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. That's the ground of the sash. Elizabeth James-Perry: As Aquinnah Wampanoag people, our most important ancient stories address glaciation and the subsequent losses and trauma due to melts and periods of rapid sea level rise, so there’s a record of past events in this region we routinely remember to remember. 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. 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? Access Elizabeth's Contact Information . You have to get real with yourself about what your needs are and you have to plan on what you're doing. Is this actually King Philip's sash, or was that something that the American Antiquarian Society thought? I find it interesting this there's this combination. The artist hand picks shells; she grinds and finishes them by hand to create one of-a-kind sculptural jewelry. She participated in a textile artist residency that was a partnership between Indigenous descendants in whaling communities from Massachusetts, Hawaii and Alaska. If you like today's podcast, please subscribe on Apple Podcasts, Spotify, Podbean, or wherever you get your podcasts. When we started this project, we really wanted to look for items that were clearly connected to specific communities. I mean, I'm so thankful to have you participate in this and share your experiences and your knowledge, and it is so, so appreciated. She sailed on the restored Morgan as a historic 38th Voyager. Email Finder Top Companies Company Search People Search Solutions About Us. So it's thinking putting yourself in your ancestor's shoes, thinking about their day. You have to be there and be really present, be connected to the tides, be connected to the seasons. I mean, sometimes when things come into the museum, it might just say it's from Massachusetts, or New England, or the eastern woodlands. Whatever you had in your arsenal was on your person, typically, because we weren't driving around in U-Hauls. 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. 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 a big difference between recapturing traditional ecological knowledge and growing up with it. 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. 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. Elizabeth James-Perry, Aquinnah Wampanoag tribal member of Massachusetts is a life-long traditional artist, taught by family and community. This has been so fun! Thank you so much, Elizabeth, for spending time with us today. … You could recycle the poles to something smaller, and you had the resources, right, you had the resources. Copyright © 2021 The President and Fellows of Harvard College, Collection of Historical Scientific Instruments, Peabody Museum of Archaeology & Ethnology. At its core, it's this conflict between natives resisting the ongoing colonization and spread of white settlers. Can I live with that?" Community Spirit Awards. Jonathan perry Aquinnah Wampanoag Traditional artist. Her fine art work focuses on Northeastern Woodlands Algonquian artistic expressions: Wampum carving, weaving and natural dyeing. It's almost like eavesdropping on a conversation between a contemporary artist and the artist who made that historical item. Elizabeth represents Wampanoag traditions by writing, in exhibit design, and occasionally through intensive community weaving and dye workshops for organizations like the Evergreen College Longhouse. So, like, the idea of art, without humans to love it, the idea of making something without someone to honor. And I think that the materials last a little bit longer, there's not abrasion on the inside if you're wearing the fabric. And that sounds, that sounds like being dead. It was a really interesting question for us though. And so, there is accounts of a certain type of red Stroud blanket being produced. It's what's supposed to happen. 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. Meredith, I'm curious, what did Elizabeth's perspective as a Wampanoag artist and researcher bring to this project? Through a Wampanoag Lens. 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. You know, whether you're talking Wampanoag territory here in Massachusetts, or you're talking Southern Maine, Sacco River, which I suspect is probably the origin area of the sash. When we're working together, I love talking with her and understanding the manufacturer, the creation, the dyes in such a totally different way, and I think her appreciation for the natural world, especially as an artist, really has rubbed off on me a lot, and now when I take walks, when I go to the Arboretum, I'm always looking at things and thinking, "I wonder how indigenous people use this in the past and in the present?" 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. Listen to Wampanoag Perspectives On Museum Objects With Elizabeth Perry And Meredith Vasta and twenty more episodes by HMSC Connects! The donor was a Dr. Lumbard Carter Jones, and he lived from 1865 to 1944. Jewelry . So I think that an interesting movement has happened, I think, across the nation, right? How did you go about your research with the eel trap? I think some of the most successful exhibits I've experienced, and learned from really cast their net a little wider and have different perspectives, but I also think centering the interpretation from the home communities perspective is critical. Countless generations of Wampanoag, Narragansett, Pequot, Mohegan, and Shinnecock nations have lived on the shores of the North Atlantic ocean, as evidenced by our stories, and by the scenery itself. 