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Over time, floral beadwork has become one of the most distinctive Métis symbols. The Métis developed beautiful beadwork patterns that combined First Nations beadwork with the floral embroidered patterns introduced by French-Canadian nuns working in the Roman Catholic missions.
- Music and Dance
The Metis have always been a social and festive people with...
- Music and Dance
Some patterns resonate with cultural identity or origin stories, such as triangular representations of Bear Butte in Tsitsistas (Cheyenne) beadwork, or the curvilinear Tree of Life of Haudenosaunee (Iroquois/ Six Nations) beadwork. Beadwork, like any art, evolved, borrowed, and innovated to create a rich visual history.
array of common Métis and Anishinaabe beadwork patterns, but have also tried to make sure I have not inappropriately taken the work of individual beadworkers.
Wampum are beads made from various white and purple mollusk shells which were and are still used by various Native nations throughout northeastern North America for ornamental or ceremonial use. Contrary to misconceptions, wampum was not "indian money."
Indigenous beadwork often involves meticulous embroidery using colourful glass beads, which were first introduced to North America through European trade. From an archaeological perspective, the importance of beads in Indigenous cultures far predates European contact.
The Haudenosaunee (People of the Longhouse), also known as the Six Nations (Seneca, Cayuga, Onondaga, Oneida, Mohawk and Tuscarora Nations) have developed a distinctive style of heavily-embossed beadwork, which is also called raised beadwork. In the Tuscarora language, wíyu means “It is beautiful.”
There are a couple of theories as to why floral patterns are by far the most common seen on Yukon First Nations beadwork. For nearly 70 years between 1882 and 1951, potlatches were banned in Canada and that meant using any symbolism associated with the potlatch could be dangerous.
