That's the ground of the sash. For Elizabeth, we selected the sash and the eel trap, because we knew that Elizabeth was keenly interested in those, and had researched them in the past. 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. She has conducted research in the Northeast as well as in Europe. The Impressions ECHO catalogue highlighted the pieces from this culturally-rich exchange (view publication), courtesy of the Peabody Essex Museum. Out of the Ocean . March 24, 2017. https://homeandaway.gallery/.../elizabeth-james-perry-wampanoag 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. My name is Jennifer Berglund, part of the exhibits team here at the Harvard Museums of Science and Culture. But then at the end of the day, you just get to sit down at the base of a tree on a tussock grass, and you take out maybe a snack bar in the modern time period. You needed to have your bow, you needed to have war clubs, at the time, were also used. Ripples. 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. That's very strange. So there's always cool stuff. And I think that the materials last a little bit longer, there's not abrasion on the inside if you're wearing the fabric. 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. Special thanks to Elizabeth James Perry, Meredith Vasta, and the Peabody Museum of Archaeology and Ethnology for their wisdom and expertise. Community Spirit Awards. Meredith, I'm curious, what did Elizabeth's perspective as a Wampanoag artist and researcher bring to this project? Copyright © 2008-2021 Elizabeth James Perry :: www.elizabethjamesperry.com. Why or why not? It's very fragrant, almost like the scent of strawberries. Her work was featured in Native Peoples magazine in 2011, in Cultural Survival magazine (view article) and she has penned an article for Dawnland Voices 2.0. So that's a nice touch. Copyright © 2021 The President and Fellows of Harvard College, Collection of Historical Scientific Instruments, Peabody Museum of Archaeology & Ethnology. Podcast, free! Wampanoag gorget $ 110.00. She brings such different questions to the table. I mean, sometimes when things come into the museum, it might just say it's from Massachusetts, or New England, or the eastern woodlands. I'm gonna sit down with my friends and process cedar bark for all of the traps we're making. She participated in a textile artist residency that was a partnership between Indigenous descendants in whaling communities from Massachusetts, Hawaii and Alaska. She has worked to create museum-quality textile arts in milkweed and cedar bast, intricately painted deerskin and to capture the classic layered drape of Native linen trade cloth outfits. 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. The relationships will be the foundation where you can move forward together in a good way. Going from tussock to tussock, you have to even walk special just to get through the swamp without sinking in, so you're really tired. Let me get some ash. You know, it was a contest over not just supremacy, but it was a contest over really, really beautiful, really, really rich territory. And so there's this idea of movement and journey, and I think a certain amount of balance and harmony in that process. Do you think this piece saw a lot of battle? I'm not sure if he purchased them or perhaps traded for them. 1/4" deep x 1" wide x 6" long, plus fringe . You can see where it's stretched, the weaving is stretched, you can see that there's wear lines. 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. And it's very strong. As you can hear from Elizabeth, it's such a personal experience when you get to work with descendants of the artists who created these items that are now at the museum. She displays the color and contours of the shell to maximum effect. 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. The artist resides in southern Massachusetts. So, like, the idea of art, without humans to love it, the idea of making something without someone to honor. Through a Wampanoag Lens. And the ages vary among the ones I think that have survived in collections. It's what's supposed to happen. That's very expensive. It was entirely biodegradable. Here they are. And so you can look at the width of the cloth, the type of dyes used the design work on it, and you can kind of narrow it down based on the communications going back and forth across the ocean to around circa 1710, I would say. It is profoundly personal. You needed to be ready, you needed to be wearing your powderhorn, you needed to have your piece with you. The objects featured include dried and smoked herring, multiple baskets, an anchor, and an eel trap, which was described by Aquinnah Wampanoag artist Elizabeth James-Perry. Tribes need that, you know, for a variety of ways and ways that that I can't really articulate fully. Jewelry - Traditional Form . There's this idea of the connection, honoring the connection, loving that person and actually thinking of the work of your hands as having wholesome qualities, because you're being, in some ways, creative, like the Creator. —Elizabeth James-Perry, Wampanoag Tribe of Gay Head (Aquinnah) Listen: "You still hear folks around town asking each other, 'You see the herring run yet?'" There's a range of materials that were used with both the sash and the eel trap, I think also it's the human connection, right? 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. How did you go about your research with the eel trap? This is an orca (killer whale) representation reminiscent of Northwest Coast designs. Elizabeth James-Perry, a member of the Wampanoag Tribe of Gay Head (Aquinnah), presents a wool sash as well as an eel trap in the exhibit. 