Climate in Crisis: Environmental Change in the Indigenous Americas (Part I)

For millennia, Indigenous communities throughout the Americas have maintained profound and expansive relationships with the natural world.

For millennia, Indigenous communities throughout the Americas have maintained profound and expansive relationships with the natural world. However, beginning in the 1500s, Europe’s conquest and colonization of the Americas forced ways of using natural resources that clashed with traditional Indigenous modes of relating to the world.

This fundamental difference in worldviews—one that sees animals, plants, and the land as interrelated and equal, and another that privileges human needs above everything else—has resulted in ever-escalating threats to Indigenous homelands, ways of life, and survival, as well as the unprecedented level of climate change affecting the planet today.

21st Century Traditional: Beaded Tipi (front) Ⓒ Teri Greeves. (Photo: Courtesy of the artist) (2010) by Teri GreevesBrooklyn Museum

Introductory Objects

The exhibition opens with two introductory objects that spotlight two ongoing environmental issues: the Dakota Access Pipeline in North Dakota and the destruction of Amazonian rainforests in Brazil.

21st Century Traditional: Beaded Tipi (front) Ⓒ Teri Greeves. (Photo: Courtesy of the artist) (2010) by Teri GreevesBrooklyn Museum

A beaded model tipi by Kiowa artist Teri Greeves is displayed in conversation with a photograph of the 2016 protests against the Dakota Access Pipeline.

The pipeline, which crosses under Lake Oahe, just upstream of the Standing Rock Sioux Reservation, started operation in 2017 and was originally slated to cross the Missouri River near Bismarck, but was moved out of fear that an oil spill would contaminate the state capital’s drinking water. Despite numerous lawsuits and protests, many of which culminated in violence toward protesters, the pipeline was completed after President Trump issued an executive order in January 2017. The pipeline, which handles 570,000 barrels a day, is a direct threat to the tribe’s drinking water and sovereignty.

21st Century Traditional: Beaded Tipi (back) Ⓒ Teri Greeves. (Photo: Courtesy of the artist) (2010) by Teri GreevesBrooklyn Museum

The tipi features images of contemporary Kiowa life and the ancestral beings who created the Kiowa people, and brought stories, ceremonies, and values that continue to be passed down from generation to generation. 

Greeves’s work reaffirms the sacredness of the land for Native people, and the protests of water protectors call attention to the existential threat the pipeline poses to the Standing Rock Sioux Tribe’s drinking water and sovereignty as a Nation.

Tembé Girl’s Initiation Headdress (front) (mid-20th century)Brooklyn Museum

A Tembé feathered headdress, shown adjacent to a photograph of the Amazon forests burning, is worn by girls during a puberty initiation ceremony, representing a cultural tradition under threat.

The Alto Rio Guamá Indigenous Reserve in northeastern Brazil, where the Tembé live, has been overrun by illegal loggers who are cutting down trees and setting fires to clear land for commercial farming, livestock grazing, and mining.

Tembé Girl’s Initiation Headdress (back) (mid-20th century)Brooklyn Museum

Tembé community members have been forced to patrol their territory with bows, arrows, and video cameras to document the destruction, and many have been killed protecting their right to live in peace. 

The exhibition is divided into seven regional groupings and countries spanning North, Central, and South America. Using political borders as an organizational framework is complicated because it disregards the spread of myriad cultures across the continents before nation-states with political borders existed. However, by grouping the works by country, the exhibition underscores the geopolitical nature of any attempt to combat the climate crisis today.

Maya Tetrapod Bowl with Lid (350–450)Brooklyn Museum

Mapping the Indigenous Americas

An ancient Maya tetrapod vessel is presented in conversation with this geographic framework because it conveys a very different, Indigenous form of mapping: one that unifies the natural, spiritual, and ancestral realms.

Maya Tetrapod Bowl with Lid (350–450)Brooklyn Museum

The vessel illustrates the three levels of the Maya universe: the celestial overworld of ancestors and supernatural beings, the earthly middleworld of human and animal life, and the watery underworld of the dead.

Water Bird

These realms are indicated by way of a bird that has the ability to float on the earth’s waters and fly in the sky, while the quatrefoil design incised on its beak represents a portal to the underworld. 

Peccary Heads

The modeled legs representing peccary heads are associated with the pillars supporting the four directions of the cosmos.

Alaska Native Engraved Whale Tooth (late 19th century)Brooklyn Museum

Canadian and U.S. Arctic

Indigenous peoples have lived throughout the North American Arctic region for approximately twelve thousand years. About forty Indigenous groups live in the Arctic today, each with unique histories, languages, and traditions.

Alaska Native Engraved Whale Tooth (late 19th century)Brooklyn Museum

This Alaska Native engraved whale tooth reflects the importance of hunting, a main form of sustenance that is threatened by rising Arctic temperatures.

In the past three decades, multiyear ice has declined by 95 percent, shifting animals’ migration patterns, devastating the region’s biodiversity, and creating dangerous conditions that threaten the very existence of the ice and those who live on it.

When Ice Stretched on for Miles Ⓒ Gail Tremblay (2017) by Gail E. TremblayBrooklyn Museum

A contemporary basket by Onondaga-Micmac artist Gail Tremblay references the effects of global warming in the Arctic. 

