilim woman
11. Piopio-maksmaks - Wallawalla Piopio-maksmaks, quoted in Volume VIII, pages 20-21, is the son of the Piopio-maksmaks who as principal chief of the Wallawalla negotiated a treaty with Governor Isaac I. Stevens in the Wallawalla valley in 1855. The father was killed while a captive of the Oregon volunteers, and the son thereafter lived permanently among the Nez Perces, having married a woman of that tribe. Piopio-maksmaks possesses as unusually strong face, and his remarkably piercing eye betokens a man possessing the courage characteristic of his family and tribe.
12. Wishham woman
13. Columbia near Wind River
14. On the beach - Chinook
15. Chief's daughter - Skokomish
16. Suquamish woman
17. Princess Angeline
18. Lummi woman
19. Painting a hat - Nakoaktok The painter is clad in a short, seamless, cedar-bark cape, which is worn for protection from rain. That she is a woman of wealth and rank is shown by the abalone-shell nose-ornament and the gold bracelets, no less than by her possession of a "chief's hat". These waterproof hats, of a form borrowed from the Haida are made of closely woven shreds of fibrous spruce-roots, and are ornamented with one of the owner's crests - a highly conventionalized painting of some animal or mythological being.
20. Koskimo woman
21. Hesquiat woman
22. Into the shadow - Clayoquot
23. Nootka woman wearing cedar-bark blanket
24. Bark gatherer
25. Nootka woman
26. Haiyahl - Nootka
27. Hopi woman
28. Potter mixing clay
29. Klamath woman
30. 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.
31. Old Klamath woman
32. Hupa woman
33. Woman's primitive dress - Tolowa
34. 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.
35. Hupa woman in primitive costume
36. Coast Pomo woman
37. Aged Pomo woman
38. Wappo woman
39. Yaundanchi Yokuts woman
40. Cupeño woman The Cupeño are a small Shoshonean group of mountaineers formerly residing at the head of San Luis Rey river in north-central San Diego county. Popularly known as Aguas Calientes and as Warner's Ranch Indians, they gained considerable prominence at the beginning of the century when the Supreme Court ruled adversely upon their title to the land of their nativity. In 1903 they were settled at Pala reservation on lands adjoining those of the Luiseños, and their former habitat is now beautiful Warner's ranch. Cupeño is a Spanish derivative of Kupa, the name of their former village. The surviving population of Wolak, the other Cupeño settlement, is now on Los Coyotes reservati
41. Serrano woman of Tejon The Serranos (Spanish, "mountaineers"), a Shoshonean branch comprising numerous local groups, occupied San Bernardino valley, San Bernardino mountains north of Los Angeles and San Bernardino, a portion of Mojave desert north of that range and east of Mojave river, and Tehachapi mountains. This last group, who lived principally on El Paso and Tejon creeks, were the Kitanemuk. In 1853 most of the resident Indians, including not only various Shoshoneans but many Yokuts, were taken to Tule river reservation. Tejon rancheria remains, however, a settlement of various Shoshoneans, but predominantly Kitanemuk
42. Desert Cahuilla woman
43. Diegueño woman of Santa Ysabel
44. Diegueño woman of Campo
45. Datsolali, Washo basket-maker The coiled baskets produced by this woman have not been equalled by any Indian now living. Compare her work, shown in Plate 541, with the baskets of another woman as illustrated in Plate 542. The latter, seen alone, would be very excellent examples of Indian basketry, but their comparative coarseness is easily seen even in photographic reproduction. About ninety years old, Datsolali appears to be in the early sixties. She has the pride of a master in his craft, and a goodly endowment of artistic temperament. Persuading her to sit for a portrait is a task not to be lightly undertaken. Tatsolali (said to mean "big hips") is a nickname. Her proper name is Tabuta.
46. Washo woman
47. Walvia
48. Taos woman
49. Aiyowitsa - Cochiti
50. Acoma woman
51. Zuni woman
52. Maricopa woman mealing
53. An Apache-Mohave woman
54. Good Day Woman - Ogalala
55. Apsaroke woman
56. A young horsewoman
57. Flathead woman - Apsaroke
58. Hidatsa woman
59. Scattered Corn Woman - Mandan
60. Arikara woman
61. Piegan woman
62. Cheyenne woman
63. Cheyenne young woman
64. Flathead young woman
65. Spokan woman
66. Kutenai woman
67. Typical Spokan woman
68. Cayuse woman
69. Wishham young woman
70. Cowichan woman
71. Chimakum woman
72. A woman of Hesquiat
73. A shaman or medicine woman
74. Costume of a woman shaman - Clayoquot
75. Woman shaman looking for clairvoyant visions - Clayoquot
76. Clayoquot woman in cedar-bark hat
77. A Clayoquot woman
78. A Makah woman
79. A woman of Nootka
80. A Hopi woman
81. Hupa woman
82. Hupa woman's dress
83. Karok woman
84. Achomawi woman
85. Klamath woman
86. A Kato woman
87. A Wailaki woman
88. Old woman in mourning - Yuki
89. A Yuki woman
90. Eastern Pomo woman
91. A southern Miwok woman
92. A Maidu woman
93. A Chukchansi woman
94. A Chukchansi woman - Profile
95. A Yaudanchi Yokuts woman
96. A Chukchansi Yokuts woman - A
97. A Chukchansi Yokuts woman - B
98. A Cupeño woman
99. A desert Cahuilla woman
100. A Santa Ysabel woman -
101. A southern Digueño woman
102. Paviotso woman of Pyramid Lake
103. A woman of Palm Springs - Cahuilla
104. A Capitan Grande woman -
105. A young woman of Campo -
106. A Paviotso woman of Walker Lake
107. A Washo woman.
108. An Isleta woman
109. A Cochiti woman
110. Tablita woman dancer - San Ildefonso
111. A Chipewyan woman
112. A Piegan woman
113. An old woman - Blood
114. A Blackfoot woman
115. Isqe-sis ("Woman Small") and chile - Cree
116. Cree woman with fur robe
117. A Sarsi woman
118. Missi-tsatsa -- "Owl Old-woman"
119. Woman's costume and baby swing - Assiniboin
120. Woman's costume - Cheyenne
121. Selawik woman