Page numbers refer to the print edition.
Page numbers in italic indicate illustrations.
Albany, John, Sr., 69–70
American Museum of Natural History (AMNH), 76, 77, 157; blanket (16.1-1784), 78, 97, 123, 173n16
American Southwest textiles, 47–48, 92–93
AMNH (American Museum of Natural History), 76, 77, 157
AMNH blanket (16.1-1784), 78, 97, 123, 173n16
Ancestors: and role in design, 3–4, 40, 51, 139; and role in weaving process, 143, 153–54; in Salish cosmology, 2–3, 136–37, 147; teachings on, 143, 148–50. See also cosmology (Salish)
Anderson, Mary, 16
Andrews, Chief, 32
animal-based weaving materials, 6–12, 35, 38, 83–85, 166n8. See also mountain goats
arrowhead motif (pattern), 94, 95, 97, 130, 132
art (Salish), xvi, xix–xx, 172n19
Assumption sashes (ceinture fléchées), 43, 169n28
Bancroft, Hubert Howe, 48
band weavings, 104; analysis of, 20–21, 23–30; ceremonial uses for, 61, 63–64, 66; of the Danish Museum, 20, 116; influence of, on blanket design, 21, 108–9, 172n14; and provenance issues, 27–29, 116; representational motifs on, 104, 105. See also belts (band weavings); sashes (band weavings); tumplines (band weavings)
basketry: European influences on, 37; influence of, on textiles, 31, 93–95; design inspirations for, 39–41, 45–47; pattern repetition on, 86, 87; primary colors used in, 83, 85–87; vertical stripe patterns on, 94
belts (band weavings), 88, 101, 102; analysis of, 20–21, 26–27; color relationships on, 88–89; European influences on, 43; pattern analysis of, 101–3, 116; and provenance issues, 27–29, 116; and terminology issues, 168n43
Bierwert, Cisca, xix
blankets, 62, 67, 72, 74, 87, 89, 90, 92, 96; ceremonial distribution of, 59–61; ceremonial uses for, 61, 63–64, 66–72, 170n13; classifications of, xix, 73–79; color application in, 89–91; complexity of, xiii; embroidery on, 71–72; framed pattern, 73, 78, 121, 122–29, 173n24; historical analysis of, 22–23, 34–35; measurements of, 77–78, 171n19; as merged objects, xiii; misidentification of, 35; and optical illusions, xvii, 80, 81, 112–16; and provenance issues, 23, 35, 113–14, 122–25, 128–29; role of Ancestors in, 3–4; in Salish cosmology, xvii–xviii; and social status, xviii, 37–38, 81–82; spiritual protection through, xvii–xviii, 57, 63, 64–65, 80–81; terminology for, 165n2; wearing of, 148–50. See also patterns; weavings (textiles)
Boas, Franz, 33, 38–39, 168n3, 168n16
Bolton, Rena, 52
British Museum framed blanket (N1944 Am.2-198), 123, 124, 128
Brotherton, Barbara, xix
Bummer, Sapalell, 44
Campbell, Ian: hunting story of, 9–10; regalia teachings of, 148; on sacredness of blankets, 147; teachings of, on mountain goats, 151–52; teachings of, on wearing robes, 149–50
Canadian Museum of History (CMH). See CMH (Canadian Museum of History)
Capilano, Joe (Chief Sa7plek), 26, 51, 129–30
Capilano Pattern, 127–28, 130–31, 139, 173–74n29
carvings (Salish art), xv–xvi
ceinture fléchées. See Assumption sashes
Central Coast Salish, 4–5
ceremonial robes. See blankets
ceremonies: Ancestral naming, 63–64; birth, 55, 61; for life cycle events, 147; marriage, 58–59, 66–70; memorial, 70–72, 170n13; preparatory work for, 57; role of Ancestors in, 3; significance of blankets in, 55–57, 147; Sitting Blankets in, 57–58; Standing Blankets in, 58–61, 63, 75; uses of textiles in, 66. See also life cycle events
Chaussonnet, Valérie, 82, 101, 112
checkerboard motif (pattern), 97, 100, 109, 114–16
chiefly delegations, 26, 51, 171n18
Chiefly Robes, 51, 74, 129, 130; analysis of, 72–73, 75, 77–78; Capilano-style, 127–28; classifications of, 79; cultural importance of, 51–52; patterns on, 73, 127–28, 130–31, 139, 171n18, 173–74n29
