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Artistic practices among tribal groups
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The Hopi Indians use art in their everyday life from woven rugs to clay pots. Art is a very important aspect of the tribe’s life and each piece is said to have a story behind it. The Hopi tribe even has dances said to bring luck and prosper to the community. They also have a very unique piece of art that ties directly to their religion, kachinas mask and dolls.
Kachinas are spirits and gods of the Hopi tribes. During the winter solstice until the ripening of corn these spirits are said to reside within the tribe. Throughout this seven month time span they are represented though mask and dolls, each mask will represent a different Kachina spirit or god. They will hold ceremonies in which men, and sometimes women, will wear these mask and costumes and preform dances for the tribe.
Apart from the mask the Hopi tribe also uses another form to represent the kachinas, a wooden doll. Traditionally carved from cotton wood root, the wooden dolls are inspired from the dancers and given to children after the public ceremony. Kachina dolls can be a variety of things from Mudheads to Butterf...
One of the things I found was The clothes worn by the men included loincloths or short kilts which were made from a long rectangular piece of animal skin or cloth which was worn between the legs and tucked over a belt. The men started to wear cotton shirts and shorts, and a headband They wore moccasins made of soft leather. The type of clothes worn by the women of the Hopi tribe were cotton dresses called mantas which were fastened at a woman's right shoulder, leaving her left shoulder bare. Early women’s clothes included a dark blue woollen blanket that was fastened above the right shoulder and tied with a belt at the waist. When Hopi girls reach womanhood, their hair was dressed in two large whorls at the side of the head in a squash blossom.
Further research although, allows us to understand more in depth the importance and history of the Tai-me Sun Dance doll. According to Kiowa Nation, the Tai-me is the most sacred possession of the tribe. The first Tai-me came from an Arapaho man who married into the tribe in the 1700’s. There once was three Tai-me figures which were, the “woman”, the “man”, and another figure, however Osgaes captured the figures but returned them in 1837 when the treaty was signed. Then the Utes captured two of the figures and they never returned. The Tai-me keeper has many important roles in the Sun Dance such as deciding whether the dance will be held and preparing for the dance. This historical context is important and connects with the chapter because it allows the reader to understand Tai-me’s past and importance to the
The Dineh or Navajo culture, presently living in Arizona, are the largest group of Native Americans who practice dry painting. The Navajo culture focuses on different Gods or Holy spirits representing animate or inanimate objects. Therefore, evil spirits exist as well. Every unfortunate situation can be linked to the Gods causing rituals to be performed for various ailments. A crucial element in the rituals is the creation of dry paintings.
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.
The Pueblo culture contended many fragments to their culture that varied from the Spaniards Culture. The Native Americans were nature reliant they received all their necessities from the earth. They not only used the land but also thanked the earth. They included over three hundred spirit or gods that the pueblos prayed to for various different reasons, they called them Kachinas. Some of the spirits were Sun god, the rain god, star gods, the wind god and many other divinities. The Natives adore the Kachinas with praise for good crops, good health, family, homes, protection and various other things every day. Customs for the pueblos included rituals to heal problems such as disease in people who are sick, women who are not infertile and many other issues in the tribe. They contained Kivas; kivas were an underground compartment custom for secretive ceremonial practices. The purposes for Kivas were for the Pueblos to get closer to the spirit world. They thought that everything living came from the inferior part of the land. Pu...
“Art can use the power of visual image to challenge and even change popular opinions about important and universal issues. Art can be a very influential way to give a strong, direct comments and criticisms on things that have happened in society and culture.” (Rehab-Mol J, 1998, p6) Indigenous art is mostly about connecting to their land and their religious belief; however, art has different forms, especially the Indigenous contemporary art as it uses ‘modern materials in a mixed cultural context’. (Aboriginal Art Online, 2000)
Scientists have recently discovered links to the Kiowa and Aztec religions. For example both tribes worshiped a stone image, Taimay, and both tribes followed a pictographic calendar. The language that the Kiowa spoke can be traced back to the Uto-Aztecan language like Latin and English. The Kiowa languages also have connections to the Bannocks, Comanche’s, Paragons, Paiutes, Pima, Shoshones, and Utes. The Kiowa and Aztec preformed many dances of praise including the Sun Dance. However, the Kiowa also had many unique dances including the Scalp, Corning, Feather, and Ghost praising nature and life. Each dance was preformed to celebrate different achievements. For example, the scalp dance was preformed when men returned ...
