Mixed Race Studies

Sewing Ourselves Together: Clothing, Decorative Arts and the Expression of Métis and Half Breed Identity

University of Manitoba
2004
450 pages

Sherry Farrell Racette, Professor of Native Studies and Women’s and Gender Studies
University of Manitoba

A Dissertation submitted to the Faculty of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy

When I was a university student, I worked at a summer education program in The Pas in northern Manitoba. There I met three women from the Manitoba Métis Federation who had obtained a grant to teach people who worked with their children. Tired of requests to come into classrooms to teach children beadwork, they had decided that the best use of their time and skills was to “teach the teachers” with the expectation that beadwork would be incorporated into the curriculum. The women seemed to take special care that I learned what they had to teach. Maybe it was because I was the only aboriginal woman in the workshop; maybe it was because I was interested. Kathleen Delaronde, a traditional artist of the highest caliber, was one of those women. I got to know her and her family and during another northern summer, I stayed at their home and learned at her kitchen table. Nobody in my family did beadwork but I felt an immediate connection with beads and leather.

Although beadwork and traditional arts were new to me, sewing clothes and making decorative objects for the home were not. Both my parents had been poor as children and took tremendous pleasure in dressing well. My grandmother always dressed up to go to town, and tortured my uncles by dressing them in little matching suits and hats. One summer while we were visiting my grandmother in Quebec, she sat me down at her treadle sewing machine and helped me sew a dress for my doll. At home I started sewing by helping my mother who was always making something. My job was to rip her mistakes while she forged ahead and to do hand sewing which she still loathes. In addition to what she had learned from my grandmother, my mother had taken a tailoring course that was offered by the Singer sewing machine company, and she sent me off to take a similar course when I was a teenager. Now she helps me when I embark on projects that involve sewing. For an art exhibit, Dolls for Big Girls, I merged what I knew about Métis and First Nations history and traditional arts and clothing. While I made little moccasins, my mother dressed the old woman for a piece entitled Flight based on her memories of clothing worn by my great-grandmother, Annie Poison King.

When I began my journey into traditional arts, my mother brought me a birch bark basket that belonged to my grandmother, Helen King Hanbury. Disappointed that, in a fit of creativity, my grandmother had painted it with green boat paint, I put the basket aside. I didn’t open it until shortly after my grandmother died. One day I found myself sitting on the edge of my bed with the basket in my lap. When I took off the lid, I found moccasin patterns, a piece of embroidery, assorted odds and ends, and a handmade needle case with a simple flower embroidered on the cover. I realized that I had unknowingly picked up a needle to an aesthetic tradition that my grandmother had put down. Since that time I have taken opportunities to learn from elder artists, such as the late Margaret McAuley of Cumberland House, and struggled on by myself. I have also thought a great deal about what it means when we wrap ourselves up and present ourselves to the world in a certain way and what it means when we stop. This study is an extension of the journey that began when Kathleen Delaronde helped me pick up the needle. It has been done with the greatest respect for the women who have taught me and the artists from long ago, who I am sure have been standing beside me guiding my research.

TABLE OF CONTENTS

• PREFACE: Picking Up the Needle
  • Acknowledgements
  • Glossary
  • Abbreviations
• CHAPTER ONE: Métis and Half Breed Clothing and Decorative Arts
• CHAPTER TWO: Métis, Half Breed and Mixed Blood: Identifying Self and Group
• CHAPTER THREE: The Métis Space of New Possibilities: Elements of Hybrid Style
• CHAPTER FOUR: “After the Half Breed Fashion”: Reconstructing 19th Century Métis and Half Breed Dress
• CHAPTER FIVE: Tent Pegs: Material Evidence
• CHAPTER SIX: Spirit and Function: Symbolic Aspects of Occupational Dress
• CHAPTER SEVEN: Clothing in Action: the Expressive Properties Of Dress
• CHAPTER EIGHT: Sewing for a Living: the Commodification of Women’s Artistic Production
• CHAPTER NINE: Artists, Making and Meaning
• CHAPTER TEN: Half Breed, but not Métis: Lakota and Dakota Mixed Bloods
• CHAPTER ELEVEN: Final Thoughts and Conclusions
  • Sewing Ourselves Together
• BIBLIOGRAPHY
• PLATE GALLERY

Read the entire dissertation here.