You know, I never get tired of looking at them. You have to get real with yourself about what your needs are and you have to plan on what you're doing. If you like today's podcast, please subscribe on Apple Podcasts, Spotify, Podbean, or wherever you get your podcasts. Elizabeth James-Perry meets the Peabody’s Wampanoag eel trap as an old friend. And I think it's sort of the very first orienting step, acknowledging whose land acknowledging whose territory, who's here, reaching out, creating respectful relationships. So I think that an interesting movement has happened, I think, across the nation, right? You can see places that have more increased wearing off of the dye because it was very lightly dyed in order to kind of get that light colored, undulating line at the edge, so they had to sort of cheat the process and not fully saturate the cloth so they didn't ruin those patterns. My ancestors are no different in that respect. Much of Elizabeth's work focuses on early Northeastern Woodlands Native culture, including ancient wampum shell carving and reviving natural dye techniques to create a traditional palette for her finger woven sashes, bags and baskets. Artist's Website. I mean, I'm so thankful to have you participate in this and share your experiences and your knowledge, and it is so, so appreciated. Access Elizabeth's Contact Information . Centre Street Gallery Exhibition Opening Date: September 3, 2020. And I don't think that changes over time. Through a Wampanoag Lens. Nov 21, 2013 - wampum necklace, Elizabeth James-Perry (Wampanoag) Meredith, how did you all select these items for this online exhibit? A virtual discussion was held with artist Elizabeth James-Perry, an Aquinnah Wampanoag whaling descendant and marine scientist, about the connections between her exhibition at the Whaling Museum and her family history, Wampanoag culture, and 400 years of environmental change and adaptation. If the stitching doesn't go all the way through to the inside, it may be rubbing against you every day, but the stitching isn't going to break instantaneously, which, if you're going to sew down thousands of beads, that's a nice little trick, for sure. She believes in practicing responsible art and sustainable land/ocean stewardship. Through connecting with the spaces and the materials and the techniques, I think I'm experiencing life the same way people have here in the northeast for thousands of years. You're going fishing for God's sakes, you already liked the food and you're living on the coast. She is a researcher and exhibit consultant, and owner of Original Wampum Art. 11/6/2017 9:31 AM. She is multi-medium traditional and contemporary artist taught by her mother Patricia James-Perry, and by cousins Dr. Helen Attaquin and Nanepashemut whose knowledge and artistry was crucial to the development of the Wampanoag Indigenous Program at Plimoth Plantation Museum in the early 1970s. Podcast was produced by me, Jennifer Berglund and the Harvard Museums of Science and Culture. I came away from it appreciating the abundant resources that past generations had. There's just these amazing chances to reconnect. Wampum Jewelry. Three Nations Armband . Where institutions are taking a look at practices and taking the time to acknowledge whose indigenous land they're situated on. As an informed citizen, but especially as an artist, when you're working with your hands and sort of living with the materials and really processing and making materials, you know, your sanding materials or shaping them and making the chemicals in them airborne, potentially, or absorbing them through your skin. He considers designs by examining the raw . It had to be portable, and it had to be handy, you know, if you're going to be successful in essentially keeping yourself alive. And I think that there's no mention of it because the trader finally got his batch to the blankets, but I think he was told it was such a hassle to try to dye it without covering that white line on the edges, that it was too expensive and too risky because of the color runs, your native customers don't want it and they're going to send it right back. And so you can still see that on the sash today. Sample of Work. https://homeandaway.gallery/.../elizabeth-james-perry-wampanoag Each one is a little bit different because each artist or fishermen, fisherwoman, is a little bit different, right? Sample of Work. They recently worked together on an online exhibit called "Wampanoag Voices: Beyond 1620", a project that's in part a reflection on the 400th anniversary of the arrival of the Mayflower, and the ensuing consequences to native people, but more so a celebration of the vibrant native communities of our area. She believes in practicing responsible art and sustainable land/ocean stewardship. See you in a couple of weeks! As a member of a Nation that has lived on and harvested the sea since ancient times, Elizabeth's is a perspective that combines coastal Algonquian culture, traditional beliefs and science in her ways of relating to the North Atlantic. And so you've got these white glass beads that are new. Perry, a Wampanoag artist and registered member of the Aquinnah tribe on Martha’s Vineyard, is an emblem of the complex reality of Indigenous people’s … Her old-style wampum was included in Native New England Now (view publication) at the Mashantucket Pequot Museum, and was exhibited at the Peabody Essex Museum in the highly acclaimed Native Fashion Now traveling exhibit, featured on WGBH's Open Studio with Jared Bowen. And in recent decades, that's really been changing, and I think it's more common now to include community partners in exhibits. In this online exhibit, we wanted to reflect on these past events, but it was so important for Wompanoag voices like Elizabeth's to provide the interpretation. Her fine art work focuses on Northeastern Woodlands Algonquian artistic expressions: Wampum carving, weaving and natural dyeing. A B O U T. Traditional singer, dancer, speaker and carver, Jonathan Perry is grounded in the traditions of his ocean-going ancestors. What's that? Her fine artwork focuses on Northeastern Woodlands Algonquian artistic expressions: wampum shell carving and diplomacy, sustainable weaving, and natural dyeing methods. That's very expensive. You have the artist spinning the Indian hemp, which is an indigenous plant that we use for sewing and weaving and even some soft fiber basketry, twine basketry. Additionally, she has conducted years of in-depth research at museum archives and collections in the United States and Europe. Meredith, would you say that working with Elizabeth changed your thinking about the ways in which we as a museum should be looking at objects? It's very fragrant, almost like the scent of strawberries. Community Spirit Awards. Elizabeth, I'm curious, after doing all this research, after spending so much time with these objects and exploring techniques, what did you come away from all of this feeling or experiencing? There's a big difference between recapturing traditional ecological knowledge and growing up with it. Elizabeth James-Perry (Courtesy) The objects featured include dried and smoked herring, multiple baskets, an anchor, and an eel trap, which was described by … I mean, I don't know what my ancestors would say to that phrase, like, climate controlled. Perry combines the patterns on the individually cut beads to maximum aesthetic effect. And they did some interesting research on it that really told us a lot about the age of the sash and possibilities of where it actually came from. March 24, 2017. Thank you so much, Elizabeth, for spending time with us today. A local Wampanoag artist, Perry works primarily with Quahog shells to create handmade pieces including belts, earrings, necklaces and more. Elizabeth James-Perry is an enrolled member of the Wampanoag Tribe of Gay Head -Aquinnah, located by the richly colored clay cliffs of Marthas Vineyard/Noepe. So, I mean, it's all about food. It smells so sweet. Ripples. And I'll be your host. It's in demand, and then there's no mention of it. She received the Paul Cuffe Memorial Fellowship to research 19th-20th century Wampanoag tribal crew aboard the Charles W Morgan, which included members of the Gay Head/ Aquinnah and Christiantown /Manititoowatan island communities. That beautiful red coloration, the idea that red connects us to the Earth, to our Mother Earth. where we go behind the scenes of four Harvard museums to explore the connections between us, our big, beautiful world, and even what lies beyond. The herring are going to be here pretty soon. I've got to replace my gear. You know, it's this conversation and this learning experience that transcends time and space. Through the Jennifer Easton Community Spirit Awards, we recognize the work of Native American, Alaska Native and Native Hawaiian culture bearers who uphold the Collective Spirit®. He lived in Falmouth, Massachusetts, and he was a graduate of Harvard University. The relationships will be the foundation where you can move forward together in a good way. If winter's coming early, you got to be thinking, "okay, if we get a lot of snow and it dumps on the milkweed, I'm not getting any milkweed to do my spinning. We also had names of artists in some cases, and then we have a photograph as one of the items, and we have the names of the sitters in that photograph. Listen to Wampanoag Perspectives On Museum Objects With Elizabeth Perry And Meredith Vasta and twenty more episodes by HMSC Connects! So, the sash is interesting from a material perspective, and fortunately for me, a portion at least of early trade records where merchants were bringing goods from Europe and going to markets in places like Albany, Montreal, various points along the east coast, were bringing their items and trading with native people, you know, Native men, Native women at market. Special thanks to Elizabeth James Perry, Meredith Vasta, and the Peabody Museum of Archaeology and Ethnology for their wisdom and expertise. Through a Wampanoag Lens. It's taken me so many years to even begin to see the tip of the iceberg for the technology, for knowing the best time to get the dyes, the best mordant to use, the the nicest fiber plants, the best way to process that material and coax out something really beautiful that's very strong and durable and long-lasting. Yeah, the eel traps are just great. Native American artist and researcher Elizabeth James-Perry will focus her discussion on pre-contact and Colonial period views, management techniques, and material culture involving trees in Massachusetts, the traditional homeland of the Wampanoag, Nipmuc, Pocumtuc and … But I'll let Elizabeth speak to her experience with that. I think some of the most successful exhibits I've experienced, and learned from really cast their net a little wider and have different perspectives, but I also think centering the interpretation from the home communities perspective is critical. It's that interesting time period--17th century 18th century--where there's a such a strong combination of both indigenous materials and techniques, and motif work and color balance. Let me get the cedar bark. Email Finder Top Companies Company Search People Search Solutions About Us. And, you know, they get their barrels of wampum, and they still behead her or something horrible. And tell us from your perspective, what did you know about these objects before Elizabeth took over? And then also an influx of some trade materials from England or France or Spain, wherever it's coming from. There's enjoyment in the moment, but there isn't necessarily in a culture where utilitarian objects are made beautiful, it's fine to use those. You needed to be ready, you needed to be wearing your powderhorn, you needed to have your piece with you. The Impressions ECHO catalogue highlighted the pieces from this culturally-rich exchange (view publication), courtesy of the Peabody Essex Museum. You can see where traders are very particularly saying they want a dark brown edge, they want a blue edge, they want a white line inside of the dark brown salvage edge, so as a weaver, all of those kinds of descriptions make sense to me, because I'm used to worrying about salvage edges and keeping the edges neat and straight and standard widths, and in all too. Noepe Cuff . I mean, it's mucky and muddy, and yeah, you could sink in up to your waist or whatever. This is an orca (killer whale) representation reminiscent of Northwest Coast designs. We didn't really necessarily make pieces to sort of house in this really careful, isolated fashion, protect it from the elements. All of the wampum beads in my jewelry are Native-made. It was entirely biodegradable. The older one was wearing out, it was getting drafty, the bark was leaking. They have their special material they like to use and their spacing and the weight and the strength. Some of the items collected, you know, I wish I knew more about this. When you're hunting animals all the time, you have the fiber to spend the yarn, you have the plants in abundance to dye the yarn, you have the beads you're making, or the beads later on that you're trading for. Elizabeth represents Wampanoag traditions by writing, in exhibit design, and occasionally through intensive community weaving and dye workshops for organizations like the Evergreen College Longhouse. So that's a nice touch. This has been really nice. 2003. I think when there is distancing or mistrust, things don't work out well. Elizabeth analyzed two historical Wampanoag objects, an eel trap, and a sash worn by a guy named King Philip. And it's actually really important that I think my generation does as much as they can because we have the opportunity and the time and the access still to collections, things still survive in collections. And like the undulating design and the dark color punctuated by the white because it makes it pop, but also there's sort of that philosophical idea in native arts, including a native stamped basketry, of these undulating lines that are the path of life, and the dots, sometimes it's just the energy and the people in the movement of life along that path. You know, oftentimes there's tons of things, and I'm sure Elizabeth, throughout all your museum visits, you have found a number of things attributed to King Philip that sometimes when you are a quote unquote "famous Native American", you know, everything is Sitting Bull's, everything is Geronimo's, everything is King Philip's. That specific cloth is mentioned really briefly. Last Update. Can I live with that?" Elizabeth James-Perry, Aquinnah Wampanoag tribal member of Massachusetts is a life-long traditional artist, taught by family and community. You want them to be used and appreciated and loved that way. Quahog clams display a range of shades along the rims and may be pure white-ivory, have a slight lavender blush, and more rarely display a deep purple-black. So the appearance would be a little bit different. I wanted to ask them both about the creation of this exhibit and the relevance of these objects within Wampanoag culture today. Elizabeth James-Perry is an enrolled member of the Wampanoag Tribe of Gay Head -Aquinnah, located by the richly colored clay cliffs of Marthas Vineyard/ Noepe. Elizabeth James-Perry is an enrolled member of the Aquinnah Wampanoag Tribe on the island of Noepe (Marthas Vineyard). And so, there is accounts of a certain type of red Stroud blanket being produced. So it really gave me an appreciation for how important it is to keep the environment clean, to manage your resources and make sure that there's resources for the next generation because it's not necessarily under these conditions going to happen automatically. 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