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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

"Dance"

29482

This page has paths:

Keyword Paths Erik Loyer
Contents of this path:
1. "Ceremony"
2. "Girl"
3. "Home"
4. "Mask"
5. "Primitive"
6. "Woman"
7. "Portrait"
8. "Spirit"
9. "Dance"
10. "Food"
11. "Ancient"
12. "Material Culture"

Contents of this path:

Woven Sash
Bear Song, Winter Dance
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.
Arikara medicine ceremony - Dance of the fraternity
Arikara medicine ceremony - Dance of the black-tail deer
Arikara medicine ceremony - The Ducks
Sun dance encampment - Piegan
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.
Bringing the sweat-lodge willows - Piegan
Porcupine - Cheyenne
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
Flathead dance
Masked dancer - Cowichan
Kotsuis and Hohhuq - Nakoaktok
Coming for the bride
Wedding party - Qagyuhl
Group of winter dancers - Qagyuhl
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.
Masked dancers in canoes - Qagyhl, A
Dancing to restore an eclipsed moon - Qagyuhl
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.
Bridal group
Masked dancers in canoes - Qagyuhl, B
Buffalo dance at Hano
Antelopes and snakes at Oraibi
Watching the dancers
Honovi - Walpi snake priest, with Totokya Day painting
Snake priest
Snake dancers entering the plaza
Snake dancer in costume
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.
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.
Klamath lake marshes
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.
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.
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.
Corner of Zuni
Cheyenne sun-dance lodge
Hotamitaye Society, Cheyenne sun-dance
Water rite purification, Cheyenne animal dance
At the pool, animal dance - Cheyenne
Yebichai dancers - Navaho
The sun dancer - Apsaroke
The sun dance votary - Apsaroke
Buffalo dance costume - Mandan
Ready for Okipe buffalo dance - Mandan
Buffalo dancer - Mandan
Atsina scalp dance
Atsina fly dance
Atsina fly dance : "Robes outstretched"
Atsina crazy dance : A dancer kisses the grandfather
Atsina crazy dance : The flight of arrows
Atsina crazy dancers
Singing in the crazy dance - Atsina
Piegan dancers
Sun dance pledgers - Cheyenne
Crazy dancers - Cheyenne
Animal dance - Cheyenne
Sun dance in progress - Cheyenne
A dance in the forest - Flathead
Masked dancer - Cowichan
Grizzly-bear dancer - Qagyuhl
An incident of the winter dance - Nakoaktok
Sisiutl dancer - Qagyuhl
Spectators at the snake dance
Snake dancer and "hugger"
Oraibi snake dance
Flute dancers dressing at Kuchina house
Flute dancers approaching the spring
Entering the spring, Walpi flute dance
Offering sacred meal, Mishongnovi flute dance
Buffalo dance at Hano
Flute dancers returning to Walpi
White deerskin dance costume - Hupa
Dancer with black deer effigy - Hupa
Obsidian bearer, White deerskin dance - Hupa
Pomo dance costume
Picuris harvest dance
Sia war-dancer
Good luck dance by San Juan hunters
Tewa dance - costume
Eagle dancer - San Ildefonso
Tablita woman dancer - San Ildefonso
Tablita dance - San Ildefonso - A
Tablita dance - San Ildefonso - B
Tablita dance - San Ildefonso - C
Tablita dancers returning to the kiva - San Ildefonso
Tablita dancers at the kiva - San Ildefonso
Tablita dancers - San Ildefonso
Frame of the sponsor's tipi, Cree sun-dance
The dance - Wichita
Dancers - Wichita
A Wichita dancer
Skidi and Wichita dancers
Modern dance costume - Pawnee
Chiefs in the sun dance parade - Cheyenne
Hivihhnihpoih Society, Cheyenne sun dance
Hefatyu Society, Cheyenne sun dance
Preparatory lodge, Cheyenne sun dance
Sun dance lodge - Cheyenne
Interior of sun dance lodge - Cheyenne
Sun dancers - Cheyenne
Buffalo society, animal dance - Cheyenne
Buffalo dancers, animal dance - Cheyenne
Animal dance - Cheyenne
Brush huts, animal dance encampment - Cheyenne
The clowns, animal dance - Cheyenne
The wolf, animal dance - Cheyenne
Deer society, animal dance - Cheyenne
Healing rite of the Deer society, animal dance - Cheyenne
A Ponca dancer
Curtis and His Collaborators
Grass Dance - Atsina Gros Ventres
Seven Girl Dance Sung in Plaza
Seven Girl Dance When Woman Whips
Snake Dance - Nambe Pueblo
Squaw Dance - Atsina Gros Ventres
The Hopi Maiden and Watching the Dancers
Chief Josef –Nez Perce
Vanishing Race and Cañon de Chelly
Upshaw – Apsaroke
At the Old Well and A Zuni Woman
Princess Angeline
Watching the Dancers