Some years ago a series of strange yet unrelated events led me to undertake a study of the colonial era in Massachusetts and the history of the town in which I live. As time passed, two questions came to mind: 1) We know about the Pilgrims and Puritans, but where did all the Indians go? and 2) Among that remnant of Native Americans who have somehow managed to survive into the present era, how can tribal communities thrive while reconciling themselves to the monolithic power of contemporary American civilization?
Question 1 is all too easy to answer and all too sad to contemplate; Question 2 eluded me for many years. That it has been answered, if only in the most unexpected sort of way, is as much a comment on the ambiguity inherent in any complex question as the daunting challenge of overturning centuries of repression and racial hatred directed against indigenous peoples. That such questions continue to run in parallel with “the power and the glory” theories of American history, which have merit in their own terms, is a puzzle I will not attempt to solve here.
High-fashion dresses, beaded boots and luxurious accessories may seem to pale in contrast to such concerns, but to my surprise and delight I found in them my answer when I recently attended an exhibition entitled “Native Fashion Now – North American Indian Style” at Salem’s Peabody Essex Museum. Curated by Karen Kramer, a brilliant exponent of indigenous art, and a team of dedicated colleagues, the exhibit is a five-star event.
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What Native America appears to be about today, if what I saw in Salem is representative, is what it has always been doing: imagining a unique future for itself based on its deepest and most profound spiritual and material resources. Self-reliance, a willingness to adopt new ways, rich wellsprings of community and most of all a totally hip, wildly imaginative artistic sensibility are overcoming what murderous Europeans, a brutally repressive federal government, competing tribal interests, the bland insensibility of mass media and the mindless conformity of commercialization have not and never will achieve. In their place I encountered a powerful fusion of art and craft that is nothing short of transformative.
I need issue no spoiler alert in saying what you will see, if you go to this exhibition, is a swirl of iconic symbols, fine fabrics, beaten silver, precious stones and even colorized sneakers. I takes high fashion, stands it on its head, shakes it up and adds such unexpected embellishments as elk antler and stingray skin to clothing ensembles and fashion accessories so colorful and iconic as to meet the test of any Paris runway show, presidential state occasion, high society charity ball, rapper’s act or skateboarder ramp routine.
Clothing, along with food gathering and kinship ties, once was life itself to Native America. A first line of environmental defense against heat, cold and predators, clothing lent prestige and power to its powwows and chiefs. So it is hardly an accident that clothing should now become a dynamic, expressive medium for contemporary Native American fashion designers. Cultural persistence has paid off quite well here, one might say.
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