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Pacific Northwest Tribe totem poles
Pacific Northwest Tribe totem poles
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In the Pacific Northwest, British Columbia and Southeast Alaska there are 6 styles of carved art. The most well commonly known art form is known as Totem poles also known as “story-telling poles.” Totem poles are tall poles carved from red cedar tree logs that represent the mythology and beliefs of tribes. The most well-known tribes who created totems along the coast are the Haida and Tlingit tribes. The carvings may include animals, plants, ancestor or mythological creatures. The Hadia tribe is located in British Columbia; which the largest group can be found in Ninstints Village. Their totem poles are known for their prosperous detail and exclusive style. Haida had four primary figures which include Orca, Bear, Frog, and Raven. The animals …show more content…
They also use the Northern style which uses the color scheme red, black, and blue-green “turquoise.” Tlingit people carved interior house post, Portal entrance and totem poles. These figures have animals, sea creatures, and birds. They combined realism and symbolism in there art work. The Tlingit tribe is separated into two moieties raven and eagle then are put in several different clan. These clans have crest that represent their clan embedded on their totems. When creating totem poles they follow a stylistic rule to be able to easily identify. For example the ravens must have straight beaks and eagles will have curved beaks. One of the greatest things Tlingit tribe is known for is their potlach ceremonies. Potlach’s consist of music, dancing, gifts and a feast. They are typically celebrated when a totem is raised, or celebration of a death lasting for an estimated of 4 …show more content…
The Raven also known as the “tricksters” story began when he discovered an old rich man named Naas-shaki; who had a box containing the sun, moon and stars “the light” which the raven wanted to steal from him after many unsuccessful attempts the raven decided to transform himself into a hemlock needle and dropped into the water his daughter had been drinking from the river. She then became pregnant and gave birth to the Raven as a baby boy. The grandfather began to spoil him and give him whatever he desired. The raven began to cry over the box on the shelf continuously after telling his grandchild no. Days later he gave in and allowed him to play with the stars, as he was playing with the stars rolling the box on the floor back and forth he then allowed them to roll up the smoke whole and into the sky. The following day he began to cry again until he received the box with the moon he was then given the box as well and began to roll it back and forth across the floor and up the chimney into the sky. The final day he cried and cried until the box was given to him with the sun but this time he did not roll it up the chimney. He began to play and waited for everyone to sleep he then turned into a bird and gathered the box in his beak and goes up the chimney not releasing it into the sky he had taken it to show off that he has captured the sun from the rich man and when he
When most people look at a piece of pottery the first thing that comes to mind is the significance of the symbols and the stories behind these symbols. There are some symbols of Hopi pottery that have stories behind them and some that are symbols of either lost significance or the story is unknown. Some of the symbols we think of as symbols, are really the potters own design. Most people make the mistake that symbols and designs are the same thing, but in fact they are very different. Hopi potters, mostly women, have been instrumental in both preserving and developing traditional symbols and innovating designs in response to changes in and challenges to their culture.
Common Mi’kmaq homes were called wigwams. Wigwams were put up by women and usually built in one day. They were made with spruce poles that were tied together at the top and the bottoms of the poles were spread out to make a triangle shape. They then took birch bark, which is waterproof, and layered the sheets over and over until the structure was covered. The top of the wigwam was left open to act as a chimney. Animal furs and woven mats were used as flooring and an animal hide was hung to cover the door opening. Paintings of animals and birds decorated the outsides of the wigwams. When the tribe would move, the birch bark would be removed and taken with them(Nova Scotia 1).
Before carving a Totem Pole all Native Americans sing and dance to drums. Then they go to a site in a ceremony and hundreds of people attend. Carving a Totem Pole tells others about their history and ancestors also about their Indian tribe. Also you don’t just have to carve a totem Pole you can also paint the Totem Pole for more interest and detail.
One such group, the Tlingit, used art to create and portray its rights, privileges, and talents inherited to them and became symbols of tribal importance. As they lived in extended family tribal canoe houses, they used art to decorate and empower their tribe in their social structures and often commissioned elaborate artwork in order to create jealousy within the groups. Because the Tlingit culture believed that they were all descendants of animals, the subject matter of most Tlingit art is a highly stylized representation of their ancestor animal. Though religious belief was integrated into Tlingit artwork, it remained an iconographic representation of a tribe’s lineage serving many roles such as power and protection.
Mandan villages were the center of the social, spiritual, and economic lives of the Mandan Indians. Villages were strategically located on bluffs overlooking the river for defense purposes, limiting attacks to one land approach. The Mandan lived in earth lodges, which are extremely large, round huts that are 15 feet high and 40-60 feet in diameter. Each hut had a vestibule entrance, much like the pattern of an Eskimo igloo, and a square hole on top, which served as a smokestack. Each earth lodge housed 10-30 people and their belongings, and villages contained 50-120 earth lodges. The frame of an earth lodge was made from tree trunks, which were covered with criss-crossed willow branches. Over the branches they placed dirt and sod, which coined the term earth lodge. This type of construction made the roofs strong enough to support people on nights of good weather. The floors of earth lodges were made of dirt and the middle was dug out to make a bench around the outer edge of the lodge. Encompassing...
