Historically, Native American baskets were used by Indians to carry or store their belongings. Many American Indians were at least semi nomadic. In order to more efficiently move their possessions from one spot to another, baskets were often used. Even sedentary tribes made use of baskets to store and protect their food and valued items. Native American baskets were, and are, made out of a wide variety of materials. The artists used available materials such as pine needles, birch bark, willow wood, and river cane to make baskets.

Far from being a forgotten art, Native American basket weaving is alive and well today. Indian artists use their own creativity to produce beautiful works of woven art while keeping to design tradition. Although originally basically functional, the baskets were always made with an eye for beauty. The very shapes are soothing to behold.

Indian basket weavers generally use one of several techniques to make baskets. Coiling is one of the most commonly used techniques in basket making. Coiling is often used to make baskets out of pine needles or grass. As the artist works, designs can be integrated into the basket, making it a unique and special item. The Indians of the southwest have used the wicker method of basket making. Both Sumac and Willow switches are generally the materials of choice when making wicker baskets. Besides the baskets themselves, wicker plaques are made for use in ceremonies. These basket plaques are bright and cheerful, featuring many traditional designs.

No matter the size of basket, they are stunning to behold.

When decorating in a rustic or southwestern style, a Native American basket will definitely add a decorative touch. A beautiful woven or coiled basket, made by a skilled Indian artisan, will be a valued addition to any room. Dramatic displays can be created not only with baskets, but with basket plaques. These plaques can be used as a visual focal point on a wall, much like paintings might be used. The tradition and culture of Native Americans can be brought into any home with the baskets made by skilled Indian men and women. What better way to enliven your home decorating than with a product of Native American imagination and skill.

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Canyonlands National Park, Utah
The stunning landscape of this park is the main draw, but hidden amidst the colorful mesas and canyons are numerous petroglyphs (carving in rock) and pictograms (paintings on rock). The best are in Horseshoe Canyon, where a large panel of ghostly painted figures have been variously interpreted as gods, ancestors or, by the scientifically challenged, aliens. They date to as far back as 2000 BC.

Nine Mile Canyon, Utah
One of the best sites for petroglyphs in all the Southwest is billed as the “world’s longest art gallery”. With about 10,000 images ranging in date from 950 AD to the 1800s, it is the biggest concentration of rock art ever found in the U.S. The remains of the homes of the Fremont people are clearly visible when hiking the canyon. The images include bison being stuck with spears, strange horned figures that may be shamen, and men on horseback dating to the historic period.

Saguaro National Park West, Arizona
The rock art here isn’t as grand as the other places on the list, but it’s far more accessible. Just a short drive from Tucson and only two hours from Phoenix, the park takes its name from the forest of giant saguaro cacti that grow here. There are two parks–one to the west and one to the east of town–and the one to the west has a rocky hill covered in carvings made by the Hohokam people. The most unusual is a strange spiral that may have been an early calendar. The Hohokam built large towns and extensive canal systems in southern Arizona until about 1450 AD. In fact, the modern cities of Phoenix and Tucson were founded by the Hohokam!

Petroglyph National Monument
Another easily accessible location, this national monument is right on the western edge of Albuquerque. You can see just how close from the above photo, courtesy Daniel Schwen. There are about 24,000 images here, mostly from prehistoric Pueblo peoples starting about 500 AD but also some made by Spanish settlers who saw all the pictures on the rocks and decided to add their own. Some are even the cattle brands of the early ranchers.

Canyon de Chelly National Monument, Arizona
We’ve talked about this amazing set of cliff dwellings before. Located in the heart of the Navajo Nation, prehistoric peoples built extensive villages here in the shadows of towering cliffs until their mysterious disappearance in the 14th century. As you wander the trails you’ll see petroglyphs of animals and people scattered about the rocks. If you have kids, playing “spot the picture” can be a fun way to keep them entertained. The jaw-dropping scenery will probably do that anyway. Note that the interpretive center is closed for remodeling until May 2011.

While desert scenes aren’t exactly the first thing you think of during the Christmas season, winter is a good time to explore these sites. The scorching sun takes a vacation, and in the higher altitude the desert can be downright cold!

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One thing I (always) wonder about is best-selling books. One source of info is Amazon. In their “Bestsellers in Children’s Native American Books” are the following titles. Some are on their more than once. In some cases, its clear that the duplicate is a Kindle edition, but others seem to just be repeats. There isn’t, for example, a note that says it is an audio copy.

