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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

Yebichai dancers - Navaho

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"Dance" Erik Loyer
Contents of this path:
1. Woven Sash
2. Bear Song, Winter Dance
3. Sun dancer "As they dance, the performers never leave the spot on which they stand, the movement consisting in a slight upward spring from the toes and ball of the foot; legs and body are rigid. Always the right palm is extended to the yellow glaring sun, and their eyes are fixed on its lower rim. The dancer concentrates his mind, his very self, upon the one thing that he desires, whether it be the acquirement of powerful medicine or only success in the next conflict with the enemy." - Volume III, pages 95-96.
4. Arikara medicine ceremony - Dance of the fraternity
5. Arikara medicine ceremony - Dance of the black-tail deer
6. Arikara medicine ceremony - The Ducks
7. Sun dance encampment - Piegan
8. Grizzly-bear brave - Piegan At least two of the Piegan Warrior societies (the Braves and the All Brave Dogs) included in their membership two men known as Grizzly-bear Braves. It was their duty, at the time of the society dances, to provide their comrades with meat, which they appropriated wherever they could find it. Their expression and demeanor did justice to their name, and in their official capacity they were generally feared by the people. See Volume VI, pages 20-21.
9. Bringing the sweat-lodge willows - Piegan
10. Porcupine - Cheyenne
11. Flathead chief Through the medium of their annual incursions into the buffalo plains east of the Rocky mountains, the Flatheads adopted much of the plains culture. Not only their domicile (the tipi), their garments, weapons, and articles of adornment, came from this source, but many of their dances were in imitation of similar ceremonies practised by the prairie tribes. Prominent features of the accoutrement of this Flathead chief are his war-club of the plains type, and an eagle-bone whistle, such as was used in the Sun Dance. The Flatheads however never acquired the sun rite
12. Flathead dance
13. Masked dancer - Cowichan
14. Kotsuis and Hohhuq - Nakoaktok
15. Coming for the bride
16. Wedding party - Qagyuhl
17. Group of winter dancers - Qagyuhl
18. Nimkish village at Alert Bay The figure at the bottom of the column in the foreground, with the painting on the front of the house, represents a raven. When a feast or a dance is to be held in this house, the guests enter through the raven's beak, the lower mandible of which swings up and down on a pivot. When a guest steps beyond the pivot, his weight caused the beak to clap shut, and thus the mythic raven symbolically "swallows" the tribesman one by one. A view from the other end of this street is shown in the illustration facing page 8, Volume X.
19. Masked dancers in canoes - Qagyhl, A
20. Dancing to restore an eclipsed moon - Qagyuhl
21. Masked dancers - Qagyuhl The plate shows a group of masked and costumed performers in the winter ceremony. The chief who is holding the dance stands at the left, grasping a speaker's staff and wearing cedar-bark neck-ring and head-band and a few of the spectators are visible at the right. At the extreme left is seen a part of the painted mawihl through which the dancers emerge from the secret room; and in the centre, between the carved house-posts, is the Awaitlala hams'pek, showing three of the five mouths through which the hamatsa wriggle from the top to the bottom of the column. See page 175 and footnote.
22. Bridal group
23. Masked dancers in canoes - Qagyuhl, B
24. Buffalo dance at Hano
25. Antelopes and snakes at Oraibi
26. Watching the dancers
27. Honovi - Walpi snake priest, with Totokya Day painting
28. Snake priest
29. Snake dancers entering the plaza
30. Snake dancer in costume
31. 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.
32. 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.
33. Klamath lake marshes
34. Sia buffalo dancer 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.
35. Tablita dancers and singers - San Ildefonso The ceremony called Koheye-hyare ("tablita dance"), occurring in June and again in September, is characterized by public dancing and singing for the purpose of bringing rain-clouds. The name refers to wooden "tablets" worn by female dancers. (See Volume XVII, illustrations facing pages 56,60,62,64,66,68.) In the plate the performers are dancing in to the plaza, men and women alternating in pairs. At the right is the group of singers, their aged leader slightly in advance and the drummer at one side.
