As the story goes

Different types of moccasins

“Before a ceremony, the first thing I do is put on my moccasins. I feel different when I’m wearing moccasins—it’s not like wearing shoes. It’s a detail that makes a difference. As soon as they’re on my feet, I can feel how the calmness comes over me. They give me my spiritual self back.”
Fred Kistabish, Anishinabe (Algonquin)

Moccasins are made with various techniques and materials for different seasons. There are men’s, women’s, and children’s moccasins, as well as special ones for ceremonies and powwows.

The Atikamekw Nehirowisiwok have special waterproof moccasins for winter. They make them out of skin taken from the hind legs of a moose killed in spring.

1. Boot
Inuit, Kangiqsujuaq
Leather, fiber, cotton
Les Musées de la civilisation, 66-545-1
Photograph : Jessy Bernier – Perspective

2. Moccasin
Eeyou, Chisasibi
Moosehide, fiber, cotton
Les Musées de la civilisation, 66-498
Photograph : Jessy Bernier – Perspective

3. Boot
Maggie Lamboy
Eeyou, Chisasibi
1965
Ringed seal skin
Les Musées de la civilisation, 66-545-1
Photograph : Jessy Bernier – Perspective

4. Moccasin
Anishinabe (Algonquin)
Moosehide, glass beads
Les Musées de la civilisation, 68-3233
Photograph : Jessy Bernier – Perspective

5. Moccasin
Cheyenne, United States
After 1845
Hide, glass beads, metal, sinew
Les Musées de la civilisation, 68-3390
Photograph : Jessy Bernier – Perspective

6. Moccasin
Wolastoqiyik
19th century
Leather, cotton, silk, wool, glass beads
Les Musées de la civilisation, acquired with the assistance of a Movable Cultural Property Grant from the
Department of Canadian Heritage under the Cultural Property Export and Import Act, 2007-360
Photograph: Jessy Bernier – Perspective

The importance of decoration

“Jug coasters, hatboxes, cigar cases—these decorated objects reveal us as a sophisticated and inventive trading people with the ability to adapt and innovate. And they’re all made with materials that demonstrate just what makes us unique.”
Guy Sioui-Durand, Huron-Wendat

Moose-hair and porcupine-quill embroidery and beaded or embroidered appliques are a way to leave a signature on things. Through them, individuals, families, and nations declare who they are. Dress and ornamentation are tools of identity and ceremony in political relations.

1. Decorative basket
Huron-Wendat
Wendake
Circa 1830
Bark embroidered with moose hair
Les Musées de la civilisation, restored by Centre de conservation du Québec, 68-3442
Photograph : Jessy Bernier – Perspective

2. Basket
Mi’gmaq
19th century
Wood, spruce root, birch bark, porcupine quills
Les Musées de la civilisation, 84-1106
Photograph : Jessy Bernier – Perspective

3. Box
Huron-Wendat, Wendake
Circa 1830
Bark embroidered with moose hair
Les Musées de la civilisation, 2007-297
Photograph : Jessy Bernier – Perspective

4. Patterns
Anishinabe (Algonquin)
Cardboard
Les Musées de la civilisation, 75-1081
Photograph : Jessy Bernier – Perspective

Documentary on beadwork and a brief history of beads

“In the evening I check social media to see what’s going on and bead at the same time. It’s a chance to mediate a little and think over my day. It helps me relax, and for me it’s really more effective than yoga.

I’m often asked what aboriginal peoples made their beads out of before the Europeans came with their glass. We used bone, stone, agates, coral—even shells for the wampum that was taken to be our currency. Jacques Cartier wrote that First Nations valued shell beads over everything else, even more than Europeans valued their silver and gold.”
Mélissa Mollen-Dupuis, Innu

Excerpt from the film “ o ” by Mélissa Mollen-Dupuis, Wapikoni mobile, 2012