Symbolism in Penobscot art / by Frank G. Speck.

  • Frank Speck
Date:
1927
Catalogue details

Licence: Public Domain Mark

Credit: Symbolism in Penobscot art / by Frank G. Speck. Source: Wellcome Collection.

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    Bitinc Parrerns IN BIRCHBARK The theory of the technical origin of the floral design, in general, is an engaging one, at this stage of our survey. Here, as elsewhere among the Northeastern Algonkian, the practice of folding strips of thin trans- parent birchbark two or three times over, and then biting the layers between the teeth is quite prevalent. (Fig. 16.) This produces a series of indented impressions which appear very clearly when the strip of bireh- bark is spread out, and emerge as symmetrical outlines at once suggesting floral patterns. The dotted lines are recognized as leaves, blossoms, ten- drils, and stems and closely resemble the double-curve figures—so much so, that if the latter have not been actually derived from them they may safely be regarded as historically related to them. The Montagnais, Naskapi, Cree, and Ojibway women deliberately employ this as one method for deriving ideas for patterns in beadwork, silk embroidery, and birchbark etching. The Labrador bands attribute the results to the dominance of their “soul-spirits”’ in the production of the intricate figures. That a similar practice was involved in the growth of art ornamentation in the Wabanaki area can hardly be doubted. Here, therefore, is our most logical suggestion of the technical influence in the development of floral figures in the decorative art of the Algonkian of the northeast. Its fundamental value can be appreciated in view of the culture importance of birchbark in the original Algonkian ethnic setting. Spier, in reviewing the author’s monograph on Northeastern art arrives at a similar theoretical conclusion by inferential reasoning. Among the Penobscot we lack the definite oral testimony and prac- tice that would assist in tracing the curved floral figures to such patterns. The Penobscot consider the biting of birchbark figures as a game. The children and old people find amusement in it, calling it alaleskwaddz. ge “cutting bark with the teeth.” Especially adept were some of the old women who had but two or three corresponding front teeth in their jaws. By twisting and twining the folded bark from side to side, while biting it, the most surprising outlines were produced. Not so long ago the boys and girls passed their evenings in the village playing a game in which they divided into sides to see which party could produce the pretttest designs. This phase has now passed, but children still find a pastime in pattern-biting. A specimen of the process is shown in Fig. 16. ISpier, Leslie, Review of ‘The Double Curve Motive in Northeastern Algonkian Art” (ibid.) in a
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