Object: Basket

E/1982/11/258
Basket
Qwu’lh-hwai-pum (or Klickitat)
North America: Columbia River area
Unknown date: likely 20th century
Materials: Cedar and grass

The Qwu’lh-hwai-pum (or Klickitat) tribe traditionally lived in the area around the Columbia river in what is now Oregon, and Washington. They are part of the Shahaptian (or Sahaptin) language family, along with other Plateau tribes like the Nez Percé, and Yakima. The Qwu’lh-hwai-pum were one of many tribes from the Columbia river area that were “discovered” by Lewis and Clark on their great transcontinental expedition in the early 1800′s.

For thousands of years the Columbia river and its many tributaries served as the main means of transportation for the native tribes of the area. Fishing and trade in food items like deer and salmon meat as well as baskets thrived along the river banks. Baskets were important for gathering and storing food and personal items. Twined baskets were used to harvest root crops, coiled baskets were used for collecting berries while flat cornhusk baskets were used for storing dried roots. Below you will find a video that shows many of these basket styles and how they are made.

[Kathryn S. (Barr) McCloud]

Object: Goat Muzzle

E/1946/5/11
Kara: Basketry Goat Muzzle
Eastern Africa
20th Century
Materials: Grass, straw

This object is a basketry goat muzzle from Ukara Island in northern Tanzania. Ukara Island is a small island (77 km²) located in the southeastern part of Lake Victoria (formerly known as Lake Noubaale). The name Ukara means Land (u) of the Spirit (ka) of the Sun (ra). Because of its small size and population density, most of the land on Ukara Island is privately owned so that every available acre can be farmed. The demands of agricultural production have resulted in Ukarans replacing most of the vegetation indigenous to the island with plants farmed for subsistence purposes. Millet, cassava, rice, and vegetables are staple crops, but many families also raise cattle fodder to feed several head of cattle for manure production. Because of the limited farmland, Ukarans are careful to keep the soil fertile, productive, and nutrient-rich with composted manure. Families can spend up to 12 hours a day transporting manure to fields and working fertilization into the soil.

Basketry muzzles like the one above, are used by Ukarans to keep their herds of sheep and goats from eating grasses or crops owned by someone else. Goats are kept in grass huts when not grazing on private fodder, but while being moved to water sources, they can be muzzled to discourage them from grazing along the way. This basketry muzzle is woven from narrow grass stems and straw. It contains two twisted fiber cords at each end for tying around the head of a goat. Some goats are not required to wear muzzles because they are considered sacred. When a witch doctor places the spirit of a departed ancestor in a goat, the animal is not muzzled. Instead, bells are used to signify their sacredness.

[Lauren Simons]

Object: Tray

E/1982/11/450
Hopi: Basket Tray
North America
c. 1930
Materials: Grasses, Yucca, Devil’s Claw

This object is a basket tray made by the Hopi Indians of northern Arizona. The Hopi people are considered one of the oldest indigenous tribes of North America. The term “Hopi” comes from the name Hopituh Shi-nu-mu, which means “The Peaceful People.” Hopi are known for their production of high-quality art such as dolls, jewelry, ceramic, and baskets. This basket tray is made of a primary coil of grasses and a secondary coil of yucca, willow, and devils claw. There is a small handle on the top of the tray for hanging the basket in a display or as a plaque on the wall. The design on the basket is a pictorial of a Kachina or Katsina figure woven in devil’s claw. The devil’s claw is an integral part of the artistic design.

Yellow-flowered perennial devil's claw blossom.

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There are literally thousands of species of beautiful wildflowers in North America, but some of the loveliest and most interesting are called devil’s claws. They produce bizarre seed-pods that attach to the feet and legs of large animals, and include some of the largest hitchhiker fruits in the world.

Seed capsules - Proboscidea althaeifolia (Benth.) Decne.

The devil’s claw fruit is technically a drupaceous capsule with a woody inner part surrounded by a fleshy layer. The rather sinister common name of “devil’s claw” refers to the inner woody capsule that splits open at one end into two curved horns or claws. Each capsule contains about 40 black seeds that are gradually released when the claws split apart.

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[Loree Mcdonald and Lauren Simons]

Object: Basket

E/1979/1/17
Akimel O’odham: Basket
North America
c. 1920
Material: Yucca, devil’s claw

This is an Akimel O’odham (or Pima) basket from the early 20th century. It is made of coiled yucca and devil’s claw. The Akimel O’odham are known for their skilled basket-weaving as well as the use of Squash Blossom and similar designs like the one on this basket. The Akimel O’odham are a group of American Indians living in an area consisting of what is now central and southern Arizona (USA) and Sonora (Mexico). The name means “river people.” They are thought to be culturally descended from the group archaeologically known as the Hohokam. The term Hohokam is a derivative of the O’odham words “Huhugam” (pronounced hoo-hoo-gahm) which is literally translated as “those who have gone before” but meaning “the ancestors.”