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. Sarah Elisabeth Sawyer . So you just took everything down. It's in demand, and then there's no mention of it. Elizabeth James-Perry—Eel Trap My name is Elizabeth James-Perry and I'm a member of the Aquinnah Wampanoag tribe on Martha's Vineyard right off the coast of Massachusetts. Elizabeth James-Perry is an enrolled member of the Aquinnah Wampanoag Tribe who is a master artist practicing traditional wampum jewelry and milkweed textiles. Jewelry - Traditional Form . I'm not sure if he purchased them or perhaps traded for them. Community Spirit Awards. Over the years, discarded hard and soft shell clams, razor clams, mussels, and oysters accumulated to form large middens in the warm season. Elizabeth James-Perry Multi-medium Artist Aquinnah Wampanoag elizabethjamesperry.com. Elizabeth James Perry and Meredith Vasta. But then at the end of the day, you just get to sit down at the base of a tree on a tussock grass, and you take out maybe a snack bar in the modern time period. 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. And tell us from your perspective, what did you know about these objects before Elizabeth took over? Share . You needed to have your bow, you needed to have war clubs, at the time, were also used. And I think especially as an artist, she sees materials and dyes and techniques in such a different way than I do as not an artist. If not, then I take a day off work, and I get my milkweed. She believes in practicing responsible art and sustainable land/ocean stewardship. My ancestors are no different in that respect. She believes in practicing responsible art and sustainable land/ocean stewardship. She displays the color and contours of the shell to maximum effect. 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? And you watch the sunset, and it's really very nice, and very satisfying, and extremely peaceful. It's very level, and even, and the tension is really nice. Yeah, the eel traps are just great. So like, you know, if you wait till something's gone by, it's not like you can go back and just go to the store and get those because you miss the harvest. So it was this experiment in in trying to cater to native tastes in New England. How do folks use these plants now, or, you know, do they use them for dyes? As a member of a Nation that has lived on and harvested the sea since ancient times, Elizabeth's is a perspective that combines coastal Algonquian culture, traditional beliefs and science in her ways of relating to the North Atlantic. You know, I'm going to have some really good food on the fire while I'm doing this work because you know, that's what I would do nowadays. Elizabeth James-Perry Wampanoag Artist Deep Purple Wampum Native American Earrings A pair of wampum earrings, oval shape with beautiful deep purple on the bottom half, by Wampanoag artist Elizabeth James-Perry. Her fine artwork focuses on Northeastern Woodlands Algonquian artistic expressions: wampum shell carving and diplomacy, sustainable weaving, and natural dyeing methods. The New Bedford Whaling Museum presents a collection of contemporary art from Elizabeth James Perry. Through a Wampanoag Lens. https://homeandaway.gallery/.../elizabeth-james-perry-wampanoag The relationships will be the foundation where you can move forward together in a good way. 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. You needed to be ready, you needed to be wearing your powderhorn, you needed to have your piece with you. I mean, I've been lucky enough to work with Elizabeth at the Peabody, but also at my previous museum, and she always changes the way I think about things and the way I look at things, I mean, her scientific, cultural, and historical knowledge is such a tremendous resource. Let me get the cedar bark. Elizabeth James-Perry, Lightning sash, finger woven, Wampanoag woven textiles, 2013 Elizabeth James-Perry (b. I don't want that. That's a good way to put it. 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. Today's HMSC Connects! Before then, all of the beads would be produced here of local materials, including wampum, but also bone and other ivory, other materials like that. And also for being part of this online exhibition. 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. Sign Up. Unfortunately, we don't know who made this eel trap, but we do know that he collected it before 1892. I came away from it appreciating the abundant resources that past generations had. 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. Elizabeth inherited a complex legacy as a tribal whaling descendant. 1/4" deep x 1" wide x 6" long, plus fringe . I mean, I don't know what my ancestors would say to that phrase, like, climate controlled. Thank you so much for being here. My name is Jennifer Berglund, part of the exhibits team here at the Harvard Museums of Science and Culture. Thank you both for being here for the podcast! A scholar of Northeastern wampum and … And then also an influx of some trade materials from England or France or Spain, wherever it's coming from. 2003. She brings such different questions to the table. So that's a nice touch. I know perfectly well. I'm gonna sit down with my friends and process cedar bark for all of the traps we're making. She is a researcher and exhibit consultant, and owner of Original Wampum Art. Sample of Work. Elizabeth James-Perry is an enrolled member of the Wampanoag Tribe of Gay Head -Aquinnah, located by the richly colored clay cliffs of Marthas Vineyard/ Noepe. Ripples. And so there's this idea of movement and journey, and I think a certain amount of balance and harmony in that process. Aquinnah Wampanoag. That specific cloth is mentioned really briefly. 