It is, overall, a disappointing list and it makes me grumpy on this Monday morning…  I’m glad to see Native authors on the list, but duplicates of some really problematic books like Touching Spirit Bear?! And it is pretty easy to see that Amazon’s customers want works of historical fiction or “myths, legends and folktales.”  

#1 – The Absolutely True Diary of a Part-Time Indian, by Sherman Alexie.
#2 – Island of the Blue Dolphins, by Scott O’Dell
#3 – One Little, Two Little, Three Little Pilgrims, by B. G. Hennessy
#4 – Island of the Blue Dolphins (Kindle), by Scott O’Dell
#5 – Squanto’s Journey: The Story of the First Thanksgiving, by Joseph Bruchac
#6 – Touching Spirit Bear, by Ben Mikaelsen
#7 – North American Indians, by Douglas Gorsline
#8 – Tapenum’s Day: A Wampanoag Indian Boy in Pilgrim Times
#9 – Encounter, by Jane Yolen
#10 – Sing Down the Moon, by Scott O’Dell
#11 – The Rough-Face Girl, by Rafe Martin
#12 – Paddle-to-the-Sea, by Holling C. Holling
#13 – Diamond Willow, by Helen Frost
#14 – Red Fox and His Canoe (I Can Read Book), by Nathaniel Benchley
#15 – The Sign of the Beaver, by Elizabeth George Speare
#16 – The Legend of the Indian Paintbrush, by Tomie de Paola
#17 – Arrow to the Sun: A Pueblo Indian Tale, by Gerald McDermott
#18 – Touching Spirit Bear (Kindle) by Ben Mikaelson
#19 – Julie of the Wolves, by Jean Craighead George
#20 – Touching Spirit Bear, by Ben Mikaelsen
#21 – Indian Captive: The Story of Mary Jemison, by Lois Lenski
#22 – Mountain Top Mystery (Boxcar Children), by Gertrude Chandler Warner
#23 – Grandmother’s Dreamcatcher, by Becky Ray McCain
#24 – On Mother’s Lap, by Ann Herbert Scott
#25 – Horse Diaries #5: Golden Sun, by Whitney Sanderson
#26 – The Indian in the Cupboard, by Lynn Reid Banks
#27 – Sacagawea: American Pathfinder, by Flora Warren Seymour
#28 – Code Talker: A Novel about the Navajo Marines of World War II, by Joseph Bruchac
#29 – The Heart of a Chief, by Joseph Bruchac
#30 – Little Runner of the Longhouse (I Can Red Book 2) by Betty Baker
#31 – Paddle-to-the-Sea, by Holling C. Hollins
#32 – Love Flute, by Paul Goble
#33 – Soft Rain: A Story of the Cherokee Trail of Tears, by Cornelia Cornelissen
#34 – The Journal of Jesse Smoke: A Cherokee Boy, Trail of Tears, 1838, by Joseph Bruchac
#35 – The Absolutely True Diary of a Part-Time Indian, by Sherman Alexie
#36 – The Birchbark House, by Louise Erdrich
#37 – The Legend of the Bluebonnet, by Tomie dePaola
#38 – Buffalo Woman, by Paul Goble
#39 – Cheyenne Again, by Eve Bunting
#40 – Where the Broken Heart Still Beats: The Story of Cynthia Ann Parker, by Carolyn Meyer
#41 – Julie, by Jean Craighead George
#42 – Children of the Longhouse, by Joseph Bruchac
#43 – Sacred Fire, by Nancy Wood
#44 – Island of the Blue Dolphins, by Scott O’Dell
#45 – Mama, Do You Love Me, by Barbara J. Joosse