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. Between the 1890s and the 1930s, Jones had donated over 800 books to the libraries at Harvard, and nearly 140 images and objects to the Peabody Museum from different indigenous communities all over. materials closely, and draws his images from the grain, hues, and patina of wood, stone and copper. Countless generations of Wampanoag, Narragansett, Pequot, Mohegan, and Shinnecock nations have lived on the shores of the North Atlantic ocean, as evidenced by our stories, and by the scenery itself. Her fine art work focuses on Northeastern Woodlands Algonquian artistic expressions: Wampum carving, weaving and natural dyeing. You have to get real with yourself about what your needs are and you have to plan on what you're doing. They have their special material they like to use and their spacing and the weight and the strength. 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. Thank you so much, Elizabeth, for spending time with us today. I don't want that. I mean, her connection and interest is clearly not simply academic. 11/6/2017 9:31 AM. She sailed on the restored Morgan as a historic 38th Voyager. On Martha's Vineyard, the tribe owns less than 1% of the land on Martha's Vineyard, right? If not, then I take a day off work, and I get my milkweed. You have to be there and be really present, be connected to the tides, be connected to the seasons. The connection is your relationship with a person, whether it's, it's maybe your son who's going into battle, whether it's your daughter, maybe, is a female, sunsqua, female sachem, and she has to represent the people every day, and she could get shot too, she could get ransomed by jerks. You know, it's this conversation and this learning experience that transcends time and space. It's almost like eavesdropping on a conversation between a contemporary artist and the artist who made that historical item. 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. Elizabeth James-Perry meets the Peabody’s Wampanoag eel trap as an old friend. Introducing the 2017 Community Spirit Honorees. 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. Pashpeshau means s/he rises, s/he bursts forth, s/he blooms, in the Massachusett language. Through a Wampanoag Lens. When we started this project, we really wanted to look for items that were clearly connected to specific communities. But we were looking for items that were clearly connected to specific communities, and we do have a number of things from Mashpee and Aquinnah, so we knew exactly where they came from. And I don't think that changes over time. This has been so fun! 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 how do you think this experience will influence future projects? Sign Up. Find contact's direct phone number, email address, work history, and more. Meredith Vasta, a collection steward at the Peabody Museum of Archaeology and Ethnology, and Elizabeth James Perry, a textile artist, marine biologist and member of the Aquinnah Wampanoag tribe. Who knows how long they'll be there? I came away from it appreciating the abundant resources that past generations had. “A lot of our diet has remained pretty consistent. And so I really look at the natural world so much differently. Elizabeth James-Perry: As Aquinnah Wampanoag people, our most important ancient stories address glaciation and the subsequent losses and trauma due to melts and periods of rapid sea level rise, so there’s a record of past events in this region we routinely remember to remember. Today's HMSC Connects! A traditional form of Wampanoag eel trap constructed from ash splints and cedar bark for a maritime arts demonstration. Wampum Jewelry. That beautiful red coloration, the idea that red connects us to the Earth, to our Mother Earth. 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®. 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. So I think that an interesting movement has happened, I think, across the nation, right? Noepe Cuff . I'm going to talk a little bit about the eel trap and the collection of the Peabody Harvard museum. He lived in Falmouth, Massachusetts, and he was a graduate of Harvard University. Sarah Elisabeth Sawyer . And again, it's centered from such a beautiful personal place. There's just these amazing chances to reconnect. Elizabeth James-Perry Contact Information. You know, I never get tired of looking at them. 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. That's a good way to put it. There was a dump, or there was asbestos on a building, or, you know, there's so many concerns. 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. And then also an influx of some trade materials from England or France or Spain, wherever it's coming from. Podcast was produced by me, Jennifer Berglund and the Harvard Museums of Science and Culture. And so the die is actually wearing off in sections of the woolen yarn. I would say. I'm curious, why make this beautiful, intricate sash to be used in battle where it could be destroyed. Jonathan perry Aquinnah Wampanoag Traditional artist. Welcome to HMSC Connects! 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. Elizabeth James-Perry is an enrolled member of the Aquinnah Wampanoag Tribe on the island of Noepe (Martha’s Vineyard). 1/4" deep x 1" wide x 6" long, plus fringe . Some of the items collected, you know, I wish I knew more about this. The first item that we talked about, the eel trap, that was donated to the museum in 1917. And I'll be your host. But I'll let Elizabeth speak to her experience with that. 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. Elizabeth James-Perry is an enrolled member of the Aquinnah Wampanoag Tribe on the island of Noepe (Marthas Vineyard). The artist hand picks shells; she grinds and finishes them by hand to create one of-a-kind sculptural jewelry. King Philip, or his name was Metacom, was a Wampanoag Sachem, and he was important and involved in King Philip's War, which started in 1675. 