36. Tesuque buffalo dancers The Buffalo dance is performed, though the original object of exerting prenatural influence on the abundance and accessibility of the buffalo no longer prevails. The two male dancers are accompanied by the Buffalo Girl, who is fully clothed in native costume and has a pair of small horns on the head. These three give a very striking and dramatic performance under the watchful eye of the head of the hunters' society.
37. Corner of Zuni
38. Cheyenne sun-dance lodge
39. Hotamitaye Society, Cheyenne sun-dance
40. Water rite purification, Cheyenne animal dance
41. At the pool, animal dance - Cheyenne
42. Yebichai dancers - Navaho
43. The sun dancer - Apsaroke
44. The sun dance votary - Apsaroke
45. Buffalo dance costume - Mandan
46. Ready for Okipe buffalo dance - Mandan
47. Buffalo dancer - Mandan
48. Atsina scalp dance
49. Atsina fly dance
50. Atsina fly dance : "Robes outstretched"
51. Atsina crazy dance : A dancer kisses the grandfather
52. Atsina crazy dance : The flight of arrows
53. Atsina crazy dancers
54. Singing in the crazy dance - Atsina
55. Piegan dancers
56. Sun dance pledgers - Cheyenne
57. Crazy dancers - Cheyenne
58. Animal dance - Cheyenne
59. Sun dance in progress - Cheyenne
60. A dance in the forest - Flathead
61. Masked dancer - Cowichan
62. Grizzly-bear dancer - Qagyuhl
63. An incident of the winter dance - Nakoaktok
64. Sisiutl dancer - Qagyuhl
65. Spectators at the snake dance
66. Snake dancer and "hugger"
67. Oraibi snake dance
68. Flute dancers dressing at Kuchina house
69. Flute dancers approaching the spring
70. Entering the spring, Walpi flute dance
71. Offering sacred meal, Mishongnovi flute dance
72. Buffalo dance at Hano
73. Flute dancers returning to Walpi
74. White deerskin dance costume - Hupa
75. Dancer with black deer effigy - Hupa
76. Obsidian bearer, White deerskin dance - Hupa
77. Pomo dance costume
78. Picuris harvest dance
79. Sia war-dancer
80. Good luck dance by San Juan hunters
81. Tewa dance - costume
82. Eagle dancer - San Ildefonso
83. Tablita woman dancer - San Ildefonso
84. Tablita dance - San Ildefonso - A
85. Tablita dance - San Ildefonso - B
86. Tablita dance - San Ildefonso - C
87. Tablita dancers returning to the kiva - San Ildefonso
88. Tablita dancers at the kiva - San Ildefonso
89. Tablita dancers - San Ildefonso
90. Frame of the sponsor's tipi, Cree sun-dance
91. The dance - Wichita
92. Dancers - Wichita
93. A Wichita dancer
94. Skidi and Wichita dancers
95. Modern dance costume - Pawnee
96. Chiefs in the sun dance parade - Cheyenne
