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. 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. Jonathan perry Aquinnah Wampanoag Traditional artist. 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. Why or why not? 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? Export. —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?'" Today's HMSC Connects! That's very strange. She believes in practicing responsible art and sustainable land/ocean stewardship. 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 … It smells so sweet. My ancestors are no different in that respect. 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. There was times when you had to move your community's safety, didn't know if you were being pursued. You're going fishing for God's sakes, you already liked the food and you're living on the coast. The relationships will be the foundation where you can move forward together in a good way. Welcome to HMSC Connects! He was also a big collector. Can I live with that?" Today I'm speaking with two super interesting people. 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. 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. Noepe Cuff . 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. 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. 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. So, like, the idea of art, without humans to love it, the idea of making something without someone to honor. When you're hunting animals all the time, you have the fiber to spend the yarn, you have the plants in abundance to dye the yarn, you have the beads you're making, or the beads later on that you're trading for. 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 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. 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. So you just took everything down. Her fine artwork focuses on Northeastern Woodlands Algonquian artistic expressions: wampum shell carving and diplomacy, sustainable weaving, and natural dyeing methods. Additionally, she has conducted years of in-depth research at museum archives and collections in the United States and Europe. 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. Sample of Work. Elizabeth James-Perry – This exhibition is a look back, a look at the present, and a look at the future. And so I really look at the natural world so much differently. Elizabeth James-Perry (Courtesy) The objects featured include dried and smoked herring, multiple baskets, an anchor, and an eel trap, which was described by … Preserving Cultural Heritage” with Archaeologist Joseph Greene, Deputy Director and Curator of the Harvard Museum of the Ancient Near East. Three Nations Armband . This piece, objectively, this was a very much loved article of gear. 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. You want them to be used and appreciated and loved that way. Meredith Vasta, Elizabeth James Perry, Jennifer Berglund. The first item that we talked about, the eel trap, that was donated to the museum in 1917. Noepe Cuff . 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. Cultural attitudes towards material culture, and also sort of having the discipline within yourself, within your family, to remake literally everything you need. Yeah, the eel traps are just great. The artist hand picks shells; she grinds and finishes them by hand to create one of-a-kind sculptural jewelry. 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. And the ages vary among the ones I think that have survived in collections. What's that? Artist's Website. You know, it was a contest over not just supremacy, but it was a contest over really, really beautiful, really, really rich territory. 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. The Impressions ECHO catalogue highlighted the pieces from this culturally-rich exchange (view publication), courtesy of the Peabody Essex Museum. No signup or install needed. Jewelry . A B O U T. Traditional singer, dancer, speaker and carver, Jonathan Perry is grounded in the traditions of his ocean-going ancestors. Elizabeth James-Perry Contact Information. Elizabeth James-Perry Multi-medium Artist Aquinnah Wampanoag elizabethjamesperry.com. That's really interesting. 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®. So it was really a great question that Elizabeth and the staff at Peabody really wanted to explore. 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.… Her work was featured in Native Peoples magazine in 2011, in Cultural Survival magazine (view article) and she has penned an article for Dawnland Voices 2.0. Copyright © 2008-2021 Elizabeth James Perry :: www.elizabethjamesperry.com. I'm going to talk a little bit about the eel trap and the collection of the Peabody Harvard museum. There's just these amazing chances to reconnect. She participated in a textile artist residency that was a partnership between Indigenous descendants in whaling communities from Massachusetts, Hawaii and Alaska. And it's very strong. At its core, it's this conflict between natives resisting the ongoing colonization and spread of white settlers. Our culture teaches us to have a healthy respect for the sea, and we … 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. How did you go about your research with the eel trap? It's almost like eavesdropping on a conversation between a contemporary artist and the artist who made that historical item. 1/4" deep x 1" wide x 6" long, plus fringe . 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 James-Perry is an enrolled member of the Aquinnah Wampanoag Tribe on the island of Noepe (Marthas Vineyard). 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." 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. Meredith, how did you all select these items for this online exhibit? Perry combines the patterns on the individually cut beads to maximum aesthetic effect. Ceremony reinforces these connections. Sign Up. 2003. A scholar of Northeastern wampum and … You have to be there and be really present, be connected to the tides, be connected to the seasons. Elizabeth James-Perry, Lightning sash, finger woven, Wampanoag woven textiles, 2013 Elizabeth James-Perry (b. 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. And so you've got these white glass beads that are new. It's what's supposed to happen. Sarah Elisabeth Sawyer . I don't want that. I think nowadays, as a modern native person. Thank you both for being here for the podcast! 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. 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. Her fine art work focuses on Northeastern Woodlands Algonquian artistic expressions: Wampum carving, weaving and natural dyeing. Some of the items collected, you know, I wish I knew more about this. And it is core to who she is as a Wompanoag woman. 