Patriotic Indian Art

Traditional use of Patriotic Designs in American Indian Art

by Hubert Guy To some it may seem unusual that the American Indian should use patriotic symbols belonging to cultures other than his own for decoration and expression. After all, symbolism representing the United States and other "foreign" governments could hardly be classified as desirable or respected by most Native Americans during the sixteenth, seventeenth, eighteenth, and nineteenth centuries a period in which such governments were justifiably considered by most Indians more of an enemy than a friend.

Yet, the use of patriotic symbols did persist during this period. In fact, symbols representing the outsider's power go back to the earliest days of European contact with the American Indian.

Why should the Native American have used those symbols? He had no flag of his own; there were no specific symbols or designs emblematic of linguistic families, nations, or even tribes for the simple reason that these ethnic classifications were someone else's idea, not his. However, some decoration on shirts, shields, or the bunting on staffs and bundles was associated with local intra-tribal societies, and may be construed in a vague sense as patriotic symbols. Indeed, the use of patriotic symbols in American Indian art is as old as written history.

As time passed, the Indian's domination by Euro-American civilizations was reflected by the use of their patriotic symbols in his native designs. Just as the Indian coveted his decorated shield, shirt, coup-stick, and similar articles, so did he respect foreign flags and emblematic banners as material representing power, prestige, and authority. As "good medicine," it was considered a superior subject for significant decoration of their applied art forms.

Among the earliest examples of Indian patriotic decoration still in existence is a remarkable Chumash basket made in 1822 a quarter of a century before the American flag flew over Chumash lands in the vicinity of present-day Santa Barbara, California. The royal arms of Spain was ingeniously repeated seven times in its design along with an invaluable inscription woven into the coils around its rim. The readily-distinguishable pattern stands alone as an example of American Indian artistry portraying foreign patriotic symbolism.

Of particular intrigue is its inscription which unfolds a story previously unrecorded in historical archives. It is interpreted as follows: Worked by the neophyte Juana Basilia, desirous of contributing to the attentions paid by Governor Sola to the Field Marshal Señor Don Jose de la Cruz.

Juana Basilia's life at Mission Buenaventura (near today's Santa Barbara) From 1806 until her death in 1838 is established by mission diaries. Governor Sola's position as Spanish governor also is a matter of record. But until the discovery of Juana Basilia's beautiful basket in a Mexico City curio shop in 1924 by Zelia Nuttall of San Francisco, nothing was known of Señor de la Cruz's activities following his expulsion from Mexico in 1821.

According to early chroniclers the individual who presented himself to Governor Sola as "Field Marshal" Señor Don de la Cruz was in fact ex-General de la Cruz, exiled from Mexico for using his authority "to seize all available monies from the treasuries" of faraway military outposts when he realized the end of Spanish rule was imminent. But news traveled slowly, and word of Mexico's independence from Spain had not reached the land of the Chumash by the time he arrived on his flight to avoid imprisonment. Thus, he was received with due respect by Governor Sola who, additionally, gave the self-appointed Field Marshal all his "monies," along with Juana Basilia's basket, specially woven in his honor.

Tribes along the Alaskan coast, the prairie, and Great Plains were the first to be introduced to American patriotic symbols, but it wasn't until the middle 1800s that the flag and other emblems of the United States came to the direct attenThe Plains Indians during the late nineteenth century were introduced to many new styles of clothing, such as baby bonnets. Decoration followed, as this 1902 example shows. (Below) Apache runner boots from the village of Cibecue, circa 1920, show fine beadwork. Courtesy of Hubert Guy, La Mesa, CA.

tion of the Indian people of the American Southwest and Northwest, the Great Basin, and the Interior Plateau regions of the West. Thus, the appearance of American patriotic designs were sporadic during the years immediately following the Civil War, mainly confined to beaded and quilled articles of the plains. During the 1880s the custom increased in frequency, and reached its peak in popularity between 1890 and 1900. A “transitional period” was experienced by Indian art during the years circa 1900, but the use of the American flag and other patriotic designs remained relatively unchanged in spite of the fact the articles so decorated were re-directed at a new, commercial market.

