Power of Place — Strength of Being - The Oneida Nation of Wisconsin
Power of Place — Strength of Being - The Oneida Nation of Wisconsin
Power of Place — Strength of Being - The Oneida Nation of Wisconsin
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02<br />
Foreword:<br />
Amazing. That is what people feel when they see Samuel Thomas’s<br />
beadwork and especially amazing are the pieces <strong>of</strong> beadwork created<br />
in his latest project <strong>Power</strong> <strong>of</strong> <strong>Place</strong> – <strong>Strength</strong> <strong>of</strong> <strong>Being</strong>. <strong>The</strong> authors <strong>of</strong><br />
the essays in this publication clearly agree as you will see when you read<br />
what they have written about Sam and his ambitious project. In addition,<br />
the essay writers, internationally recognized artists, pr<strong>of</strong>essors, and<br />
museum pr<strong>of</strong>essionals, are pretty amazing people themselves. All<br />
are experts on Haudenosaunee art including beadwork, many have<br />
published on various aspects <strong>of</strong> this increasingly appreciated art form.<br />
Most have followed Sam’s career for twenty-five years or more. <strong>The</strong>y<br />
not only see Sam’s artwork as amazing, they see his career from a selftaught<br />
teenager from the Six <strong>Nation</strong>s <strong>of</strong> the Grand River Reserve to a<br />
world traveler as amazing also.<br />
Sam visited six places <strong>of</strong> power, created six pieces <strong>of</strong> beadwork inspired<br />
by those six places, and includes six essays in this publication. Each<br />
essay describes the writer’s impressions <strong>of</strong> the beadwork that Sam<br />
created during his journeys to powerful places in Africa, Europe, and<br />
the Americas.<br />
Shelley Niro, who like Sam, calls the Six <strong>Nation</strong>s <strong>of</strong> the Grand River<br />
Reserve home, is a talented Mohawk artist who recognizes the art form<br />
and both the historical and contemporary aspects <strong>of</strong> his work. Dr. Trudy<br />
Nicks, Senior Curator for the Royal Ontario Museum’s Department <strong>of</strong><br />
World Cultures, points out the common experiences <strong>of</strong> indigenous<br />
people, including the Haudenosaunee and those people native to<br />
the places Sam visited. Dr. Ruth Phillips, Canada Research Chair in<br />
Modern Culture, Carleton University, a cosmopolitan herself, and an<br />
internationally acclaimed academician praises the broad scope <strong>of</strong> this<br />
cross-cultural project. Richard Green, <strong>of</strong> the Birmingham Museums<br />
& Art Gallery, Birmingham, England, expresses his appreciation <strong>of</strong><br />
Sam’s project in light <strong>of</strong> his own international expertise in the globewide<br />
history <strong>of</strong> beadwork and trade. And Dr. Susan M. Hill, Assistant<br />
Pr<strong>of</strong>essor <strong>of</strong> Indigenous Studies & Contemporary Studies at Wilfrid<br />
Laurier University, who shares Sam’s Haudenosaunee philosophy <strong>of</strong><br />
life, emphasizes the importance <strong>of</strong> places <strong>of</strong> power throughout time. In<br />
the sixth essay, Sam describes his vision <strong>of</strong> <strong>Power</strong> <strong>of</strong> <strong>Place</strong> – <strong>Strength</strong><br />
<strong>of</strong> <strong>Being</strong>, a project that allowed him to explore places <strong>of</strong> power to<br />
create these amazing pieces <strong>of</strong> bead art.<br />
Dolores N. Elliott<br />
Binghamton, New York.