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The Meskwaki of Iowa

Published onJan 04, 2024
The Meskwaki of Iowa

The Meskwaki are officially known by the U.S. government as the Sac and Fox of the Mississippi in Iowa. They are the only resident Native Nation in Iowa. The Meskwaki, along with their allied Sac Nation, ceded their lands in Iowa through a series of treaties in the 1830s and 1840s.  They were forced to reservation lands in Kansas in 1846, but some never left Iowa.

A group of Meskwaki from Kansas returned to Iowa in 1857 and petitioned then Iowa Governor Grimes to allow them to purchase 80 acres of land along the Iowa River in Tama County. This request was granted. Thus began a settlement that today comprises over 2000 acres near Tama, Iowa where nearly 1000 Meskwaki live.

Pushetonequa, 1929

Christian Petersen, (Danish-American, 1885-1961)

Painted plaster

Cast by ConserveArt LLC, 2007, In the Christian Petersen Art Collection, Christian Petersen Art Museum, University Museums, Iowa State University, Ames, Iowa. U2007.29

Mamiwanige (1839–1919) was the last hereditary leader of the Meskwaki (Sac and Fox) in Iowa. Upon his death in 1881, Pushetonequa was installed as chief by the chief’s council and was later recognized by the Office of Indian Affairs. In order to seat Pushetonequa, Mamiwanige’s sons were passed over because they were considered too young. Pushetonequa led the tribe during a time of change as the U.S. government wanted the tribe to assimilate. He faced detractors and supporters during his thirty-eight years of leadership as the tribe struggled to maintain its sovereignty.  He was born at South Amana, Iowa County at Poweshiek’s village in 1839 and died in 1919.

Portrait Bust of Young Bear, 1926

Christian Petersen (Danish-American, 1885-1961)

Painted plaster

On loan from the State Historical Museum of Iowa.

Young Bear (1868–1945) was a son of Pushetonequa. He was born in 1868 at a winter camp along the Raccoon River. After Pushetonequa’s death in 1919 the federal government refused to recognize a successor. The Meskwaki tribal council continued to handle tribal affairs under the leadership of Young Bear. Edgar Harlan and Young Bear traveled to Chicago in December 1929 and rented rooms at the Wellington Hotel for themselves and Christian Petersen. Petersen’s room became a makeshift studio for holding portrait sittings of both Young Bear and Harlan.

Cha-Ki-Shi, 1936

Illustrated by Christian Petersen (Danish-American, 1885-1961)

Author, Bessie Coon and Halle Rhode

Gift of Katherine (Strong) Bolander. In the Christian Petersen Art Collection, Christian Petersen Art Museum, University Museums, Iowa State University, Ames, Iowa.

UM2009.205

In 1927 Edgar Harlan was asked by the Des Moines Superintendent of Schools to develop a special course for teachers to learn about Native American life. Harlan invited teachers to the Des Moines historical museum each week to look at Native American collections. On several occasions they went to his farm near Altoona, Iowa where he brought people from the Meskwaki Settlement of Tama to meet with the teachers and to discuss traditional lifeways.

Harlan was assisted by his on-staff educator, Halla Rhode (1883–1941).  One of the teachers, Bessie Coon (1891–1942), was a third-grade teacher at Hubbell Elementary in Des Moines. Rhode and Coon developed a friendship and decided to write a children’s book together. They needed an illustrator, and through Harlan’s association with Christian Petersen, they found their artist. Cha-Ki-Shi was published in 1936. Cha-Ki-Shi was a young girl from the Meskwaki Nation and it followed her life through the cycle of activities for a year.  Cha-Ki-She means “A little bear in a den with room only for itself.”

Petersen, along with Rhode and Coon, visited the Meskwaki settlement to make sketches. Rhode also introduced him to her museum co-worker, Jonas Poweshiek, and his father Frank. Frank developed a living history exhibit of a Meskwaki village on Harlan’s farm where he gave demonstrations of Meskwaki crafts and culture.

Petersen’s illustrations for the book numbered 53, but only 15 were actually printed in the book. The publisher, Scribner and Sons, wrote a letter to Rhode and Coon and were concerned that Petersen’s use of soft crayon might not reproduce well. The publisher offered to pay Petersen $150 to redraw some of the illustrations. Look at the drawings in this exhibition and see if they could have been the inspiration for then future Fountain of the Four Seasons sculptures.

