Ojibwa Crafts
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Ojibwa Crafts - Carrie A. Lyford
© Braunfell Books 2023, all rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted by any means, electrical, mechanical or otherwise without the written permission of the copyright holder.
Publisher’s Note
Although in most cases we have retained the Author’s original spelling and grammar to authentically reproduce the work of the Author and the original intent of such material, some additional notes and clarifications have been added for the modern reader’s benefit.
We have also made every effort to include all maps and illustrations of the original edition the limitations of formatting do not allow of including larger maps, we will upload as many of these maps as possible.
TABLE OF CONTENTS
TABLE OF CONTENTS 1
INDIAN HANDCRAFT SERIES 6
ILLUSTRATIONS 7
THE OJIBWA IN HISTORY 13
OJIBWA RESERVATIONS 16
OJIBWA LODGES 19
RECREATION 24
RELIGION 25
DIET OF THE OJIBWA 27
ACTIVITIES OF MEN AND WOMEN 28
PREPARATION OF MAPLE SUGAR (Sisibakwat) 29
WILD RICE (Manomin) AND ITS PREPARATION 30
HANDICRAFTS 32
WOOD AND BARK IN CRAFT WORK 35
Bows (mitigwab, s., mitigwabin, pl.) and Arrows (pikwak, s., pikwakon, pl.) 37
Wooden Brooms (tchigataigan, s., tchigataiganan, pl.) 38
The Cradle Board (tikinagan, s., tikinaganan, pl.) 41
Dolls (odaminowagan, s., odaminowaganan, pl.) 42
Drums (tewéigan, s., teweiganag, pl.) 43
The Grave Marker or Grave Post (adjedatig, s., adjedatigwin, pl.) 45
Pipes (opwagan, s., opwaganan, pl.) 47
Snow Shoes (agim, s., agimag, pl.) 51
PREPARATION OF CORD AND TWINE 52
Nettle Fiber and Its Uses 53
Basswood Fiber Cord 54
BIRCH BARK (Wigass) WORK 56
Midé Rolls 58
Mats of Birch Bark (wigwassapakwei, s., wigwassapakweiag, pl.) 60
Birch Bark Canoes (wigwass-tchiman, s., wigwass-tchimanan, pl.) 61
Birch Bark Containers (wigwassi makak, s., wigwassi makakon, pl.) 69
Decorations Used On Birch Bark 71
BASKET MAKING (Baskets—watabimakak, s., watabimakakon, pl.) 73
Willow Baskets (Wicker) 74
Cedar Root Baskets 75
Baskets of Basswood 76
Baskets of Black Ash 77
Baskets of Sweet Grass—(wicko-mashkossiw, s., wicko-mashkossiwan, pl.) 78
WOVEN YARN BANDS AND SASHES (miskogad, s., miskogadog, pl.) 80
Braiding 82
Netting 83
The Netted or Looped—Sash 84
Weaving 86
Old Indian Weave or Finger Weaving 87
Types of Articles Woven 88
Method of Weaving a Woodland Sash 89
Methods of Making Fringe 94
WOVEN BAGS (mashkimod, s., mashkimodan, pl.) 96
Bags of Nettle Weed Fiber 97
Bags of Basswood Bark Fiber 98
Woven Yarn Bags 101
Designs Used On Woven Bags 104
Cedar Bark Bags, Plaited 107
Tamarack Bags [Larix laricina (Du Roi) Koch] 108
WOVEN MATS (anákan, s., anákanan, pl.) 109
Rush Mats 110
Cattail Mats For Wigwams 113
Cedar Bark Mats 114
Woven Rag Rugs 116
PREPARATION AND USE OF HIDES 120
Tanning 121
Rabbit Skin Blankets 125
Bags of Skin 126
Moccasins (makisin, s., makisinan, pl.) 128
COSTUMES 131
Woman’s Costume (matchigoden, s., matchigodenian, pl. or godass, s., godassan, pl.) 131
Man’s Costume (agwiwin, s., agwiwinan, pl.) 136
Costume Decorations and Accessories 141
QUILL WORK 146
Quill Work On Birch Bark 147
Quill Embroidery 148
BEAD WORK 149
Bead Weaving 150
Bead Embroidery 152
Beaded Border Patterns 153
Beaded Edging 156
Beaded Bands and Sashes 157
Shoulder Pouches or Bandoliers 158
RIBBON WORK OR APPLIQUE 160
DESIGNS 161
Designs On Woven Mats, Bags, and Sashes 161
Designs on Quill Work 162
Designs On Birch Bark 163
Designs Used In Beadwork 168
USE OF COLORS 182
NATIVE DYES 184
CONCLUSION 186
BIBLIOGRAPHY 187
PLATES OF OJIBWA DESIGNS 194
OJIBWA CRAFTS (CHIPPEWA)
BY
CARRIE A. LYFORD
img2.pngINDIAN HANDCRAFT SERIES
This is the fifth volume in the series of pamphlets published by the Education Branch of the Bureau of Indian Affairs setting forth in popular language what is known about Indian arts and crafts in specific areas. We have drawn freely from authorities and their writings in preparing the material. Much that will be found in these pamphlets has been previously published elsewhere. However in drawing together this material and presenting it in a form which will enable teachers and pupils to visualize clearly the various steps and the practical carrying out of these ancient crafts, it is hoped where practicable to stimulate a revival of them among the people to whom they historically belong.
