Pair of Moccasins c. 1890

Editor: Here we have a *Pair of Moccasins*, made around 1890 by an artist of the Nakoda (Assiniboine) culture. These incredible beaded textiles… They strike me as both incredibly intricate and yet deliberately bold in their design. What can you tell us about their broader context? Curator: It’s interesting how these objects simultaneously embody tradition and adaptation. How do you see the role of trade impacting this period of Indigenous artistry? Editor: That’s a good question! I imagine access to different colored beads—the pink, especially—changed the visual language. It feels like the moccasins became canvases for a different type of cultural expression, but I am curious to hear your point of view. Curator: Precisely! The introduction of glass beads through trade routes dramatically changed the visual vocabulary available to Nakoda artists. What was once achieved through natural dyes and materials was expanded, leading to greater complexity and experimentation. Think about how this shift might relate to the cultural landscape of the late 19th century for the Assiniboine. Consider westward expansion, government policies and reservation life. The moccasins represent resilience and cultural continuity, made visible in the adaptation of these new materials to create traditional designs. Editor: So, even with new materials, the act of creation and use of the moccasins becomes an assertion of cultural identity? Curator: Absolutely. The moccasins weren't simply decorative; they were active participants in cultural storytelling, reflecting the shifting dynamics between Indigenous communities and colonizing forces. How are they displayed in the museum context versus in their cultural context? Editor: That is so fascinating; thank you. I never thought about the politics of display in this way. Now, looking at these moccasins, I can begin to appreciate how complex the history of an object can be.