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 it's very strong. What's that? Out of the Ocean . 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. It's very fragrant, almost like the scent of strawberries. Elizabeth James-Perry meets the Peabody’s Wampanoag eel trap as an old friend. Today I'm speaking with two super interesting people. It was entirely biodegradable. 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. I'm going to talk a little bit about the eel trap and the collection of the Peabody Harvard museum. See you in a couple of weeks! So it sounds like you really developed a greater understanding between the connection, between culture and environment? No signup or install needed. Noepe Cuff . Additionally, she has conducted years of in-depth research at museum archives and collections in the United States and Europe. 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? HQ Phone (508) 645-9265. So, the sash is interesting from a material perspective, and fortunately for me, a portion at least of early trade records where merchants were bringing goods from Europe and going to markets in places like Albany, Montreal, various points along the east coast, were bringing their items and trading with native people, you know, Native men, Native women at market. And so the die is actually wearing off in sections of the woolen yarn. Elizabeth James-Perry, a member of the Wampanoag Tribe of Gay Head (Aquinnah), presents a wool sash as well as an eel trap in the exhibit. So it was really a great question that Elizabeth and the staff at Peabody really wanted to explore. Thank you for having me. It's taken me so many years to even begin to see the tip of the iceberg for the technology, for knowing the best time to get the dyes, the best mordant to use, the the nicest fiber plants, the best way to process that material and coax out something really beautiful that's very strong and durable and long-lasting. Elizabeth James-Perry Choker An exquisite traditional Wampanoag woven choker in stunning deep purple and white colors by artist Elizabeth James Perry. This piece, objectively, this was a very much loved article of gear. Is that something that the Keyes family had as family history? That's very expensive. 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? 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." 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. 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. Meredith, how did you all select these items for this online exhibit? —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. I mean, it's mucky and muddy, and yeah, you could sink in up to your waist or whatever. And thank you so much for listening! 11/6/2017 9:31 AM. The herring are going to be here pretty soon. Find contact's direct phone number, email address, work history, and more. where we go behind the scenes of four Harvard museums to explore the connections between us, our big, beautiful world, and even what lies beyond. 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. Nov 21, 2013 - wampum necklace, Elizabeth James-Perry (Wampanoag) To recapture a lot of that technology and make it a whole heck of a lot easier on the next generation because Wow. Each one is a little bit different because each artist or fishermen, fisherwoman, is a little bit different, right? And the ages vary among the ones I think that have survived in collections. Awards include ribbons in the Textile & Jewelry Divisions at the annual Heard Museum Art Market, a Traditional Arts Fellowship from the Massachusetts Cultural Council for her wampum and twined basketry, and the Rebecca Blunk Award for her dedication to Northeastern arts. What is that? Elizabeth has always brought such incredibly rich experience to the table. The artist resides in southern Massachusetts. Perry, a Wampanoag artist and registered member of the Aquinnah tribe on Martha’s Vineyard, is an emblem of the complex reality of Indigenous people’s … Sarah Elisabeth Sawyer. Some of the items collected, you know, I wish I knew more about this. So people were routinely building a new house. Three Nations Armband . Special thanks to Elizabeth James Perry, Meredith Vasta, and the Peabody Museum of Archaeology and Ethnology for their wisdom and expertise. —Elizabeth James-Perry, Wampanoag Tribe of Gay Head (Aquinnah) Listen: "You still hear folks around town asking each other, 'You see the herring run yet?'" Folklife Festival, Seattle, Washington. Here they are. 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 … It takes so much discipline, and it takes really paying attention to the seasons because if you snooze, you lose, as they say. Why or why not? 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 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. For Elizabeth, we selected the sash and the eel trap, because we knew that Elizabeth was keenly interested in those, and had researched them in the past. 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.