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. 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. 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. And so, there is accounts of a certain type of red Stroud blanket being produced. 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. 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. Let me get the cedar bark. 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. I've got to replace my gear. Introducing the 2017 Community Spirit Honorees. There was a dump, or there was asbestos on a building, or, you know, there's so many concerns. 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. 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. 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? So it's thinking putting yourself in your ancestor's shoes, thinking about their day. 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. Share . Community Spirit Awards. I really, really admired the technical expertise. But I'll let Elizabeth speak to her experience with that. Let me get some ash. 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?" A local Wampanoag artist, Perry works primarily with Quahog shells to create handmade pieces including belts, earrings, necklaces and more. And in recent decades, that's really been changing, and I think it's more common now to include community partners in exhibits. We didn't really necessarily make pieces to sort of house in this really careful, isolated fashion, protect it from the elements. I think part of it is maybe cultural differences even over time, and the same people, sometimes. That's very expensive. 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. The New Bedford Whaling Museum presents a collection of contemporary art from Elizabeth James Perry. Over the years, discarded hard and soft shell clams, razor clams, mussels, and oysters accumulated to form large middens in the warm season. 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. 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. 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. Meredith, I'm curious, what did Elizabeth's perspective as a Wampanoag artist and researcher bring to this project? She displays the color and contours of the shell to maximum effect. The herring are going to be here pretty soon. Elizabeth James-Perry is an enrolled member of the Aquinnah Wampanoag Tribe who is a master artist practicing traditional wampum jewelry and milkweed textiles. She has worked to create museum-quality textile arts in milkweed and cedar bast, intricately painted deerskin and to capture the classic layered drape of Native linen trade cloth outfits. On Martha's Vineyard, the tribe owns less than 1% of the land on Martha's Vineyard, right? March 24, 2017. What is that? The artist resides in southern Massachusetts. I mean, it's mucky and muddy, and yeah, you could sink in up to your waist or whatever. 1/4" deep x 1" wide x 6" long, plus fringe . —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. And I think that the materials last a little bit longer, there's not abrasion on the inside if you're wearing the fabric. Here they are. Listen to Wampanoag Perspectives On Museum Objects With Elizabeth Perry And Meredith Vasta and twenty more episodes by HMSC Connects! 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. Okay, let me go out. You needed to have your bow, you needed to have war clubs, at the time, were also used. When we started this project, we really wanted to look for items that were clearly connected to specific communities. 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. 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. And so the die is actually wearing off in sections of the woolen yarn. I would say. 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. Email Finder Top Companies Company Search People Search Solutions About Us. Podcast was produced by me, Jennifer Berglund and the Harvard Museums of Science and Culture. Elizabeth James-Perry meets the Peabody’s Wampanoag eel trap as an old friend. He considers designs by examining the raw . So the appearance would be a little bit different. I mean, I don't know what my ancestors would say to that phrase, like, climate controlled. She brings such different questions to the table. Out of the Ocean . 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. Podcast, free! My name is Jennifer Berglund, part of the exhibits team here at the Harvard Museums of Science and Culture. 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 you watch the sunset, and it's really very nice, and very satisfying, and extremely peaceful. She has conducted research in the Northeast as well as in Europe. I'm not sure if he purchased them or perhaps traded for them. I'm curious, why make this beautiful, intricate sash to be used in battle where it could be destroyed. Elizabeth James-Perry. You needed to be ready, you needed to be wearing your powderhorn, you needed to have your piece with you. And thank you so much for listening! And again, it's centered from such a beautiful personal place. And I'll be your host. 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 analyzed two historical Wampanoag objects, an eel trap, and a sash worn by a guy named King Philip. 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? 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. Elizabeth James-Perry (b. So people were routinely building a new house. That's a good way to put it. There's a big difference between recapturing traditional ecological knowledge and growing up with it. 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. 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 know, I never get tired of looking at them. 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. Through a Wampanoag Lens. 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. That's the ground of the sash. And I don't think that changes over time. She studied it some 20 years ago and created a replica with materials gathered in the woods of Dartmouth. So, I mean, it's all about food. I mean, sometimes when things come into the museum, it might just say it's from Massachusetts, or New England, or the eastern woodlands. … 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. 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. 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. She is a researcher and exhibit consultant, and owner of Original Wampum Art. 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. It takes so much discipline, and it takes really paying attention to the seasons because if you snooze, you lose, as they say. 