But it smells amazing, and at sunset, it's warm, and it's soothing, and you've worked so hard cutting down trees and hauling them through muck and trying not to, you know, fall in sinkholes or whatever. 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. And in recent decades, that's really been changing, and I think it's more common now to include community partners in exhibits. Elizabeth James-Perry Contact Information. You have to get real with yourself about what your needs are and you have to plan on what you're doing. And it's very strong. If winter's coming early, you got to be thinking, "okay, if we get a lot of snow and it dumps on the milkweed, I'm not getting any milkweed to do my spinning. I know perfectly well. That's the ground of the sash. Find contact's direct phone number, email address, work history, and more. I mean, sometimes when things come into the museum, it might just say it's from Massachusetts, or New England, or the eastern woodlands. 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. 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. We didn't really necessarily make pieces to sort of house in this really careful, isolated fashion, protect it from the elements. See you in a couple of weeks! Elizabeth James-Perry is an enrolled member of the Aquinnah Wampanoag Tribe who is a master artist practicing traditional wampum jewelry and milkweed textiles. I think nowadays, as a modern native person. If not, then I take a day off work, and I get my milkweed. And I'll be your host. She is multi-medium traditional and contemporary artist taught by her mother Patricia James-Perry, and by cousins Dr. Helen Attaquin and Nanepashemut whose knowledge and artistry was crucial to the development of the Wampanoag Indigenous Program at Plimoth Plantation Museum in the early 1970s. He was also a big collector. Tribes need that, you know, for a variety of ways and ways that that I can't really articulate fully. Here they are. A local Wampanoag artist, Perry works primarily with Quahog shells to create handmade pieces including belts, earrings, necklaces and more. That's very strange. It smells so sweet. So it was really a great question that Elizabeth and the staff at Peabody really wanted to explore. 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. Preserving Cultural Heritage” with Archaeologist Joseph Greene, Deputy Director and Curator of the Harvard Museum of the Ancient Near East. Where institutions are taking a look at practices and taking the time to acknowledge whose indigenous land they're situated on. Let me get the cedar bark. It's almost like eavesdropping on a conversation between a contemporary artist and the artist who made that historical item. To recapture a lot of that technology and make it a whole heck of a lot easier on the next generation because Wow. A scholar of Northeastern wampum and … “A lot of our diet has remained pretty consistent. She has conducted research in the Northeast as well as in Europe. He considers designs by examining the raw . So, like, the idea of art, without humans to love it, the idea of making something without someone to honor. Elizabeth inherited a complex legacy as a tribal whaling descendant. The artist's formal education includes training at the Rhode Island School of Design, and Shoals Marine Lab; she holds a degree in Marine Biology from the University of Massachusetts, and was employed in fisheries research for several years. So people were routinely building a new house. 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. It's not necessarily so simplistic to make something when there's literally three seasons of a year you have to gather just to have all the materials at the same place at the same time. 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. 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. And I think that there's there's other things that are really evocative. There's enjoyment in the moment, but there isn't necessarily in a culture where utilitarian objects are made beautiful, it's fine to use those. —Phillip Wynne, Mashpee Wampanoag Tribe of Cape Cod (Otter Clan) reflecting on a collection of dried and smoked herring Listen: "We're still by the same waters our ancestors lived on. Noepe Cuff . All of the wampum beads in my jewelry are Native-made. How did you go about your research with the eel trap? This has been really nice. This piece, objectively, this was a very much loved article of gear. She believes in practicing responsible art and sustainable land/ocean stewardship. 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. And, you know, they get their barrels of wampum, and they still behead her or something horrible. Artist's Website. 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. A beautiful wampum gorget with hand-tanned deerskin tie by Elizabeth James-Perry. Elizabeth James-Perry Hand Sculpted Elongated Oval Wampum Necklace The centerpiece of this necklace is a hand sculpted elongated oval medallion of wampum, created by Wampanoag artist Elizabeth James-Perry, with a cord of hand braided linen. The New Bedford Whaling Museum presents a collection of contemporary art from Elizabeth James Perry. Elizabeth, I'm curious, after doing all this research, after spending so much time with these objects and exploring techniques, what did you come away from all of this feeling or experiencing? Meredith, would you say that working with Elizabeth changed your thinking about the ways in which we as a museum should be looking at objects? That's a good way to put it. Elizabeth has always brought such incredibly rich experience to the table. I think part of it is maybe cultural differences even over time, and the same people, sometimes. Sign Up. Who knows how long they'll be there? I think when there is distancing or mistrust, things don't work out well. Let me get some ash. He lived in Falmouth, Massachusetts, and he was a graduate of Harvard University. A traditional form of Wampanoag eel trap constructed from ash splints and cedar bark for a maritime arts demonstration. 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. 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." 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? That's very expensive. She is a researcher and exhibit consultant, and owner of Original Wampum Art. I mean, I don't know what my ancestors would say to that phrase, like, climate controlled. There's a big difference between recapturing traditional ecological knowledge and growing up with it. “As a … So it sounds like you really developed a greater understanding between the connection, between culture and environment? Jewelry . Some of the items collected, you know, I wish I knew more about this. Community Spirit Awards. I wanted to ask them both about the creation of this exhibit and the relevance of these objects within Wampanoag culture today. Elizabeth James-Perry – This exhibition is a look back, a look at the present, and a look at the future. Elizabeth James-Perry, Aquinnah Wampanoag tribal member of Massachusetts is a life-long traditional artist, taught by family and community. Email Finder Top Companies Company Search People Search Solutions About Us. Ripples. The first item that we talked about, the eel trap, that was donated to the museum in 1917. I came away from it appreciating the abundant resources that past generations had. Native American artist and researcher Elizabeth James-Perry will focus her discussion on pre-contact and Colonial period views, management techniques, and material culture involving trees in Massachusetts, the traditional homeland of the Wampanoag, Nipmuc, Pocumtuc and … How do you think museums like the Peabody that contain these important cultural objects, how do you think they should be working with native communities and native artists to highlight those objects? Introducing the 2017 Community Spirit Honorees. It's in demand, and then there's no mention of it. The technique that was used to actually stitch down the bead is quite patently Northeastern native, where instead of going down through the leather, down through the cloth, you catch the nap of a fairly thick material, so that you're not putting a lot of downward pressure and causing the surface of the fabric or the surface of the coil work beadwork to pucker in any way. 