Cha-Ki-Shi: Study for the Cover, 1936

Christian Petersen, (Danish-American, 1885-1961)

Watercolor on paper

Gift of Charlotte Petersen to Special Collections, Iowa State University Library. Transferred to University Museums. In the Christian Petersen Art Collection, Christian Petersen Art Museum, University Museums, Iowa State University, Ames, Iowa. UM99.133

Cha-Ki-Shi: Armlet, 1936

Christian Petersen, (Danish-American, 1885-1961)

Pencil on paper

Gift of Charlotte Petersen to Special Collections, Iowa State University Library. Transferred to University Museums. In the Christian Petersen Art Collection, Christian Petersen Art Museum, University Museums, Iowa State University, Ames, Iowa. UM99.104

The actual armlet in this illustration is included in this exhibition.

Cha-Ki-Shi: Cha-Ki-Shi Dressed for the Dance, 1936

Christian Petersen, (Danish-American, 1885-1961)

Pencil, conte and colored pencil on paper

Gift of Charlotte Petersen to Special Collections, Iowa State University Library. Transferred to University Museums. In the Christian Petersen Art Collection, Christian Petersen Art Museum, University Museums, Iowa State University, Ames, Iowa. UM99.115

Cha-Ki-Shi: The Baby and Her New Cradle, 1936

Christian Petersen, (Danish-American, 1885-1961)

Conte on paper

Gift of Charlotte Petersen to Special Collections, Iowa State University Library. Transferred to University Museums. In the Christian Petersen Art Collection, Christian Petersen Art Museum, University Museums, Iowa State University, Ames, Iowa. UM99.98

Cha-Ki-Shi: The Hair Roll, 1936

Christian Petersen, (Danish-American, 1885-1961)

Watercolor and pencil on paper

Gift of Charlotte Petersen to Special Collections, Iowa State University Library. Transferred to University Museums. In the Christian Petersen Art Collection, Christian Petersen Art Museum, University Museums, Iowa State University, Ames, Iowa. UM99.126

Cha-Ki-Shi: Making Nettle String, 1936

Christian Petersen, (Danish-American, 1885-1961)

Pencil on paper

Gift of Charlotte Petersen to Special Collections, Iowa State University Library. Transferred to University Museums. In the Christian Petersen Art Collection, Christian Petersen Art Museum, University Museums, Iowa State University, Ames, Iowa. UM99.112

Stinging Nettle (Urtica dioica) was used as a food source, as a medicine, and a source of fiber to make string or other cordage.  This string was an important element in sewing cattail (Typha sp.) leaves to make mats or the coverings for the wikiup lodges.

Cha-Ki-Shi: Maple Sugar Making, 1936

Christian Petersen, (Danish-American, 1885-1961)

Pencil and charcoal on paper

Gift of Charlotte Petersen to Special Collections, Iowa State University Library. Transferred to University Museums. In the Christian Petersen Art Collection, Christian Petersen Art Museum, University Museums, Iowa State University, Ames, Iowa. UM99.96

Cha-Ki-Shi: Maple Sugar Making, 1936

Christian Petersen, (Danish-American, 1885-1961)

Pencil and charcoal on paper

Gift of Charlotte Petersen to Special Collections, Iowa State University Library. Transferred to University Museums. In the Christian Petersen Art Collection, Christian Petersen Art Museum, University Museums, Iowa State University, Ames, Iowa. UM99.119

In late winter or early spring when the sap in the maple tree (Acer sp.) begins to rise the tree is tapped and the sap is collected.  It is then boiled to remove the liquid and the sugar remains.

Cha-Ki-Shi: The Woman Sitting and Maple Sugar Making, 1936

Christian Petersen, (Danish-American, 1885-1961)

Pencil on paper

Gift of Charlotte Petersen to Special Collections, Iowa State University Library. Transferred to University Museums. In the Christian Petersen Art Collection, Christian Petersen Art Museum, University Museums, Iowa State University, Ames, Iowa.

