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                <text>Uploaded by Owen Beaver</text>
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                <text> Early-Middle Nineteenth Century  c. 1830-1845</text>
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The Newberry makes its collections available for any lawful purpose, commercial or non-commercial, without licensing or permission fees to the library, subject to the following terms and conditions: https://www.newberry.org/rights-and-reproductions</text>
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                <text>&lt;a href="https://www.blackfootdigitallibrary.com/digital/collection/bdl"&gt;The Blackfoot Digital Library&lt;/a&gt;</text>
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                <text>Mootookakio'ssin: Distant Awareness (https://mootookakiossin.ca/explore/objects/storyrobe_BM_1869/main)</text>
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                <text>&lt;a href="https://mootookakiossin.ca/explore/objects/amulet_MAA_1929/intro"&gt;Blackfoot Digital Library&lt;/a&gt;</text>
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                <text>&lt;a href="https://collections.maa.cam.ac.uk/objects/487824/"&gt;Cambridge Museum of Archeology and Anthropology&lt;/a&gt;</text>
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                    <text>While this animal may look like a snake, it is correctly described as a Naamsskii. Naamsskii translates to “has a nothing face“ and in the Pikani culture, Naamsski charms are made for males while turtle charms are made for females. Each charm was made uniquely for each child so they could be identified by their charm from a distance. In some cultures, Naamsski also means lizard so it can be believed that is why this charm is snakelike. The amulet tail is also said to rattle which further adds to its snake-like appearance. Lastly, as a children's item, it makes sense for this charm to be simple and not include any fangs.&#13;
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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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&#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>Mootookakiossin Distant Awareness project</text>
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                <text> Naamsskii Amulet</text>
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                <text>Sinew, Beads, and Hide</text>
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                <text>Piikstaan Amulet</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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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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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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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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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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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>Blackfoot Digital Library: https://mootookakiossin.ca/explore/objects/amulet_MAA_1929/intro</text>
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                <text>19th Century</text>
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                <text>Museum of Archaeology and Anthropology</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>Siksikáí’powahsin (Siksiká) also recognized as the Blackfoot language.</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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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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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Parfleche Bag- Weasel Fat from the Kainai Tribe</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Victor L. Coutee</text>
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                <text>A thin bag, made of dehydrated rawhide, meant to be traveled with on a horse's back and carry various materials. There are pasterns, painted with primary colors and black, meant to symbolize the near lands.</text>
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                <text>Kainai Blackfoot</text>
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                <text>&lt;a href="https://mootookakiossin.ca/explore/objects/bag_BM_1903/intro"&gt;Mootookakio'ssin&lt;/a&gt;</text>
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                <text>The 19th century.</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Kainai Blackfoot, currently stored at The British Museum.</text>
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            <name>Relation</name>
            <description>A related resource</description>
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                <text>Dehydrated rawhide and paint.</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>A Parfleche bag</text>
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            <name>Coverage</name>
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                <text>The 19th century, the Great Plains.</text>
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        <name>Parfleche Bag</name>
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                <text>New Echota Treaty</text>
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                <text>Adin Simon</text>
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            <description>An account of the resource</description>
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                <text>https://digitreaties.org/treaties/treaty/183393855/?keywords=removal</text>
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                <text>Andrew Jackson</text>
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                <text>United States Government</text>
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                <text>1835-1836 </text>
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                <text>PDF, in several separate pages</text>
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                <text>Archives of the United States Government in Washington DC</text>
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