Bandolier Bags and Indigenous Modernism

Abstract

This is a material culture-based case study of two bandolier bags dated to the late nineteenth or early twentieth century in the Agnes Etherington Art Center collection in Kingston, Canada. The floral motifs that decorate these two bags are not made from porcupine quills, nor are all of them bilaterally symmetrical as in “traditional” Indigenous art. Instead, they are made from glass beads, and most of the floral designs are asymmetrical. The bags’ surface patterns and materials were made possible through international trade, which facilitated the merging of European and other global designs, materials, and forms with Indigenous visual and material culture. Contemporary Western anthropological discourse framed these Indigenous objects as “hybrids” and alleged that they distorted the original meaning of such styles in a European context while simultaneously “corrupting” traditional Indigenous art and culture. Such art forms were denied a place in modernity due to their supposed inauthenticity. Ironically, “authentic” Indigenous art and material culture was likewise barred from being considered “modern” due to its hand-made, “preindustrial” nature. Connecting North American historical developments with discourse on Indigenous modernisms, I argue that on the contrary, these bags evince their makers’ conscientious engagement with modernity and can be considered modern Indigenous art.