UM99.118ab

Cha-Ki-Shi: The New Pair of Moccasins, 1936

Christian Petersen, (Danish-American, 1885-1961)

Pencil and charcoal on paper

Gift of Charlotte Petersen to Special Collections, Iowa State University Library. Transferred to University Museums. In the Christian Petersen Art Collection, Christian Petersen Art Museum, University Museums, Iowa State University, Ames, Iowa. UM99.95

Cha-Ki-Shi: Garden Time, 1936

Christian Petersen, (Danish-American, 1885-1961)

Colored pencil, conte and pencil on paper

Gift of Charlotte Petersen to Special Collections, Iowa State University Library. Transferred to University Museums. In the Christian Petersen Art Collection, Christian Petersen Art Museum, University Museums, Iowa State University, Ames, Iowa. UM99.113

Meskwaki Hair Roll

Woodland, Meskwaki

On loan from State Historical Museum of Iowa.

Hair roll made of black trade cloth with overlay stitch beadwork on both ends, one end predominately red, other end predominately dark blue and green. Blue and yellow ribbon trims the ends.  These decorated hair ornaments were worn by women on special occasions.

Woman’s Leggings

Made by Mrs. John Young Bear's mother, worn by Mrs. John Young Bear

Woodland/Meskwaki

On loan from the State Historical Society of Iowa.

Leggings, made from navy blue trade cloth with dyed border along bottom edge. The top opening is trimmed in dark blue ribbon, one edge of the side trimmed in dark blue ribbon and pink and blue beads, and a beaded overlay sewn on front edge with oblong bead designs in green, white, pink and blue, in the Ottertail beadwork pattern. On the reverse, red, green and purple ribbon trim the beaded design.  These types of leggings were worn on special occasions such as dances or ceremonies.

Woman’s Necklace

Meskwaki

On loan from the State Historical Society of Iowa.

Necklace, blue pony beads, brass beads, black glass beads and hair bones, strung together with string, three strands of beads tied together.  In Petersen’s drawing of Cha-Ki-Shi Dressed for the Dance she is wearing a similar necklace.

Basswood and Nettle String Bag

Woodland, Meskwaki

On loan from the State Historical Museum of Iowa.

Packsack, woven basswood and nettle string. The basswood tree (Tilia americana) was utilized in several ways. The wood was easy to carve and was used to make spoons, bowls or other utensils. The sap could be used to make syrup.  The inner bark was a source of fiber to make to make this bag and nettle string was used to weave the bark together.

Moccasins

Woodland, Meskwaki

On loan from the State Historical Museum of Iowa.

Moccasins made from tanned buckskin, Meskwaki-style. Beaded strip on top front. From the Tama Settlement. Moccasins such as these were made for festive occasions. Plain undecorated hides were used for everyday foot ware.

Cradle Board

Meskwaki

On loan from the State Historical Museum of Iowa.

Cradleboard, Te-Ke-No-Ka-Ne, used by John Young Bear for his baby, Co-Ques-Se-We. Backboard with curved support for a baby is attached with leather ties. The wooden hoop would be above the baby's head and yarn decorations hang from hoop. Each new baby had its own cradle board. It provided a safe space for the baby while mother went about her daily work. The first chapter in Cha-Ki-Shi describes in detail the making of a cradle board.

German Silver Armlet Bracelet

On loan from the State Historical Museum of Iowa.

German silver, etched design of diamonds with scalloped edges, flower design inside the diamond. Piece of cotton fabric threaded through one of four holes. This bracelet was illustrated by Christian Petersen for the Cha-Ki-Shi book.

Woman’s Ribbon Blouse, circa 1920s

On loan from the State Historical Museum of Iowa.

Blouse with Meskwaki ribbon work: a light green silk with applied ribbon and white metal ornaments; red, black, brown, pink, yellow, and black ribbon is applied at cuffs, shoulders, neckline, and hem. The collar is round with a long opening from collar to mid-chest. Metal ornaments applied across the chest and back and at end of front opening.

Woman’s Skirt, circa 1920s

On loan from the State Historical Museum of Iowa

Meskwaki blue wool skirt with applied ribbon work. Two ribbon panels run vertically down front. Black, gold, green, red, and blue ribbons form mirror image pattern across the center line, and the same pattern and ribbon creates a band at the waist. Small round metal disks are attached to the wool following the line of the ribbon at the waist. Silver jingle bells are attached top of waist.

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