#46 – The Year of Miss Agnes, by Kirkpatrick Hill
#47 – Sweetgrass Basket, by Marlene Carvell
#48 – Sitting Bull: Dakota Boy, by Augusta Stevenson
#49 – The Talking Earth, by Jean Craighead George
#50 – Rainbow Crow, by Nancy Van Laan
#51 – The Girl Who Loved Wild Horses, by Paul Goble
#52 – The Polar Bear Son: An Inuit Tale, by Lydia Dabcovich
#53 – The Girl Who Loved Wild Horses, by Paul Goble
#54 – Song of the Seven Herbs, by Walking Night Bear
#55 – Ten Little Rabbits, by Virginia Grossman
#56 – The Lost Children: The Boys Who Were Neglected, by Paul Goble
#57 – Moccasin Trail, by Eloise Jarvis McGraw
#58 – Thunder Rolling in the Mountains, by Scott O’Dell
#59 – Meet Kaya: An American Girl, by Janet Beeler Shaw
#60 – When the Legends Die, by Hal Borland
#61 – Sacajawea, by Joseph Bruchac
#62 – Knots on a Counting Rope, by John Archambault
#63 – The Porcupine Year, by Louise Erdrich
#64 – Star Boy, by Paul Goble
#65 – Jim and Me, by Dan Gutman
#66 – Kaya: An American Girl: 1764/Box Set, by Janet Beeler Shaw
#67 – Between Earth and Sky: Legends of Native American Sacred Places, by Joseph Bruchac
#68 – Touching Spirit Bear, by Ben Mikaelsen
#69 – Weasel, by Cynthia Defelice
#70 – When the Shadbush Blooms, by Carla Messinger
#71 – On Mother’s Lap, by Ann Herbert Scott
#72 – The Captive Princess: A Story Based on the Life of Young Pocahontas
#73 – Powwow’s Coming, by Linda Boyden
#74 – The Gift of the Sacred Dog, by Paul Goble
#75 – Streams to the River, River to the Sea, by Scott O’Dell
#76 – Weetamoo: Heart of the Pocassets, Massachusetts – Rhode Island, 1653 (Royal Diaries) by Patricia Clark Smith
#77 – Indian Trail (Choose Your Own Adventure) , by R. A. Montgomery
#78 – Arrow Over the Door, by Joseph Bruchac
#79 – At Seneca Castle, by William W. Canfield
#81 – Pocahontas, by Joseph Bruchac
#82 – Squanto’s Journey: The Story of the First Thanksgiving, by Joseph Bruchac
#83 – Christmas Moccsains, by Ray Buckley
#84 – The Game of Silence, by Louise Erdrich
#85 – Encounter, by Jane Yolen
#86 – Beyond the Ridge, by Paul Goble
#87 – Death of the Iron Horse, by Paul Goble
#88 – The Last of the Mohicans, by James Fenimore Cooper
#89 – Island of the Blue Dolphins (illustrated) by Scott O’Dell
#90 – Frozen Fire: A Tale of Courage by James Houston
#92 – Blood on the River: James Town 1607, by Elisa Carbone
#92 – The Give-Away: A Christmas Story in the American Tradition, by Ray Buckley
#93 – Mystic Horse, by Paul Goble
#94 – Eating the Plates: A Pilgrim Book of Food and Manners, by Lucilee Recht Penner
#95 – Mysteries in Our National Parks: Cliff Hanger, by Gloria Skurzynski
#96 – Jim Thorpe, Olympic Champion, by Guernsey Van Riper Jr
#97 – Good Hunting, Blue Sky (I Can Read Book) by Peggy Parish
#98 – Guests, by Michael Dorris
#99 – Hiawatha and Megissogwon by Henry W. Longfellow
#100 – Sing Down the Moon, by Scott O’Dell