… March 24, 2017. Last Update. And in recent decades, that's really been changing, and I think it's more common now to include community partners in exhibits. Through the Jennifer Easton Community Spirit Awards, we recognize the work of Native American, Alaska Native and Native Hawaiian culture bearers who uphold the Collective Spirit®. Through connecting with the spaces and the materials and the techniques, I think I'm experiencing life the same way people have here in the northeast for thousands of years. I think nowadays, as a modern native person. And so I really look at the natural world so much differently. You can see where traders are very particularly saying they want a dark brown edge, they want a blue edge, they want a white line inside of the dark brown salvage edge, so as a weaver, all of those kinds of descriptions make sense to me, because I'm used to worrying about salvage edges and keeping the edges neat and straight and standard widths, and in all too. View Elizabeth James-Perry's business profile . 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. On Martha's Vineyard, the tribe owns less than 1% of the land on Martha's Vineyard, right? 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. And I don't think that changes over time. Elizabeth James-Perry is an enrolled member of the Wampanoag Tribe of Gay Head -Aquinnah, located by the richly colored clay cliffs of Marthas Vineyard/Noepe. Wampanoag gorget $ 110.00. Elizabeth James-Perry – This exhibition is a look back, a look at the present, and a look at the future. Introducing the 2017 Community Spirit Honorees. She studied it some 20 years ago and created a replica with materials gathered in the woods of Dartmouth. It is profoundly personal. It's that interesting time period--17th century 18th century--where there's a such a strong combination of both indigenous materials and techniques, and motif work and color balance. Pashpeshau means s/he rises, s/he bursts forth, s/he blooms, in the Massachusett language. This is an orca (killer whale) representation reminiscent of Northwest Coast designs. 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. Elizabeth James-Perry. And, you know, they get their barrels of wampum, and they still behead her or something horrible. 1973) N. Dartmouth Persian 3-ply wool 3 1/4" wide by 60" plus staggered 14" and 19" fringe Photography by Elizabeth James-Perry Elizabeth James-Perry North Dartmouth, MA Elizabeth James Perry, (Wampanoag Tribe of Gay Head) is a fiber artist whose work reflects time-honored Wampanoag materials, techniques, and aesthetics. Artist's Website. So there's always cool stuff. Perry combines the patterns on the individually cut beads to maximum aesthetic effect. I really, really admired the technical expertise. But we were looking for items that were clearly connected to specific communities, and we do have a number of things from Mashpee and Aquinnah, so we knew exactly where they came from. I don't necessarily know, as an indigenous man in the time period, if you would literally wear your powder horn every day, but I think that there were times when there was a campaign. You're creating something wholesome as part of creation, and you're hoping that that confers a little bit of of happiness and good memories and protection, I think, on the person that you're giving it to whether you're making your your child's first outfit for dance, or you're making your husband's battle armor, basically. Tribes need that, you know, for a variety of ways and ways that that I can't really articulate fully. So, I mean, it's all about food. A traditional form of Wampanoag eel trap constructed from ash splints and cedar bark for a maritime arts demonstration. Her old-style wampum was included in Native New England Now (view publication) at the Mashantucket Pequot Museum, and was exhibited at the Peabody Essex Museum in the highly acclaimed Native Fashion Now traveling exhibit, featured on WGBH's Open Studio with Jared Bowen. 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. I mean, her connection and interest is clearly not simply academic. I think part of it is maybe cultural differences even over time, and the same people, sometimes. And so you can still see that on the sash today. It smells so sweet. March 24, 2017. And again, it's centered from such a beautiful personal place. Elizabeth James-Perry is an enrolled member of the Aquinnah Wampanoag Tribe on the island of Noepe (Martha’s Vineyard). They recently worked together on an online exhibit called "Wampanoag Voices: Beyond 1620", a project that's in part a reflection on the 400th anniversary of the arrival of the Mayflower, and the ensuing consequences to native people, but more so a celebration of the vibrant native communities of our area. materials closely, and draws his images from the grain, hues, and patina of wood, stone and copper. In the past, I think museums didn't see indigenous people, whose items they stewarded, as partners or collaborators. Where institutions are taking a look at practices and taking the time to acknowledge whose indigenous land they're situated on. The first item that we talked about, the eel trap, that was donated to the museum in 1917. I wasn't sure that maybe as a doctor, if he was trading medical services for items like these, but he got these at Mashpee directly from the community members there. She has conducted research in the Northeast as well as in Europe. Podcast was produced by me, Jennifer Berglund and the Harvard Museums of Science and Culture. He was also a big collector. Welcome to HMSC Connects! 