Some History | Some Stylin' Indians | Christianne Morris (Micmac)

Christianne Morris (Micmac artist) was known for her exquisite work in the traditional Micmac arts, supporting her family by the sale of quillwork and basketry. Her needlework, quillwork, splint basketry, and even a full-sized canoe and paddles all won first prizes at various provincial exhibitions. She once sold two beaded costumes to Indian Commissioner William Chearnley for the impressive sum of $300.

In the image below, she wears an ensemble of garments and accessories that she made her self. The outfit consists of a beaded peaked hat, a jacket, a woollen skirt appliquéd with ribbon, and beaded moccasins. She stands with her adopted son, and it is likely that she created his outfit as well.

From the portraits and works of art that survive her, we can see that she was a beautiful and gifted Native woman. One of the region's most interesting people in the 19th century, Christianne Morris is remembered not only as a model for the Nova Scotia painters who portrayed her but also as a talented artist in her own right.

Some History | Some Stylin' Indians | Caroline Parker (Seneca)

I think I'm just really into old daguerreotype photographs right now, but these images are awesome. This is Caroline Parker (Seneca) in 1849 who, by the age of 19, was already recognized as a highly skilled artist. She is wearing an outfit that she created herself.

Her blue woolen broadcloth skirt is decorated with Iroquois symbols, and incorporates 'tree of light,' 'heaven and earth,' and 'council fire' motifs. These clothes became part of the Lewis Henry Morgan Collection at the New York State Museum in Albany. The skirt and red cotton overdress are still present in the Museum's collection where they remain a source of continued inspiration to those wanting to replicate traditional Seneca clothing.

Some History | Some Stylin' Indians | Hole-In-The-Day (Ojibwe)

I have a slight obsession with this guy - his name is Hole-In-The-Day (or Bug-o-nay-ki-shig), and he was an Ojibwe leader during an important time when his community was negotiating the imposed Euro-American culture with that of their own.

His father was also named Hole-In-The-Day, and the younger succeeded him as chief of the community.

He is oftentimes described as a handsome man with polished manners, and he mingled easily in white society during his many trips to Washington, D.C., and St. Paul. He dressed in fashionable European-style clothes, but he always kept his hair long and continued to wear a blanket draped across one shoulder. Euro-American fashion was simplistic in the 1800s, and individuals like Hole-In-The-Day made it visually more exciting with the inclusion of Ojibwe accessories and items of adornment. He also continued to wear Ojibwe-style moccasins.

He was popular with both men and women, and he was a accomplished public speaker. Reverend Claude H. Beaulieu says of him:

"Hole-in-the-Day was a man of distinguished appearance and native courtliness of manner. His voice was musical and magnetic, and with these qualities he had a subtle brain, a logical mind, and quite a remarkable gift of oratory. In speech he was not impassioned, but clear and convincing, and held fast the attention of his hearers."

Soon white men in both the nation's capital and the territorial capital began to look upon him as a spokesman for all his people.