Observations? Books by four Native authors are on the list: Sherman Alexie, Joseph Bruchac, Louise Erdrich, and Michael Dorris.  I’ll return to this list later to share analyses and observations. Right now, I gotta head to class. The class? American Indian Studies 101, where, over the course of the semester, students gain insight and skills in recognizing problematic depictions of Native peoples. It is encouraging to see that development in them. I wish everyone in the US could take an Intro to American Indian Studies course. Then maybe there’d be some CHANGE in what they buy.

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The winners of the 12th Annual Native American Music Awards were announced on Friday, November 12, 2010. The event took place at the Seneca Niagara Hotel & Casino, in Niagara Falls, New York.

The Native American Music Awards, also known as Nammys, celebrate the rich cultural heritage of the American Indian nations.

Artist of the Year
Joseph FireCrow – Face The Music

Record of the Year
Breakin’ Free by Jan Michael Looking Wolf Band

Best Traditional Recording
Rebuilding The Fire by Bo Taylor

Best Pow Wow Recording
Boys Will Be Boyz by The Boyz

Best Waila Recording
Get’n Down by Native Thunder

Best World Music Recording
Remembrance by Gabriel Ayala

Debut Artist of the Year
Victoria Blackie – Wanted Man

Debut Duo or Group of the Year
Dark Water Rising – Dark Water Rising

Best Female Artist
Tinesha Begaye – Horses Are Our Journey

Best Folk Recording
Michael Bucher – Believe

Flutist of the Year
Joseph FireCrow – Face the Music

Group of the Year
Bluedog – Get Up & Get Out

Best Instrumental Recording
Hitchin’ A Ride by Nokie Edwards

Best Male Artist
Jay Begaye – Horses Are Our Journey

Best Native American Church Recording
Dakota Lakota Traditional Church Songs – Sacred Harmonies

Best New Age Recording
Sheila Applegate & Joanne Shenandoah – Enchanted Garden

Best Blues Recording
If That’s All Right With You by Twice As Good

Best Compilation Recording
Walking With the Spirits by Randy McGinnis

Best Pop Recording
We Are by Digging Roots

Best Producer
Frank Waln for Always Ready

Best Rock Recording
Segweh by Segweh

Song/Single Of The Year
“Grandfather” by Windwalker/Wind Spirit Drum

Songwriter Of The Year
Brad Clonch & Jeff Carpenter – Fight For Survival

Best Spoken Word Recording
Stories From The Social Fire by The Story Tellers

Best Music Video
Sacred Warrior by Tom Bee

Native Heart
Tribal Vision by Big City Indians

Best Country Recording
It’s About Time by Shane Yellowbird

Best Gospel/Inspirational Recording
Sacred Fire by Sayani

Best Rap / Hip Hop Recording
Tribal Tribulations by Chase Monchamp/Chase Manhattan

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The appeal of Native American jewelry will forever be present due to the amazing craftsmanship. Most are embellished with the most desirable materials and are always trendy for every season. Jewelry will always be popular and with the current styles and trends found in Native American inspired pieces, this amazing jewelry can set the mood or tone for your whole wardrobe.

Native Americans from the Atlantic to the Pacific used unique and beautiful materials in creating jewelry. The specific style for Native made jewelry is often times formed from silver and intricate detailing of natural stone such as turquoise. Its highly ornamental diversity is one of the unique features of Native American jewelry.

Enhancing the specialized look making the pieces some of the most recognizable styles available today, the Europeans contributed their ideas to the construction of traditional Native American jewelry pieces. Some of the prolific tribes of Native American Indians that made impeccable jewelry can be included in the following.

Hopi – Their work with silver overlay is most known. It distinguishes their jewelry from others and are also known for their focus on cultural designs, animal and nature, as well as clan symbols as the signature of their work.

Navajo – The Navajo Indians used both abalone and white shells to create beautiful kinds of jewelry. Today, they are commercial commodities that are always appearing in mainstream jewelry selections.

Pueblo – Shale, a form of red clay, was used by the Pueblo Indians to create unique jewelry pieces. They are considered as the masters of turquoise and created almost every possible jewelry design with the use of this beautiful stone.

Zuni – The Zuni workmanship is highly regarded for its intricate designs and the use of silver in lieu with lapidary work. The Zuni Indians focused their designs on stones and using silver as the main outline or frame for the design to fit. Apart from the beautiful stones, they are also very famous for their fetish animal, carved in precious materials and used as adornments and jewelry.

Many of the materials used today for the making of Native jewelry are found by the sea such as coral and spiny oyster. Also used are precious stones including opal, lapis, and the very famous turquoise. Silver is the metal of choice and seems to connect these tribal people with the earth.

Jewelry crafted by Native Americans is known around the world today. Even if they don’t actually specialize in Native custom pieces, a quick look at most jewelry stores and you will see items that are inspired by beautiful Native American jewelry pieces.

By adding a single piece or many prized pieces to your jewelry collection, you too can experience these amazing and unique designs. Be sure you get an authentic Native American hand crafted piece as there are many designs offered for sale today.

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Traveling through the heartland of America and into the Canadian North, Diamond looks at how the myth of “the Injun” has influenced the world’s understanding – and misunderstanding – of Natives. “Reel Injun” traces the evolution of cinema’s depiction of Native people from the silent film era to today, with clips from hundreds of classic and recent Hollywood movies, and candid interviews with celebrated Native and non-Native film celebrities, activists, film critics and historians.