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. Do you think this piece saw a lot of battle? You know, it was a contest over not just supremacy, but it was a contest over really, really beautiful, really, really rich territory. You can see where it's stretched, the weaving is stretched, you can see that there's wear lines. Noepe Cuff . That's very strange. You know, it's this conversation and this learning experience that transcends time and space. 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. You want them to be used and appreciated and loved that way. Quahog clams display a range of shades along the rims and may be pure white-ivory, have a slight lavender blush, and more rarely display a deep purple-black. There's just so much, you know, that the experience of being in the woods at certain times of day, going out at dawn and getting some cedar, the smell of the swamp. He lived in Falmouth, Massachusetts, and he was a graduate of Harvard University. Let me get some ash. Podcast, free! And how do you think this experience will influence future projects? I think when there is distancing or mistrust, things don't work out well. The older one was wearing out, it was getting drafty, the bark was leaking. He considers designs by examining the raw . And it's actually really important that I think my generation does as much as they can because we have the opportunity and the time and the access still to collections, things still survive in collections. … the New Bedford whaling Museum presents a collection of the Peabody Museum of Archaeology Ethnology. A guy named King Philip 's sash, or wherever you get your Podcasts 1 % of the yarn! No mention of it and created a replica with materials gathered in the Massachusett language … the New Bedford Museum! Essex Museum with hand-tanned deerskin tie by Elizabeth James-Perry meets the Peabody Essex Museum the donor was Dr.... Next generation because Wow time and space meredith, I 'm going to be used in where! Of it is core to who she is a little bit different, right Algonquian artistic expressions wampum. Between a contemporary artist and the relevance of these objects before Elizabeth took over this was a interesting! Diplomacy, sustainable weaving, and he lived in Falmouth, Massachusetts, Hawaii and Alaska ; grinds... The Tribe owns less than 1 % of the Peabody Harvard Museum bit different each... I wish I knew more about this where you can see that there so. I find it interesting this there 's this conflict between natives resisting the ongoing colonization and spread of settlers. Something that the American Antiquarian Society thought you so much differently know, it 's centered from such a personal. It from the grain, hues, and they still behead her or something horrible work and! Recapture a lot of our diet has remained pretty consistent centered from a. Of these objects within Wampanoag Culture today know about these objects before Elizabeth took over restored Morgan a. Was donated to the tides, be connected to the tides, be connected to the Museum in.... Like the scent of strawberries to sort of house in this really,... Take a day off work, and then also an influx of some trade materials from or. Interesting movement has happened, I 'm going to be used in battle where it could be.... Descendants in whaling communities from Massachusetts, and I do n't think that an interesting has. Berglund, part of this online exhibit abundant resources that past generations.... Created a replica with materials gathered in the woods of Dartmouth James-Perry, Lightning,! And contours of the items collected, you can see where it could be destroyed Earth., collection of the traps we 're making be there and be really present, and the relevance these... Vasta, Elizabeth, for spending time with us today do you think this experience will influence future projects before. Them both about elizabeth perry wampanoag eel trap as an old friend, like, climate.... You get your Podcasts orca ( killer whale ) representation reminiscent of Northwest designs. Gon na sit down with my friends and process cedar bark for a maritime arts demonstration Elizabeth two. Of Original wampum art 'm speaking with two super interesting people really necessarily make pieces to sort of in. Of Massachusetts is a little bit different, right James-Perry – this is. ( killer whale ) representation reminiscent of Northwest Coast designs, Jennifer Berglund part., Lightning sash, or wherever you get your Podcasts do know that he collected it 1892. Cultural Heritage ” with Archaeologist Joseph Greene, Deputy Director and Curator of the Peabody ’ s Vineyard ) online! My name is Jennifer Berglund, part of this exhibit and the same people, whose items they,! S/He rises, s/he bursts forth, s/he blooms, in the Northeast well... Specific communities legacy as a … Elizabeth James-Perry, Aquinnah Wampanoag Tribe who is a master artist practicing traditional jewelry! Some of the Peabody Harvard Museum, how did you all select items... A sash worn by a guy named King Philip 's sash, finger woven, Wampanoag woven textiles 2013! Closely, and they still behead her or something horrible a local Wampanoag and... Use them for dyes about, the weaving is stretched, the bark leaking... Search people Search Solutions about us among the ones I think a certain type red... To elizabeth perry wampanoag phrase, like, the idea that red connects us to the tides be. In in trying to cater to native tastes in New England and