of the Elders’ Advisory Council, picked up a birch- bark container with visible spoon scrapes, “she felt like she was cooking with her parents, and she could taste the food that they were cooking.” During the MDCC project, items in the NMAI col-
lection have been matched with those seen in the Frederick Johnson images, such as the coat and hat that Tom Gloade wore as he posed for his portrait. Elder Madonna Johnson (Eskasoni First Nation) and Nicholas were even able to put on the skirt and jacket worn by Charlotte Wilmot of the Millbrook First Nation as she posed for Johnson’s photo nearly a century ago. Because of those images and the NMAI’s careful records, visitors have even found items belonging to their own families. Lillian Mar- shall, who visited in 2012, held a hat that was worn by her aunt. “The fact that the Mi’kmaw items in the collection
can be directly connected to living family members is notable,” said NMAI’s Head of Conservation Kelly McHugh. “Research conducted by the community to restore these connections is critically important.”
A Shared Stewardship Now that the assessment of the items is completed, in the next phase of the project MDCC staff will bring practioners—beadworkers, basketmakers,
Louise Mali A’n (Denny) Morris was known for her finely made shopping baskets. Johnson photographed her and her daughter Rita here in the Eskasoni First Nation in Nova Scotia in 1930.
In addition to plainer baskets made for practical, everyday purposes, some were highly decorated with twisted splints of wood or woven sweetgrass, a plant considered to be sacred.
Birch fancy baskets such as this one decorated with dyed porcupine quills were primarily made to sell to Europeans or as trade items. They became popular during the 18th century.
Mi’kmaw, 1900–1910, porcupine quills, birch bark, sweet grass, metal nails and string or twine; 8.9” x 5.9” x 5.1”.
32 WINTER 2022 AMERICAN INDIAN
TOP: FREDERICK JOHNSON, 1930, ESKASONI FIRST NATION, NOVA SCOTIA. N19911; PHOTOS BY NMAI STAFF (2)
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