97. Hivihhnihpoih Society, Cheyenne sun dance
98. Hefatyu Society, Cheyenne sun dance
99. Preparatory lodge, Cheyenne sun dance
100. Sun dance lodge - Cheyenne
101. Interior of sun dance lodge - Cheyenne
102. Sun dancers - Cheyenne
103. Buffalo society, animal dance - Cheyenne
104. Buffalo dancers, animal dance - Cheyenne
105. Animal dance - Cheyenne
106. Brush huts, animal dance encampment - Cheyenne
107. The clowns, animal dance - Cheyenne
108. The wolf, animal dance - Cheyenne
109. Deer society, animal dance - Cheyenne
110. Healing rite of the Deer society, animal dance - Cheyenne
111. A Ponca dancer
112. Curtis and His Collaborators
113. Grass Dance - Atsina Gros Ventres
114. Seven Girl Dance Sung in Plaza
115. Seven Girl Dance When Woman Whips
116. Snake Dance - Nambe Pueblo
117. Squaw Dance - Atsina Gros Ventres
118. The Hopi Maiden and Watching the Dancers
119. Chief Josef –Nez Perce
120. Vanishing Race and Cañon de Chelly
121. Upshaw – Apsaroke
122. At the Old Well and A Zuni Woman
123. Princess Angeline
124. Watching the Dancers
Navaho Erik Loyer
Contents of this path:
1. Vanishing race - Navaho
2. Chief of the desert - Navaho
3. Women of the desert - Navaho
4. Cañon de Chelly - Navaho
5. Cañon del Muerto - Navaho
6. At the shrine - Navaho
7. Nesjaja Hatali - Navaho
8. Son of the desert - Navaho
9. Navaho flocks
10. Blanket weaver - Navaho
11. Hastobiga - Navaho medicine-man
12. Point of interest - Navaho
13. Out of the darkness - Navaho
14. Sunset in Navaho-land
15. Alhkidokihi - Navaho
16. Assiniboin boy - Atsina
17. Jemez architecture On account of the comparative inaccessibility of its site on Rio Jemez, a westerly affluent of the Rio Grande, Jemez is annoyed by fewer white visitors than almost any other pueblo. The reticence and the mental sluggishness of its inhabitants do not encourage the ethnologist. The Jemez played a leading part in the rebellion of 1680 and were so severely punished by Vargas that their preference for isolation is comprehensible. They have long been intimate with the Navaho and considerable racial mixture has resulted.
18. Paguate Paguate is the oldest and largest of ten villages subsidiary to Laguna, the patent pueblo of this group. It appears to have been founded about the middle of the eighteenth century. Laguna itself dates from 1699. The two-story structure at the right, one of the two oldest buildings at Paguate, was a watchtower erected for the defense of the farming population from the roving Navaho, who disputed possession of this locality.