The historic Indian artisan was exposed to flags and patriotic symbols of several foreign arrivals, including explorers and settlers from Russia, England, France, Spain, Mexico, and finally, the newly-independent United States. But there was little reason to duplicate most emblematic symbols until their acculturi-zation had fully developed under United States authority, and only isolated examples of the British flag, the Spanish arms, and other foreign symbols appear in Indian art forms. The tricolored Mex-ican flag was portrayed on a pair of Kickapoo beaded moccasins, but the eagle, serpent, and cactus figures neces-sarily were omitted because of the small work surface. Without the central design the green-white-red Mexican flag became the Italian flag although this wasn't the way it was intended to be.

Another outstanding example of the Indian's early use of the American flag as decoration is the cross made of German silver shown on page 5, collected by John B. Menard in Dakota Territory in 1874. Wear from usage indicates its date of manufacture was several years earlier, and the general custom of smith-ing nickel-silver chest ornaments was dis-continued soon after the mid-70s. Analyzing the design of this rare artifact presents intriguing possibilities. The use of the cross as a pattern for articles of personal adornment undoubtedly was stimulated by contact with the Christian cross, although it had no native religious connotations. Typically, crosses of the Sioux were plain; those of the accom-plished smiths of the Southern Cheyenne and Kiowa tended to be more elaborate; conversely, the use of the American flag as decoration was predominant among the Sioux, but seldom appeared on work of the southern tribes. Because the cross illustrated here shows both characteris-tics, it is conceivable its basic angular construction, with the Maltese cross cen-

(Left) Plains Cross or chest ornament collected in Dakota Territory circa 1874. Courtesy of Conrad and Elaine Angone, Los Angeles, CA.

(Upper right) Since the 1870s U.S. emblems have been used in Navajo rug weaving. Courtesy of Don and Nita Hoel, Oak Creek. Peter Bloomer (Lower left) These government issued "salvage" shoes were distributed through reservation agencies and often given to Indian tribal emissaries to replace their traditional attire during visits to the nation's capital. Attributed to the Coeur d'Alene tribe in Northern Idaho. Courtesy of Gallup Indian Trading Company Museum, Gallup, NM. Jerry Jacka (Lower right) A contemporary wicker basket woven by Abigail Kursgova of Third Mesa, Hopi Indian Reservation. Private collection. Jerry Jacka

Tethered on it, was designed and made by the Kiowa, Southern Cheyenne, or some other southern group and traded to the Sioux who, in turn, added the American flag decoration by their customary "rocker" engraving procedure.

Some historians refer to a striped red, white, and indigo-blue blanket presented to Abraham Lincoln during the 1860s as the first "flag rug" of record, made specifically for the President at the urging of an Indian Agent in Arizona. There is some question whether the gift was made intentionally to represent the flag of the United States, or whether it was simply typical of a style of Navajo weaving popular during the period 1860-70. Individually, stripes and stars were favorite Indian designs, not only among the Navajo blanket makers, but also among artisans of the northern plains and other areas as quilled, beaded, and painted decoration. Thus, the combination of stars and stripes portrayed by the American flag quite naturally presented the native artist with a well-balanced, visually exciting pattern which met with immediate acceptance and warranted duplication. The tradition continues into our own time, as shown on this month's.cover - the stars and stripes of Old Glory woven in this, our Bicentennial Year.

In addition to its aesthetic quality, the use of the American flag and other patriExotic symbols was stimulated by underlying ethnic characteristics. Art of the American Indian differs from that of many other cultures in that its value is not totally dependent upon its material appeal; along with visual attraction, Indian creations particularly historic material serve as a diverse manifestation of a people's inner expression. More simply, decorative designs not only were a thing of beauty, but also conveyed a significant meaning or feeling. Earliest Indian designs were readily interpreted by their own people; later designs became more obvious as Indian crafts were oriented in the direction of commercial markets.

