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                <text>Women's Saddle from the Naz Perce Nation</text>
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                <text>Uploaded by Owen Beaver</text>
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                <text>Plateau Peoples' Web Portal&lt;br /&gt;&lt;span&gt;https://plateauportal.libraries.wsu.edu/digital-heritage/k%E2%80%99%C3%BAusey%E2%80%99ne-sapo%CB%80saap%C3%B3%CB%80s-womans-saddle-nez-perce&amp;nbsp;&lt;/span&gt;</text>
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                <text> Early-Middle Nineteenth Century  c. 1830-1845</text>
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                <text>A saddle used for traveling long distances by the Naz Perce Nation</text>
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                <text>Uploaded by Alenis Rios</text>
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                <text>This is an infant's first toy and it's an amulet called a Piikstaan. An amulet like this one would often be created by Blackfoot women to give to their child. It's also known as &lt;em&gt;has a nothing face.&lt;/em&gt;</text>
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                <text>The amulet belonged to someone from Piikani. Blackfoot women would create these amulets. The name of the owner and creator of this amulet remains anonymous.</text>
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                <text>Belcourt, Christi. Beadwork: First Peoples' Beading History and Techniques. Owen Sound, Ont: Ningwakwe Learning Press, 2010.&lt;br /&gt;&lt;br /&gt;Gray, M. (2017). Beads: Symbols of Indigenous Cultural Resilience and Value (Unpublished Master's Thesis). University of Toronto, Toronto, Ontario.&lt;br /&gt;&lt;br /&gt;Hungry Wolf, Beverly. (1982). The ways of my grandmothers (1 st Quill ed.).</text>
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                <text>Blackfoot Digital Library: https://mootookakiossin.ca/explore/objects/amulet_MAA_1929/intro</text>
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                <text>"An extensive and valuable collection" created by R.R. Rymill for the museum is mentioned in the MAA's 1929 Annual Report.</text>
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                <text>Three oil paintings and twelve watercolors by Monroe Frederick, who is noted as being a Hopi student. The collection includes portraits of Hopi and Navajo Indian men, and a painting of a traditional village. One oil painting, titled “Hopi Girl”, is painted on fabric canvas and signed “Monroe Frederick” on the lower right edge. The second oil painting, depicting two Indian boys is painted on canvas on board, signed “Monroe Frederick after E. Irving Crouse."</text>
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                <text>Uploaded by Vince Zamora</text>
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                <text>National Museum of the American Indian</text>
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                <text>1853-1929</text>
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                <text>Hide, glass bead/beads</text>
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                <text>A Leather Gunsleeve with additional Beaded Imigrery and leather Fringes from the Cree Tribe located presumably in Western Canada</text>
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                <text>National Museum of the American American Indian </text>
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                <text>Land-O-Lakes Item Packaging </text>
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                <text>Uploaded by Brianna Arizmendi</text>
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                <text>Land-O-Lakes butter logo on a the packaging of butter product from early 1990s to the present. Paperboard and ink on item packaging with a focus on the companies logo over time. </text>
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                <text>Land O' Lakes, Inc.</text>
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                <text>&lt;span&gt;National Museum of the American Indian (NMAI):&amp;nbsp;&lt;/span&gt;&lt;a href="https://americanindian.si.edu/collections-search/object/NMAI_146283" target="_blank" rel="noopener"&gt;https://americanindian.si.edu/collections-search/object/NMAI_146283&lt;/a&gt;</text>
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                <text>Lawrence R. Baca, Chaticks Si Chaticks (Pawnee)</text>
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                    <text>The underside of this charm has various numbers but it is unsure if the numbers were originally on the charm or have any clues to the origin of this amulet. What is known is that this amulet originally belonged to a Pikani whose name is unknown. In 1929, a man named Robert Rymill purchased the item along with others when visiting the Piikani Nation. Cambridge University’s Museum of Archeology and Anthropology (MAA) sent Robert to purchase traditional items including 199 Piikani items making up the largest known collection of Piikani artifacts. As of today, this item is still at MAA.&#13;
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                    <text>This item is brightly colored as it was made for children. These amulets were made to honor children as they were considered gifts of the creator. In many circumstances, these amulets would be an infant's first toy inferring that this item is made of mostly soft materials. These amulets also served as a symbolic connection between mother and child as it contained a dried umbilical cord in a pouch within the amulet. This toy further symbolized meaning, it provided protection of the children and these amulets were often seen to keep children from being sick.&#13;
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                    <text>The design of these amulets is very intricate and made of many materials that all have meanings in the Pikani culture. First, the beads that line most of the entire amulet likely came from trade with settlers. Beading was seen as a craft where artists expressed themselves and their beliefs and designs could be passed down generatinally. This amulet is also made with hide. Like many tribes, Pikani used as far as animals for toys and other items and believed animals sacrificed themselves for the natives. As animal was used in many toys, it can be inferred that animal was used to string the beads.</text>
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              <text>Citations&#13;
&#13;
https://mootookakiossin.ca/explore/objects/amulet_MAA_1929/main&#13;
&#13;
https://collections.maa.cam.ac.uk/objects/487824/</text>
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                <text> Naamsskii Amulet</text>
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                <text>Mootookakiossin Distant Awareness project</text>
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                <text>Sinew, Beads, and Hide</text>
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