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Back
Be prepared to
get caught up in the atmosphere of creativity these mountains seem to
bring out! Some of us have never left.
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Artists in
the Pines, don't
miss this exciting week in the Rockies! Artists Musicians
Writers Sculptors and more...autumn 2006
( A little
sneak preview...
 ...)
June
9th with Trevor Kiitokii,
a one day workshop on traditional quillwork at the Sawridge Inn and
Conference Centre, 2pm - 7pm, $100, all materials and midday
refreshments provided.
Space
is limited - reserve yours now!!
Porcupine
quillwork predates European contact at a time when only the women
would perfect the skill of quillwork. Porcupine quills are dyed in
many different colors to bring out each individuals identity as an
important part of the tribal clans. In the most complex manor would
the women create designs that represented a strong spiritual
connection to the land and Creator. Today the art of porcupine
quillwork is disappearing. This began with the introduction to the
"pony beads" by the Europeans and, the seed beads, as we
know them today.
Trevor
“Kiitokii” Prairie Chicken was transfered the rights of
porcupine quillwork from Leonda Fast Buffalo Horse and Debra Mcgee
of the Blackfeet Nation in Browning, Montana.The quillwork that
Trevor creates is done in the respect of his ancestors and the
Blackfoot way of life. Allen Prairie Chicken, Trevor’s Grandfather
told stories of victory, the Sundance, songs and dance. Trevor has
taken this knowledge as told to him in stories and interpreted them
through the intricate art of porcupine quillwork. The stories are in
pictograpgh symbols that decorate the "War Shirts" of the
Blackfoot People. Quillwork is a way to preserve the rich heritage,
culture and spirituality of the Blackfoot People.
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Artist seeks
to revive ancient handicraft
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By Carol Picard
May 04 2006
Carol Picard – Editor of
Rocky Mountain Outlook
Three hundred years ago, before the first contact was made
between the European explorers and the native peoples of
Western Canada, the intricate patterns and designs with which
the aboriginal people decorated their clothing and baskets
were done entirely with porcupine quills.
It was a painstaking and somewhat hazardous undertaking,
requiring the trapping of the wild animals, dying of the
quills, and sewing, weaving or plaiting the quills into the
leather or bark. Often thousands of quills were required for
one small pattern on a basket or item of clothing, each
individually flattened, stitched and folded into place. A
single shirt could take years to decorate.
Little wonder that the practice almost atrophied when the
European settlers arrived, laden with ropes of tiny glass
beads they could trade with the Natives for furs, food and
other essentials. The beads were just as brightly coloured,
easier to obtain and easier to work with.
Today, only a handful of Native people in eastern North
America and among the southern U.S. tribes still practice the
age-old art form. In southern Alberta, there are just two
remaining quillers.
One, Trevor “Kiitokii” Prairie Chicken, has
enthusiastically offered to pass on his knowledge this summer
in a series of workshops at the Buffalo Nations Museum in
Banff, given sufficient interest.
About three and a half years ago Prairie Chicken was
“transferred” the rights to teach porcupine quillwork from
Leonda Fast Buffalo Horse and Debra McGee, of the Blackfeet
Nation in Browning, Montana. Both renowned quillers, the two
women had no issue with sharing their knowledge of the
traditionally women’s-only art form to a man.
“They took the whole day and sat and told me stories about
when they were young girls,” Prairie Chicken told about 10
participants in the first workshop Sunday (April 30) at the
Banff museum.
“The elders told them they had a duty to teach everyone who
came to their door the porcupine quill, so we won’t lose the
way. It’s too precious. These workshops are a way to
preserve the porcupine quill work and the stories and culture
behind it.”
Prior to European contact, all of the patterns and designs
employed by the Blackfoot quillers were floral, he said, but
after the beads arrived the Natives began stitching geometric
patterns.
“History took almost an about-face with regard to
traditional artwork. They used different styles and methods,
all of which have a spiritual meaning and context. Every
design has a purpose — it’s not just patterns and
designs.”
Porcupine quills may seem an unlikely medium in which to work,
but they were deliberately chosen by his foremothers, he said.
“Why don’t we use goose feathers, or bird feathers? They
can be dyed, too. It’s because the porcupine is a symbol of
discipline. They don’t have any pity.”
The quills have no pity, either, he joked, urging participants
to treat the fine, pliable spikes with the utmost of respect.
Each quill has very sharp, almost invisible reverse barbs that
can sink into skin or clothing and bury themselves.
“If you’re not preparing the quills properly they can be
very unforgiving. You have to respect them or they will turn
on you.”
The porcupine, which is native to most of Canada and the U.S.,
afforded the early Natives a bountiful supply of quills. The
animal is never killed to get the quills, and you cannot
entice them to “throw” the quills. Instead, he said, one
should trap the animal by throwing a blanket or hide over it
and then immobilize it with the handle of a tool, such as a
shovel, pressed hard against the back of the animal’s neck.
Then, using a burlap-wrapped stick, the quills are gathered
from the neck and sides of the animal, where the longest and
finest quills grow.
The spines are sterilized by repeatedly immersing them in
boiling water, then dried and dyed. In early days vegetable
dyes were used; today he uses packaged dyes such as Rit or
KoolAid powder.
Prairie Chicken showed the group how to flatten each quill
with their teeth or thumbnails and stitch it onto a piece of
tanned buffalo hide, a lengthy and painstaking process that
took many in the group several tries to master.
Quilling “takes patience and builds patience. It’s a good
thing to teach because I can share the culture, the symbolism,
the colours while they work. It’s not for people who just
want to make pretty patterns,” he said.
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