Nanye-hi (Nancy Ward): Beloved Woman of the Cherokee Nanye-hi was born into the Cherokee Wolf clan circa 1738. In 1755, she stood by her husband during...

These colorized monochrome photos will change the way you imagine the past. Since we live and remember in color, a black-and-white image seems almost of another world. Through the process of colorization, that world becomes more familiar, easier to imagine, and easier to connect to.

OPINION | NAHASDA deserves realistic funding because it addresses Native Americans’ needs and enables them to determine their own destinies.

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Native American Turquoise Jewelry Has Legendary Beauty and Power There’s something captivating about turquoise jewelry that draws people in with its vibrant hues and rich history. As a jewelry enthusiast and writer, I’ve always been fascinated by pieces that tell a story. Recently, I embarked on a journey to explore the world of Native American turquoise jewelry, and I was utterly enthralled by its legendary beauty and the profound power it holds. Join me as we delve into the enchanting world of this remarkable art form. This post may contain affiliate links at no extra cost to you. Please read our full disclosure here to find out more. Historical Significance Turquoise has been cherished by Native American tribes for thousands of years. The allure of this stone can be traced back to ancient times, with archaeological findings revealing that Native Americans were mining and crafting turquoise jewelry as far back as 200 B.C. The Ancestral Puebloans, who lived in what is now the southwestern United States, were among the earliest to mine turquoise. Their intricate turquoise pieces have been unearthed in sites such as Chaco Canyon and Mesa Verde, showcasing the deep-rooted significance of this stone. Historically, turquoise was not just a decorative item; it was a valuable commodity in trade networks that spanned vast regions. Native American tribes exchanged turquoise for goods and materials with neighboring tribes and even with Mesoamerican civilizations. This extensive trade network highlights the high regard in which turquoise was held and its integral role in the economy and culture of ancient societies. Cultural Importance Turquoise holds profound cultural importance among Native American tribes. It is often seen as a bridge between the physical and spiritual realms, symbolizing life, health, and protection. Different tribes have their own unique interpretations and uses of turquoise. For the Navajo, turquoise represents the sky and water, essential elements of life. The Zuni believe that turquoise has healing properties and use it in ceremonies to bring rain and ensure a good harvest. One of the most fascinating aspects of turquoise is its place in Native American mythology. Numerous legends and stories revolve around this precious stone. One such tale from the Apache tribe speaks of a time when the people danced and prayed for rain. As they celebrated, their tears mixed with the rain and seeped into the earth, forming turquoise. Such stories imbue turquoise with a sense of magic and wonder, elevating it beyond a mere mineral to a sacred symbol of life's interconnectedness. Craftsmanship and Design The craftsmanship involved in creating Native American turquoise jewelry is nothing short of extraordinary. Each piece is a testament to the skill and artistry of the artisans who have honed their techniques over generations. Traditional methods include hand-cutting and polishing the turquoise stones and setting them in silver using intricate designs that reflect the natural world and spiritual beliefs. Different tribes have distinctive styles and methods. The Navajo are known for their bold silverwork, often featuring large turquoise stones set in elaborate silver settings. The Zuni, on the other hand, excel in intricate inlay work, creating mosaic-like patterns with small turquoise pieces. The Hopi are renowned for their overlay technique, where they carve designs into silver and then solder another layer of silver on top, creating depth and texture. As I researched and spoke with artisans, I was struck by their dedication to preserving traditional methods while also adapting to contemporary tastes. Modern Native American jewelers are blending traditional techniques with new designs, ensuring that their craft remains vibrant and relevant. This fusion of old and new keeps the art form alive and allows it to continue evolving. Turquoise as a Symbol of Power Beyond its beauty, turquoise is believed to possess spiritual and healing properties. Many Native Americans regard turquoise as a protective stone that can bring good fortune and ward off evil. It is often used in amulets and talismans, believed to provide