Ledger Art Prints 2015-2017
Dance For The People
Dance For The People
***Print Only for Sale***
Dance For The People
Artist Signed Print
Original is mixed media (pen & ink, acrylic, colored pencil)
on antique ledger paper
Art! It brings an element of vibrancy into your home or office. Your choice of art often reflects your own personality, your tastes, your aspirations…buy art you love and surround yourself with it.
Dance for the People depicts and pays honor to the jingle dress, the dance and the dresses healing power.
HISTORY OF THE JINGLE DRESS
This dance has its origins in northern Minnesota and was introduced to the Pan-Indian community by the Ojibwe people. As the story goes, a medicine man's granddaughter was very ill. He had a dream in which a spirit wearing the jingle dress came to him and told him to make one of these dresses and put it on his daughter to cure her. When he awoke, he and his wife proceeded to assemble the dress as described by the spirit of his dream. When finished, they and others brought his granddaughter to the dance ha ll and she put on the dress. During the first circle around the room, she needed to be carried. During the second circle around the room, she could barely walk and needed the assistance of several women. The third circle around the room she found she could walk without assistance and during the fourth circle around the room, she danced. The jingle dress is made of a cloth, velvet or leather base adorned with jingles made out of a shiny metal. Traditionally and still common today, the jingles are made from the lids of snuff cans. These are bent and molded into triangular bell shapes and attached to the dress with ribbon or fabric in a pattern designed by the dancer. It takes between 400 and 700 jingles to make an adult jingle dress.
Ledger Art History
This genre, often called Ledger Art, represents a transitional form of Plains Indian artistry corresponding to the forced reduction of Plains tribes to government reservations, roughly between 1860 and 1900. Due to the destruction of the buffalo herds and other game animals of the Great Plains by Anglo-Americans during and after the Civil War, painting on buffalo hide gave way to works on paper, muslin, canvas, and occasionally commercially prepared cow or buffalo hides.
Changes in the content of pictographic art, the rapid adjustment of Plains artists to the relatively small size of a sheet of ledger paper, and the wealth of detail possible with new coloring materials, marks Plains ledger drawings as a new form of Native American art. As such, ledger painting portrays a transitional expression of art and material culture that links traditional (pre-reservation) Plains painting to the Plains and Pueblo Indian painting styles that emerged during the 1920s in Indian schools in Oklahoma and New Mexico.
Beginning in the early 1860s, Plains Indian men adapted their representational style of painting to paper in the form of accountants ledger books. Traditional paints and bone and stick brushes used to paint on hide gave way to new implements such as colored pencils, crayon, and occasionally water color paints. Plains artists acquired paper and new drawing materials in trade, or as booty after a military engagement, or from a raid. Initially, the content of ledger drawings continued the tradition of depicting of military exploits and important acts of personal heroism already established in representational painting on buffalo hides and animal skins. As the US government implemented the forced relocation of the Plains peoples to reservations, for all practical purposes completed by the end of the 1870s, Plains artists added scenes of ceremony and daily life from before the reservation to the repertoire of their artwork, reflecting the social and cultural changes brought by life on the reservation within the larger context of forced assimilation.
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