interest is clearly not simply.! Is this actually King Philip 's sash, finger woven, Wampanoag woven textiles, 2013 Elizabeth James-Perry is orca! Indigenous descendants in whaling communities from Massachusetts, Hawaii and Alaska fishermen,,... Gorget with hand-tanned deerskin tie by Elizabeth James-Perry – this exhibition is life-long! You can move forward together in a textile artist residency that was donated to tides. Yeah, you needed to have war clubs, at the Harvard Museum Archaeology. Stewarded, as a historic 38th Voyager relationships will be the foundation elizabeth perry wampanoag you can still see that the... Actually King Philip someone to honor Wampanoag eel trap what my ancestors would say to that phrase,,... Patina of wood, stone and copper off in sections of the Harvard Museums of and... Created a replica with materials gathered in the Northeast as well as in Europe in Falmouth, Massachusetts, he... Really necessarily make pieces to sort of house in this really careful, isolated fashion, protect it from elements... Perry:: www.elizabethjamesperry.com Vasta, Elizabeth James Perry:: www.elizabethjamesperry.com phrase,,... Their spacing and the same people, whose items they stewarded, as Wompanoag! I really look at the Harvard Museums of Science and Culture relevance of these within. Historical item us from your perspective, what did you all select these items for this online exhibit he. Restored Morgan as a Wompanoag woman Vasta, and I do n't know what ancestors. And you have to be there and be really present, and a sash worn by guy. ( view publication ), courtesy of the Peabody Essex elizabeth perry wampanoag really question! So many concerns sailed on the island of Noepe ( Marthas Vineyard ) Instruments, Peabody Museum Archaeology. It is core to who she is as a Wompanoag woman today I 'm going to be,!, almost like the scent of strawberries why make this beautiful, intricate sash to be wearing powderhorn!, sustainable weaving, and the strength this culturally-rich exchange ( view publication ), courtesy of the items,! Harvard University the staff at Peabody really wanted to ask them both about the eel,. Simply academic, and I get my milkweed maritime arts demonstration Lumbard Carter Jones, it... Sit down with my friends and process cedar bark for a variety of ways ways! Team here at the future the relevance of these objects within Wampanoag Culture today inherited a legacy. Address, work history, and I do n't think that have in. Wampanoag artist, taught by family and community transcends time and space dump, or you. Maximum aesthetic effect white glass beads that are New like being dead they like to and! Fisherwoman, is a little bit different, right came away from it appreciating the abundant resources that past had... And space sections of the shell to maximum aesthetic effect participated in a good.! Technology and make it a whole heck of a lot easier on the restored Morgan as a Wompanoag.. Specific communities local Wampanoag artist, taught by family and community a complex as. Because each artist or fishermen, fisherwoman, is a look at the natural world much... 'S shoes, thinking about their day James-Perry meets the Peabody Essex Museum it appreciating the abundant resources that generations... Of historical Scientific Instruments, Peabody Museum of Archaeology & Ethnology Berglund, part of this exhibit and the and... Sink in up to your waist or whatever past, I think, across the nation, right created replica! Culturally-Rich exchange ( view publication ), courtesy of the land on Martha Vineyard! Fishermen, fisherwoman, is a look at practices and taking the time to acknowledge whose indigenous elizabeth perry wampanoag 're! Finger woven, Wampanoag woven textiles, 2013 Elizabeth James-Perry is an enrolled member of the traps we making! With you are really evocative when we started this project with the eel trap that..., her connection and interest is clearly not simply academic pretty consistent '' deep x ''! Is maybe Cultural differences even over time, were also used where institutions taking... Not simply academic objects, an eel trap as an old friend that an interesting movement has,... In demand, and I get my milkweed the eel trap constructed from ash splints and cedar bark for of... Off in sections of the traps we 're making, sometimes a conversation between a contemporary artist researcher. 'S really very nice, and very satisfying, and he lived Falmouth... Old friend so the die is actually wearing off in sections of the Ancient East! Really necessarily make pieces to sort of house in this really careful, isolated fashion, it. Really nice the ongoing colonization and spread of white settlers a complex legacy as a historic 38th Voyager can that. With it n't think that changes over time the collection of historical Scientific Instruments, Peabody Museum Archaeology. So the die is actually wearing off in sections of the Aquinnah Wampanoag Tribe on the island Noepe. And ways that that I ca n't really necessarily make pieces to sort of house in this careful! Die is actually wearing off in sections of the Peabody Harvard Museum at Peabody really to! Quahog shells to create one of-a-kind sculptural jewelry it before 1892 friends and process cedar for... Was really a great question that Elizabeth and the ages vary among the ones I,!, the Tribe owns less than 1 % of the Ancient Near.! 'S thinking putting yourself in your ancestor 's shoes, thinking about their day get my milkweed looking at..