<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://iris.siue.edu/anishinaaberegalia/items/show/60">
    <dcterms:title><![CDATA[Painted Hide Strap Dress with Fur Flap]]></dcterms:title>
    <dcterms:description><![CDATA[This painted hide strap dress has front torso flap with fur and back torso flap without fur. There is painted horizontal motifs above the hem in red and bright blue (probably bluing laundry soap) and along seamlines. These are the same colors as on the leggings for this ensemble. The dress&#039;s motifs include horizontal lines and long scallops.]]></dcterms:description>
    <dcterms:source><![CDATA[Innu (Montagnais-Naskapi)]]></dcterms:source>
    <dcterms:created><![CDATA[1910]]></dcterms:created>
    <dcterms:relation><![CDATA[<a href="https://iris.siue.edu/anishinaaberegalia/items/show/61" target="_blank" rel="noreferrer noopener">https://iris.siue.edu/anishinaaberegalia/items/show/61</a><br />leggings 915.40.2.2.1-2]]></dcterms:relation>
    <dcterms:medium><![CDATA[Furred caribou hide, red and blue pigment, sinew]]></dcterms:medium>
    <dcterms:identifier><![CDATA[915.40.2.1]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[55.91564, -61.12415 (N 55°54′56″ W 61°07′27″)]]></dcterms:coverage>
    <dcterms:spatial><![CDATA[Natuashish, Labrador and Newfoundland]]></dcterms:spatial>
    <dcterms:provenance><![CDATA[Gift of Sir William Mackenzie. Probably collected by Robert J. Flaherty. In 1910, the CNR commissioned him (1884 – 1951) to search for iron ore deposits along the northeast coast of Hudson&#039;s Bay.]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://iris.siue.edu/anishinaaberegalia/items/show/61">
    <dcterms:title><![CDATA[Painted Hide Leggings]]></dcterms:title>
    <dcterms:description><![CDATA[These painted hide leggings are made from caribou hide. There are four horizontal bands with motifs of diamonds and horizontal lines in red and bright blue (probably bluing laundry soap).]]></dcterms:description>
    <dcterms:source><![CDATA[Innu (Montagnais-Naskapi)]]></dcterms:source>
    <dcterms:created><![CDATA[1910]]></dcterms:created>
    <dcterms:relation><![CDATA[<a href="https://iris.siue.edu/anishinaaberegalia/items/show/60" target="_blank" rel="noreferrer noopener">https://iris.siue.edu/anishinaaberegalia/items/show/60</a><br />dress 915.40.2.1]]></dcterms:relation>
    <dcterms:medium><![CDATA[Caribou hide, red and blue pigment, sinew]]></dcterms:medium>
    <dcterms:identifier><![CDATA[915.40.2.2.1-2]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[55.91564, -61.12415 (N 55°54′56″ W 61°07′27″)]]></dcterms:coverage>
    <dcterms:spatial><![CDATA[Natuashish, Labrador and Newfoundland]]></dcterms:spatial>
    <dcterms:provenance><![CDATA[Gift of Sir William Mackenzie. &quot;Probably collected by Robert J. Flaherty. In 1910, the CNR commissioned him (1884 – 1951) to search for iron ore deposits along the northeast coast of Hudson&#039;s Bay.]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://iris.siue.edu/anishinaaberegalia/items/show/62">
    <dcterms:title><![CDATA[Hide Strap Dress with Painting at Hem and Fringes at Shoulders]]></dcterms:title>
    <dcterms:description><![CDATA[This painted hide strap dress has front and back upper torso flaps that are turned up in the photo, but would be worn turned down. There are short fringes at the upper corners of these flaps. The dress has two bands of painting above the hem. The lowest band consists mainly of horizontal lines. The upper band alternates squares with vertical rectangles filled in with smaller squares, diamonds and dots.]]></dcterms:description>
    <dcterms:source><![CDATA[Innu (Montagnais-Naskapi)]]></dcterms:source>
    <dcterms:created><![CDATA[1911-1913]]></dcterms:created>
    <dcterms:medium><![CDATA[Caribou hide, red, yellow and green pigment, sinew]]></dcterms:medium>
    <dcterms:identifier><![CDATA[HC2255]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[55.91564, -61.12415 (N 55°54′56″ W 61°07′27″)]]></dcterms:coverage>
    <dcterms:spatial><![CDATA[Natuashish, Labrador and Newfoundland]]></dcterms:spatial>
    <dcterms:provenance><![CDATA[Flaherty became interested in Innu and Inuit artifacts and collected them prior to his famous filming of Nanook of the North.]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://iris.siue.edu/anishinaaberegalia/items/show/63">
