Collections Spotlight with Mary Young Bear

During the 2020 COVID-19 lockdown and through the reopening afterward, the Coe Center partnered with First American Art Magazine to present an interactive Zoom series in which Native artists discussed artworks in the Coe Collections. Collections Spotlight brought deep dives into objects from the Coe collection to the public from the artist’s perspective. These events were free and open to the public.

Mary Young Bear (Meskwaki) is a beadwork artist and the outreach officer at the Meskwaki Cultural Center and Museum. She has been featured on Iowa PBS, and was selected for an Artist Residency at the Denver Art Museum in 2016, and has been recognized by AARP Iowa as a Hidden Gem.

Young Bear looks at the stitching under the moccasin flap and talks about how, usually, the beads are stitched on, usually every two beads, and states that this method is still used.

Young Bear says the information given by the Coe about the shoes, saying they would be worn by a man, contradicts her cultural knowledge. She has not seen men wear moccasins with the beaded flaps or “ears”. This style of moccasin would be worn by girls and women.

The moccasin is made from one full piece and sewn from bottom to top. The sides usually contrast in design, and the gathers (also known as pucker toe) at the top are covered with a separate beaded piece. The soles are removable since they often get worn out and need to be replaced. They are made from smoked deer hide. Mary says the pattern used to create these moccasins resembles a cowboy hat.

Young Bear goes on to say the Meskwaki designs are not intended to directly replicate floral and nature forms but are usually organic forms. She shares that highly detailed beaded moccasins are usually used for ceremonies, and more durable shoes are for everyday use. Young Bear notes the wide beaded center, which is not what she usually sees in Meskwaki work.

Young Bear says that Renee Dillard helped renew the understanding and practice of weaving this type of bag. Women in the tribe made the bags as practical items for storage use. They were individualized by creating designs in the bags with plant dyes. Young Bear says that this type of weaving has not present for almost fifty years in Meskwaki culture.

Renee Dillard adds that the bag is a seamless bag, which indicates that it was started at the bottom, and the weaver added in rows with a coil twinning weave technique. Renee shares that in Odawa they are called utility bags and were similarly used for storage. Renee points out that the selvage edges and how they are finished is a practice passed on from mother to daughter, distinguishing where the weavers are from. Commercial materials were used in the 1800s such as yarn, such as midwife bags.

Young Bear shares an example of a smaller yarn bag, and Dillard discusses the designs used and the materials with her.

Young Bear thinks the work was done on a loom and points out the black thread. Although this sheath does not have a specific affiliation listed, Young Bear believes it resembles Meskwaki work. She talks about the repetitive design and the Underwater Panther. However, for Meskwaki, the Underwater Panther is not depicted without the Thunderbird design, so she does not think it is Meskwaki, despite the similar style. This sheath was possibly made for commerce.

Young Bear says the Meskwaki community worked with silver for only a short time, but mentions that her own cousin is a silversmith. Abalone shell was used in silverwork because it was prevalent and easy to get from the river. She thinks this style of jewelry was mostly made to sell locally and at powwows. Young Bear shares several examples of the same style of jewelry.

This object was discussed in at the same time as with NA0829, please see above commentary.

Young Bear says this type of ceremonial bowl is usually carved from tree burl. She says the wood used could be elm, oak, or any hardwood. After use during ceremony, the colors would change and develop a patina, appearing oily and dark. She also says that the spoons often have handle embellishments, usually with clan effigies. Bess Murphy, Curator at the Coe Center, shares that the bowl was made to sell to Ted Coe.

Young Bear points out the abstract floral designs and the beauty of the shirt. She believes the shirt dates earlier than it is listed. When looking at the types of beads, like bugle beads, that fill in the designs, she thinks it dates to around the 1920-50’s. Young Bear discusses the bugle beads on the piece, mentioning that they tend to cut the threads.

Young Bear says the shirt looks similar in its cut to Meskwaki traditional blouses, but traditional shirts usually have gathers on the cuffs. Young Bear thinks this shirt would have had a matching skirt. It is mentioned that this shirt could have been created by one of her great grandmothers, Nina Young Bear Roberts, a prolific beader.