Richard A. Pohrt, in his introduction

to The American Indian and The Ameri-can Flag (Flint Institute of Arts, 1975),in essence says that on June 3, 1777(eleven days before the Continental Con-gress passed a resolution establishing thestars-and-stripes format) emissaries “onbehalf of the Indian nation” offered toexchange three wampum strings for anAmerican flag that did not yet exist. Asthe years passed, American flags andsmall copies of them were given triballeaders and dignitaries brought to Wash-ington, D.C., and were carried to Indiancountry on visits by government officials.Along with beads and other desirabletrade items, the Lewis and Clark expedi-tion of 1804 carried small flags, militaryinsignia, medals, and even decoratedarmy coats which they distributed amongnative villagers they encountered duringtheir epical journey to the Pacific shore.The American flag was brought to theattention of the more distant tribes byarmy troopers as the westward expansionspread across the country.

Before the tastes of the new commer-cial (non-Indian) market encouraged theuse of the American flag as decorationon Indian crafts, it was associated with avariety of ethnic articles, such as appear-ance in drawings on winter counts andledger sheets. And tiny flags wereincluded in bundles, on grave markers,and the like.

No one today is capable of fully appreciating the deep significance attached to“bundles” by the Indian of a century and more ago. Bundles sacred parcels containing pertinent paraphernalia which mysteriously transmitted power, protec-tion, and success in ventures such as hunting, healing, horse-stealing, during battle, and at council meetings occasionally included small American flags (for reasons known only to the individ-uals who created the bundle). A Winne-bago war bundle, discovered by Milford Chandler and currently in the Detroit Historical Museum, contained three flags: two were presidential campaign flags, one picturing Winfield Scott Hancock and the other, William H. English, Democratic candidates for president and vice-president in 1880; the third portrays James K. Polk in its blue canton, and on the stripes are printed the names of Polk and George M. Dallas, successful candidates for president and vice-president in 1844. In 1935, Richard Pohrt located a war bundle owned by Curly Head of the Gros Ventres, a tribe of the western plains. Included was a small American flag which, the elderly warrior explained, served to commemorate his service as an army scout at Fort Ellis, Montana.

Among the earliest examples of the American flag as a decorative art form on ethnic articles are illustrations on winter counts those “history books of the Plains Indians” which recorded the most impressive happening during each calendar year through a series of easily-interpreted drawings, circularly-arranged on a hide. Several different winter count diaries were kept by various tribes and sub-tribes, and the most important event each group associated with a particular The Heard Museum in Phoenix will host a special show entitled “The American Indian and The American Flag” beginning in mid-December. Over 100 works will be shown incorporating the American flag in painting, weaving, and pottery.

winter, or year, did not necessarily correspond. However, on the winter counts of The Flame (a Sans Arc Sioux) and Battiste Good (a Brule Sioux) the year 1790-91 was similarly represented by an American flag. Both native interpretations also are similar, indicating this was the first year the flag was carried into their lands by U.S. Army troopers. The winter count of American Horse (an Ogallala Sioux) shows two flags on poles depicting the year 1805-06, corresponding with the date of the arrival of the Lewis and Clark expedition an event also recorded in their journals.

After reservation life came to the Plains Indian, the matter of recording historical events on winter count hides was replaced in part by drawings on ledger sheets. These illustrations were recollections of events in their recent past, and thus the American flag appeared with greater frequency. Calendar Sticks of the Papago, Pima, and other Southwestern tribes also portrayed the flag in a similar manner.

To fully appreciate the use of patriotic designs in Indian art requires an understanding of conditions existing during the period of its fullest development and greatest popularity. The story begins at the conclusion of the Civil War, whenofficial eyes in Washington, D.C., turnedto the problem of completing Americansettlement to the Pacific Ocean. A policyof reserving lands had been devised forthe Indian people caught in the middle ofthe westward scramble, and a systematicprogram was being carried out for itscompletion. But reservation life did notexactly fulfill the idealistic theories ofthose who conceived it, and misery andprivation prevailed among those Indiansconfined to reservations.

Yet not everyone was badly mistreatedby Whites during those years, despitesome claims to the contrary. Manytraders, doctors, scholars, religious men,and even a few troopers recognized theproblems of the displaced Indians, andgave what assistance they could. Themanner in which the Indian respondedto such acts of compassion and generosityprovides a vague indication of why andwhen the design of the American flagand other patriotic symbols became anew trend in Indian art. For the cavalrytrooper who befriended him, the Indianbeaded gauntlets with an appropriatedesign of the flag, crossed flags, or per-haps the emblematic eagle. For the fron-tier doctor who came in time of needwithout thought of compensation, theIndian quilled or beaded his old or dis-carded satchel, again incorporating apatriotic design intended to please thephysician.

