The Cedar Plank Maskis the third book in a four part series, preceded by The Bentwood Box and The Buttion Blanket. This book is designed for students of 3rd through 6th greade. The art style represented in this book is called Westcoast style by the people who live on the western most tip of Washington and west coast of Vancouver Isalnd. Because Westcoast style is an art form unto its own, there are differences between it and the northern styles This book will help you see those differences in two dimensional or flat art.
The story of an Indian boy's visit to a museum where he learns about the masks made by different Indians living in the Pacific Northwest introduces activities that provide information about the crafts and ways of life of these peoples.
From the mighty cedar of the rainforest came a wealth of raw materials vital to the early Northwest Coast Indian way of life, its art and culture. For thousands of years these people developed the tools and technologies to fell the giant cedars that grew in profusion. They used the rot-resistant wood for graceful dugout canoes to travel the coastal waters, massive post-and-beam houses in which to live, steam bent boxes for storage, monumental carved poles to declare their lineage and dramatic dance masks to evoke the spirit world. Every part of the cedar had a use. The versatile inner bark they wove into intricately patterned mats and baskets, plied into rope and processed to make the soft, warm, yet water-repellent clothing so well suited to the raincoast. Tough but flexible withes made lashing and heavy-duty rope. The roots they wove into watertight baskets embellished with strong designs. For all these gifts, the Northwest Coast peoples held the cedar and its spirit in high regard, believing deeply in its healing and spiritual powers. Respectfully, they addressed the cedar as Long Life Maker, Life Giver and Healing Woman. Photographs, drawings, anecdotes, oral history, accounts of early explorers, traders and missionaries highlight the text.
Don Smith - or Lelooska, as he was usually called - was a prominent Native American artist and storyteller in the Pacific Northwest. Born in 1933 of �mixed blood� Cherokee heritage, he was adopted as an adult by the prestigious Kwakiutl Sewid clan and had relationships with elders from a wide range of tribal backgrounds. Initially producing curio items for sale to tourists and regalia for Oregon Indians, Lelooska emerged in the late 1950s as one of a handful of artists who proved crucial to the renaissance of Northwest Coast Indian art. He also developed into a supreme performer and educator, staging shows of dances, songs, and storytelling. During the peak years, from the 1970s to the early 1990s, the family shows with Lelooska as the centerpiece attracted as many as 30,000 people annually. In this book, historian and family friend Chris Friday shares and annotates interviews that he conducted with Lelooska, between 1993 and ending shortly before the artist's death, in 1996. This is the story of a man who reached, quite literally, a million or more people in his lifetime and whose life was at once exceptional and emblematic.
Build Your Own Shamanic Toolkit In this beautifully illustrated guide, artist and shamanic teacher Evelyn C. Rysdyk shows you how to create, decorate, consecrate, and use various sacred tools in ritual and healing. Navaho traditional healers bring rattles, corn pollen, eagle feathers, and sage smoke together with songs and dances to affect healing. Ulchi shamans use drums, rattles, and larch tree wands called gimsacha to work healing magic. Manchu shamans will perfume the air with incense and tie on a heavy bustle of iron jingles as a part of their ceremonial costume. Modern shamanic practitioners likewise use sacred tools to facilitate our connection to helper spirits in the Upper, Middle and Lower Worlds, as well as the spirits of nature. While you can purchase many of these tools, there’s nothing quite as powerful as making your own. You’ll find instructions for making rattles, drums, masks, mirrors, spirit figures, fans, bells, pouches, wands, prayer bundles, flutes, whistles, and more. Plus suggestions for responsible ways to obtain the materials you’ll need. “Having an intimate connection to all the spirits that came together in my favorite rattle—knowing that the tiny pebbles came from the local riverbank, the wood handle from a lightning-struck maple in my yard, and the rawhide from a black bear that was hunted by a native friend for food—gives it a far deeper meaning and power.” —from the introduction The author’s original artwork and photographs of shamans and their authentic tools appear throughout the book.
The Archaeology of Native North America presents the ideas, evidence, and debates regarding the initial peopling of the continent by mobile bands of hunters and gatherers and the cultural evolution of their many lines of descent over the ensuing millennia. The emergence of farming, urban centers, and complex political organization paralleled similar developments in other world areas. With the arrival of Europeans to North America and the inevitable clashes of culture, colonizers and colonists were forever changed, which is also represented in the archaeological heritage of the continent. Unlike others, this book includes Mesoamerica and the Caribbean, thus addressing broad regional interactions and the circulation of people, things, and ideas. This edition incorporates results of new archaeological research since the publication of the first edition a decade earlier. Fifty-four new box features highlight selected archaeological sites, which are publicly accessible gateways into the study of North American archaeology. The features were authored by specialists with direct knowledge of the sites and their broad importance. Glossaries are provided at the end of every chapter to clarify specialized terminology. The book is directed to upper-level undergraduate and graduate students taking survey courses in American archaeology, as well as other advanced readers. It is extensively illustrated and includes citations to sources with their own robust bibliographies, leading diligent readers deeper into the professional literature. The Archaeology of Native North America is the ideal text for courses in North American archaeology.
Hardship, perseverance, and tragedy connect these two compelling novellas about transformation and reinventing ourselves—for better or worse—in the face of adversity. In “Too Much,” Sam, a homeless person, is in a back alley collecting bottles and cans when he discovers a bulging backpack stuffed with cash. This stroke of luck changes the trajectory of his life and gives him opportunities he never dreamed of—and maybe even a second chance at love. In "Undercut," Ernie Reid is retiring from his job as a welding instructor at Riverview Correctional Centre. After a break-in and theft at his welding shop, he discovers the culprits are two former inmates and sets out to find them, even if it means he will cross all the lines he once upheld to make things right.
You don't have to live in the Great Bear Rainforest to benefit from its existence, but after you read Nowhere Else on Earth you might want to visit this magnificent part of the planet. Environmental activist Caitlyn Vernon guides young readers through a forest of information, sharing her personal stories, her knowledge and her concern for this beautiful place. Full of breathtaking photographs and suggestions for ways to preserve this unique ecosystem, Nowhere Else on Earth is a timely and inspiring reminder that we need to stand up for our wild places before they are gone.