19. Laguna watchtower
20. Nayenezgani - Navaho
21. A noonday halt - Navaho
22. Jeditoh - Navaho
23. Lake Lajara - Navaho
24. Into the desert - Navaho
25. Nature's mirror - Navaho
26. Ca~non Hogan - Navaho
27. A drink in the desert - Navaho
28. Under the cottonwoods - Navaho
29. Cornfields in Ca~non del Muerto - Navaho
30. The blanket maker - Navaho
31. Pikehodiklad - Navaho
32. Hastin Yazhe - Navaho
33. Navaho Hogan
34. Navaho still life
35. Navaho medicine-man
36. Through the ca~non - Navaho
37. Evening in the desert - Navaho
38. Haschogan - Navaho
39. Nayenezgani - Navaho
40. Tobadzischini - Navaho
41. Haschezhini - Navaho
42. Gaaskidi - Navaho
43. Tonenili - Navaho
44. Zahadolzha - Navaho
45. Haschebaad - Navaho
46. Gaaskidi, Zahadolzha, Haschelti - Navaho
47. Tonenili, Tobadzischini, Nayenezgani - Navaho
48. Yebichai sweat - Navaho
49. Pikehodiklad - Navaho
50. Shilhne'ohli - Navaho
51. Zahadolzha - Navaho
52. Yebichai Hogan - Navaho
53. Yebichai dancers - Navaho
54. Tobadzischini - Navaho
55. Gaaskidi - Navaho
56. Zahadolzha - Navaho
57. Haschelti, Haschebaad, Zahadolzha - Navaho
58. Navaho women.
59. Painting on Deerskin Painting on brain tanned deerskin. The skin is an off white/grayish color. The paintings on the skin are yellow, brown, white, blue, green, black, orange and red. Various figures are painted on the skin which include, moons, equal sided crosses or "x", 3 anthropomorphic figures, one human head, a bird, and circles. There is a zig zag design the goes around the perimeter of the skin. There is a 1 cm wide hole in the skin in the lower left quadrant. The edges of the skin are fairly straight and smooth, indicating it was cut/trimmed to a roughly rectangular shape. The hide painting appears to be the same one illustrated in "Sacred buckskin - Apache", plate facing page 31, in The North American Indian (1907-1930) v.01, The Apache. The Jicarillas. The Navaho ([Seattle] : E.S. Curtis ; [Cambridge, Mass. : The University Press], 1907. See pp. 29-35 for explanatory text, where it is identified as a medicine skin formerly owned by Navajo medicine man Hashke Nilnte, and acquired by Curtis from Hashke Nilnte's wife. The symbolism is then outlined in detail in the publication.View this plate online here: http://curtis.library.northwestern.edu/curtis/viewPage.cgi?showp=1&size=2&id=nai.01.book.00000074.p&volume=1#nav .
60. Painting on Deerskin Painting on brain tanned deerskin. The skin is an off white/grayish color. The paintings on the skin are yellow, brown, white, blue, green, black, orange and red. Various figures are painted on the skin which include, moons, equal sided crosses or "x", 3 anthropomorphic figures, one human head, a bird, and circles. There is a zig zag design the goes around the perimeter of the skin. There is a 1 cm wide hole in the skin in the lower left quadrant. The edges of the skin are fairly straight and smooth, indicating it was cut/trimmed to a roughly rectangular shape. The hide painting appears to be the same one illustrated in "Sacred buckskin - Apache", plate facing page 31, in The North American Indian (1907-1930) v.01, The Apache. The Jicarillas. The Navaho ([Seattle] : E.S. Curtis ; [Cambridge, Mass. : The University Press], 1907. See pp. 29-35 for explanatory text, where it is identified as a medicine skin formerly owned by Navajo medicine man Hashke Nilnte, and acquired by Curtis from Hashke Nilnte's wife. The symbolism is then outlined in detail in the publication. View this plate online here: http://curtis.library.northwestern.edu/curtis/viewPage.cgi?showp=1&size=2&id=nai.01.book.00000074.p&volume=1#nav .
61. Painting on Deerskin Painting on brain tanned deerskin. The skin is an off white/grayish color. The paintings on the skin are yellow, brown, white, blue, green, black, orange and red. Various figures are painted on the skin which include, moons, equal sided crosses or "x", 3 anthropomorphic figures, one human head, a bird, and circles. There is a zig zag design the goes around the perimeter of the skin. There is a 1 cm wide hole in the skin in the lower left quadrant. The edges of the skin are fairly straight and smooth, indicating it was cut/trimmed to a roughly rectangular shape. The hide painting appears to be the same one illustrated in "Sacred buckskin - Apache", plate facing page 31, in The North American Indian (1907-1930) v.01, The Apache. The Jicarillas. The Navaho ([Seattle] : E.S. Curtis ; [Cambridge, Mass. : The University Press], 1907. See pp. 29-35 for explanatory text, where it is identified as a medicine skin formerly owned by Navajo medicine man Hashke Nilnte, and acquired by Curtis from Hashke Nilnte's wife. The symbolism is then outlined in detail in the publication. View this plate online here: http://curtis.library.northwestern.edu/curtis/viewPage.cgi?showp=1&size=2&id=nai.01.book.00000074.p&volume=1#nav .