In the documentary, Diamond tells his own story about growing up on a reserve in the James Bay community of Waskaganish in Northern Quebec. Diamond recalls watching old movies as a kid in a church basement, cheering for the cowboys; he did not identify with the Indians he saw on screen.

“I headed south to make my own movie, on a journey to explore my Hollywood roots and make sense of how that influenced us all.”

Throughout the film, Diamond meets with Clint Eastwood (“The Good, the Bad and the Ugly,” “A Fistful of Dollars,” “Unforgiven”) at his studios in Burbank, Calif., where the film legend discusses the evolution of the image of Indians in Westerns and what cowboy-and-Indian myths mean to America. “Reel Injun” also hears from legendary Native American activists John Trudell, Russell Means and Marlon Brando’s notorious Oscar-night proxy Sacheen Littlefeather.

“Reel Injun” also features Robbie Robertson, the half-Jewish, half-Mohawk musician and soundtrack composer (“Raging Bull,” “Casino,” “Gangs of New York”), Cherokee actor Wes Studi (“Last of the Mohicans,” “Geronimo”), filmmakers Jim Jarmusch (“Dead Man”) and Chris Eyre (“Smoke Signals”) and acclaimed Native actors Graham Greene (“Dances with Wolves,” “Thunderheart”) and Adam Beach (“Smoke Signals,” Clint Eastwood’s “Flags of Our Fathers”). Diamond also traveled north to the remote Nunavut town of Igloolik (population – 1,500) to interview Zacharias Kunuk, director of the Camera d’Or-winning “The Fast Runner.”

“Reel Injun’s” humour and star power is balanced with commentary from film critics and historians, including Canadian Broadcasting Corporation film critic Jesse Wente, author and scholar of American Indian Studies Angela Aleiss, and associate professor of ethnic studies at Mills College, California, Melinda Micco.

“Reel Injun” highlights some of the real Indian actors who were able to move beyond the Hollywood stereotype – from Coast Salish Chief Dan George in “Little Big Man” to Oneida actor Graham Greene in Kevin Costner’s “Dances With Wolves.”

One of Canada’s foremost aboriginal filmmakers and photographers, Diamond’s recent credits include “The Last Explorer,” a feature-length docu-drama retracing the steps of his great uncle, aboriginal guide George Elson, on an ill-fated voyage into the heart of uncharted Labrador. Diamond also directed the award-winning documentaries “One More River” and “Heavy Metal: A Mining Disaster in Northern Quebec.”

“Reel Injun” takes the audience on a journey from the first silent films which featured Natives to today’s Native cinema where indigenous filmmakers are beginning to tell their stories in their own way.

Diamond’s documentary leaves the audience excited about the emerging Native film movement. “A new age of Native cinema is born,” Diamond said. “These films revolutionize the Native image for the world.”

Independent Lens is an Emmy Award-winning weekly series airing Tuesday nights at 10 p.m. on PBS. For more information visit www.pbs.org/independentlens.

The company producing these frames is Encore Vision, Inc. located in Spokane, Wash. It’s not a Native-owned company but General Manager Teri Harris said their focus will be the Native American niche and she plans to expand their offerings to include designs from Indian artists throughout the country, thus providing a wide variety of styles and designs. Marchand is the first artist to be signed and was told at the time that others would follow.

“They told me from the get-go that they’re looking for different Indian artists from different areas. They’d like to incorporate that and I said that’s no problem.”

The company is a wholesale manufacturer of eye wear and also has a laboratory on its premises. “Not only are we able to design, manufacture and incorporate Native American designs, but also their fitting features,” Harris explained. “Native Americans have a wider fit and it was kind of uncomfortable for many years for some Native Americans to find frames that would actually fit. That was my first premise. That was before I ever met Smoker.

“Then I got hooked up with Smoker through mutual friends. I take his designs and incorporate them into eye wear. He’s my first artist so has been my main focus for building on this line.”

Three designs are presently available: “Medicine Horse,” “Coyote Moon” and “Raven.” Marchand has six more designs that are in the process of being produced. “I’m a picky individual,” Harris said. “I like the best quality I can get so I may send drawings back to be redone.”