clothing (Salish), 31, 42–43, 169n27
CMH (Canadian Museum of History), 29, 76, 77; CD-ROM published by, xv, 165n4; textile catalog numbers, 159; Wedding Blanket of, 66; workshop at, xv, 165n3
CMH blanket (II-C-400), 166n13
CMH blanket (II-C-679), 78, 123
CMH Chief’s Delegation blanket (VII-G-334), 129–32
CMH framed pattern blanket (II-C-853), 78, 121, 122, 125–29, 173n24
Coiled Basketry (Haeberlin, Teit, and Roberts), 94
colors: balancing of, 86–87; in basketry, 85–87; on the CMH Chiefs’ Delegation pattern blanket, 132; on the CMH framed pattern blanket, 126, 128–29; European influences on, 87–88; local resources for, 83–85; on the NMNH double-layer blanket, 120–21; on the Perth blanket, 110, 111; on the Pitt Rivers blanket, 116–17; relationship of, to design, 88–91; in Salish culture, 85–87; on Sitting Blankets, 58; symbolism of, 86–87, 152. See also dyes
column motif (pattern), 97, 103, 109, 119
cosmology (Salish): duality in, 80, 155; role of mountain goats in, 8–10, 150–52; role of weavings in, xiii, xvii–xviii, 1–2, 4, 31, 57, 147, 153–56; significance of four in, 109; significance of fringes in, 112; teachings of, 1–4, 55–57, 147, 148–50, 153–56
cross motif (pattern), 117, 120, 126, 127
The Dalles (settlement), 15
Danish National Museum woven band, 20, 116
Delegation Blankets. See Chiefly Robes
designs. See patterns
diagonal line motif (pattern), 98, 103–4, 109–10, 119–20, 127
diamond motif (pattern): on the AMNH blanket, 97–98; on the CMH framed pattern blanket, 126–28; nested, 171n17; on the NMNH blanket (221408-0), 90, 172n3; on the NMNH double-layer blanket, 117, 119; on the Perth blanket, 109–11
diatomaceous earth, 15, 167n31
diz (weaving tool), 167n32
Double-Layer blankets: NMNH example of, 95, 96, 117–21; optical illusions of, xvii, 81; Pitt Rivers example of, xvii, xviii, 112–17; symbolism of, xviii
double-sized blankets, 71–72, 75, 76
drop spindles, 15–16
dyes: benefits of natural, 137; mineral-based, 85; plant-based, 12–14, 85; recipe for, 12–13; trade blankets used for, 88. See also colors
embroidery, 71–72
Emmons, George T., 123
exhibitions (museum), xvi, xix–xx
Farrand, Livingston V., 93
Finlayson, Roderick, 105, 172n18
Framed Pattern blankets, 73, 78, 121, 122–29, 173n24
Fraser, Simon, 11
Fraser River Valley, 6
funeral (memorial) ceremonies, 70–72, 170n13
George, Janice: on blankets as merged objects, xiii, 106; on ceremonies, 55, 147; at the CMH workshop, 165n3; on creative adaptation, 83; on cultural continuity, 1, 154–56; foundational teachings of, 3, 145–46; on mountain goats, 8; regalia teachings of, 148; on spiritual protection through blankets, 63, 149–50, 155; teachings of, on colors, 152; and weaving’s revival, 53–54, 136; weaving teachings of, 106, 143, 146–47, 153–54
Glenbow Museum, 159
goats. See mountain goats
Grant, Wendy, 52
Gustafson, Paula, xix, 11, 22, 34, 78, 79, 112–13, 170n4, 173n25
Haeberlin, H. K., 45–46, 93, 120
hand spinning, 8
headbands (band weavings), 61, 63–64, 66, 148
headdresses (regalia), 57, 148
hemp, 8
Hendricks, Harmon W., 123
Hill-Tout, Charles, 33
hourglass motif (pattern), 97, 98, 132
Hudson’s Bay Company, 38, 42–45, 172n18
Indian hemp, 8
Interior Salish, 3, 4, 5–6, 16
Jacobs, Lena, xvii, 146, 149, 153
Jacobs, Peter, 63
James, Bill, 52–53
James, Ellen, 69–70
James, Fran, 52–53
Jim, Edward, 65
Johnnie, Harriet (Skwetsiya), 15, 18
Jonaitis, Aldona, 82
Joseph, Willard (Buddy), 54, 136, 150, 151, 165n3
Joseph-McCullough, Joy (Siyaltemaat), 27, 71, 134–41, 135, 165n3
Kissell, Mary Lois, 78–79, 113
Kitselano (Senákw), 32
Laforet, Andrea, 86