strength and protection to the wearer. The stone is also associated with healing, thought to have the power to alleviate ailments and promote physical and emotional well-being. During my journey, I had the privilege of hearing personal stories from individuals who shared how turquoise had impacted their lives. One artisan recounted how a piece of turquoise jewelry had been passed down through her family for generations, bringing comfort and a sense of continuity. Another spoke of how wearing turquoise helped them feel connected to their ancestors and the land, providing a source of strength and grounding. Economic Impact The creation and sale of turquoise jewelry play a significant role in the Native American economy. For many artisans, jewelry-making is not just a passion but a vital source of income. However, the market for Native American turquoise jewelry faces challenges, including issues of authenticity and fair trade. Mass-produced imitations and unethical practices can undermine the livelihoods of genuine artisans and diminish the value of their work. It’s essential for consumers to be aware of these issues and to support authentic Native American craftsmanship. When purchasing turquoise jewelry, buying directly from Native American artisans or from reputable sources ensures that the artists are fairly compensated and that the rich cultural heritage embodied in each piece is respected. Tourism also has a substantial impact on the market for Native American turquoise jewelry. Visitors to the Southwest often seek out these beautiful pieces as souvenirs, providing a significant boost to local economies. However, it's crucial for tourists to educate themselves and make informed purchases, as this helps sustain the traditional art form and supports the communities that create it. Modern Relevance In today's world, Native American turquoise jewelry continues to captivate people across cultures. Contemporary Native American artists are making remarkable contributions, blending traditional techniques with innovative designs. This modern relevance ensures that the art form not only survives but thrives in a global marketplace. Turquoise jewelry has also found a place in mainstream fashion. Its vibrant color and unique designs have made it a favorite among fashion enthusiasts and celebrities alike. This crossover appeal highlights the versatility and timelessness of turquoise jewelry, making it a cherished accessory that transcends cultural boundaries. Efforts to preserve and promote Native American turquoise jewelry traditions are ongoing. Organizations and initiatives dedicated to supporting Native American artisans are crucial in this regard. They provide resources, education, and platforms for artists to showcase their work, ensuring that the rich heritage of turquoise jewelry is passed down to future generations. As I wrap up my exploration of Native American turquoise jewelry, I am more enchanted than ever by its legendary beauty and power. The stories, craftsmanship, and cultural significance behind each piece make it much more than an accessory. It is a testament to the resilience and creativity of the Native American people, a bridge between the past and the present, and a symbol of life's enduring beauty and strength. Writing this article has been a deeply enriching experience. I've gained a greater appreciation for the artistry and cultural importance of turquoise jewelry, and I hope to have conveyed some of that wonder to you. The next time you see a piece of turquoise jewelry, take a moment to consider the history, the hands that crafted it, and the stories it carries. In doing so, you’ll be honoring a tradition that is as timeless as the stone itself. Product Recommendations To help you start your own journey with Native American turquoise jewelry, here are three highly recommended products. Navajo Pearls and Turquoise Bead Necklace This stunning necklace combines the beauty of genuine Navajo pearls with vibrant turquoise beads. Handcrafted by skilled artisans, this piece captures the essence of traditional Navajo jewelry. The necklace's elegant design makes it perfect for both casual and formal wear. Check it out Zuni Turquoise Inlay Earrings These exquisite Zuni earrings feature intricate turquoise inlay work, showcasing the meticulous craftsmanship of Zuni artisans. The mosaic-like design adds a touch of sophistication and elegance, making them a standout addition to any jewelry collection. Check it out Natural Moonstone Lapis Turquoise Bracelet This beautiful bracelet is a fine example of the Hopi overlay technique. The detailed silverwork, combined with a striking turquoise stone, creates a piece that is both timeless and contemporary. It's a versatile accessory that can complement any outfit. Check it out