Currently, the majority of the population is based in the Gila River Indian Community (GRIC), although in historic times a large number of Akimel O’Odham migrated north to occupy the banks of the Salt River and formed the Salt River Pima-Maricopa Indian Community. Both tribes are confederations of two distinct cultures that include the Maricopa.

[Loree Mcdonald]

Object: Basket

E/1993/1/3
Tohono O’odham: Coiled Basket
North America
19th Century
Materials: Grasses, Yucca, Devil’s Claw

This is a Tohono O’odham basket coiled in the shape of a duck. The Tohono O’odham currently reside in southwest Arizona and northern Mexico, though historically they occupied a much larger land base known as the Papagueria. For this reason, the Tohono O’odham were often referred to as “Papago” tribes by early European settlers.

This basket measures approximately 10 inches long and 4 inches high. It is constructed from grasses, yucca, and devil’s claw and features closed-coil stitching. In closed-coil stitching, the coiled grasses are completely covered by the outer stitch and are not visible through the stitching. Baskets made with closed-coil stitching require more time and detail than those bound together with open stitches. In this basket, strips of white yucca cover the coils of grasses that make up the body of the duck. Additionally, dark strips of devil’s claw are used to stitch a geometric design into the basket.

While Tohono O’odham baskets are used to carry things and prepare food, this basket was probably made for the tourist market. Basketmakers can spend days, if not weeks, on the production of a single basket. Common techniques used in Tohono O’odham basketmaking include stitching horizontal lines, parallel lines, and vertical frets as seen here. More baskets like this one are expected to be displayed at SNOMNH in the coming spring; plan a visit and enjoy getting to know the Story Behind the Object!

[Lauren Simons]

Object: Basket

E/1954/19/10

Armadillo Basket
North America
20th Century
Materials: Armadillo shell

This basket is made from the shell of a nine-banded armadillo. The back of the armadillo forms the body of the basket and the looped tail forms the handle. The nine-banded armadillo is the only North American species of armadillo. Prior to 1850, the nine-banded armadillo was not found north of the Rio Grande river. In the past 150 years, however, armadillo populations have increased greatly in southern portions of the United States, and members of the species have been spotted as far north as Illinois. Armadillos generally live in temperate climates due to the lack of body fat and insulation against the cold. They are the only living mammals with shells and they subsist on insects, plants, and fruit.

The armadillo basket was popularized in the early 20th century by basketmaker Charles Apelt. Baskets, such as this one, were first displayed at the World’s Fair in 1902 and were an instant hit. Charles Apelt started the first armadillo farm in the United States and raised the animals for commercial purposes, producing baskets, lampshades, and smoker stands for tourists and collectors until the 1970s. Armadillo shells have also been used in other countries to make utility objects like musical instruments and food containers.

What do you think about this basket? Share your thoughts and enjoy getting to know the Story Behind the Object!

[Lauren Simons]

Object: Basket

E/1982/11/403

Pomo Tribes: Feather Basket
North America
Early 20th Century
Materials: Feathers, Grasses

This object is a Pomo feather basket from the early 1900s. The “Pomo” name was originally ascribed to Indian tribes living in the area of present day California during the turn of the century, though researchers have since noted that over 70 different groups were represented by the name. Basketry techniques and styles were similar among the groups, however, especially in the production of feather baskets. This basket is small and measures only 3 inches wide (about the size of a baseball). It features a coiled construction– formed by small bundles of grasses stitched into a spiral to create the round shape and coiled body of the basket.

The yellow feathers on the basket come from the Western Meadowlark (see figure left). The Western Meadowlark is a North American species of the blackbird family. It lives in grassland areas primarily west of the Great Plains. The red feathers on the basket come from the Acorn Woodpecker (see figure right). The Acorn Woodpecker is a species of woodpecker that lives in the western and southwestern portions of the United States. Pomo baskets are produced by both men and women. Basketmakers collect the bright yellow feathers of the meadowlark and the small red feathers of the woodpecker with respect and reverence for the birds. In fact, many Pomo basketmakers, such as Mabel McKay, regard feather baskets as living entities in themselves and are careful to honor the spirit of the baskets. Just like the birds represented in the baskets, Pomo feather baskets are unique and come in many different types. They serve a variety of purposes and have been produced for ceremonial and religious contexts, daily use, and even tourism.

What do you think about this basket? Share your thoughts and enjoy getting to know the Story Behind the Object!

[Lauren Simons]

Object: Basket

E/1982/11/341
Pima Tribe: Basket
North America
c. 1930
Materials: Devil’s Claw, Willow, Grass

This is a double-necked basket from the Pima (Akimel O’Odham) tribe in present day Arizona. Pima baskets are known for their fine detail and tightly woven materials that make them waterproof without the aid of tar or sealant. This basket is woven from devil’s claw, willow, and grasses. It contains a geometric pattern and measures approximately 13″ x 6″ x 7″.

