Part of a series of articles titled Home and Homelands Exhibition: Work.
Previous: Sarah Winters’ Sleeping Bag
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Baskets like the one in the Lewis and Clark National Historical Park museum collection speak not only to the labor young girls and women provided in sustaining their communities but also to the artistry of weaving cedar bark, spruce root, and various grasses together into beautiful creations.3
The perforated thimble from Fort Vancouver National Historic Site captures the agency Celiast showed in leaving her first husband.
It is easy to imagine that Celiast, threatened by violence at home while taking care of young children, lived in survival mode. However, she boldly chose a new life with Solomon. We know from the historical record that other women at Fort Vancouver pushed back in small but meaningful ways, creating their own communities and culture. Some combined European dress with Indigenous preferences, while others altered objects accessed through the fur trade. Rather than using thimbles as intended, some women punched holes in them, turning them into a clothing adornment or jewelry. Many thimbles, as well as beads and other metal items, worn together would cause the wearer to make a lovely jingling sound as they walked.7For many Indigenous and Métis women, the defining feature of Fort Vancouver may have been that it was not their home.
The fact the plate has remained in the family for almost two centuries reflects the strength of the couple’s union as they navigated a series of hybrid.
At the time of Solomon’s death, the fur trading world of Celiast’s youth was long gone, replaced with a far more rigid world defined by racial stratification and separation. Marriage between whites and those with “more than one-half Indian blood” had been outlawed in Oregon Territory for a decade, and local obituaries neglected to mention Solomon’s marriage to Celiast or the six children they had together. The home and life they built was simply erased.11 The wedding plate that has moved down through generations is a tangible reminder of other lived realities.
Part of a series of articles titled Home and Homelands Exhibition: Work.
Previous: Sarah Winters’ Sleeping Bag
Next: Siti·yak Splitter
Last updated: June 11, 2024