Jacka, Lois Essary. Hopi art—modern symbols of an ancient people: tradition, heritage, and cultures blend in the art of the Hopi. International Journal of Humanities and Peace 17.1 (Annual 2001): 62(2). General OneFile. Gale. University of Phoenix – main account. 26 Jan. 2008
Evidence produced by archeologists suggests that the Hopi have inhabited their sacred mountain for well over a thousand years. These mountains hold sacred spirits to the Hopi called kachinas. These spirits are essential in the Hopi religion serving as a medium between the Hopi a...
The exhibit “Our Universes: Traditional Knowledge Shapes Our World” on the fourth floor of the NMAI museum does an amazing job of representing cultural sovereignty for many different First American tribes. The exhibit has alcoves for each of eight different tribes that range from Canada, around the USA all the way down to Peru. The exhibits act as a celebration of culture, spirituality, language, stories, life and family. Each exhibit is unique to the culture and recreates a depiction of an aspect of life. By having having such a diverse set of aspects represented in each gallery, the exhibit retains and presents the cultural sovereignty of First Americans.
In this story, like the others, the rather ordinary narrator descends into madness and makes expectations break and fear form. The raven itself actually contributes to fear as well. The raven does not change at all as it only stands still and repeats, “Nevermore,” to the narrator.
Edger Allen Poe’s Raven goes to the sad man who is lamenting for his love, and says the one word that he knows, which is “Nevermore.” The Raven basically tells the man that his love will never come back, and on every statement or question, he merely answers “Nevermore!” At first, the raven is a mere guest to the man, but as the conversation continues, the man realizes that he does not want the bird with him. He tries to have the bird leave, but “Nevermore” keeps coming back at him. The poem ends with him wallowing in sorrow as the bird never leaves, and the bird represents the shadow of his grief over him, “…still is sitting…And my soul from out that shadow that lies floating on the floor Shall be lifted—Nevermore!” (344) The raven from Native American myths seems to be naughty but at the same time helpful. The Native American myth, “Raven steals the light,” shows Raven’s naughty yet helpful side. In the story, Raven decides to get the sunlight back from a man who took it. Raven hides as a fish in a river and the man’s daughter comes for the water. When she drinks, the raven in disguise as a fish goes into her water and gets inside her. The girl gets pregnant and gives birth to a baby, who is actually Raven. Raven one day cried, and so his grandfather gave him the sun to play with. Raven took the sun outside and threw into the air, restoring light everywhere, and flew
According to McWilliams the Raven “was as fickle and unpredictable as nature and its seasons” (McWilliams) and because of this, it was easy to deceive animals and humans alike. The “Raven was a shapechanger, who could assume any form- human or animal” (McWilliams) also that he is “a glutton and trickster” (McWilliams) in addition to “his trickery brought them the essentials for existence in a harsh world” (McWilliams). For example, in the story Raven Steals the Light, Raven wanted the light and he “had to find a way to get inside the hut” (Billman) and he used his shape shifting powers to turn himself “into a tiny hemlock needle” (Billman) which the girl drank. Since then, he changes himself into “a small human being” (Billman) and with that the Raven gained entrance into the hut where the light was kept. The story shows how the Raven will use patience and his trickery to get what he
The Tohono O’odham tribe has been weaving baskets for at least 2000 years. Although the reason for weaving has changed through the years the Tohono O’odham are still using the same weaving styles as their ancestors. Basket weaving for the Tohono O’odham has gone from an everyday essential to a prestigious art form. Basket weaving for the Tohono O’odham represents an active way of preserving their culture, valuing traditions, and creating bonding ties within the tribe; consequently weaving has transcended into an economic resource.
Leeming, David. "Native North American Mythology." The Oxford Companion to World Mythology. N.p.: Oxford University Press, 2005. Oxford Reference. Web. 2 Mar. 2014.
Their Sundance ceremony surrounds the story of the tai-me, “The Kiowas were hungry and there was no food. There was a man who heard his children cry from hunger, and he went out to look for food. He walked four days and became weak. On the fourth day he came to a great canyon. Suddenly there was thunder and lightning. A voice spoke to him and said, ‘Why are you following me? What do you want?’ The man was afraid. The thing standing before him had the feet of a deer, and its body was covered in feathers. The man answered that the Kiowas were hungry. ‘Take me with you,’ the voice said, ‘and I will give you whatever you want.’ From that day Tai-me has belonged to the Kiowas”(36). This story is used to tell how the tai-me came to be a part of the Kiowa tribe and why they worship it as a part of the sun dance ceremony. Momaday describes that the “great central figure of the kado, or sun dance, ceremony is the taime”(37). It was a small image representation of the tai-me on a dark-green stone. As a symbolic part of this ceremony, it is kept preserved in a rawhide box of which it is never exposed to be viewed other than during this
Edgar Allan Poe?s ?The Raven? is a dark reflection on lost love, death, and loss of hope. The poem examines the emotions of a young man who has lost his lover to death and who tries unsuccessfully to distract himself from his sadness through books. Books, however, prove to be of little help, as his night becomes a nightmare and his solitude is shattered by a single visitor, the raven. Through this poem, Poe uses symbolism, imagery and tone, as well as a variety of poetic elements to enforce his theme of sadness and death of the one he loves.