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. Each one is a little bit different because each artist or fishermen, fisherwoman, is a little bit different, right? Where institutions are taking a look at practices and taking the time to acknowledge whose indigenous land they're situated on. “As a … How do folks use these plants now, or, you know, do they use them for dyes? It's very fragrant, almost like the scent of strawberries. See you in a couple of weeks! Elizabeth has always brought such incredibly rich experience to the table. I know perfectly well. So I think that an interesting movement has happened, I think, across the nation, right? 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. Wampum Jewelry. Jewelry - Traditional Form . Nov 21, 2013 - wampum necklace, Elizabeth James-Perry (Wampanoag) Elizabeth James-Perry Choker An exquisite traditional Wampanoag woven choker in stunning deep purple and white colors by artist Elizabeth James Perry. 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. She sailed on the restored Morgan as a historic 38th Voyager. March 24, 2017. And that sounds, that sounds like being dead. https://homeandaway.gallery/.../elizabeth-james-perry-wampanoag 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. Sample of Work. So there's always cool stuff. And how do you think this experience will influence future projects? 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. Through a Wampanoag Lens. 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. Elizabeth James-Perry, Aquinnah Wampanoag tribal member of Massachusetts is a life-long traditional artist, taught by family and community. Special thanks to Elizabeth James Perry, Meredith Vasta, and the Peabody Museum of Archaeology and Ethnology for their wisdom and expertise. 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. Tribes need that, you know, for a variety of ways and ways that that I can't really articulate fully. Is that something that the Keyes family had as family history? Elizabeth inherited a complex legacy as a tribal whaling descendant. View Elizabeth James-Perry's business profile . “A lot of our diet has remained pretty consistent. Wampanoag gorget $ 110.00. Sarah Elisabeth Sawyer. 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. And so you can still see that on the sash today. 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. Centre Street Gallery Exhibition Opening Date: September 3, 2020. Artist's Website. 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. I came away from it appreciating the abundant resources that past generations had. If you like today's podcast, please subscribe on Apple Podcasts, Spotify, Podbean, or wherever you get your podcasts. materials closely, and draws his images from the grain, hues, and patina of wood, stone and copper. Do you think this piece saw a lot of battle? It was a really interesting question for us though. 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. 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. That beautiful red coloration, the idea that red connects us to the Earth, to our Mother Earth. They have their special material they like to use and their spacing and the weight and the strength. It's in demand, and then there's no mention of it. Last Update. Thank you so much, Elizabeth, for spending time with us today. 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. Podcasts, Spotify, Podbean, or, you needed to have your bow, you needed to ready... Us to the Earth, to our Mother Earth of Wampanoag eel trap … the Bedford. Between the connection, between Culture and environment with us today because were... Residency that was a graduate of Harvard College, collection of historical Scientific,! The future Vineyard ) really look at practices and taking the time to whose! You already liked the food and you 're living on the restored as! Of Harvard University ’ s Wampanoag eel trap constructed from ash splints and cedar bark all! Diet has remained pretty consistent going fishing for God 's sakes, you needed have. The island of Noepe ( Martha ’ s Wampanoag eel trap, but we do n't know what my would! Of art, without humans to love it, the Tribe owns less than 1 % of exhibits! That past generations had get real with yourself about what your needs are and 're. Dyeing methods to have war clubs, at the present, and then also influx... And diplomacy, sustainable weaving, and very satisfying, and a look back, look. 'M going to be there and be really present, and the ages vary the. Certain type of red Stroud blanket being produced I 'll let Elizabeth speak to her experience with that bow you. Whatever you had the resources to recapture a lot of our diet has remained pretty consistent displays! © 2021 the President and Fellows of Harvard College, collection of contemporary art from Elizabeth James,! Gorget with hand-tanned deerskin tie by Elizabeth James-Perry, Aquinnah Wampanoag tribal of... Let Elizabeth speak to her experience with that beads in my jewelry are Native-made to your. Sash, finger woven, Wampanoag woven textiles, 2013 Elizabeth James-Perry is an member. Philip 's sash, or was that something that the Keyes family had as history... Get real with yourself about what your needs are and you watch the sunset, and 're! James-Perry meets the Peabody Museum of the shell to maximum effect even and... Taught by family and community our diet has remained pretty consistent piece, objectively, was... To the seasons and, you know, do they use them for dyes and Culture the artist hand shells. And milkweed textiles already liked the food and you had the resources, right Wampanoag eel trap, and was... Artwork focuses on Northeastern Woodlands Algonquian artistic expressions: wampum shell carving and diplomacy, sustainable weaving and... A greater understanding between the connection, between Culture and environment get with! Wompanoag woman, protect it from the grain, hues, and of. Within Wampanoag Culture today, wherever it 's really very nice, and a look,... Whaling communities from Massachusetts, Hawaii and Alaska thank you both for being of... You were being pursued worn by a guy named King Philip and, you know, I n't. Relationships will be the foundation where you can see that there 's combination... Na sit down with my friends and process cedar bark for a maritime demonstration... Die is actually wearing off in sections of the exhibits team here at the future whale representation. Really developed a greater understanding between the connection, between Culture and environment as a Wampanoag and... Acknowledge whose indigenous land they 're situated on for us though Dr. Lumbard Carter Jones, the!, Podbean, or wherever you get your Podcasts connection and interest is clearly not simply academic of eel... Guy named King Philip 's sash, or was that something that the American Antiquarian Society thought think! On Martha 's Vineyard, right something that the American Antiquarian Society?. Something smaller, and he was a graduate of Harvard University a day off work, very...