One of the unique aspects of Siena's Creative Arts major is its culminating capstone project. Every spring our students complete a project incorporating elements from their entire course of study. I've had students create bodies of artwork for exhibition in a gallery, create graphic novels, and even engage in some environmental activism through their art. This past term I had the pleasure of working with Leigh Graham. Leigh spent the term researching Haudenosaunee art. The focus of her paper was the use of treaty language and imagery in contemporary Haudenosaunee art. Of course, to understand the contemporary work, she spent a lot of time exploring the traditions and culture of the Haudenosaunee.
I've invited Leigh to share some of her research on this blog. What follows is an excerpt adapted from her paper. Additional excerpts will be posted in the days ahead. Since St. Kateri Tekakwitha herself was a skilled beadworker this subject, I hope will be of interest.
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| Mohawk Style Beadwork |
Haudenosaunee Beadwork, Part I
From, "Contemporary Social Issues Through Haudenosaunee Art" by Leigh Graham
Today there are three styles of raised beadwork being practiced by Haudenosaunee bead workers. The Niagara tradition was developed around Niagara Falls, and has been used primarily by the Seneca and the Tuscarora in that region. The Mohawk tribe developed the Mohawk style. These bead workers tended to travel with medicine shows and are currently primarily working in the Montreal area. Finally, the most widespread modern style is the Thomas-Hill style, developed in the 1960s by a mother and son team, Lorena Hill and Samuel Thomas.[1]____________
[1] Karen Ann Hoffman, interview via phonecall, March 11, 2014
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