In the preparation of the present pamphlet Miss Lyford made several trips to the Great Lakes and Consolidated Chippewa reservations and much time was spent by her in the homes of the Ojibwa Indians. Much of the work was carried on in cooperation with Miss Mabel Morrow, Crafts Specialist of the Indian Bureau. Many museums specializing in Ojibwa (Chippewa) crafts were visited and generous assistance received from their curators. The manuscript has been read by Miss Mabel Morrow, Mr. E. R. Douglas of the Denver Art Museum, Dr. W. C. McKern of the Milwaukee Public Museum, Mr. Willoughby Babcock, Director of the Museum of the Minnesota State Historical Society, and Mr. Charles E. Brown of the State Historical Museum of Wisconsin, all of whom have given helpful suggestions. The line drawings of Ojibwa designs were prepared by Mr. Albert van der Loo of the Branch of Buildings and Utilities of the Bureau of Indian Affairs.
The following titles in this series have been published or are planned for publication in the near future.
1. Quill and Beadwork of the Western Sioux by Carrie A. Lyford.
2. Navajo Native Dyes by Nonabah Bryan and Stella Young.
3. Pueblo Embroidery by Ellen Lawrence (To be published).
4. Seneca Splint Basketry by Marjorie Lismer.
5. Ojibwa Crafts (Chippewa) by Carrie A. Lyford.
6. Iroquois Crafts by Carrie A. Lyford.
7. The Workaday Life of the Pueblo Indians by Ruth Underhill.
8. Spruce Root Basketry of the Alaskan Tlingit by Frances Paul.
9. Blackfeet Crafts by John C. Ewers.
While prepared and published primarily for use by schools and adult classes of the Indian Bureau, these pamphlets are available for purchase by others through the Visual Aids Service, Haskell Institute, Lawrence, Kansas.
ILLUSTRATIONS
Plate
1. Birch bark boxes embroidered with porcupine quills (I)
2. Ceremonial dance Lac du Flambeau reservation. Drummers in center
3. Map of Ojibwa reservations today
4. Model of an Ojibwa lodge, illustrating construction (A)
5. Peaked Ojibwa lodge, covered with birch bark (I)
6. Domed wigwam, covered with elm bark (I)
7. A summer home of birch bark (I)
8. A modern log dance hall (E)
9. Preparing framework for the Grand Medicine Lodge (E)
10. Gathering wild rice (I)
11. Ojibwa women making birch bark baskets (left) and preparing fibre for mats (I)
12. Grave markers (E)
13. Wooden spoons (E)
14. Flageolet (Lover’s flute) (E)
15. An Ojibwa baby on its cradle board (A)
16. Musical instruments (E)
17. Ojibwa burial ground with covered graves (I)
18. An Ojibwa pipestone calumet (pipe) shaped like a tomahawk (E)
19. Wooden dishes for mixing tobacco, pipe cleaners, beaded tobacco bag, woman’s pipe (small), man’s pipe (large) (E)
20. Snow shoes (A)
21. Snow shoes—pointed and bear paw (A)
22. Spreading fish nets to dry (E)
23. Birch bark torches (E)
24. Bitten pattern on birch bark (E)
25. Birch bark scroll or midé roll (E)
26. Making a birch bark canoe (HDA)
a. Smoothing the ground with sand to conform to the canoe bottom
b. Heavy stones holding the bark for the bottom of the canoe in position
c. Stakes driven in the ground to determine the slant of the sides and the width of the beam of the canoe
27. Making a birch bark canoe (HDA)
d. The gunwales placed lengthwise and the bark sewed in place
e. An end view after the gunwales have been installed
28. Making a birch bark canoe (HDA) 53
f. The ribs and flooring from green cedar saplings must be soaked in water three days before the ends are inserted between the gunwales
g. Seams in the bark are sealed with spruce pitch
29. The finished canoe ready for its maiden trip (HDA)
30. Birch bark basket (mokok) and ricing trays (E)
31. Birch bark cut-outs (E)
32. Basket of willow withes (A)
33. Bark bag filled with wild rice (E)
34. Coiled sweet-grass basket (E)
35. Netted sash (modern) (A)
36. Woodland sash, old Indian finger weave (I)
37. Weaving a woodland sash Steps I-IV (diagram)
38. Weaving a woodland sash Steps V and VI diagram)
39. Making round braided fringe (diagram)
40. Bag being twined on the simple two-stick loom (A)
