ARTS AND CRAFTS
Native American Bibliography
Periodicals
Anderson, Marcia G. and Kathy L Hussey-Armtson. "Ojibway Beadwork Traditions in the Ayer Collections." Minnesota History 48 (Winter 1982): 153-157.
The Ayer collection has examples of beadwork which are discussed and illustrated in this article.
"Art of the American Indian Frontier: The Chandler-Pohrt Collection." Michigan History 78 (May/June 1994: 10-17.
The striking combination of color, design and material of the Detroit Institute of Arts Chandler-Pohrt collection of Native American art reveal the bold innovation and spirited indomitability of America's Indian cultures.
Beardslee, Lois. "Lies to Live By." Traverse Northern Michigan's Magazine 23 (November 2003): 52-55.
Excerpts from Native American storyteller Lois Beardslee's new book.
"Birch Bark Canoe Builder: William Hafeman Perpetuates a Nearly Lost Art." Minnesota History 43 (Winter 1972): 142-145.
In pictures Mr. Hafeman builds a canoe, showing many of the processes starting with selecting a tree and ending with the finished product.
Chandler, Milford. "Great Lakes Indians: Art and Culture." Dearborn Historian 14 (Spring 1974): 47-58; 14 (Summer 1974): 89-98; 14 (Autumn 1974): 129-140.
A survey of various arts and cultural practices.
Clark, Janet. "Woodland Art." Lake Superior Magazine (April/May 2001): 20-23.
An honored and colorful style of Canadian art was spawned near the shores off Lake Superior.
Classen, Mikel B. "Art of the Shamans." Above the Bridge 12 (Spring 1996): 28-30.
Rock art in the Lake Superior basin.
Classen, Mikel B. "Native American Museum." Above the Bridge 11 (Spring 1995): 26-27.
Information about the Native American Museum in St. Ignace.
Collins, Audrey. "Area Native-American Receives White House Acclaim." Traverse The Magazine 16 (December 1981): 27.
Agnes Shenanaquet is a master of Indian quill work. She was invited to teach her quill work at the 15th Festival of American Folklife in Washington, D.C.
Cook, Mrs. William R. "A Michigan Indian Project." Michigan History 27 (Summer 1943): 492-499.
A history of the Michigan Indian Art and Craft Project which was started in 1938.
Croft, Kenneth. "Graphic Mechanisms of Communication in Native North America." Indiana Magazine of History 45 (December 1949): 339-352.
Croft explains Indian picture writing.
Culkin, William E. "Tribal Dance of the Ojibway Indians." Minnesota History Bulletin 1 (August 1915): 83-93.
Description of a dance at the Bois Fort Indian Reservation in northern Minnesota.
Dyer-Deckrow, Patricia. "Crafted with Good Intentions." Michigan History 80 (January/February 1996): 10-16.
Designed to help Michigan Indians support themselves during the Great Depression, the Michigan Indian Handicraft Project never dealt with the needs of the people it sought to help.
Edwards, Elizabeth T. "An Ancestral Art." Traverse Northern Michigan's Magazine 12 (July 1992): 44-48.
From her home in Peshwbestown Ottawa Indian Catherine Baldwin creates intricate quill boxes that carry on her heritage.
"Flag-based Indian Art Exhibition Scheduled." Indian Talk 3 (March/April 1976): 19-21.
American Indian art based upon the use of the design of the American flag and other patriotic symbols exhibition at the Flint Institute of Arts.
Hagley, Douglas A. "Craved in Stone." Michigan Natural Resources Magazine 56 (July/August 1987): 18-23.
The Sanilac Petroglyph site is a special place, full of mystery and wonder - a window on the vast and little understood prehistoric cultural heritage of Michigan.
Hagley, Doug. "Indian Art in Michigan." Ann Arbor Scene (March/April 1958): 8-13.
Paintings at Burnt Bluff and carvings in Sanilac County.
Hays, Donald R. "The Sanilac Petroglyphs." Detroit Historical Society Bulletin 26 (January 1970): 4-9.
Michigan's only known aboriginal Indian rock carvings.
Jones, Volney H. "Notes on the Manufacture of Cedar-Bark Mats by the Chippewa Indians." Papers of the Michigan Academy of Science, Arts and Letters 32 (1946): 341-364.
Manufacturing techniques.
Jones, Volney H. "Notes on the Preparation and Uses of Basswood Fiber by the Indians of the Great Lakes Region." Papers of the Michigan Academy of Science, Arts and Letters 22 (1936): 1-14.
Basswood fiber was used for cordage, thongs, and weaving material.
Jones, Volney H. "Some Chippewa and Ottawa Uses of Sweet Grass." Papers of the Michigan Academy of Science, Arts and Letters 21 (1935): 21-32.
Details of uses which were observed by Jones.
Joseph, Terri M. "Transformation of Pattern: From Nature to Cloth." Northeast Indian Quarterly 7 (Winter 1990): 41-46.
This article suggests that the floral design pattern of the Great Lakes Indians are aboriginal and were developed in times before non-Indian contact.
Kinietz, Vernon and Volney H. Jones. "Notes on the Manufacture of Rush Mats Among the Chippewa." Papers of the Michigan Academy of Science, Arts and Letters 27 (1941): 525-537. (Fitting Mss Box 6)
Describes how the Chippewa made rush mats.
Lanford, Benson L. "Great Lakes Woven Beadwork: An Introduction." American Indian Art Magazine 11 (Summer 1986): 62-67,75.