Marchand explained further. “I scale out the designs the best I can. They use a laser cut so I have to make sure my lines are big enough that they can cut it. I’m learning more as I go.”

Marchand has a wide background in art but this is a little different technique. He graduated from high school at the Institute of American Indian Arts in Santa Fe and then was hired by his tribe to produce art work. He later branched out on his own doing a variety of styles from drawings to various painting mediums. He has limited edition prints out and has worked with bronze, wood carvings and other things. “Now I am doing mostly steel work. That’s my main forte.”

One of his steel pieces was recently erected as the centerpiece for the Veterans Memorial on the Coeur d’Alene Reservation. It stands about 10 feet tall. He’s currently working on two pieces that will go to Canada, each of which is about 12 feet tall. “I’ve really gotten into steel. To take a piece of steel and make it into something, that’s almost incredible. It’s a lot of hard work but I’ve got a feel for it. It just comes pretty natural for me.

“The cool thing with steel work and eyeglasses is people come to me. I can work out of my home and can do the horse racing and things I love.”

He laughed as he told about his sister in Browning. “She said, ‘it’s about time someone designed these (frames). I hate going to Indian Health Services and only seeing those certain types of frames.’ Then she got to looking and said, ‘Oh my gosh, that’s my brother.’ I didn’t even tell her I was doing this.”

Encore Visions has been working with several reservations including Colville, Yakama and Warm Springs. This is done primarily through IHS. “We put them in there and don’t charge them for the frames,” Harris said. “They use our lab services in conjunction with the frames. My hope is to get my frames throughout the U.S. in situations where we do the lab service as well.”

Tribes can contact her directly through the website, or call at (866) 779-5770. Individual sales aren’t really possible since this is a wholesale company but individuals might contact their tribal health services section to see if they’d be interested in carrying the line.

Harris had a booth at this summer’s Julyamsh powwow and met a lot of artists, many of whom were very interested in producing art for eye wear. Individuals now wearing this line also report a lot of interest about the frames from their friends.

A total of $300,000 is available for distribution in amounts of up to $20,000 for individuals and programs. Applications and eligibility rules are available at http://www.nativeartsandcultures.org/programs.

“The Native Arts & Cultures Foundation celebrates the role of artists as culture bearers and critical thinkers,” said Reuben Roqueñi, NACF program director. “The creative process makes a profound contribution to intellectual inquiry and to the strengthening of communities.”

The first initiative, called “Artistic Innovation: Through the Soul of an Artist,” will support the creation of new work by contemporary Native artists. These awards are designed to propel indigenous creators into unique and imaginative ways of interacting with the world, informed by tradition and culture. Projects might include work in visual arts, film, installation, dance, music, literature, drama, spoken-word or interdisciplinary projects.

The second initiative – “Mobilizing the Community Through the Arts” – will support community-based programs that involve the continuity and expression of cultural knowledge and artistic practices. With an arts-based approach, projects might address issues such as land stewardship, social justice, education or other topics.

With its third initiative – “Strengthening the Arts & Cultures Infrastructure” – NACF will award grants to pre-selected Native arts organization for program administration, infrastructure improvements, outreach, professional development and other endeavors.

Earlier this spring, the foundation announced several new additions to its boards. Actor Adam Beach (Salteaux Tribe), known for his work in films such as “Flags of Our Fathers” and television shows such as “Law & Order: Special Victims Unit,” joined the NACF board of advisors, alongside singer Buffy Sainte-Marie (Cree). Keller George (Oneida Nation), well-known in Indian Country for his work with the National Congress of the American Indians and the National Museum of the American Indian, joined the NACF board of directors.

NACF is supported in part by gifts from the Ford Foundation, the Yocha Dehe Wintun Nation and the San Manuel Band of Mission Indians.

About the Native Arts & Cultures Foundation

The Native Arts & Cultures Foundation is the first permanently endowed national philanthropic organization dedicated exclusively to the revitalization, appreciation and perpetuation of Native arts and cultures. NACF works to increase the capacity of Native cultural practices by investing in communities and artists with an eye toward cultural continuity, innovation, environmental stewardship and social justice. For more information, call 360.314.2421 or visit www.nativeartsandcultures.org.

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“This is a rare opportunity to honor Montana’s Indian veterans, and all veterans, as well as to honor the important work of retaining native languages,” said Society Director Richard Sims.