41. Unfinished basswood bark bag (A)
42. Woven bag of raveled blanket yarn (E)
43. Ojibwa woven bag (A)
44. An unfinished yarn bag (modern cotton carpetwarp) (E)
45. Modern woven yarn bag (A)
46. Detail of lattice warp weave (A)
47. Unfinished cedar bark rice bag (E)
48. Weaving rush mats
a. After reeds have been interlaced the basswood bark is woven across the mat
b. A finished mat and one in its first stages
49. An unfinished rush mat on frame (E)
50. Wigwam of cat tail mats with roof of birch bark (I)
51. An unfinished cedar bark mat (E)
52. Details of plaiting and twining (diagram)
53. A birchbark bitten pattern (E)
54. Doll made of willow withes (A)
55. Bone flesher for scraping hide (E)
56. Stretching and softening a buck skin (I)
57. Midé bag (beaver skin medicine bag) (P)
58. Old puckered toe moccasins embroidered in yarn (H)
59. Moccasin pattern (old style) and finished moccasin (E)
60. Modern moccasin with beaded velvet top (E)
61. An Ojibwa girl in costume of 1850 (A)
62. Women’s leggings (H)
63. Women’s leggings (E)
64. A modern Ojibwa girl in old time costume (1)
65. An Ojibwa man in ceremonial costume (E)
66. Roach headdress on stick (a) as worn (b) as stored away (E)
67. Man’s leggings (D)
68. Beaded breechcloth (H)
69. Beaded breechcloth (E)
70. Beaded sash and headbands (E)
71. Ojibwa pouches with bandoliers in geometric and floral designs (A)
72. Beaded band being woven on a simple loom (A)
73. Beaded velvet bag with four tabs (E)
74. Embroidered bead border designs (E)
75. Beaded band
76. Beaded band
77. Knife sheath with porcupine quill decoration (H)
78. Ojibwa designs from reed mats
79. Ojibwa designs from old storage bags
80. Ojibwa designs from yarn bags
81. Ojibwa quill designs, for band and pouch
82. Ojibwa patterns cut from birch bark
83. Ojibwa designs, for birch bark and wood
84. The underground panther; the thunder bird
85. Ottertail design with variations
86. Conventionalized isolated unit designs
87. Design elements or motifs used in beadwork
88. Conventionalized leaf borders based on the rhomboid
89. Design elements in bead embroidery
90. Cut out design
91. Reed doll
92-98. Bag designs
99. Quill designs
100-118. Band, belt and sash designs
119. Cut out designs
120-124. Applique designs
125-126. Moccasin designs
127-132. Beaded pouches
133-145. Designs used in bead embroidery
Illustrations through the courtesy of:
(A) American Museum of Natural History, New York City
(E) Bureau of American Ethnology, Washington, D.C.
(D) Denver Art Museum, Denver, Colorado
(H) Museum of the American Indian, Heye Foundation, New York City
(P) University of Pennsylvania Museum, Philadelphia, Pa.
(HDA) Mr. H. D. Ayer of the Mille Lacs Indian Trading Post, Onamia, Minnesota
(I) Bureau of Indian Affairs
img3.pngTHE OJIBWA IN HISTORY
SCATTERED throughout the wooded sections of the fake country in northern Michigan, Wisconsin, and Minnesota, and along the southern border of Canada are to be found the descendants of the great Ojibwa tribe of Indians, at one time the third largest Indian tribe in North America, Along the shores of Lake Huron, Lake Superior and the northern portion of Lake Michigan, as well as around the smaller lakes, the Woodland Ojibwa have continued to live since an early day. In Canada they are scattered from Eastern Ontario to Winnipeg, with some roving bands in the foothills of the Canadian Rockies.
Small groups of the Pembina band, the most westerly of the Ojibwa, have roamed from the northwestern section of Minnesota westward into North Dakota in the region of the Turtle Mountains and northward into Canada. A group known as the Nibowisibiwininwak settled in Saskatchewan. The Pic River group settled in Manitoba. These northern groups came in contact and mingled with the Cree and the Assiniboine. This branch was known as the Saulteaux, a name early given them by the French. Their proximity to the buffalo herds led them to adopt to a large extent the bison-hunting plains culture and they have been distinguished from