Many of you might not be familiar with the name John Tanner (and I’m not talking about the famous Mormon here). Around the 18th century his family were pioneers in vast wildlands of Kentucky, when he was abducted by two Chippewa Indians. He was sold into slavery, battered about and abused in other ways for about two years before being sold again to an Ottawa tribeswoman who inducted him into the ways of the culture. He stayed with them for several decades, taking on a wife of the tribe, until civilization came a calling. The fur trade started to run into full swing in the Canadian area, which meant a shortage of game and other necessities for the tribe. The War of 1812 added more men into the territory and Tanner worked as an interpreter. During that time he wrote a very popular book about his life, A Narrative of the Captivity and Adventures of John Tanner, from which he have gleaned today’s excerpt. As we all know, many Native American tribes had a different perspective on cross-dressing and homosexuality than other cultures. In a sense, once they donned the woman’s clothes those men were treated as women and forced to do womanly chores- cooking, cleaning, making clothes, marrying older men, etc. John Tanner describes an encounter with one such person. John Tanner “Some time in the course of this winter, there came to our lodge one of the sons of the celebrated Ojibbeway chielf, called Wesh-ko-bug (the sweet), who lived at Leech Lake. This man was one of those who make themselves women, and are called women by the Indians. There are several of this sort among most, if not all Indian tribes. They are commonly called A-go-kwa. This creature called Ozaw-wen-dib (the yellow head) was now fifty years old and had lived with many husbands. I do not know whether she had seen me or only heard of me, and with the hope of living with me, she offered herself to me. But not being discouraged with one refusal, she repeated her disgusting advances until I was almost driven from the lodge. “Old Net-no-kwa was perfectly acquainted with her character and only laughed at the embarrassment and shame which I evinced whenever she addressed me. She seemed rather to countenance and encourage the Yellow Head in remaining at our lodge. The latter was very expert in the various employments of the women, to which all her time was given. “At length, despairing of success in her addresses to me, or being too much pinched by hunger, which was commonly felt in our lodge, she disappeared and was absent three or four days. When she came back loaded with dry meat, she stated sge had found the band of Wa-ge-to-tah-gun and that the chief had sent by her an invitation for us to join him. He had heard of the niggardly condition of Waw-zhe-kwaw-maisk-koon towards us and had sent the A-go-kwa to say to me, “ ‘My nephew, I do not wish you to stay there to look at the meat another kills but is to mean to give you. Come to me and neither you nor my sister shall want anything that it is in my power to give to you.’ “I was glad enough of this invitation and started immediately. At first encampment, as I was doing something by the fire, I heard the A-go-kwa at no great distance in the woods, whistling to call me. Approaching the place, I found she had her eyes on game of some kind, and presently I discovered a moose. I shot him twice in succession and twice he fell at the report of the gun but it is probable I shot too high, for at last he escaped. The old woman reproved me severely for this, telling me she feared I should never become a good hunter. But before night the next day, we arrived at Wa-ge-to-te’s lodge where we are as much as we wished. “Here also I found myself relieved from the persecutions of the A-go-kwa, which had become intolerable. Wa-ge-to-te, who had two wives, married her. This introduction of a new intimate into the family of Wa-ge-to-te’s occasioned some laughter and produced some ludicrous incidents, but was attended with less uneasiness and quarreling than would have been the bringing in of a new wife of the female sex.” For more fun try books by Rex Hurst