    <dcterms:title><![CDATA[Stroud Strap Dress with Five Beaded Rows]]></dcterms:title>
    <dcterms:description><![CDATA[The body of this blue stroud strap dress is made with the grain going sideways and the selvedge used as decorative motif at hem and bottom of chest flap. The straps and an extension to the hem are made of red stroud with the selvedge showing prominently. There are five horizontal lines made of white seed beads in lane stitch near the hem.]]></dcterms:description>
    <dcterms:abstract><![CDATA[This dress has been displayed at Denver Art Museum with the sleeves (1968.206). However, they were not collected or aquired together. There is no provenance, so the attributions are speculative.]]></dcterms:abstract>
    <dcterms:source><![CDATA[Plains Cree]]></dcterms:source>
    <dcterms:references><![CDATA[Cory Willmott. 2022. Decolonizing the Museum to Reclaim and Revitalize the Anishinaabe Strap Dress. Winterthur Portfolio 55(2):156.]]></dcterms:references>
    <dcterms:medium><![CDATA[Stroud, seed beads, woolen tape.]]></dcterms:medium>
    <dcterms:identifier><![CDATA[1970.425]]></dcterms:identifier>
    <dcterms:provenance><![CDATA[Museum Purchase from George Terasaki, 10/02/1970. Note that Willmott (2022, 156) incorrectly states it was acquired in 2017.]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://iris.siue.edu/anishinaaberegalia/items/show/64">
    <dcterms:title><![CDATA[Red Stroud Sleeves with Blue and Green Trim]]></dcterms:title>
    <dcterms:description><![CDATA[This pair of sleeves is made from red stroud with woolen tape trim in blue and green, bordered with a white seed bead linear motif.]]></dcterms:description>
    <dcterms:abstract><![CDATA[These sleeves have been displayed at Denver Art Museum with the dress (1970.425). However, they were not collected or aquired together.]]></dcterms:abstract>
    <dcterms:source><![CDATA[Anishinaabe]]></dcterms:source>
    <dcterms:references><![CDATA[Cory Willmott. 2022. Decolonizing the Museum to Reclaim and Revitalize the Anishinaabe Strap Dress. Winterthur Portfolio 55(2):129]]></dcterms:references>
    <dcterms:medium><![CDATA[Stroud, seed beads, woolen tape.]]></dcterms:medium>
    <dcterms:identifier><![CDATA[1968.206]]></dcterms:identifier>
    <dcterms:provenance><![CDATA[Purchased from Mr. M. J. Kohlberg, 1968. Possibly associated with Jane Schoolcraft, nee Johnson.]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://iris.siue.edu/anishinaaberegalia/items/show/65">
    <dcterms:title><![CDATA[Hide Strap Dress with Short Fringes and Swastika Beadwork]]></dcterms:title>
    <dcterms:description><![CDATA[Home tanned hide dress with two side seams, added fringed flap at center front. Fringes at sides and hem. Straps and front flap decorated with seed and cut beads in linear motifs and swastikas.]]></dcterms:description>
    <dcterms:source><![CDATA[Anishinaabe]]></dcterms:source>
    <dcterms:created><![CDATA[1936]]></dcterms:created>
    <dcterms:relation><![CDATA[Is depicted in NARA photograph BIA 1145; 2035 LC]]></dcterms:relation>
    <dcterms:references><![CDATA[Cory Willmott. 2022. Decolonizing the Museum to Reclaim and Revitalize the Anishinaabe Strap Dress. Winterthur Portfolio 55(2):150-1]]></dcterms:references>
    <dcterms:medium><![CDATA[Home tanned deer hide, seed and cut glass beads, thread.]]></dcterms:medium>
    <dcterms:identifier><![CDATA[1953.179]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[47.22759, -95.72049 (N 47°13′39″ W 95°43′14″)]]></dcterms:coverage>
    <dcterms:spatial><![CDATA[White Earth, MN]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://iris.siue.edu/anishinaaberegalia/items/show/66">
    <dcterms:title><![CDATA[Hide Strap Dress with Painted Motifs and Beading]]></dcterms:title>
    <dcterms:description><![CDATA[Painted white hide shift dress with seed bead decorations at bottom of chest flap and between panels at hem. Painted motifs at waist, hip and hem consisting of horizontal lines, scallops and alternating triangles and rectangles. Leather thongs at shoulders instead of straps.]]></dcterms:description>
    <dcterms:source><![CDATA[Barren Ground Naskapi]]></dcterms:source>
    <dcterms:created><![CDATA[1880, before]]></dcterms:created>