The custom of the Sioux and otherPlains Indians of decorating a doctor’ssatchel as payment for timely assistancewas logical, but other gifts of gratitudewere not as obvious. The design of theoutstanding basket illustrated on page 8with its beautifully-executed emblematiceagle discloses that it was woven by aTlingit Indian basket maker along thesouthwestern Alaskan coast during the1890s, specifically for a frontier doctorwho apparently had fulfilled certain med-ical functions her own medicine menwere unable to accomplish. Documenta-tion of this fine example of NorthwestCoast basketry, well preserved in storagesince 1905, substantiates the fact that his-toric Indian people in all areas inherentlybelieved that patriotic designs would beaccepted with greater pride by non-Indianrecipients than would unfamiliar, nativepatterns.

The appearance of patriotic symbolsdecorating a myriad of articles associatedwith the current American Bicentennialcelebrations is indicative of a similar occurrence a hundred years ago during the 1876 Centennial year. Many Indian people, by then removed to reservations, encountered the flag and other insignia time and time again. The designs were colorful, not too intricate to duplicate easily, and last but not least seemed to hold a special appeal to their nonIndian cousins.By that early date, many tribes had discovered the advantages of trading with the Euro-American newcomers, and produced baskets, blankets, beadwork, and the like as "for sale" items. Coastal Indians from California to Alaska wove baskets to exchange with trading vessels and whalers; desert tribes of the interior made blankets which gave protection and comfort to many early explorers, including members of the Powell Expedition during their 1869-73 journeys down the Colorado River. Almost all westbound overland travelers passed through parts of Sioux country where a large quantity of beaded and quilled items were available to them, such as sheaths for knives and rifles, gauntlets, jackets, moccasins, and bags. As the number of travelers increased, so did the variety of decorated articles; the prolific artisans of the Sioux beaded or quilled almost every conceivable thing, including powder flasks, shot holders, cigarette-paper wallets, neckties, commercially-made leather baby booties, and on and on. Patriotic designs on many of these items were most appealing and appropriate to the adventurers from the eastern United States who pushed the frontier even farther west into lands best known by those to whom English was not the native tongue.

The fact there was no question in the minds of the Indian people that the American flag and other patriotic symbols were held in highest esteem by all Americans, reflects the deep sense of patriotism inherent in the Indian himself; this quality, then, may be considered another underlying characteristic that encouraged patriotic decoration. Additionally, these early applications of a design assumed to be most desirable is consistent with the recognized custom of the Indian people of accepting gifts or gratuitous acts only when material of equal or greater value can be given in return, evidenced by the traditional potlatch ceremonies of the Northwest and other similar customs.

The Indian's use of American flags as

During the years circa 1900, American Indians often adopted designs as they came across them. Brand names from coffee containers, Masonic emblems, and the Star of David are examples, but the most frequently imitated design was the American flag as seen on this vest, the moccasins, and the loomed watch fob, lower left. Courtesy of Hubert Guy, La Mesa, CA. Jerry Jacka Shirts, capes, trousers, and parts of other wearing apparel appeared with some frequency during the years before and after the turn of this century. The custom did not imply disrespect for the flag, nor was it a matter of belittling its significance. Yet, it would be naïve to conclude that all Indian people at all times accepted the American flag as an unchallenged, untarnished symbol of authority. However, only a relatively few instances were recorded of the more hostile Indian groups specifically attacking the flag itself. Possibly the best known of these isolated exceptions is illustrated by a drawing on American Horse's winter count robe which depicts as the most significant event of the year 1874-75 the destruction of the flag at the Sioux Red Rock Agency by Red Cloud and his followers, who "cut the flag-pole into short pieces with their axes." In battle, a large proportion of military casualties occurred among the unfortunate troopers who (because of their inability as marksmen) were relegated to carrying the company banner, or guide-on; but this was due to the Indian's desire to disable the individual they assumed to be most important - the flag-carrier - rather than material destruction of the flag itself. American and other foreign flags, then, obviously were viewed by a few as a symbol of aggression, yet from the beginning they were more frequently accepted as emblematic of friendship and as a suggestion of peaceful trading opportunities. Above all, they were respected as a material indication of power; how the power was exercised was important, but secondary.