The work resembles a fancy, Victorian-era Haudenosaunee basket; but Tremblay has substituted the traditional materials of black ash and sweetgrass with strips of white film leader and exposed 16mm film from the 1967 documentary At the Winter Sea Ice Camp

This film features a Netsilik Inuit family who reenacted scenes to accommodate the director’s ethnographic vision of earlier Inuit life, including traveling by dogsled, hunting, and building igloos.

Tremblay’s basket points out the paradox of the documentary film, in which an anthropologist—hailing from a culture that is in the business of modernizing the Arctic region and exploiting its oil and gas reserves—nevertheless idealizes traditional Inuit ways of life.

 The artist’s repurposing of the film allows her to gain control of a medium that has been historically used to perpetuate stereotypes about Native people, and it enables her to make something beautiful out of painful history.

Indigenous peoples of numerous tribal affiliations and nations have lived in the Northwest Coast region of North America, bordering the Pacific Ocean, since time immemorial. Their ancestral homelands encompass present-day British Columbia in Canada, and Alaska, Washington, Oregon, and Northern California in the United States. Though diverse in their cultural and political identities, the tribes of the region share a reverence for the natural world, and family clans and belief systems are rooted in the environment and its life-giving resources.

‘Namgis Kwakwaka’wakw Thunderbird Transformation Mask (19th century)Brooklyn Museum

Canadian and U.S. Northwest Coast

The nineteenth-century Thunderbird Transformation Mask from the Kwakwa̱ka̱ʼwakw Nation of British Columbia references animal ancestors and the clan system, which is based upon the special relationship between animals and humans. 

‘Namgis Kwakwaka’wakw Thunderbird Transformation Mask (19th century)Brooklyn Museum

The mask depicts a supernatural ancestor called a Thunderbird with the power to produce thunder and lightning, and to transform into a human being.

Guardian of the Sea Ⓒ Preston Singletary (Photo by Russell Johnson, C/O of Preston Singletary Inc) (2004) by Preston SingletaryBrooklyn Museum

Preston Singletary’s Guardian of the Sea depicts a killer whale, the hereditary crest figure of his clan. 

Today, rapid environmental degradation continues as a result of population growth, pollution, adverse land-management policies, industrial-scale logging, and climate change, irreversibly impacting the natural resources of the region. 

Salmon, a cornerstone of many tribes’ cultural and economic sustainability, has experienced a significant decline, which threatens treaty rights, tribal life, and the integrity of the ecosystem.

Hopi Kachina Doll (Tsaveyo)Brooklyn Museum

U.S. Southwest

The Hopi and Zuni are descended from the Ancestral Pueblo peoples who lived for thousands of years in the region today divided among Arizona, New Mexico, Colorado, and Utah. 

The Hopi refer to these ancestral lands as Hopituskwa (“Hopi land”), and the Zuni refer to them as Ulohnanne (“world” or “universe”). Both communities rely on traditional knowledge and ecological rhythms to sustain farming techniques that are central to Native customs, rituals, and life.

The Hopi and Zuni are among several tribes who identify the Bears Ears area in Utah as part of their ancestral homelands. These lands are sacred, and in 2016 President Barack Obama established Bears Ears National Monument. However, the subsequent Trump administration reduced its size by 85 percent in order to permit uranium mining and gas and oil drilling. After winning the 2020 presidential election, President Joe Biden restored the national monument to its original boundaries—but the back-and-forth shows how fragile environmental protections can be.

Hopi Kachina Doll (Tsaveyo), From the collection of: Brooklyn Museum
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What is a kachina doll? Carved kachina figures, such as the fierce ogre Tsaveyo, are representations of supernatural beings and can have a sacred or educational purpose. During some ceremonies, the carvings are given to female community members to reward virtuous behavior, recognize a recent marriage, or teach girls about religion.

For the Hopi, a supernatural being that represents a life force or embodies a natural phenomenon such as the sun, the moon, a plant, or an animal is called katsina (commonly anglicized as “kachina”) by the Hopi. Such beings have the power to control rainfall, crop growth, and fertility; to cure and protect; and to act as messengers between the gods and human beings.

Mississippian Engraved Conch Shell (1200/1500)Brooklyn Museum

U.S. Mississippi River Valley

Climate change has a long history across our planet. This engraved conch-shell cup depicting a falcon warrior is displayed as an example of pre-Contact climate change, when the Little Ice Age brought cooler temperatures and extreme weather to the Mississippi River valley. 

The Spiro Mounds archaeological site in present-day eastern Oklahoma was the western outpost of a series of prosperous cultures, referred to as Mississippian, that developed in the riverine regions of the Midwest and Southeast between 900 and 1650. In one of the mounds, a hollow chamber was found containing thousands of ceremonial objects—including this cup—that had been brought there from all over the Mississippian world. The ritual chamber and most of the offerings date to about 1400, when the Little Ice Age was causing disturbing environmental changes, and suggests that the chamber was an attempt to summon a new age of stability and abundance.

Mississippian Engraved Conch Shell (1200/1500)Brooklyn Museum

Continue to Part II of this exhibition to learn about the Indigenous peoples of Mexico, Central and South America.

Credits: Story

Curated by Nancy Rosoff, Andrew W. Mellon Senior Curator, Arts of the Americas, with assistance from Joseph Shaikewitz and Shea Spiller, Curatorial Assistants, Arts of the Americas and Europe

Author: Nancy Rosoff with assistance from Christina Marinelli, Monica Park, Michael Reeback, and Joelle Seligson

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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