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See the Addendum at the bottom of this posting for some new information on Goldie. This posting will feature a number of old postcard images of Goldie Jamison Conklin, a Seneca of the Heron Clan, from the Allegany Reservation, in Western New York. In most of these images Goldie is wearing a beaded bag, presumably of her own manufacture. Records indicate that she was born in Salamanca, New York on November 30, 1892 and died in 1974. Her parents were Jacob J. Jamison & Eliza D. Jamison. She was baptized at the St. Andrews Church in Irving, New York on July 7, 1921. For some undetermined period of time she worked as a model for the Cattaraugus Cutlery Co. of Little Valley, New York, as some of the postcards are advertisements for the company’s line of “Indian Brand” knives. Goldie’s Seneca name was Ah-Weh-Eyu which means Pretty Flower.Most of the images appear to have been taken by Jesse Lynn Blessing of The Blessing Studio, Salamanca, New York. He was the son of J. H. Blessing who was born around 1850 and died in 1933 in Salamanca, New York. Jesse took over the photography studio from his father and retired in 1945. Except were noted, all the images are circa 1910 real photographic postcards. This first image is an advertising postcard for the Cattaraugus Cutlery Company. It's postmarked Nov. 4, 1912. The printed advertising text on the back reads: I expect to call on you on or about Friday evening, November 8th with a full line of Cattaraugus "Indian Brand" cutlery. If you will keep this card in sight and hold your cutlery order for me, I will send you with your order a beautiful 10 x 14 photograph of this "Cattaraugus" Indian Princess. This was the 11 x 14 photographic premium that the company sent you of Goldie. A hand-written, period note on the back of this postcard reads: Goldie Jemison [sp] in Costume, niece of the interpreter. I killed three big ones up in the hills in Salamanca. This girl tied the ribbon on them. Will send you a nice hide in a few days and you can put it in your den. E.W. J. In a number of these images she is either holding a painted bow or there is one at her feet. The style of the bow is either Modoc, Hupa or Miwok from northern California. It may have been a ceremonial dance bow though some sources indicate it was a hunting bow. It appears to be the same bow in all the images and might have been a prop that was owned by the photographer that took most of these photographs. A close-up of Goldie's beaded bag. The different shades of grey in the fringe suggests that multi-colored beads were used to make it. This postcard is unused. The bow at her feet was used in several of the postcards in this series. This postcard is postmarked August 2, 1910. This postcard is postmarked June 2, 1909. A hand-written note on the back reads: Dear Little George Frederick - We are sleeping in Salamanca tonight. In the morning we go to Jamestown there to Lawtons Station. Hope you are well and having a good time. Love to all the youngsters and some smacks from Uncle Paul and Aunt Anna. It was mailed to an address in Ohio. This is an unused advertising postcard from the Cattaraugus Cutlery Company. The printed advertising text on the back reads: Never before have we shown such a splendid line of cutlery as this year. Greater assortment, better values and lots of new things. It will pay you to hold your order until you have seen the Cattaraugus "Indian Brand" cutlery. I expect to call about ___________. Keep this card. It has value for you. Yours truly, R.D.R. Sullivan. The bag in this image is missing the flap and suggests that it's construction may have been concurrent with her modeling career. This is a printed advertising postcard for the company. No date but looks to be circa 1910. An unused card of Goldie. In 2003, I painted a portrait of Goldie, titled Made of Thunder that was exhibited in conjunction with the beadwork exhibit by the same name. This was the image of her that I used as my model. Her portrait is illustrated below. The most famous legend in Niagara Falls is that of the Maid of the Mist and the Thunder God Hinum, who was believed to live behind the Falls. In an apocryphal version of this myth, an Indian maiden is sacrificed annually by sending her over the cataract in a canoe, laden with fruit to appease Hinum. In my portrait of Goldie, she is represented in a symbiotic relationship with the Falls, as a Native artist attuned to her surroundings and one proud of her heritage. From her waist belt she wears a beaded bag of her own manufacture. The bag that hangs from her neck has a large, central heart motif that is often seen in Iroquois work. This postcard was postmarked from Salamanca, NY in 1914. A hand-written note on the back reads: Dear Hazell, I received your card about the pictures of "Creation." I always go home on Sundays so was not here the first day they (the Indians) were here and didn't find out where they were until after they had gone. The posters that were around didn't tell where they were being shown. I was very sorry to have missed them and will try and see them if I can. Thanks for sending the card anyway. Love, Harriette. An unused advertising postcard from the Cattaraugus Cutlery Company. The printed advertising text on the back of this card reads: Don't lose this card. It is valuable to you. There is a beautiful photograph (10 x 14) of this "Cattaraugus" Indian maiden at the home office, and if you will call my attention to this card when i call on ________ I can get the photograph sent with your order. With Cattaraugus Cutlery Co., Little Valley, N.Y., makers of the celebrated "Indian Brand" cutlery. An unused postcard of Goldie. Circa 1908. This postcard was postmarked in Salamanca, NY on June 15, 1911. A note on the back of the card reads: Hello C.L., Some class to these people, don't you think so? Had a swell time last night. Your old friend, Jim. Mailed to an address in Pennsylvania. This last card is of a historical parade in Salamanca. Goldie is standing on the horse drawn float in the foreground. The photographer's blind stamp on the back says: Photo by Ralph J. Eddy, Salamanca, N.Y. Beneath this image are two additional detail views. Addendum After I did this posting on Goldie, I was contacted by Jim Conklin, her grandson. Jim was born in 1949 and his earliest memories of Goldie were of an older woman, "Grandma Conklin," and the last time he saw her was in 1966. Jim wrote me that he knew very little about his grandparents. “Goldie married Charles Conklin around 1912. My oldest uncle, Chester (Chet) was born in 1913. My dad, Robert, was the second child, born 11/17/18. Four more sons followed: twins Carl and Earl (1928), George, and Charles Jr. They lived in Irving, NY, and later moved to Silver Creek, NY, where they lived on a small farm during the years my family visited them on the reservation. I didn't realize it as a child, but my grandparents were rather poor, as were most people on the reservation. My father joined the Marines in October 1939, shortly after the outbreak of war in Europe. He was stationed at Pearl Harbor on December 7, 1941, and spent the war years in the Pacific. While home on leave in late 1944 - early 1945, he married my mother, Marilyn, and returned to the Pacific. If not for the atomic bombings, he probably would have been involved in the invasion of the Japanese mainland. My grandfather died around 1960, and my father died from burns suffered in an industrial accident in February, 1972. I last visited the reservation on a whim in 1977. Goldie had died, and I didn't know if any of my uncles could still be located. I went to my grandparents' home and found that my uncle Earl had opened a bait shop there. He gave me the photos of Goldie (the hand colored image above). I moved to the Denver area in 1978, and never returned to the reservation. A family friend who worked for the Bureau of Indian Affairs had kept in touch with my uncles for many years, but lost touch about 15 years ago. I doubt that any of them are still living…Goldie always greeted us with hugs and smiles, telling us we were ‘such good-looking children.’”