    <dcterms:medium><![CDATA[Unsmoked caribou hide (note bug bite marks on hide), red, brown, bright blue and dark blue pigment, glass seed beads.]]></dcterms:medium>
    <dcterms:identifier><![CDATA[1942.237]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[54.80022, -66.83183 (N 54°48′01″ W 66°49′55″)]]></dcterms:coverage>
    <dcterms:spatial><![CDATA[Shefferville, Labrador; Matimekosh Indian Reserve #3]]></dcterms:spatial>
    <dcterms:provenance><![CDATA[Frank Speck collected mainly around Lac St-Jean (Mashteuiatsh; usually given as &quot;Lake St. John&quot; by Speck), St-Augustin (usually &quot;St. Augustine&quot; in Speck) and interior nomadic Naskapi, now settled at Matimekosh Reserve.]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://iris.siue.edu/anishinaaberegalia/items/show/67">
    <dcterms:title><![CDATA[&quot;The Constant Sky,&quot; Saulteaux]]></dcterms:title>
    <dcterms:subject><![CDATA[strap dress]]></dcterms:subject>
    <dcterms:description><![CDATA[This painting depicts a woman seated on the ground leaning against a tree with a cradleboard and infant leaning on a stand nearby. There are a knife case and birchbark basket on the ground next to the mother and baby. In the background is a river with two short waterfalls and a cliff face behind. The woman&#039;s posture is totally inappropriate as she sits with her legs crossed, an Anishinaabe man&#039;s posture. She is wearing a strap dress ensemble, including a dress, sleeves, belt, leggings and moccasins. The sleeve arrangement is very accurately depicted, but the color of the dress is tan, which is likely the artist&#039;s creative insertion designed to imitate hide.]]></dcterms:description>
    <dcterms:abstract><![CDATA[&quot;By way of passing the time, I took my gun and strolled up the river, accompanied by the guide, and fell in with a solitary Sotto woman and child sitting under a tree. She was quite alone, as her husband had gone up the river fishing in the morning. She did not appear to be at all alarmed or confused at our approach, and freely entered into conversation with the guide, to whom she told her name, Caw-kee-ka-keesh-e-ko, “The Constant Sky.” Tempted by the beauty of the scene, and she seeming to be in no wise unwilling, I sketched her likeness and the surrounding landscape with considerable care.&quot; (Paul Kane, &quot;Wanderings of an Artist,&quot; 1859:438).  Research conducted by Ian MacLaren reveals another painting of the same subject in a private collection that depicts the dress in blue trade cloth, which would be consistent with the trends of the time and place. This version, oil on paper, appears to be the model upon which the ROM version was made. There is another version of The Constant Sky in the Stark Museum that is almost identical to the one at the ROM.]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Paul Kane]]></dcterms:creator>
    <dcterms:source><![CDATA[Anishinaabe]]></dcterms:source>
    <dcterms:created><![CDATA[1849 - 1856]]></dcterms:created>
    <dcterms:accessRights><![CDATA[Courtesy of ROM (Royal Ontario Museum), Toronto, Canada. ©ROM. Permission to reproduce this image must be obtained from the ROM.]]></dcterms:accessRights>
    <dcterms:references><![CDATA[I.S. MacLaren. 1989. &quot;I came to rite thare portraits&quot;: Paul Kane&#039;s Journal of his Western Travels, 1846-48. The American Journal of Art 21 (2): 6-22; I.S. McLaren, trans. 1989. Journal of Paul Kane&#039;s Western Travels, 1846 - 1848. The American Journal of Art 21 (2): 23-62. MacLaren, I.S. Paul Kane&#039;s Travels through Indigenous North America: Writings and Art, Life and Times. Forthcoming, McGill-Queen&#039;s Univ. Press, 2022.]]></dcterms:references>
    <dcterms:medium><![CDATA[Oil on canvas, framed]]></dcterms:medium>
    <dcterms:identifier><![CDATA[912.1.30]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[52.34921, -96.98953 (N 52°20′57″ W 96°59′22″)]]></dcterms:coverage>
    <dcterms:spatial><![CDATA[Berens River, Manitoba]]></dcterms:spatial>
    <dcterms:provenance><![CDATA[Gift of Sir Edmund Osler]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://iris.siue.edu/anishinaaberegalia/items/show/68">
    <dcterms:title><![CDATA[&quot;Sault St. Marie,&quot;Chippewa/Southeastern Ojibwa]]></dcterms:title>
