What Size Beads Are Used For Bead Weaving On Bandolier Bags

Complete Identification:

• Bandolier bag

• no known artist

• 1850 C.E.

• Beadwork on leather

• Lenape people

• Delaware tribe, Eastern Woodland

Course:

• Bandolier and purse are continued

• Bandolier

• Cherry trimming effectually entire material and tassels at the end

• Floral blue, blackness, dark-green, and pink design on textile

• Ends of the bandolier have trapezoidal extensions which end in green, crimson, tan, and blue tassels

• The bandolier is a long rectangle, would accomplish beneath the waist (only probable not to the knees)

• Only one side of the bandolier is decorated → the other side is brown

• Handbag

• Follows same color story as bandolier → shares the pink, blueish, and scarlet

• Tassels decorate the opening of the bag (shorter and thinner than the tassels on the bandolier)

• Rectangular in shape

Part:

• Bandolier bag is worn as a cross-body bag → a strap crosses the breast and allows the pocketbook to remainder on the hip

• Numberless were unremarkably decorative → even those with pockets were non necessarily used to hold anything

• Men could wear more than one purse at a time

• Express group identities and social status

• Peculiarly in the face of displacement → stand for the determination and perseverance of Lenape people and Lenape civilization

Content:

• There are thousands of beads strung together across the bandolier purse's surface

• Show mastery of technical skill

• Based on bags carried past European soldiers that held ammunition for rifles

• Big in size

• Trade fabric (cotton, wool) and hibernate are used as the base of operations for the bags and straps

• Seed chaplet (tiny glass beads) are acquired from trading with Europeans

• Prized for color

• Replaced porcupine quills every bit base for colors in the numberless

• Porcupine quills would be dyed and woven into the cloth

• Silk ribbons are likewise used for decoration → gained from trading as well

• Expanded the surface of the bag in an interesting mode

• Trading with the Europeans allowed for new materials to be added as ornamentation to the bags

• Replaced farther quillwork and dying of the bandolier's fabric

• Chaplet would reverberate sunlight, ribbons would flap in the wind

• Red wool tassels on the bag are attached with metal cones → add together more colors and textures

• Designs

• Abstracted and asymmetrical

• White beads act as contour lines

• Each side is slightly different in design

• Minor size of the chaplet allows for more intricate designs than quillwork

• Contrasting colors could represent Sky and Underworld realms

• Design could besides represent central directions, every bit they become in 4 different directions

Context:

• Called Aazhooningwa'on in Ojibwe language ("worn across the shoulder")

• Made across tribes in Smashing Lakes and Prairie regions

• Styles depend on tribe and on contact with Europeans (for materials)

• Bandolier bags specially popular in Woodlands region (Not bad Lakes and territory East of Mississippi) in nineteenth century

• Women created the bags, while by and large men wore them

• Prairie style

• Incorporates styles from older Delaware traditions also as other displaced native peoples

• Effect of dissimilar peoples coming together

• Used glass beads to make abstract or representative floral patterns against a dark background

• Bandolier numberless still worn today → show preservation of culture

• Lenape

• Originally from Delaware → the Eastern woodlands

• Some lived in big villages but nearly lived in smaller communities of upward to 25 people

• Had 3 clans (Wolf, Turtle, Turkey) that traced lineage through mother's ancestry

• Very communal → land belonged to community, shared shelters, no theft

• Political leaders were chosen based on leadership characteristics and ability to pb successfully

• State of war leaders were called based on success in battle

• They could human action without the approval of the political leader

• Men

• Woodcraft and hunting, cleared the land, built/repaired houses

• Women

• Housekeeping, gardening, planting and harvesting crops

• Making clay pots; weaving; making slippers, mats and dolls; preparing hides for clothes and shelters

• Were removed from their bequeathed lands by Indian Removal Act (during Jackson's presidency) but kept their traditions in creating fine art

• Bandolier numberless are an instance of the perseverance of their culture

• Religion was animistic → spirits (both helpful and harmful) were everywhere and should exist treated with respect

• Ceremonies throughout year to drive off evil spirits and celebrate good ones

• Celebrations of maple tree and corn planting, harvest rituals

• Shamans were important spiritual leaders (sometimes political likewise)

Themes:

• Materials and symbolism

• Relationship with nature

• Colonialism

• Effects on culture

• Effects on fine art

• Lasting effects of displacement and cultural improvidence/dispersement

Cross-Cultural Connections:

• Reflects the importance of textiles every bit an individual fine art form in the Americas (peculiarly in Inca culture)

• Textiles are not used to imitate other fine art forms

• In fact, other art forms often imitate textiles

• Textiles are a circuitous and technically challenging art form, which shows the mastery of the indigenous peoples over this form

Sources:

https://world wide web.khanacademy.org/humanities/ap-art-history/indigenous-americas/a/bandolier-pocketbook

https://world wide web.lenapelifeways.org/lenape1.htm

What Size Beads Are Used For Bead Weaving On Bandolier Bags,

Source: https://sites.google.com/site/adairarthistory/v-indigenous-americas/163-bandolier-bag

Posted by: rubywormuch.blogspot.com

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