Plateau — Cradleboards: Carriers of Culture Part VI
Explore how cradleboards across Native nations reflect care, craftsmanship, and cultural traditions from tribe to tribe
Green River Cliffs, Wyoming (1881) by Thomas MoranNational Gallery of Art, Washington DC
Cradleboards of the Plateau
Stretching across the Columbia Plateau of the Pacific Northwest, this region includes parts of present-day Washington, Oregon, Idaho, and western Montana in the United States, as well as southern British Columbia in Canada.
Cradleboards reflected the Plateau’s natural world
In the river valleys and pine forests of the Plateau, cradleboards were made with care and purpose. Carriers here blended woodwork and weaving, shaped by terrain and tradition.
Salish CradleboardRed Earth
SALISH (FLATHEAD)
The traditional range and present reservation of the Salish is in the area surrounding Flathead Lake in western Montana. The name Flathead actually refers to this geographic landmark as tribal members did not practice head shaping like some neighboring tribes.
Because of their proximity to the Plains, the Salish developed some of the same cultural traits as the tribes residing there. They were known for their horsemanship and, when on a hunt, they used a Plains-type buffalo hide tipi, which displaced their mat covered conical tent.
Beads and buckskin adorned Salish cradles
Cradleboards constructed by members of the Salish tribe were generally made of cedar, larch or cottonwood, and buckskin. Beads were used as adornments when available. The cradleboards were made on large, flat, oval-shaped boards that were wider toward the upper end of the piece.
Salish CradleboardRed Earth
Floral motifs crowned the Salish cradleboard
The board was covered with skin in such a way that it bloused out in the front to form a sack to hold the baby, while the rest of the skin fitted smoothly over the baseboard. The top of the board was usually decorated with massive floral designs.
When a Salish woman became pregnant, a sister, aunt or grand-mother would make a cradleboard to be gifted to the baby after its birth. When the child grew older and no longer used the cradle it was hung on a bush or tree, along with its swaddling clothes, as it was not considered good luck or "lucky" to use the same cradle twice, or for two children.
Cradle in Salish language: im-hol-aih which literally translates as "baby cradle" or "baby keeper or "baby tender that is supported by wood."
NIMIIPUU (NEZ PERCE)
The literal interpretation of the word cradle in the Nimiipuu (nee-mee-poo) language is, "Small portable baby bed made of buckskin." Nimiipuu cradleboards have many of the same characteristics as Salish cradles.
Cradles were built on broad, oval boards
The cradles are made on large, flat, oval-shaped boards that are much wider towards the upper ends and covered with skins.
Nez Perce CradleboardRed Earth
Floral beadwork and shell details adorned the cradle
The rest of the skins fit smoothly over the baseboards which are usually decorated with massive floral designs in applique beadwork. The hood of the cradleboard is adorned with bits of shell to keep the baby entertained.
The name Nez Perce comes from the French nez perce', "pierced nose," and was also used by members of the Corps of Discovery led by Merryweather Lewis and William Clark in 1805. Why the French and Americans used the term remains a mystery since they never practiced nose piercing. The Nez Perce refer to themselves as Nimiipuu (also Numipu or Nimipu, "the People").
Upper and Lower Nez Perce
The tribe actually consisted of two tribes, the Upper and Lower Nez Perce. In 1863 the Upper Nez Perce signed a treaty with the United States giving away not only their land, but the land of the Lower Nez Perce as well.
This action eventually led to Chief Joseph of the Lower Nez Perce to battle the United States government, who would not recognize the distinction between the two tribes.
Nez Perce CradleboardRed Earth
Cradle in Nimiipuu language: te-ka-ash
SHOSHONE
The Western Shoshone were known as "Newe" meaning "The People." They are known for two types of cradles: a boat basket used by a newborn, and a hoop cradle to which the child was transferred when strong enough to hold his or her head up.
Wild dogwood or rosewood willows were used for the boat basket and for the construction of the frames for the hoop cradleboard.
A warming method allowed the maker to form the hoop frame by tying the top and bottom frames together. It was then tied down to a flat surface for several weeks to prevent it from twisting out of shape. The willows were always cut to fit the frame.
Shoshone CradleboardRed Earth
Cradle shades blended function with symbolism
To block the sun from the baby's face, a shade of willow was added to the basket. It was woven in an open-twined weave with the pattern announcing the gender of the child. A diamond pattern was used for a baby girl and a diagonal line indicated a male baby.
The shade not only provided protection from the sun and wind, but also for the child's face and head if the cradle was knocked over.
Shoshone CradleboardRed Earth
A living tradition
These cradleboards are still in use today. In many families, cradles are lovingly made by relatives or other tribal members who continue to carry the tradition forward and share their knowledge with others.
Modern changes have been made in the construction of the cradleboard including the use of canvas-like material allowing for a cooler, washable and more available cover for the cradle. Yarn is also used on the shade for the patterns, and cloth around the edging adds more color.
Shoshone Indian and his Pet Horse (1858-1860) by Alfred Jacob Miller (American, 1810-1874)The Walters Art Museum
Shoshone Indians at a Mountain Lake (Lake Fremont) (1810/1874) by Alfred Jacob MillerDenver Art Museum
Cradle in Shoshone language: kohnon
Cradleboard in Shoshone language: gohno
As rivers give way to rugged basins and dry sagebrush plains, the cradleboard once again evolves. In the Great Basin, families crafted carriers that were resilient and lightweight, made for constant movement across an unforgiving landscape. Part VII brings us to these high deserts and valleys, where artistry met survival.
Continue exploring: Part VII — Cradleboards of the Great Basin
Red Earth Cradleboards
Special thanks to Dr. Harry "Doc" and Dorothy Swan Deupree for their contribution of the Deupree Cradleboard Collection to the Red Earth Museum.
Photography by
Danny Sands
Research by
John Elder
Lori Gonzalez
Scott Tigert
Chelsey Curry
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