Lewis, Jacob, Sr., 3
Lewis, Lisa (Kwimelut), 27, 74
Lewis and Clark expedition, 23, 34, 47, 100, 103
life cycle events: role of Ancestors in, 3; role of weavings in, 55–57, 58–61; teachings on, 147. See also ceremonies
looms (weaving tool), 16–19, 18, 27; covering, with red cloth, 143, 154
Lorenzetto, Adeline, 52
lozenge motif (pattern), 47–48, 108–11, 125, 128, 172n3
Maquinna (Nootka Chief), 49, 50
marriage ceremonies, 58–59, 66–70
Marston, Angela, 165n3
material culture (Salish): markets for, xv–xvi; and role in development of weaving, 31–33
McAully, Whitney, 165n3
McKay, Joseph W., 35, 45, 91, 105, 122, 128
memorial ceremonies, 70–72, 75, 170n13
mica, 85
Miller, Bruce (Subiyay), xx, 52–53, 143, 153, 154
Miranda, Louis, 8
MOA (Museum of Anthropology, University of British Columbia), xix, xxv, 52, 130–31
mountain goats: protective qualities derived from, 80; respect for, 8; in Salish cosmology, 8–10, 150–52; sheep wool replacing that of, 38; symbolism in use of, xvii–xviii, 9–10; teachings on, 150–52; wool of, used in weaving, 6, 9–12
Museum of Anthropology. See MOA (Museum of Anthropology, University of British Columbia)
museums: collaboration in, xx; collection sharing practices of, 173n9; exhibits in, xix–xx; and provenance issues, 27–29; textile catalog numbers in, 157–64. See also specific museums
Musqueam Community Centre, 84
Nahanee, Frances (Gut-XUM_AAT), 62, 165n3
naming ceremonies, 62, 63–64, 75, 134–36, 147
National Museum of Natural History (NMNH). See NMNH (National Museum of Natural History)
National Museum of the American Indian (NMAI). See NMAI (National Museum of the American Indian)
Natraoro, Noelle, 67
Natraoro, Ray, 67
nested patterns, 73, 127–28, 171n17
Newcombe, Charles, 34, 122, 128
Newcombe, W. A., 104
Nlaka’pamux, xiv; basketry design, 86, 93; plant-based dyes used by, 14; social organization, 6; spinning techniques, 8, 16; use of paint by, 85; weaving materials used by, 11
NMAI (National Museum of the American Indian), 11–12, 104, 162; blanket (144864), 78, 92; blanket fragment (155607), 100, 103
NMNH (National Museum of Natural History), 43, 77, 162, 166n13; blanket (2124), 78, 89, 89–90, 98, 99; blanket (177710), 47, 99; blanket (221408-0), 47, 90, 91; double-layer blanket (1891), 95, 96, 117, 117–21; woven belts, 88, 101, 102
Nobility Robes. See Chiefly Robes
Northern Coast Salish, 4–5
North West Company, 42–43, 169n25
Olympic Winter Games (2010), 52, 54, 174n4
oolican (fish), 13, 167n27, 167n41
optical illusions, 80, 81, 112–16
Ozette (archaeological site), 16, 23
pack straps. See tumplines (band weavings)
parflêche (carrying case), 45–47, 169n34
Parliament of Canada Collection, 159
patterns: Ancestors as inspiration for, 3–4, 40, 51, 139; artistic approaches to, 39–41, 58, 66–69, 83; basic geometric shape, 95; basketry, 93–95; on Chiefly robes, 73, 127–28, 129–32, 171n18; color relationship in, 88–91; combinations of, 98–100; of the complex patterned weavings, 79–81; cross line, 117, 120, 126, 127; diagonal line motif, 98, 99, 103–4, 109–10, 119–20, 127; diamond motif, 90, 97–98, 109–11, 117, 119, 126–28, 171n17, 172n3; double-layer, 112–21; European influences on, 41–45; framed, 122–29; inspirations for, 45–51, 93, 106–7; nested, 171n17; pattern block, 98–100; on plaid blankets, 76–77; representational motif, 105; square motif, 95–97, 109–11, 114–16, 119, 126–27; transformation style, 107–12; triangle motif, 96, 97–98, 99–100, 114–16, 118–20, 127–28, 132; on tumplines, 93–95; zigzag motif, 98, 100–105, 108–11, 114–16, 120, 127–28, 171n17
Peabody Museum (Harvard), 29, 76, 77, 88, 160, 171n22; blanket (22-10-10-97917), 78, 123; woven and embroidered band at, 104
