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1. North American South West (New Mexico); where Julia Jumbo was inspired by the Two Gray Hills design.

2. With the introduction of sheep by the Spaniards, the Navajo that migrated to the Southwest between 1100-1500 became skilled wool weavers, especially among the women. Since the simple horizontal lined design of the early Navajo blankets, the sacred art the Navajo believed to be taught by the Spider-Woman  who spun the universe itself, is renown by even fellow Native Americans and Euro-Americans collectors alike. More recently, the Tapestry Weaving created by Julia Jumbo in 2003 continued this legacy as she maintained the Two Gray HIlls style developed in the early twentieth century and colours of the handspun wool.

3. It is fascinating that though sheep were not native to the continent, the Indigenous people of North America were able to learn and master the art of weaving of wool that it even became popular among their fellow Natives and Euro-Americans settlers across North America.

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1. Gabon; where the Fang people made the Byeri

2. Traditionally unlike European artists, the Fang people focused on the abstract qualities of the human body, with its sculptures having a variety of styles and forms, which can be just a large head or fill figures, such as the Eyema-o Byeri. The byeri, wooden guardian figures of cylindrical bark containers that preserved the bones of their family ancestors, were detailed with feathers, beads, clothing and palm oil. But because of its similarity to Catholic relics, The French colonizers saw the byeri as a danger to Christianity and European social order. Many of the byeri were destroyed as a result by missionaries. Otherwise, they were rounded up by European dealers and collectors, where the former often altered the byeri to be more marketable and less spiritual for the latter. For example, the custom feathers and beads were often removed, or the whole sculpture was recoloured to be made more uniformed.

3. The byeri’s prove to be important pieces of art to consider because of its unfortunate history that left many of that still remain heavily altered. But the understanding of the Fang people can still allow for modern audiences to appreciate their respect for abstract qualities of protection, rebirth, and family heritage. In turn, whatever endures allows us to learn more about the artists and the Fang people.

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1. Kinshasa, Democratic Republic of Congo; where Aimé Mpane symbolically sought to document the atrocities of Belgium colonization.

2. Aimé Mpane sought to recollect the horrors of colonialism by forming a life-size framework of a man with thousands of cut off wooden matches glued together. The man symbolically stands by his own grave and tombstone marked with a cross and the words “Congo…1885,” and a single source of light behind him, casting a shadow of the man’s matchstick framework body on the wall in front of him, with pieces of wood and shoes around the sculpture forming a man, woman, and child. Though the Democratic Republic of Congo has achieved independence from Belgium since 1960, its colonial legacy could still be felt into the twenty-first century. Its colonization in 1885 by Belgium’s King Leopold saw many Congolese people still living today with memories of being brutally exploited and the subsequent generations recovering from it.

3. This contemporary African art piece strongly demonstrates the human suffering of the Congolese people that needs to be remembered because of the Berlin Conference and its division of Africa in 1885. The era of colonialism has largely ended decades after the Second World War, yet its tragic history still has negative ramifications today that needs to be remembered, as Aimé Mpane endeavours.

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1. Mexico City, where the former city of Tenochtitlan was before Spaniard conquest

2. The artist(s) of the first page of the Codex of Mendoza was indigenous. It depicts an idealized representation of the city of Tenochtitlan for the first Spanish viceroy Antonio de Mendoza in 1540. The codex as a whole was meant to record about the Aztec empire to be sent back to the Spanish Emperor Charles V of Spain. In addition to its schematic details of the city established in the middle of Lake Texcoco, the artist(s) includes illustrations of the inception of the city of Tenochtitlan and the Aztec superiority in the codex for the foreign diplomat.  In the center is an eagle resting on a cactus, which is part of the Aztec mythology of how the Aztec people settled at Lake Texcoco. Within the city and its four quadrants are ten men dressed in white garments representing the men that led the Aztec people to settle there. Outside the city, the artist(s) also portrays warriors signifying their military might and conquest.

3. I felt the first page of the Codex of Mendoza is a significant art piece to include in the map because the native artist(s) were indigenous and invited by Antonio de Mendoza to depict the Aztec empire to be sent back to the Spanish Emperor Charles V. As such, the artist(s) likely sought to show to the foreigners the prosperity and might of their people and city Tenochtitlan.

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North American Indigenous Tipi's of the Great Plains 

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1. The Great Plains of North America; where the nomadic Indigenous people hunted for buffalo in the 1700-1800s

2. Tipi’s made for light, portable, yet sturdy dwelling for nomadic Indigenous peoples of the Great Plains during the 1700-1870. During this time, these tribes thrived with the introduction of horses, then later firearms by the Spanish explorers, which allowed for buffalo to be effectively hunted for food, clothing, and shelter, such as the tipi’s. Depending on its size, the tipi’s were made with twenty to forty buffalo hides sewn together into a conical shape. The women often designed and built the tipi’s with paint, embroidery, quilling, and beads of the linings, backrests, clothing, and equipment. Meanwhile, the men are painted on the tipi’s of their accomplishments. This nomadic Indigenous native way of living and artistic expression on tipi’s ended with the completion of the Euro-American transcontinental railway in 1869, as this permitted for most of the buffalo to be wiped out, and for many of its arable land to be farmed in the Great Plains.

3. I find the history of tipi’s to be notable because both its prevailing existence and end in the Great Plains was influenced by Europeans. It was the Indigenous people’s trade for Spanish horses then firearms that first made it possible for effective buffalo hunting and a nomadic way of living in the Great Plains of the 1700s. And it was the Euro-Americans, and their completion of the transcontinental railway that killed off most of the buffalos that the indigenous people depended on for food, clothing, and shelter.

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Boats and boating--Equipment and supplies