The devil’s claw plays an important role in the production of Native American basketry. The naturally dark color of the devil’s claw is often used to weave contrasting designs on the body of the basket. Gathering the devil’s claws, however, can be a dangerous task! Devil’s claws have sharp ends and can easily puncture or poke if picked up the wrong way (see picture). The use of devil’s claw plants in basketry requires skill and patience–something Anna Moore Shaw learned at a young age. Anna Moore Shaw was a Pima woman born in the late 1800s. She wrote an autobiography describing growing up as a Pima girl and learning the art of Pima basket making. She explains how the process began with gathering the materials for production. It could take several weeks and involve many members of the tribe to gather all the materials needed for basket making. Once gathered, the materials had to be prepared. The devil’s claw, for example, had to be placed in water to soften the thorns and then stripped with a sharp awl (a tool like the one seen here). The grasses were separated and the cattail were split by the basket weaver’s teeth! Then the baskets were created, with woven patterns representing flowers (such as the squash blossom seen here) or spiritual elements (such as the geometric design seen here).

What do you think about the designs on this basket? Share your thoughts and enjoy getting to know the Story Behind the Object!

[Lauren Simons]

Object: Utility Basket

E/1982/11/284
Modoc Tribe: Utility Basket
North America
20th Century
Materials: Cattail, Twine

This basket is from the Modoc Tribe of Oklahoma. The Modoc Tribe was a small band located along what is now the California-Oregon border. They were primarily engaged in hunting, fishing, and gathering though evidence of a less nomadic lifestyle exists in the remains of subterranean houses along the coast. They are probably most recognized for the resistance efforts of Captain Jack, a Modoc warrior who, with only 60 men, held off hundreds of US Army troops for several months during the mid 1800′s. Captain Jack was eventually captured and hanged, and the Modoc were relocated to a reservation in northeastern Oklahoma in the 1870′s. Baskets such as this one were initially used for gathering and collecting food items, though by time the tribe was relocated, Modoc basketry was produced primarily for trade and sale.

This basket is an example of the kinds of containers that were made from natural materials like tule and cattail. On this basket, the plaiting forms a checkerwork pattern with strips of black- and yellow-dyed cattail. The warp and weft are woven at right angles to form the body of the basket (see figure). The rim of the basket consists of four braids, and braided cords of cattail are attached to each side for handles.

Basketry was central to the Modoc way of life. In addition to utility uses, basketry served ceremonial and religious purposes. In fact, one Modoc creation story centers on a basket used by the creator “Kumush” to carry spirit bones from the underworld and create tribes on earth. Baskets were also used ceremonially in events commemorating marriages, births, and deaths. Baskets like this one would have been used to gather food sources like huckleberries, sugar pine seeds, wild onions, and camas. The camas root was a staple food for peoples of the American northwest. The bulbs were harvested only when the plant was flowering because its blue petals distinguished it from the “Death Camas”—a similar, but poisonous, plant with white flowers. The camas root was prepared much like a yam or sweet potato and recipes are still in use today!

Learn more about Modoc basketry or check out language projects to hear soundbytes and get to know the Story Behind the Object! [Lauren  Simons]

Object: Pitch-covered Basket

NAM-07-04-024
Pitch-covered Basket
Paiute
ca 1900
Materials: Willow and piñon pitch

This is a twined and pitched water bottle also known as a kadu o’sa. The Paiute and other groups in the Great Basin and Southwest used basket water bottles. These water bottles have many different shapes; smaller vessels with a cone-shaped bottom were used as canteens while flat-bottomed baskets were used primarily for storage. The vessels used for canteens were cone-shaped on the bottom, round in the middle, and have a small mouth; this shape allowed the basket to lie on the ground without spilling its contents and allowed it to be carried in a larger basket. Most of these baskets had leather or horse hair handles and/or straps to carry these baskets while traveling. The baskets kept water cool for hours and were preferred to metal canteens, they continued to be used into the 1930s.

Paiute water vessels are triple twined baskets, which produces a very strong basket that is more water tight than single or double twining. The Paiute basket makers used a variety of plant materials to make their baskets. The most common basket making materials were: willow, yucca, and devil’s claw. After the basket was woven, the canteens were covered with soil and red clay on both the inside and outside. Red ochre, a pigment made from red clay not only prevented the baskets from leaking, but also gave the baskets a warm reddish-brown hue. Piñon pitch, a resin from pine trees, was melted and poured into the basket and spread over the outside. Hot rocks or pebbles were then placed inside the basket, which was turned to spread the pitch evenly. The resin would fill the gaps in the twining, making it water tight.

For more information on basket weaving and basket weavers see the Language of Native American Baskets from the Weaver’s View.

For information about the Paiute and their basket making tradition read: Weaving a Legacy: Indian Baskets and the People of Owens Valley, California.

SNMONH invites you to contribute your thoughts and information about burden baskets, basket weaving techniques, and cultures of the Great Basin. [Sara Hamby]