Pendleton Woolen Mills, 50, 59
Perth Museum (Scotland), 107–12, 160
Peters, Mary, 52
Pitt Rivers Museum (Oxford), 160; blanket (1884.88.9), xvii–xviii, 78, 100, 112–17
plaid pattern blankets, 76–77
Plain blankets (category), 78
Plains Indians designs, 45–47, 100
plaiting (weaving technique), 19, 20
plant-based weaving materials, 6–8, 12–14, 83–85, 137
Plateau culture area, 5–6
Point, Krista, 12, 52, 84, 109, 136, 154, 165n3
potlatches, 37–38, 59, 60, 70, 72
Powell, Israel Wood, 125, 128–29
provenance: of band weavings, 27–29, 116; of the framed pattern blankets, 122–25, 128–29, 173n24; of the Pitt Rivers blanket, 113–14; of weavings, 23, 34–35
quilts, 45
RBCM (Royal British Columbia Museum), 21, 29, 160–61
regalia: ceremonial uses of, 31, 61, 63–64, 66; of chiefly delegations, 51–52; spiritual protection through, 57; teachings on, 148, 154. See also ceremonies
representational motifs (pattern), 104, 105
rituals. See ceremonies
robes. See blankets
ROM (Royal Ontario Museum), 162
Ross, Alexander, 15
Royal British Columbia Museum (RBCM), 21, 29, 160–61
Royal Ontario Museum. See ROM (Royal Ontario Museum)
Sa7plek. See Capilano, Joe.
S’abadeb (exhibition), xix
Sakahàn (exhibition), xvi
Salish First Nations: changes in material culture of, 35–37; cultural teachings of, 145–46; ethnography of, 4–6, 33; map of, xiv; significance of weaving to, 134–38, 140–41, 154–56; social changes in, xviii, 33–34; social organization of, 81–82; use of color in, 85–87. See also ceremonies; life cycle events
Salish Weavers Guild, 52
Salish Weaving (Gustafson), xix, 34
Saltillo serapes, 47–48
Sapir, Edward, 33, 123, 168n3, 168n6, 168n8
sashes (band weavings), 65, 104; analysis of, 20–21, 26–27, 64–65; ceremonial uses for, 61, 63–64, 66; comparison of, to blankets, 20–21; European influenceson, 43; and provenance issues, 27–29; spiritual protection through, 57, 64; and terminology issues, 168n43; zigzag motifs on, 101
scrambles (blanket), 59, 170n4
shawls, 146
Siyaltemaat. See Joseph-McCullough, Joy (Siyaltemaat)
Skwetsiya. See Johnnie, Harriet (Skwetsiya)
SMASH (exhibit), xix
Smith, Harlan, 15, 33, 34, 131
Smithsonian Institution. See NMAI (National Museum of the American Indian); NMNH> (National Museum of Natural History)
social hierarchies, 81–82
Spahan, Rose, xix
Spanish American weavings, 47–48
Sparrow, Brent, 84
Sparrow, Robyn, 52
spindles, 15–16
spindle whorls, 7, 15, 17, 167n32
spirit world. See Ancestors; cosmology (Salish)
Splaqlelthinoth (Stó:lo weaver), 131
Squamish Lil’wat Cultural Centre, 53–54, 65, 139–40, 174n4
square motif (pattern), 95–97; on the CMH framed pattern blanket, 126–27; in the 1833 Perth blanket, 109–11; on the NMNH double-layer blanket, 119; on the Pitt Rivers blanket, 114–16
Staines, R. J., 37
Standing Blankets, 58–61, 63, 75
Steward, Annabel, 107
stroud (woolen fabric), 172n9
Subiyay. See Miller, Bruce (Subiyay)
Swan, James, 43
tabby weave (weaving technique), 19, 20
teachings: on Ancestors, 143, 148–50; on cosmology, 1–4, 55–57, 147, 148–50, 153–56; dissemination of, xxii–xxiii; importance of, 137–38, 141; on life cycle events, 147; on mountain goats, 150–52; on regalia, 148; in Salish culture, 145–46; on weaving, 52–54, 146–47, 153–56
techniques (weaving). See weaving techniques
Teit, James: classification of weavings by, 35; ethnographic work of, 33, 35–37, 38–40, 93, 168n6, 168n8, 168n16; and Homer Sargent, 173n22; and the McKay textiles, 122–23; on use of color, 86–87; on use of paints, 85; on weaving materials, 11; weavings collected by, 29, 34, 35–37, 166n13
