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Follows an eleven-year-old Western Mono Indian, as she and her relatives prepare materials needed for basketweaving, make the baskets, and attend the California Indian Basketweavers Association's annual gathering.
Taken together, these perspectives form a case study of the adaptability of a craft tradition to the modern world.
The weaving of lau hala represents a living tradition borne on the great arc of Pacific voyaging history. This thriving tradition is made immediate by masters of the art who transmit their knowledge to those who are similarly devoted to, and delighted by, the smoothness, softness, and that particular warm fragrance of a woven lau hala treasure. The third volume in the Hawai‘inuiākea series, ‘Ike Ulana Lau Hala is an intriguing collection of articles and images about the Hawaiian tradition of ulana lau hala: the weaving, by hand, of dried Pandanus tectorius leaves. ‘Ike Ulana Lau Hala considers the humble hala leaf through several, very different lenses: an analysis of lau hala items that occur in historic photographs from the Bishop Museum collections; the ecological history on hala in Hawai‘i and the Pacific including serious challenges to its survival and strategies to prevent its extinction; perspectives–in Hawaiian–of a native speaker from Ni‘ihau on master weavers and the relationship between teacher and learner; a review–also in Hawaiian– of references to lau hala in poetical sayings and idioms; a survey of lau hala in Hawaiian cultural heritage and the documentation project underway to share the art with a broader audience; and a conversation with a master artisan known for his distinct and intricate construction of the lei hala. Rich with imagery, this extraordinary volume will guide the reader to a better understanding of the cultural scope and importance of lau hala, fostering an appreciation of the level of excellence to which the art of ulana lau hala has risen under the guidance of masters who continue to steer the Hawaiian form of the tradition into the future.
Abstract: "Native American women from the American Southwest have always used basket weaving to maintain relationships with nature, their spirituality, tribal histories, sovereignty, and their ancestors. However, since the late nineteenth century, with the emergence of a tremendous tourist industry in the American West, non-Indians have perceived Native American basketry as a commoditized practice with no connection to tribal traditions or spirituality. Non-Indians often viewed Native American women basket weavers as submissive individuals who became part of the market economy and abandoned their tribal traditions. In the early twentieth century, anthropologists and art historians believed in the narrative of the "Vanishing Indian", which led museum officials to collect baskets as the last remnants of a "once proud people". Officials maintained these ideas until the 1990's. During the last decade of the twentieth century, Native Americans scholars pushed back against these dominant narratives by acknowledging the harsh realities of settler colonialism. Even more extraordinary, researchers placed Native American women at the center of their arguments to affirm their adherence to cultural traditions and their continual commitment to tribal continuity. Despite these accomplishments, however, scholars have not applied this research to American Indian women basket weavers. Because of this absence in the historiography, numerous non-Natives continue to believe indigenous basketry of the American West is an art form that lacks traditional methods, continuity, techniques, and cultural connections to communities. To combat these preconceptions, the following dissertation will examine the lives and works of four Native American basket weavers from California and Nevada, Basketry has always been a way to honor traditional values and assert a woman's individual sovereignty, as a tribal member and artist. This is because since ancestral times American Indian basketry has played a significant role in indigenous communities in California and Eastern Nevada. More importantly, this dissertation will focus on exploring the tremendous amount of power these women exerted when establishing boundaries over who they would teach their art form. Overall, the four indigenous women in this dissertation all show that basket weaving manifests unique pieces of art and have always been an important part of their identities and communities."--Pages iv-v.
83 contemporary masterpieces in color, featuring many ceremonial Chant weaves. Full documentation.
A treasury of selected pieces from the California Indian Heritage Center, this collection reflects the scale and scope of baskets created by nearly every weaving tradition in Cali-fornia over the last century . This book conveys the dual nature of beauty and practicality that baskets presented as a part of daily life and as a growing example of unique art - a careful selection of the best, beautifully presented.
This comprehensive study focuses on the history and basketry of the Miwok and Paiute inhabitants of the area in and around Yosemite. National Park. Illustrated with hundreds of historic images as well as photographs from the Yosemite Museum collection, many published for the first time, it details the dramatic changes that took place in the lives and weaving of Yosemite's native people from prehistoric times to the present.
The peoples of northwestern Califonia's Lower Klamath River area have long been known for their fine basketry. Two early-twentieth-century weavers of that region, Elizabeth Hickox and her daughter Louise, created especially distinctive baskets that are celebrated today for their elaboration of technique, form, and surface designs. Marvin Cohodas now explores the various forces that influenced Elizabeth Hickox, analyzing her relationship with the curio trade, and specifically with dealer Grace Nicholson, to show how those associations affected the development and marketing of baskets. He explains the techniques and patterns that Hickox created to meet the challenge of weaving design into changig three-dimensional forms. In addition to explicating the Hickoxes' basketry, Cohodas interprets its uniqueness as a form of intersocietal art, showing how Elizabeth first designed her distinctive trinket basket to convey a particular view of the curio trade and its effect on status within her community. Through its close examination of these superb practitioners of basketry, Basket Weavers for the California Curio Trade addresses many of today's most pressing questions in Native American art studies concerning individuality, patronage, and issues of authenticity. Graced with historic photographs and full-color plates, it reveals the challenges faced by early-twentieth-century Native weavers. Published with the assistance of The Southwest Museum, Los Angeles.
This unique book provides a complete study of the exquisite Native American basketry from the San Francisco Bay Area and the Monterey Bay region north to Sonoma, Napa, and Mendocino and eastward across the Sacramento Valley to the crest of the Sierras. Baskets of the Pomo, Ohlone (Costanoan), Coast Miwok, Esselen, Huchnom, Lake Miwok, Maidu, Wappo, and Yuki people are lavishly illustrated and knowledgably and sensitively described. Color photographs and drawings illustrate the rare, fine California Indian baskets from museum and private collections in the United States and Europe. The vast majority of these baskets are illustrated for the first time. Ralph Shanks is vice president of the Miwok Archaeological Preserve of Marin. Lisa Woo Shanks is editor of the Basketry of California and Oregon Series. They are the authors of The North American Indian Travel Guide.