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Birchbark biting (Ojibwe: Mazinibaganjigan, plural: mazinibaganjiganan) is an Indigenous artform made by Anishinaabeg, including Ojibwe people, [1] Potawatomi, and Odawa, as well as Cree [2] and other Algonquian peoples of the Subarctic and Great Lakes regions of Canada and the United States.
She was exceptionally skilled in beadwork, and was a master of Ojibwe floral designs and geometric loom beadwork techniques. [4] She was able to create fully beaded traditional bandolier bags, which were commonly worn by tribal leaders. [9] She has shown pieces in the Smithsonian Institution's craft collection. The American Federation of Arts ...
Patrick DesJarlait, Sr. (1921–1972) was an Ojibwe artist and a member of the Red Lake Band of Chippewa Indians. Known for his watercolor paintings, DesJarlait created roughly 300 artworks during his lifetime.
Dreamcatcher, Royal Ontario Museum An ornate, contemporary, nontraditional dreamcatcher. In some Native American and First Nations cultures, a dreamcatcher (Ojibwe: ᐊᓴᐱᑫᔒᓐᐦ, romanized: asabikeshiinh, the inanimate form of the word for 'spider') [1] is a handmade willow hoop, on which is woven a net or web.
A wiigwaasabak (in Anishinaabe syllabics: ᐐᒀᓴᐸᒃ, plural: wiigwaasabakoon ᐐᒀᓴᐸᑰᓐ) is a birch bark scroll, on which the Ojibwa (Anishinaabe) people of North America wrote with a written language composed of complex geometrical patterns and shapes.
Ganebik Johnson started learning traditional Ojibwe songs when he was about 2 years old. Spearfishing came shortly after, at around age 7, when his grandfather took him out on a northern Wisconsin ...
The craft is their act of knowledge seeking, and as such, was a sacred act. In this way, the women with more experience gained greater status in the crafting society. [ 5 ] [ 6 ] The master and apprentice roles were always present in the crafting societies, as the older women would always have more knowledge due to their lifetime of dedication ...
Ruby Slipperjack, or Ruby Slipperjack-Farrell, (born 1952) is an Ojibwe writer and painter. Her work discusses traditional religious and social customs of the Ojibwe in northern Ontario, as well as the incursion of modernity on their culture. She is a member of Eabametoong First Nation.