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. That's the ground of the sash. Elizabeth James Perry and Meredith Vasta. 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. And so, there is accounts of a certain type of red Stroud blanket being produced. 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. Whatever you had in your arsenal was on your person, typically, because we weren't driving around in U-Hauls. 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. And again, it's centered from such a beautiful personal place. Meredith, how did you all select these items for this online exhibit? I've got to replace my gear. My ancestors are no different in that respect. March 24, 2017. 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. Preserving Cultural Heritage” with Archaeologist Joseph Greene, Deputy Director and Curator of the Harvard Museum of the Ancient Near East. Okay, let me go out. 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. 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? Out of the Ocean . I think part of it is maybe cultural differences even over time, and the same people, sometimes. So it was really a great question that Elizabeth and the staff at Peabody really wanted to explore. Wampum Jewelry. 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?" 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. I mean, sometimes when things come into the museum, it might just say it's from Massachusetts, or New England, or the eastern woodlands. Ceremony reinforces these connections. 2003. At its core, it's this conflict between natives resisting the ongoing colonization and spread of white settlers. And so you can still see that on the sash today. And what did you find? Folklife Festival, Seattle, Washington. 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. 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. 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? 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 … 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. You have the artist spinning the Indian hemp, which is an indigenous plant that we use for sewing and weaving and even some soft fiber basketry, twine basketry. 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." It's very fragrant, almost like the scent of strawberries. The older one was wearing out, it was getting drafty, the bark was leaking. It's in demand, and then there's no mention of it. 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. You know, it was a contest over not just supremacy, but it was a contest over really, really beautiful, really, really rich territory. 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. So you just took everything down. There's just these amazing chances to reconnect. What is that? How did you go about your research with the eel trap? Jonathan perry Aquinnah Wampanoag Traditional artist. 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 … Additionally, she has conducted years of in-depth research at museum archives and collections in the United States and Europe. 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. And I think that the materials last a little bit longer, there's not abrasion on the inside if you're wearing the fabric. 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. Where institutions are taking a look at practices and taking the time to acknowledge whose indigenous land they're situated on. 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. The relationships will be the foundation where you can move forward together in a good way. 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. She is a researcher and exhibit consultant, and owner of Original Wampum Art. Is this actually King Philip's sash, or was that something that the American Antiquarian Society thought? Pashpeshau means s/he rises, s/he bursts forth, s/he blooms, in the Massachusett language. Sample of Work. There was a dump, or there was asbestos on a building, or, you know, there's so many concerns. https://homeandaway.gallery/.../elizabeth-james-perry-wampanoag This is an orca (killer whale) representation reminiscent of Northwest Coast designs. How do folks use these plants now, or, you know, do they use them for dyes? And so there's this idea of movement and journey, and I think a certain amount of balance and harmony in that process. 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. Elizabeth inherited a complex legacy as a tribal whaling descendant. I'm gonna sit down with my friends and process cedar bark for all of the traps we're making. I think when there is distancing or mistrust, things don't work out well. March 24, 2017. Community Spirit Awards. Aquinnah Wampanoag artist Elizabeth James-Perry’s wampum mother earth and bear image 'employs the rich purple hues of the quahog shell,' which is wild-harvested sustainably by the artist. Her fine artwork focuses on Northeastern Woodlands Algonquian artistic expressions: wampum shell carving and diplomacy, sustainable weaving, and natural dyeing methods. My name is Jennifer Berglund, part of the exhibits team here at the Harvard Museums of Science and Culture. Sarah Elisabeth Sawyer . Artist's Website. Find contact's direct phone number, email address, work history, and more. Perry combines the patterns on the individually cut beads to maximum aesthetic effect. 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. We didn't really necessarily make pieces to sort of house in this really careful, isolated fashion, protect it from the elements. Artist's Website. And that sounds, that sounds like being dead. Tribes need that, you know, for a variety of ways and ways that that I can't really articulate fully. A scholar of Northeastern wampum and … So I think that an interesting movement has happened, I think, across the nation, right? I'm going to talk a little bit about the eel trap and the collection of the Peabody Harvard museum. So it was this experiment in in trying to cater to native tastes in New England. You have to be there and be really present, be connected to the tides, be connected to the seasons. All of the wampum beads in my jewelry are Native-made. 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. 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. Elizabeth has always brought such incredibly rich experience to the table. So the appearance would be a little bit different. That's really interesting. And in recent decades, that's really been changing, and I think it's more common now to include community partners in exhibits. The herring are going to be here pretty soon. 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). Over the years, discarded hard and soft shell clams, razor clams, mussels, and oysters accumulated to form large middens in the warm season. See you in a couple of weeks! Elizabeth James-Perry is an enrolled member of the Aquinnah Wampanoag Tribe on the island of Noepe (Martha’s Vineyard). 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. Listen to Wampanoag Perspectives On Museum Objects With Elizabeth Perry And Meredith Vasta and twenty more episodes by HMSC Connects! Elizabeth analyzed two historical Wampanoag objects, an eel trap, and a sash worn by a guy named King Philip. Through a Wampanoag Lens. So, like, the idea of art, without humans to love it, the idea of making something without someone to honor. “As a … Elizabeth James-Perry Choker An exquisite traditional Wampanoag woven choker in stunning deep purple and white colors by artist Elizabeth James Perry. materials closely, and draws his images from the grain, hues, and patina of wood, stone and copper. And it's very strong. I mean, I don't know what my ancestors would say to that phrase, like, climate controlled. I really, really admired the technical expertise. On Martha's Vineyard, the tribe owns less than 1% of the land on Martha's Vineyard, right? And also for being part of this online exhibition. 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. It had to be portable, and it had to be handy, you know, if you're going to be successful in essentially keeping yourself alive. You needed to be ready, you needed to be wearing your powderhorn, you needed to have your piece with you. 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. I'm not sure if he purchased them or perhaps traded for them. Last Update. Each one is a little bit different because each artist or fishermen, fisherwoman, is a little bit different, right? You could recycle the poles to something smaller, and you had the resources, right, you had the resources. Access Elizabeth's Contact Information . It's almost like eavesdropping on a conversation between a contemporary artist and the artist who made that historical item. She received the Paul Cuffe Memorial Fellowship to research 19th-20th century Wampanoag tribal crew aboard the Charles W Morgan, which included members of the Gay Head/ Aquinnah and Christiantown /Manititoowatan island communities. 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. 1/4" deep x 1" wide x 6" long, plus fringe . Elizabeth James-Perry (b. Sample of Work. She has conducted research in the Northeast as well as in Europe. It was a really interesting question for us though. They have their special material they like to use and their spacing and the weight and the strength. The artist resides in southern Massachusetts. Who knows how long they'll be there? HQ Phone (508) 645-9265. This has been really nice. Share . 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. 1/4" deep x 1" wide x 6" long, plus fringe . 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. 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. I mean, her connection and interest is clearly not simply academic. I find it interesting this there's this combination. 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. Can I live with that?" The artist hand picks shells; she grinds and finishes them by hand to create one of-a-kind sculptural jewelry. Elizabeth James-Perry meets the Peabody’s Wampanoag eel trap as an old friend. 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. Let me get the cedar bark. The Impressions ECHO catalogue highlighted the pieces from this culturally-rich exchange (view publication), courtesy of the Peabody Essex Museum. Yeah, the eel traps are just great. That beautiful red coloration, the idea that red connects us to the Earth, to our Mother Earth. Community Spirit Awards. 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