TEkwitlexkEn, 56
Textile Museum (Washington DC), 76, 163
textiles. See weavings (textiles)
thigh spinning, 15–16
Thompson Plateau, 6
threads, 7, 8, 15–16, 87–88, 91–93
thunderbirds, 150–51
tools for spinning, 8, 15–16, 17, 167n32
trade blankets, 36, 49; impact of, on woven blankets, xviii, 43; manufacture of, 48–50; and social status, 37–38, 45; used in dyeing, 88
transformation pattern blankets, 107–12
triangle motif (pattern), 90, 92, 96, 97–98, 99, 117; on the CMH Chiefly Robe, 132; on the CMH framed pattern blanket, 127–28; on the NMAI blanket fragment, 99–100; on the NMNH double-layer blanket, 118–20; on the Pitt Rivers blanket, 114–16
tumplines (band weavings), 25, 104; analysis of, 20–21; construction of, 24–26; defined, 166n9; influence of, on blanket design, 108–9, 172n14; patterns on, 93–95; and provenance issues, 27–29; representational motifs on, 104, 105; social changes affecting, 37; uses of, 23–24; zigzag motifs on, 100–101, 103–4
twill weave (weaving technique), 19, 21, 59, 75–76
twine weave (weaving technique), 19, 22, 75
Vancouver, George, 11
Vancouver City Museum (VCM), 163
Verney, Edmond, 35, 123–25, 128–29
Verney, Harry, 173n25
Walsh, Jane, 116
weavers: artistic approaches of, 38–41, 50–51; and connections with Ancestors, 3–4, 40, 51, 107, 139; European influences on, 41–45; inspiration sources of, 50–51, 106–7, 139; instructions for, 153–54; local inspiration sources of, 45–51; responsibilities of, 55–57, 63, 80; role of, in community, 155–56; signatures of, 171n6; singing of, 53, 68–69; social connections of, 140–41
weaving (process): CD-ROM teaching, xv, 165n4; cultural importance of, 134, 136–38, 140–41, 154–56; development of, 31–33; further research opportunities into, 143–44; historical sources on, 33–35; impact of trade blankets on, 37–38; previous studies on, xviii–xx, 167n40; process of, 18–19; renewed interest in, 52–54; role of Ancestors in, 1–4; teachings on, 146–47, 153–54; techniques used in, 19, 21, 22, 59, 75–76; traditional gender roles in, 165n1
weaving materials: animal-based, 6–12, 35, 38, 83–85, 166n8; mountain goat wool, xvii–xviii, 6, 9–12; plant-based, 6–8, 12–14, 83–85, 137; trade sources of, 13–15
weavings (textiles): ceremonial role of, 55–57; market for, xv–xvi; as merged objects, 134; museum catalog numbers of, 157–64; personalization of, 154; previous studies on, xviii–xx; and provenance issues, 23, 34–35, 113–14, 122–25, 128–29, 173n24; spiritual aspects of, xiii, 154–56; spiritual protection through, 57, 149; symbolic value of fringes on, 112. See also band weavings; blankets; colors; patterns
weaving techniques: by blanket type, 75; tabby weave, 19, 20; twill weave, 19, 21, 59, 75–76; twine weave, 19, 22, 75
weaving tools: diz, 167n32; loom, 16–19, 27; spindle whorl, 7, 15, 17, 167n32; wool beater, 15, 16
Wedding Blankets, 66–70, 67, 75
weft yarns, 18–19
Wells, Oliver, 52, 107, 170n47
Wheat, Joe Ben, 92
Wilkes expedition, 26, 88, 101, 116
Williams, Charlene, 138
withe, 166n9
A Woman Weaving a Blanket (painting), 2, 15
wool (weaving material): cleaning of, 15; dog, 11–12, 35, 38, 166n8; mountain goat, xvii–xviii, 6, 9–12; recipe for dyeing, 12–13; sheep, 38
woolly dogs, 11–12, 35, 38, 166n8
wool spinning, 8
workshops: CD-ROM of CMH, 165n4; at CMH, xv, 165n3; personal stories of, 136; on weaving, 52–54
yarns, 7, 8, 15–16, 87–88, 91–93
Ycklum, Billie, 130
zigzag motif (pattern), 98, 100–105; on the 1833 Perth blanket, 108–11; on the CMH framed pattern blanket, 127–28; and diagonal lines, 98; nested, 171n17; on the NMNH double-layer blanket, 120; on the Pitt Rivers blanket, 114–16