In the Great Basin culture area, lived a once great peoples, The Kawaiisu. This tribe lived along the Sierra Nevada, and nearby Piute and Tehachapi mountains, which sometimes causes them to be categorized as Californian, also due to their similarities. As there are no extensive accounts of archeology in the Kawaiisu area, neither excavated nor published, two types of remains can be found of this aboriginal past. Scattered through the region are pictographs and “bedrock mortar holes. A test site was home to 300-500 mortar holes as well as approximately 16 house rings and many artifacts. Numerous settlement sites have been exposed and the examination of the rock art has led to be part of the Kawaiisu mythology. Regarding their history, the earliest mention of the Kawaiisu people was found in the diary of Francisco Garces, then being referred to as “The Cobaji.” He wrote that they were a generous people and were declared as “not stingy like the people of the West.” In the mid 1800’s miners and travelers started flooding the area, which brought forth occasional clashes between the natives and newcomers. The physical penetration of the land was not usually a part of these dispute...
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.
...ar spiritual and resource significance to the Hopi and Navajo. Both of these nations claim ancestral religious rights to the mountain. In the Hopi worldview, Katsinas (spiritual beings responsible for bringing rain and maintaining social and ceremonial order) live on the mountain, to which select tribe members make periodic pilgrimages for visiting sacred shrines. To the Navajo, the mountain is a physical manifestation of sacred forces and also a home to spiritual beings. Both tribes approach the mountain with the utmost respect, and only for ceremony or collection of medicinal plants.
Many tribes successfully preserved their art. For instance, local Indians of New Mexico still embroider beautiful blankets that have many geometric figures such as triangles and diamonds, similar to tessellations. See Figure 2 below (“Mathematics Used,” n.d.).
The Hopi have a highly developed belief system which contains many gods and spirits. Ceremonies, rituals, dances, songs, and prayers are celebrated in year-round. The Hopi believed they were led to the arid southwestern region of America by their creator, because he knew they had the power to evoke rain with power and prayer. Consequently, the Hopi are connected to their land, its agricultural cycles and the constant quest for rainfall, in a religious way. The religious center of the community is the kiva, which is an underground room with a ladder protruding above the roof. The kiva is very important for several reasons. From the kiva, a connection is made with the center of the earth. Also, the kiva is symbolic for the emergence to this world. The room would represent the underworld and the ladder would represent the way to the upper world. In fact, a room is kept in the house to store ceremonial objects. A sacred ear of corn protects the room and symbolizes the ancestry of the family members. Kachinas are also a focal point of the religion. For a Hopi, they signify spirits of ancestors, dieties of the natural world, or intermediaries between man and gods. The Hopi believe that they are the earth's caretakers, and with the successful performance of their ceremonial cycle, the world will remain in balance, the gods will be happy and rain will come. Because they think of their crops as gifts, the Hopi Indians live in harmony with the environment.
...effectively impersonate the Kachinas during the dancing ceremonies. (Page 340; Cultural Anthropology: 14th Edition; Ember).
Religious ceremonies, sorcery, and myths are all prevalent in traditional Hopi culture. These ceremonies are believed to produce rainfall, promote fertility, bring luck in hunting and warfare, or assist the sun in moving from winter to the summer (Brandt, 1954: 18). The Hopi also believe in the supernatural and in afterlife. They have sorcerers who are said to have two hearts, one derived from an animal, which gives them powers, and the other a human heart. Myths are reality to the Hopi; they are both spiritual and practical. (Brandt, 1954: 32)
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