1973) N. Dartmouth Persian 3-ply wool 3 1/4" wide by 60" plus staggered 14" and 19" fringe Photo: Elizabeth James-Perry Pashpeshau: Rising Multiplicities – Indigenous Artists Speaker Series. In the past, I think museums didn't see indigenous people, whose items they stewarded, as partners or collaborators. If you like today's podcast, please subscribe on Apple Podcasts, Spotify, Podbean, or wherever you get your podcasts. 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. You know, whether you're talking Wampanoag territory here in Massachusetts, or you're talking Southern Maine, Sacco River, which I suspect is probably the origin area of the sash. Perry combines the patterns on the individually cut beads to maximum aesthetic effect. Ceremony reinforces these connections. And what did you find? 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. 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. Sarah Elisabeth Sawyer. I really, really admired the technical expertise. HQ Phone (508) 645-9265. Yeah, the eel traps are just great. Sample of Work. Thank you for having me. Sample of Work. Last Update. There's a big difference between recapturing traditional ecological knowledge and growing up with it. She studied it some 20 years ago and created a replica with materials gathered in the woods of Dartmouth. The New Bedford Whaling Museum presents a collection of contemporary art from Elizabeth James Perry. The older one was wearing out, it was getting drafty, the bark was leaking. And tell us from your perspective, what did you know about these objects before Elizabeth took over? Her fine artwork focuses on Northeastern Woodlands Algonquian artistic expressions: wampum shell carving and diplomacy, sustainable weaving, and natural dyeing methods. Whatever you had in your arsenal was on your person, typically, because we weren't driving around in U-Hauls. Listen to Wampanoag Perspectives On Museum Objects With Elizabeth Perry And Meredith Vasta and twenty more episodes by HMSC Connects! And I think that there's there's other things that are really evocative. So it sounds like you really developed a greater understanding between the connection, between culture and environment? Elizabeth James-Perry Choker An exquisite traditional Wampanoag woven choker in stunning deep purple and white colors by artist Elizabeth James Perry. The artist selects her shells carefully and cuts and finishes them all in the traditional way, by hand, to preserve their attractive contours and colors.… Our culture teaches us to have a healthy respect for the sea, and we … It smells so sweet. Noepe Cuff . And so when you're an artist, and literally all of your materials come from the lands you live on, and you only have access to a tiny portion, and of that portion, some of it is prone to pollution runoff from the road. 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. Artist's Website. There's a variety of ways of sharing knowledge that museums are now involved in, sometimes at the request of indigenous communities who shared generously of their knowledge, materials, techniques, genealogy, history, and the museums are keepers, but not necessarily understanding that there's still a community that would still really value that knowledge. 1973) N. Dartmouth Persian 3-ply wool 3 1/4" wide by 60" plus staggered 14" and 19" fringe Photography by Elizabeth James-Perry Elizabeth James-Perry North Dartmouth, MA Elizabeth James Perry, (Wampanoag Tribe of Gay Head) is a fiber artist whose work reflects time-honored Wampanoag materials, techniques, and aesthetics. 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. 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. Access Elizabeth's Contact Information . “As a … I mean, it's mucky and muddy, and yeah, you could sink in up to your waist or whatever. View Elizabeth James-Perry's business profile . You know, I'm going to have some really good food on the fire while I'm doing this work because you know, that's what I would do nowadays. 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. When we're working together, I love talking with her and understanding the manufacturer, the creation, the dyes in such a totally different way, and I think her appreciation for the natural world, especially as an artist, really has rubbed off on me a lot, and now when I take walks, when I go to the Arboretum, I'm always looking at things and thinking, "I wonder how indigenous people use this in the past and in the present?" So it was this experiment in in trying to cater to native tastes in New England. The donor was a Dr. Lumbard Carter Jones, and he lived from 1865 to 1944. He considers designs by examining the raw . A beautiful wampum gorget with hand-tanned deerskin tie by Elizabeth James-Perry. 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. There was times when you had to move your community's safety, didn't know if you were being pursued. Community Spirit Awards. Aquinnah Wampanoag. Meredith Vasta, a collection steward at the Peabody Museum of Archaeology and Ethnology, and Elizabeth James Perry, a textile artist, marine biologist and member of the Aquinnah Wampanoag tribe. I think nowadays, as a modern native person. My ancestors are no different in that respect. The only documentation that came with it was this label sewn on the reverse side with old timey handwriting, that read, "belt of the Indian King Philip from Colonel Keyes." A B O U T. Traditional singer, dancer, speaker and carver, Jonathan Perry is grounded in the traditions of his ocean-going ancestors. 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