Presents an overview of woven beadwork of the Great Lakes region, focusing in particular on small, complex geometric woven beadwork motifs and their possible antecedents in other art forms.
Leechman, Douglas. "The Uses of Birch Bark." The Beaver (June 1943): 30-33.
This article shows a variety of uses including a wigwam, medicine drawing, box, cup, and tray.
Lessard, F. Dennis. "Great Lakes Indian 'Loom' Beadwork." American Indian Art Magazine 11 (Summer 1986): 54-61,68-69.
Analyzes and illustrates a number of the techniques used to produce Great Lakes woven beadwork, shedding some light on the differences in very similar looking techniques.
Mikkelsen, Leatrice. "The Ancient Art of Quillwork." Indian Historian 2 (Summer 1969): 30-34.
The quill of the porcupine was used by Natives of America long before beadwork came into existence. This article explains the techniques and materials used.
Newcomb, Patrick. "Designing a Future for Anishinabeg Art." Traverse Northern Michigan's Magazine 7 (July 1987): 81-85.
After extensive research in the local Indian culture, Cherrie Routhier became an expert on picture art. She is now marketing this unique art from on greeting cards and wrapping paper.
Papworth, Mark. "The Sanilac County Rock Carvings." Michigan Archaeologist 3 (December 1957): 83-87.
An examination of the petroglyphs and the surrounding area.
Pattee, Lynus R. "Birch Bark Canoe." The Beaver (June 1942): 24-27.
Pictures and explanations showing the building of a birch bark canoe.
Petersen, Eugene T. "Michigan's Mysterious Rock Painting." Ford Times (July 1960): 6-7. (Fitting Mss Box 7)
Information about prehistoric painting at Burnt Bluff in the Upper Peninsula.
"Petroglyphs to be Preserved in New Michigan State Park." Michigan Out-Of-Doors 24 (June 1971): 10.
A 640 acre area in Sanilac County will become the site of the Sanilac Petroglyphs Historic State Park. The area contains the only known Indian petroglyphs in Michigan.
Phillips, Ruth B. "Abstract Floral Patterns: Moccasins into Slippers: Continued Traditions and Transformations in Woodland Indian Textiles." Northeast Indian Quarterly 7 (Winter 1990): 26-36.
Woodlands Indian hats, bags, and shoes in tradition and transformation.
Pohrt, Richard A. "Nineteenth Century Michigan Chippewa Costume: Photographs of David Shoppenagons." American Indian Art Magazine 11 (Summer 1986): 44-54.
Thanks to the many surviving photographs of David Shoppenagons, we have a good visual record of mid-nineteenth century Michigan Chippewa costume.
Saart, Margaret. "Ferdy Goode and the Birch Bark Revival." Michigan Sportsman 7 (September/October 1982): 36-38.
Goode builts Ojibway style birch bark canoes.
"The Sanilac Petroglyphs: Report of the Sanilac Petroglyphs Committee." Michigan Archaeologist 15 (December 1969): 93-99.
The Sanilac petroglyphs are the only aboriginal art carvings known in Michigan and preserving them is a primary concern of the Michigan Archaeological Society.
Schafer, James R. "Stone Sculptor Produces Works of Harmony." Mt. Pleasant Magazine (April 2002): 10-13.
Daniel Mena, Jr is a Chippewa sculptor.
Stecher, Naseem. "Tribal Artist Preserves Heritage." Mt. Pleasant Magazine (October 1996): 14-15.
The art of Perry Bailey.
Strawer, Patsy. " 'First People' Pool Artwork, Preserve Traditions." Eberley's Michigan Journal (March/April 1983): 8-9.
The Anishinabe Indians now have a means for cooperatively marketing their arts and crafts through a venture centered in Genesee County.
Tate, Elda. "The Native American Flute: A Contemporary View." Harlow's Wooden Man 34 (Summer 1998): 3-5+.
Studying music from the perspective gained through a single instrument can provide understanding of a culture.
Tatum, R. N. "The Relation of Michigan's Petroglyphs to Others in the United States." Totem Pole 18 (December 2, 1946): 1-3.
A brief survey of what is known about petroglyphs.
Vennum, Thomas Jr. "Constructing the Ojibwa Dance Drum." Wisconsin Archeology 54 (December 1973): 162-174.
A step by step description of the construction of an Ojibwa dance drum show how the craftsman, with modern tools and materials, continues to follow traditional Indian methods in building his instrument.
Wadsworth, Beula Mary. "A Vanishing Art of the Chippewas." Michigan History 21 (Winter 1937): 69-88.
Quill work with illustrations.
Wagner, Jerry. "Indian Art and Artifacts." Wilderness Chronicle 11 (Spring 1987): 25-26.
Examples of art and artifacts created in Michigan.
Walsh, Martin W. "The Native American Sketches of Henry Hamilton." Michigan History 81 (May/June 1997): 20-27.
Hamilton's 1770s sketches, made in Detroit where he was a British officer.
Wawro, Michael. "From Sticks, Roots, Bark and Gum." Michigan Natural Resources Magazine 51 (March/April 1982): 56-65.
Wawro is a modern canoe builder who seeks out and helps preserve an ancient Indian craft.
Weston, Donald. "Michigan Rock Art." Michigan Archaeologist 21 (March 1975): 41-61.
A review of known and purported petroglyph sites in Michigan.
Whiteford, Andrew Hunter. "The Origins of Great Lakes Beaded Bandolier Bags." American Indian Art Magazine 11 (Summer 1986): 32-43.
Four beaded bags and how they fit into the history of Great Lakes beadwork