62. Cap Cap. Seamed buckskin cap; is a light tan color. There is a chin strap attached to the bottom of the cap that is made of a single strip of skin. One side of the cap has a carved piece of abalone in the shape of a cross or an "x". The abalone is attached with a piece of thin skin wrapped in sinew. There is also a white, circular shell on top of the abalone. On the opposite of the cap, there is the same type of white shell in a rectangular shape attached to the cap with a thin piece of skin wrapped in sinew. At the end of this thread, the remains of a feather are present. The keratin center of the feather is all that remains. The painting on the cap, on the side with the abalone shell, depicts a human figure in a geometric/triangular design in brown and yellow. Underneath the figure, on the bottom of the cap, a repeating triangular design in yellow and brown is present. Above the figure on the top of the cap, a blue, flowing design is present, perhaps representing water (?). On the opposite side of the cap, with the rectangular white shell and feather, the same human figure is present, this time, painted in blue and brown. Underneath the figure is the same triangular design in brown and yellow, as well as a boat shaped figure in blue and brown. Above the figure is a zig zag design, starting from the top of the hat, coming down to the figure, possibly representing lightning (?). The top of the cap is painted with brown and yellow stripes. The cap appears to be the same one illustrated, along with bag and figure # E432868, in "Medicine cap and fetich - Apache", plate facing page 40, in The North American Indian (1907-1930) v.01, The Apache. The Jicarillas. The Navaho ([Seattle] : E.S. Curtis ; [Cambridge, Mass. : The University Press], 1907. See pp. 40-41 for explanatory text. View this plate online here: http://curtis.library.northwestern.edu/curtis/viewPage.cgi?showp=1&size=2&id=nai.01.book.00000089.p&volume=1#nav .
63. Cap Cap. Seamed buckskin cap. Light tan color with a yellow stripe that is painted or dyed down the center seam. There are eight sinew wrapped feathers on the top of the cap. The barbs of the feathers are missing, leaving the hard keratin center. Glass beads line the bottom in a diagonal, repeating black, white, black, white pattern. In the center of the cap, a cross or x on top of crescent moon (?) is depicted. There is chin strap connected to the cap made of two thin strips of skin twisted together. There is a tag attached to the object that reads "Apache See Vol 1 NAS page 42. 194, 10" . This possibly refers to p. 42 inThe North American Indian (1907-1930) v.01, The Apache. The Jicarillas. The Navaho ([Seattle] : E.S. Curtis ; [Cambridge, Mass. : The University Press], 1907? The second paragraph on p. 42 discusses the crescent and cross motif that is on this hat, with origin discussion continuing in text to p. 44.
64. Pouch And Wooden Figure Pouch. The buckskin pouch is rectangular shaped with a long strap on the top, three bundles of fringe on the bottom, and a triangular flap to close the pouch. The purse fastens with a carved button made out of a white, shiny shell. There are two pieces of abalone and white, circular shells, each attached to lower right and left corners of the pouch with skin wrapped in sinew. The strap of the pouch is two strips of thin skin, twisted. A triangular design, painted in brown, lines the bottom of the flap that closes the pouch. Beneath that, an orange triangular design is painted. On the sides, a dark blue design is painted. On the bottom of the pouch, a green, triangular design is painted. Around the abalone on the left, a blue and orange triangular design is painted. Around the abalone on the right, a green and orange design is painted. The fringe on the bottom of the pouch is painted green, but some of the pigment has come off. On the opposite side of the pouch, there are no designs painted. The construction of the pouch is one, longer piece of skin, folded, and then sewn with strips of skin on the sides. Amulet. The front side of the figure has smaller pieces of abalone for the eyes, nose and mouth. The abalone for the right eye is missing. The figure seems to be a human shape, with four triangles (two painted brown, and two painted green) on the top of the head, maybe a crown (?). The figure has cross figures in green and brown on it's face. The figure is painted with other various geometric designs in green, brown, orange, and blue. The back of the figure is also painted in blue brown, orange and green designs. Tag found in pouch says "Apache See NAS V 1 p 40, 193, 50" . The bag and figure appear to be the same ones illustrated, along with cap # E432866, in "Medicine cap and fetich - Apache", plate facing page 40, in The North American Indian (1907-1930) v.01, The Apache. The Jicarillas. The Navaho ([Seattle] : E.S. Curtis ; [Cambridge, Mass. : The University Press], 1907. See pp. 40-41 for explanatory text. View this plate online here: http://curtis.library.northwestern.edu/curtis/viewPage.cgi?showp=1&size=2&id=nai.01.book.00000089.p&volume=1#nav .
Vol. 1 Illustrations Erik Loyer
Contents of this path: