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Ceremonial costume such as headdresses, mantles, complex twined bags and baskets have been recovered from elite mound burials in Spiro, Oklahoma and a few other items have been found at places such as Etowah but little had been recoverd from village websites until Wickliffe. Evidence comes fabric impressed pottery very without doubt or question depicting proficiencies employed to make twined textiles from a assortment of plant fibers including dogbane (hemp); nettle and milkweed. The woody stems are harvested in the fall and inside are fibers that are twisted together to make twine and from there the sky is the limit. The increased number of complex structural trends parallels the increased social complexity deduced from Mississippian settlement configurations.(Penelope Ballad Drooker) Meaning that the more textile construction proficiencies there are and the more complex they become, it seems to be a reflectivity of the increasing complexities in each and everyday life. Unfortunately there is an exceedingly fixed amount of remaining textile material to investigate, nevertheless large-sized Mississippian textiles like those of earlier periods, tend to come in rectangular forms employed for skirts, mantles, and blankets. Three-dimensional objects such as bags and pouches are also common. There is a lot more to the devising of textiles than what is found in archaeological sites. Questions stay if this was a task relegated to one gender or whether both participated. Although cultures and societies came and disappeared, often times without comprehensible statement — types of sophisticated woven textiles were worn right up through the contact period. Moravian Missionary, David Zeisburger left journals with details of twined costume being worn only a generation before. He was amid the Delaware in Ohio in the mid to late 18th century. Hovey Lake archaeological internetlocation in extreme southwest Indiana is a internet site that was populated from when it comes to 1400 to 1700 with remnants of the Angel Mound people. They seem to have continued a tradition of making costume and using twined textiles to imprint pottery. The interpretation that Cheryl Ann Munson has given of Hovey Lake in regards to this issue is stated very distinctly on the Hovey Lake website, “Villagers wove a potpourri of fabric items such as blankets, wraps, skirts, and bags, using yarns spun from plant fibers. Knotted nets were another type of fabric.” There are few descriptions of this type of costume being worn by Native people after contact therefore again, the lack of proof to concretely state that the use of plant fibers continued well into the 17th century. There are a few visual pieces that may be interpreted as being made from plant fibers including one by artisan John White in 16th century Virginia of a “Religious Man” depicted as wearing a short twined cloak covering the left arm while leaving the right arm exposed. There is significant proof to strongly suggest that the basic pre and proto-contact garment worn by females was a wraparound skirt. It is commonly described as being knee length and this garment was then transposed to trade cloth by the mid-18th century. Some resources mention native fabric skirts for Virginia and North Carolina said to made of “silk grass with a bottom fringe.” Men seem to have worn mantles as a single tunic like garment or perchance in combining with or over a breechclout. Women almost always are described as wearing mantles in combining with a skirt. These “styles” continued into the 18th century when wool trade cloth, cotton, silk and linen fabrics were being introduced through trade. By the mid-18th century Thomas Davies begun illustrating Huron and other Great Lakes people and systematically put females in a type of trade cloth skirt and wool leggings. Shirts seem to be highly valued in terms of what Native humans trade for. Cotton from India and the Middle East made it is way to the trade centers in the Ohio Valley and Great Lakes. It ranked higher than trade rifles in lists of goods in high demand. Shirts were worn over skirts and breechclouts with wool blankets taking the place of earlier plant fiber mantles. Silk ribbons in a potpourri of colors and sizes were in outstanding demand as well. Many of the early examples the author has seen in museums and collections make use of one or two colors of silk ribbons in multiple rows starting at the hem of a garment and from time to time reaching half-way to the waist. Along with this came the use of trade silver ear rings, ear wheels, cone and ball, triangular pieces applied in both noses and ears, silver crosses, and brooches from tiny button size to ring brooches placed in multiple rows and in a lot of instances effecting geometrical design patterns on both shirts and skirts. Silk scarves were worn when it comes to the head as a turban on males and now and then applied as neck wraps on women. The use of silver brooches on silk scarves and blankets continued to increase towards the end of the 18th century. Also a modify in the way silk ribbons were employed came when it comes to in the very late portion of the 18th century and was to a complete degree formulated by 1802 as cut work silk applique style that became very general and was depicted extensive in the Wabash Valley by English painter, George Winter. He expended 1838-1839 with the Miami and Potawatomi Indians of central and northern Indiana. His dozens of portraits give clear or deep perception to the lives and culture of the last days of these extraordinary people before forced removals by the US government altered their lives and traditions forever. Silk turbans and shoulder length hair on the men became rather the norm. In the 18th century we see men with shaven heads, scalp locks, gastoweh or hair roach attached to the scalplock. Men in the 18th century seem to have slit their ears and pierced them to accommodate an extra outer row of ear rings, wampum or other ornamentation. The leggings in the 19th century show a wider band or wing flap where the two halves of the cloth were stitched together and embellished with silk ribbonwork applique. Fingerwoven sashes or belts were worn by both men and women but now made from wool threads or yarn rather than plant fibers. Moccasins substituted fiber sandals and were for the most part constructed from a single piece of leather, normally elk or buffalo. They had wing flaps, were of center seam construction and ofttimes embellished with porcupine quillwork on the flaps and once in a while down the center seam. Fringe on the flaps consisted of tin or silver cones each with a piece of red or orange deertail hair extending from it. White glass beads most times were sewn to the edges of the flaps thence supplying a finished look. By the 1830′s silk ribbonwork eclipsed the flaps of Miami and Potwatomi moccasins in the central region of the Great Lakes and Ohio Valley as well as amid Potawatomi and Menominee of Wisconsin. Extensive use of beads to manufacture applique work was not done by the Miami, Potawatomi, Piankeshaw or other tribes of this region until they were got rid of to Kansas and Oklahoma. The museum collections in Canada, Chicago, Grand Rapids and other places support this evidence. As George Winter noted, these clothes with imagination ribbons of silk and men’s frock coats, ladies silk parasols and silk shawls were worn on a regular basis and not just for funerals or ceremonies. Winter stayed in the log cabin belonging to captive Frances Slocum and made a great deal of observations in his journals to this effect. A marked change in the blouse or shirt that women were wearing came regarding at the beginning of the 19th century. Kakima Burnett, a Potawatomi woman who was married to an American merchandiser was highly influenced by Catholic nuns and missionaries that frequented the Potawatomi villages in southwestern Michigan when the Burnetts traditionalisti a retail operation in 1780. Kakima was the daughter of Chief Aniquiba and sister of Topenebee, important chief of the Potawatomi in the southwestern Michigan. They were married by a Catholic priest in Detroit. Their sons were educated in Detroit by Catholic nuns. One of the sons came to the Fort Wayne, Indiana area and was related with Issac McCoy, a missionary amidst the Indians. Kakima came to Indiana after her husband’s death sometime around the end of the War of 1812. With all of the influence of “Black Robes” Kakima and other women of her same background and culture begun emulating the nuns by wearing huge collars on their shirts. By the 1830′s it is clear that this style or tradition had taken hold allround the Great Lakes and Ohio Valley. George Winter depicts a good deal of of the Potawtomi and Miami women, a lot of who were not inevitably of Catholic faith, wearing the big collar blouses or shirts. The big capes gave the women further and added ways to decorate their garments with silver brooches and silk ribbons. The earliest known illustration is of a woman wearing a caped blouse in the Detroit area around 1814. Another early depiction distinctly shows a Seneca woman of western New York wearing one as she teaches young Iroquois children in a frame longhouse. After researching innumerable garments of this period, there seemed to be two decidedly dissimilar types of caped blouse. One that reached to the midriff and one that was long and was called a waist. The shorter styles may be those that were worn by the unmarried ladies of the village until that time when they took a husband. Then the longer, fuller styles with a larger center opening seem to be worn by married women who would be bearing children, therefore making it having little impact to nurse through the more prominent neck opening. More exploration on this is still being done. By the end of the 1830′s and 1840′s thousands of these central Wabash and Ohio Valley Natives were forced to leave their homes and go west to Kansas and then to Oklahoma. The ribbon skirts, the caped blouses and the leggings, and even the breechclouts were part of a tradition that stayed partly intact in Oklahoma into the 20th century. There are reflections of this pre-removal era in innovative pow wow’s but galore cross-cultural adaptions have been made since then. Many other items that were left with family members were sold to collectors for feed and spare change for the duration of the depression era. There are significant collections of Miami costume and other material cultural items in the Cranbrook Institute in Bloomfield Hills, Michigan. There are a lot of Potawatomi items in the Chicago Field Museum collections. 18th and 19th century quillwork bags, moccasins, finger woven sashes and knife sheaths are scattered all around Europe, oftentimes taken as effects of war or gifts for the duration of trade or treaty negotiations in the 18th and 19th centuries by military officers. Others were sold to collectors in New York and California. Many items from a number of Great Lakes and Ohio Valley tribes are in the back rooms in storage in the American Indian Museum on the Mall in Washington D.C. Formerly a lot of of those items were located in the Heye Foundation in the Bronx, New York where they were stored in crowded storage rooms and drawers. There are assorted books, largely out of print, including “Bou Jou Nee Jee”; “Spirit Sings Collection” and “Patterns of Power, the McMichael Canadian Collection” that were published based on exhibits from the 1970′s and 1980′s. They have a somewhat big selection of items that have been studied intently by historians and reenactors wishing to recreate the costume and quillwork, fingerweaving and trade silver and be as precise and authentic as possible when talking to the public and working with students. |
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