The Hupa, the Native American tribe of the Athabaskan-speaking ethnolinguistic group, migrated into northern California around 1000CE and settled in Hoopa

Our quill cover accent your hat perfectly when you want something that is just "enough". Quill covers have been used by the natives for centuries for ceremonies and decoration. Feathers are not included, as birds of preys feathers are protected. Many cultures around the world have used peyote stitch in their beadwork. Examples of peyote stitch have been found in artifacts from Ancient Egypt, and the stitch has also been used in historic and contemporary Native American beadwork. The name "peyote stitch" derives from the use of this stitch to decorate objects used in peyote ceremonies by members of the Native American Church.  Available in all our colors of peyote designs.  Shown in Seafoam and chocolate. Pics of Navy coming soon!

Tlingit man and woman in full dancing costumes, Alaska, 1906 Photographer: Nowell, Frank H. Subjects: Kaw-claa (Tlingit Indian) Tlingit Indians--Clothing & dress Tlingit Indians--Women Ceremonial dancers--Alaska--Juneau Region Women--Alaska--Juneau Region Men--Alaska--Juneau Region Hats Couples--Alaska--Juneau Region Digital Collection: Frank H. Nowell Photographs content.lib.washington.edu/nowellweb/index.html Persistent URL: content.lib.washington.edu/u?/loc,121 Visit Special Collections reproductions and rights page for information on ordering a copy. University of Washington Libraries. Digital Collections content.lib.washington.edu/

The arrival of the daguerreotype in the 1840s could not have come at a more fortuitous time for

These rare and beautiful vintage photos of Native American girls were taken between the late 1800s and the turn of the 19th Century, yet despite being over a hundred years old, many of the old photos are still in mint condition.

Virginia is home to numerous unsolved mysteries and cold cases, ranging from hidden treasures to serial

Archaeologists and anthropologists know that the Caribbean was one of the last parts of the Americas settled by humans, but a new study of DNA has revealed when, how, and where the original Caribbean inhabitants came from.