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. It was entirely biodegradable. That's really interesting. Export. You needed to have your bow, you needed to have war clubs, at the time, were also used. Meredith, how did you all select these items for this online exhibit? So, I mean, it's all about food. Sarah Elisabeth Sawyer. 11/6/2017 9:31 AM. 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. 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. Born in 1973, contemporary and traditional Native artist Elizabeth James-Perry is an enrolled citizen of the Wampanoag Tribe of Gay Head -Aquinnah, located by the richly colored clay cliffs of Noepe (Martha’s Vineyard). 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. If you like today's podcast, please subscribe on Apple Podcasts, Spotify, Podbean, or wherever you get your podcasts. And thank you so much for listening! You know, it's this conversation and this learning experience that transcends time and space. Elizabeth James-Perry Choker An exquisite traditional Wampanoag woven choker in stunning deep purple and white colors by artist Elizabeth James Perry. Jewelry - Traditional Form . 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. Unfortunately, we don't know who made this eel trap, but we do know that he collected it before 1892. The artist resides in southern Massachusetts. It was a really interesting question for us though. And in those cases, it was really great, we were able to reach out to specific descendants to, you know, the descendants of those people who made the basket or are sitting in the photograph, and get their perspectives on it. So there's always cool stuff. Pashpeshau means s/he rises, s/he bursts forth, s/he blooms, in the Massachusett language. Listen to Wampanoag Perspectives On Museum Objects With Elizabeth Perry And Meredith Vasta and twenty more episodes by HMSC Connects! So I think that an interesting movement has happened, I think, across the nation, right? 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. She studied it some 20 years ago and created a replica with materials gathered in the woods of Dartmouth. 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. You're going fishing for God's sakes, you already liked the food and you're living on the coast. Copyright © 2008-2021 Elizabeth James Perry :: www.elizabethjamesperry.com. … My name is Jennifer Berglund, part of the exhibits team here at the Harvard Museums of Science and Culture. In the past, I think museums didn't see indigenous people, whose items they stewarded, as partners or collaborators. It's a different sort of depth of knowledge and perception, I think, that we have to contribute to museum collections that are perhaps different from what you have in a ledger, book, accession file, whatever. 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. Is that something that the Keyes family had as family history? Podcast, free! 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. Do you think this piece saw a lot of battle? So it was this experiment in in trying to cater to native tastes in New England. Thank you so much for being here. The older one was wearing out, it was getting drafty, the bark was leaking. Sarah Elisabeth Sawyer . There was a dump, or there was asbestos on a building, or, you know, there's so many concerns. Elizabeth James-Perry Multi-medium Artist Aquinnah Wampanoag elizabethjamesperry.com. 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. Elizabeth James-Perry is an enrolled member of the Aquinnah Wampanoag Tribe on the island of Noepe (Martha’s Vineyard). 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. There was times when you had to move your community's safety, didn't know if you were being pursued. I mean, it's mucky and muddy, and yeah, you could sink in up to your waist or whatever. You could recycle the poles to something smaller, and you had the resources, right, you had the resources. Community Spirit Awards. It is profoundly personal. materials closely, and draws his images from the grain, hues, and patina of wood, stone and copper. Much of Elizabeth's work focuses on early Northeastern Woodlands Native culture, including ancient wampum shell carving and reviving natural dye techniques to create a traditional palette for her finger woven sashes, bags and baskets. There's just these amazing chances to reconnect. Welcome to HMSC Connects! Thank you so much, Elizabeth, for spending time with us today. Through a Wampanoag Lens. And so you can still see that on the sash today. I find it interesting this there's this combination. And how do you think this experience will influence future projects? March 24, 2017. Copyright © 2021 The President and Fellows of Harvard College, Collection of Historical Scientific Instruments, Peabody Museum of Archaeology & Ethnology. 2003. Through a Wampanoag Lens. You have to be there and be really present, be connected to the tides, be connected to the seasons. And also for being part of this online exhibition. And I don't think that changes over time. 1/4" deep x 1" wide x 6" long, plus fringe . Artist's Website. Share . 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. Elizabeth James-Perry is an enrolled member of the Aquinnah Wampanoag Tribe on the island of Noepe (Marthas Vineyard). 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. The artist explores the rich purple of the quahog shell and soft peach conch shell, sculpturing patterned purple whale and fish effigies, large beads, leadership discs, bias collars and gauntlet cuffs. March 24, 2017. A B O U T. Traditional singer, dancer, speaker and carver, Jonathan Perry is grounded in the traditions of his ocean-going ancestors. Today's HMSC Connects! You can see where it's stretched, the weaving is stretched, you can see that there's wear lines. So you just took everything down. Elizabeth James Perry and Meredith Vasta. 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. And again, it's centered from such a beautiful personal place. Nov 21, 2013 - wampum necklace, Elizabeth James-Perry (Wampanoag) The sash on the other hand, about 130 years ago, in 1890, the American Antiquarian Society gifted a number of ethnological items to the Harvard Peabody, and one of them was this sash. 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.… Elizabeth James-Perry meets the Peabody’s Wampanoag eel trap as an old friend. And so you've got these white glass beads that are new. 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