From this meager beginning, the use of patriotic patterns increased and spread to a variety of art forms as the Indian cultures gradually merged into the society surrounding them. Indian scouts and Indian police wore emblematic insignia with pride, and they decorated many other personal articles vests, pipebags, knife-sheaths, and so on with similar designs. Among some tribes, such as the Crow and Pawnee, the American flag held a most coveted position, and appeared as decoration on innumerable other personal objects such as baby bonnets and carriers, dresses, and horse adornment.

The Ghost Dance Ceremony spread across the land during the early 1900s, as the Indian's last, desperate, almost-fanatical demonstrative effort to bring back the buffalo, ressurrect their dead war-chiefs, and restore conditions as they were before the White intrusion. Flags, military banners, and other insignia assumed a new role, appearing as whole articles of clothing rather than simple decoration. Shirts in particular were believed to have special powers powers such as being impervious to the White man's bullets, and thus sometimes were made entirely from an American flag; as a symbol of power, the flag transmitted prestige and respect for its wearer. It was not used as a display of scorn or disdain; rather, like the early scalp shirt, it was considered "good medicine" power by association. After the Ghost Dance craze had passed there was no particular reason to discontinue the use of "flag shirts" or other muslin clothing painted with stars and other patriotic symbols.

fanatical demonstrative effort to bring back the buffalo, ressurrect their dead war-chiefs, and restore conditions as they were before the White intrusion. Flags, military banners, and other insignia assumed a new role, appearing as whole articles of clothing rather than simple decoration. Shirts in particular were believed to have special powers powers such as being impervious to the White man's bullets, and thus sometimes were made entirely from an American flag; as a symbol of power, the flag transmitted prestige and respect for its wearer. It was not used as a display of scorn or disdain; rather, like the early scalp shirt, it was considered "good medicine" power by association. After the Ghost Dance craze had passed there was no particular reason to discontinue the use of "flag shirts" or other muslin clothing painted with stars and other patriotic symbols.

During the years circa 1900, "changing times" new fashions, new ideas revised the underlying purpose of patriotic decoration by Indian artists but did not reduce the frequency of its appearance. First appearing in the early 1880s were the popular Wild West shows introduced by "Buffalo Bill" Cody, which inevitably featured well-known Indian personalities and mimicked "Indian fights." On all their lively promotional posters and in all their parades, as well as during every event of the show itself, the American flag was predominantly in evidence, a fact that undoubtedly served as further inspiration to Indian artisans to use it as decoration. The popularity of the Wild West shows began to wane during the early years of this century as a new generation was unable to remember the "Indian Wars" days, nor were they much interested in recapturing the supposed color and glamour thought to be associated with the times of open Indian and White conflicts. The historic battles, re-enacted by many of the original Indian participants, brought back vivid recollections to the old-timers, but by 1910 or 1915 their real impact had vanished as national interests were directed elsewhere, including concern over a threatening world war.

The flavor and format of the early Wild West show was retained by the establishment of new celebrations such as Oregon's Pendleton Round-Up and the Sheridan [Wyoming] All Indian Pageant, complete with parades, demonstrations of horsemanship, and outstanding examples of native dress and horse adornment. During these events the American flag and other emblematic symbols have always been prominently displayed.

Many Indian celebrations continue to be observed each year on the Fourth of July, mainly because traditional ceremonials have always been held during the early summer months. That this year's festive Fourth of July Indian activities will be staged simultaneously with nationwide Bicentennial activities is a pleasant coincidence, but recognizing the 200th anniversary of America's independence is not the true reason for them - nor is the fact that 1976 is also the centennial of Custer's annihilation by the Sioux and Cheyenne at the Little Bighorn.

At the turn of the twentieth century, Indian crafts as a whole underwent a period of transition brought about by two developments: first, commercially manufactured, functional articles such as pots, pans, buckets, and wagons, became available, releasing Indian craftsmen from long, monotonous hours of tedious labor required to produce the same utilitarian items in the old, traditional manner; second, travel became almost bearable, rather than uncomfortably long and hazardous, and the greatly expanded railroads offered "tours" to Indian country. The tours attracted a new group of people, appropriately called "tourists," who sought mementos of their journey, preferably "something Indian." But they were not anxious to pay a price commensurate with the value of the labor involved in producing it.