The Smithsonian created the exhibit to tell the story of Indian Marines and soldiers who used their coded native languages as a weapon against U.S. enemies.

The Navajo code talkers during World War II have received the most recognition, but the exhibit shows that Native Americans were first enlisted to relay messages in their own languages during World War I.

Marines and soldiers from 16 tribal nations served as code talkers, including the Assiniboine, Sioux, Navajo, Hopi, Cherokee, Chippewa and Cree.

The exhibit also addresses the irony the Indians faced as they transitioned from Indian boarding schools, where they were punished for speaking their native languages, to being honored for using that language as a vital secret weapon in combat.

Montana has the opportunity to bring the exhibit to the state because the historical society is an affiliate of the Smithsonian.

Montana Historical Society Board of Trustees member George Horse Capture of Great Falls initiated the exhibit when he was a Smithsonian curator, and will serve as guest curator of the Montana exhibit.

The historical society plans to launch the exhibit in Helena in April and then take it to the state’s reservations. The society is also working with tribal veterans’ representatives and tribal councils who want to contribute in their own way in honoring and celebrating their warriors during each four-day event.

The society is seeking sponsors to help cover the $35,000 to $40,000 cost for creating and presenting the traveling exhibit.

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No written records of Native Americans exist before the 1500s, when the European seamen discovered the American continent. The period before 1500s is considered by scholars as prehistoric. During that time and after, Native Americans had created their own states, history and art. Native American art is thought to be the link between natives and Europeans, the only way to communicate ideas between the two cultures. When the Europeans came, slight changes in Native American art resulted, due to the new way of life that native people had to take.

Native American art is our way to reach the native Americans’ views and history, to learn more about them. That’s why culture researchers explore Native American art and make it an object of many scholastic discussions. There exists a qualification of the Native American culture, branching off into five main culture districts or zones, which is done for easier interpretation of the works of art and culture. They are, namely, the East, the Plains, Southwest and Northwest coast, and the Arctic. The forms of Native American art differ considerably regarding different districts. That depends on the different weather conditions, various traditions among different groups of natives, natural environment, social order, different religious beliefs, and so on.

The difference of Native American works of art in different districts is so astounding that we may even wonder if they came from one continent. The basic reason for this is about the purpose of art in the lifestyle of Native Americans. Native American art served many purposes, and most of all it was meant to be the visual representation of different myths and religious beliefs. The mythological origin of Native American art gives some reason why the forms of art differ significantly in different parts of the continent: because of the different myths and religions that existed between tribes. Native American art is done to meet various needs; to be a traditional linkage between generations (like the carved totem poles); to serve practical necessities( Natives created beautifully painted pots, vases, utensils, woven mats, rugs, blankets, coverings, home-made clothes and jewelry in astonishing combinations of colours); to be a symbol of rituals (for example art was used in the ritual for rain, and in healing ceremonies, for which different masks and rich garments were produced.)

Native American art is so various and hard to categorize also because of the materials used for the creative activities. Many artists used materials, which they found in their natural surroundings. Feathers, porcupine quills, tree bark, wood, animal skins and hair were all combined in the artistic creation. Different artists used different technologies for the making of beautiful things. Native American art is composed of artworks, made by carving, painting, weaving, sewing, or building. And different technologies tend to slightly vary in different regions, so that artworks are not the same, even if the same materials are used for their making.

Many Native American artworks were intended both for ceremonial purposes and for home usage in the daily life of people. Garments and different bowls served many functions. Rituals and ceremonies were so various that many artworks were produced for their accomplishment. Native Americans had rituals for almost everything: and a large part of their works of art was used for different ceremonies. Totems from Pacific Northwest were a family value and represented the people from the clan, and a lot of effort was put into making those magnificent big poles.  Masks were used for communication with the spirits in healing ceremonies. To serve its purpose to the point, a work of art was expected to be beautifully done, so that artists had to make the best they could to produce majestic artworks.

Nowadays there are two branches of Native American art- artists gone into the mainstream of making contemporary art-like photographs, paintings on canvas or performances, and others who continue to work using traditional Native American art technologies.

Article by Robbie Darmona – an article writer (http://www.robbiedarmona.com) who writes on a wide variety of subjects. For more information visit www.artsbury.com.