    <dcterms:description><![CDATA[This painting depicts a group of Anishinaabek sitting around a campfire with several domed wigwams nearby. The woman of the group wears a blue shortgown over a black skirt. The Sault rapids are in the background. Sault Ste. Marie is at the intersection of Northern and Southern styles, yet most evidence points to a preference for the Southern Style.]]></dcterms:description>
    <dcterms:abstract><![CDATA[&quot;The Sault St. Marie is situated at the lower extremity of Lake Superior, where it debouches into the river St. Marie, in its course to Lake Huron: having in this part of the river a considerable fall, for about a mile and a half in length,it soon becomes a foaming torrent, down which, however, canoes, steered by practised guides, ordinarily descend safely, although with terrific violence. Sometimes, indeed, the venture is fatal to the bark and its occupants.&quot; &quot;I took a sketch of the rapids above alluded to, from the American side. There is a small town called the Sault St. Marie, on the American side, containing 700 or 800 inhabitants, with a well-built garrison, prettily situated on the river’s bank. On the Canadian side, about half a mile direct across, the Hudson’s Bay Company have a trading establishment, and the Custom House officer, Mr. Wilson, a tolerably handsome house.&quot; (Paul Kane, &quot;Wanderings of an Artist,&quot; 1859:45–46). From this description, I have used the current location of the Mission Indian Point historic marker for the coordinates. It is not possible to identify the exact location of the view, but it does not make a difference in terms of the style distribution.]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Paul Kane]]></dcterms:creator>
    <dcterms:source><![CDATA[Anishinaabe]]></dcterms:source>
    <dcterms:created><![CDATA[1849 - 1856]]></dcterms:created>
    <dcterms:accessRights><![CDATA[Courtesy of ROM (Royal Ontario Museum), Toronto, Canada. ©ROM. Permission to reproduce this image must be obtained from the ROM.]]></dcterms:accessRights>
    <dcterms:medium><![CDATA[Oil on canvas]]></dcterms:medium>
    <dcterms:identifier><![CDATA[912.1.9]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[46.48484639820592, -84.3022458815237]]></dcterms:coverage>
    <dcterms:spatial><![CDATA[Sault Ste. Marie]]></dcterms:spatial>
    <dcterms:provenance><![CDATA[Gift of Sir Edmund Osler]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://iris.siue.edu/anishinaaberegalia/items/show/69">
    <dcterms:title><![CDATA[&quot;The Midday Woman,&quot; Southeastern Ojibwa]]></dcterms:title>
    <dcterms:description><![CDATA[This portrait depicts the &quot;daughter of a chief from Lake St. Clair,&quot; which today is Walpole Island First Nation. The unnamed woman wears a fur robe over a white cotton or linen shirt with gathered neckline. She wears four strands of round beads and silver drop earrings. Although the portrait depicts only the upper portion of her body, it is apparent that the regalia is of the southern style.]]></dcterms:description>
    <dcterms:abstract><![CDATA[&quot;An interesting girl, the daughter of a chief from Lake St. Clair, gave me much trouble in prevailing on her to sit for her likeness, although her father insisted upon it; her repugnance proceeded from a superstitious belief that by so doing she would place herself in the power of the possessor of what is regarded by an Indian as a second self.&quot; (Paul Kane, &quot;Wanderings of an Artist,&quot; 1859:4–5)]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Paul Kane]]></dcterms:creator>
    <dcterms:source><![CDATA[Anishinaabe]]></dcterms:source>
    <dcterms:created><![CDATA[1849 - 1856]]></dcterms:created>
    <dcterms:accessRights><![CDATA[Courtesy of ROM (Royal Ontario Museum), Toronto, Canada. ©ROM. Permission to reproduce this image must be obtained from the ROM.]]></dcterms:accessRights>
    <dcterms:medium><![CDATA[Oil on canvas]]></dcterms:medium>
    <dcterms:identifier><![CDATA[912.1.7]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[42.56858495442497, -82.51662988234438]]></dcterms:coverage>
    <dcterms:spatial><![CDATA[Walpole Island, Ontario]]></dcterms:spatial>
    <dcterms:provenance><![CDATA[Gift of Sir Edmund Osler]]></dcterms:provenance>
</rdf:Description></rdf:RDF>