Thus, in response to the new, strange demand for less expensive items, wearing blankets changed to rugs, finely woven baskets changed to more quickly made substitutes, and elaborate ceramics changed to pottery curios. In exchange for the pots and pans needed by the Indian, the trader demanded native crafts which would most readily appeal to the new "tourist market." Because of the coveted position of respect enjoyed by the American flag during that period by Indians and non-Indians alike, its selection as a design of greatest commercial attraction was a natural choice.

During the early 1900s the Indian artisan sought out various designs for blankets, beadwork, baskets, pottery, and other crafts which not only intrigued him, but which he assumed would be popular to buyers. Thus, trains, houses, animals, the labels of commercial goods, and other articles that came to his attention were commonly used and among the items he most frequently encountered was, of course, the American flag.

The Indian people participated in every American war of this century; during and afterward, their inherent characteristic of deep patriotism was always evident. At home, the same feeling prevailed, and undoubtedly encouraged the continued use of patriotic designs.

It is not surprising, then, to uncover so many patriotic symbols of the United States in American Indian crafts and art. And of course in this Bicentennial Year there is a proliferation of such decoration using patriotic symbolism, some of it produced merely for commercial appeal. But one also finds a sincere and deep expression through patriotic symbolism in a manner most beautiful and unique to the American Indian. ☐☐☐

Mrs. Dorothy Hubbell and William Young display the finelywoven United States and Arizona flag-rugs created at the Hubbell Trading Post in Ganado. Mrs. Hubbell, of Sun City, is the daughter-in-law of John Lorenzo Hubbell, whose name the famous old trading post still carries a century after he first arrived there; Mr. Young is the trader/manager of the trading post, now a registered National Historic Site. "Bill" Young has traded with the Navajo for 56 years and has done much to encourage Navajo weaving. Jerry Jacka

The American Way

The traditions of America are many and deeply rooted. Americans are compassionate, understanding, eager to help, and often generous to a fault. They respect the hard work of their forefathers, pray for the future of their children and grandchildren, and generally ask only a little recognition for their own efforts. It is the nature of the American people to seek that which is "worthy and worthwhile" and commit themselves to it with abandon. It is part of "the American way."

Nearly a year ago ARIZONA HIGHWAYS planted the seed of an idea with the Navajo Tribal Council, exploring the possibility of having a flag-rug woven in recognition of the American Bicentennial - the creation of a Navajo weaver, to be sold by public bid, with all proceeds going to a scholarship fund for the Navajo Community College at Tsaile. Mrs. Sadie Curtis, a noted weaver at the Hubbell Trading Post in Ganado, accepted the task of weaving the finest fifty-star flag-rug. Mrs. Mary Lee Begay, also a weaver at Hubbell's, set up a giant loom in her home and wove another flagrug, this one an Arizona state flag, to be auctioned along with the American flag. CBS correspondent Charles Kuralt heard about the project, brought his crew to Ganado, and the work - still unfinished on the loom - appeared in the "On the Road to '76" segment of the CBS Evening News (CBS network, March 18). Through special arrangements made by U.S. Senator Barry Goldwater, the 4 foot by 6 foot American flag-rug was raised over our nation's Capitol on Flag Day, June 14. And on July 1 Arizona Governor Raul Castro will fly both flags over the Arizona Capitol. So it is, that the seed of an idea has blossomed into that which is shown on these pages and on the cover of this issue. But the fruits of these labors rests in the hands of those who bid on these works of love - and ultimately with the youth of tomorrow who will attend Navajo Community College because of their generosity. The Editors

ATTENTION COLLECTORS

Persons, businesses or organizations wishing to bid on these historic flag-rugs may contact the Editorial Department of ARIZONA HIGHWAYS magazine to learn where and when the weaving may be examined. They are to be sold separately. Sealed bids must be postmarked not later than midnight, November 22, and will be opened December 1, 1976, in Phoenix.

Bicentennial Flags Hubbell Trading Post Post Office Box 688 Phoenix, Arizona 85011