emkwaan gnikwaa, spoon or scoop
emkwaan gnikwaa, spoon or scoop
emkwaan gnikwaa, spoon or scoop
This ancestor is a spoon or scoop, emkwaan or gnikwaa. Red brown in colour, this ancestor is carved from wood and has a shallow oval shaped bowl. The front side of the spoon has a zig-zag shaped handle which may represent a lighting bolt or an elbow. The projecting handle is in the shape of an arm and hand, with a black border. The back side of the handle has a human head with a peaked cap, and possible a beard. GRASAC researchers thought the tall hat could indicate that the human is a non-Native person, potentially a Frenchman called "men who wear hats," or that it could be a coup due to the hand touching the head. According to this relative's provenance, this ancestor was used with a beaver bowl. This ancestor is currently located in the Detroit Institute of Arts.
Detroit Institute of Arts records and GRASAC research notes.
Read More About This Relative
wood
Carved wood, shallow oval bowl.
Projecting handle in the form of an arm and hand with a human head in a peaked cap on lower side of end. Handle has a zig zag shape as if it were a bolt of lightning, but could also simply represent the elbow.
Alan Corbiere thought that the tall hat could represent a non-Native person (e.g. Frenchman called "men who wear hats"). He identified that there was possibly a beard under the chin. David Penney wondered if it could represent a coup; Alan Corbiere thought it could be, due to the hand touching the head. A coup, or counting coup, is an act of bravery during war: a warrior would try to touch an enemy--on the battlefield or in the enemy's camp--without killing them, and return alive.
According to Pohrt notes, purchased and used with 51.10 (Bowl in the form of a beaver).
Provenance
From the family of Alexander Harrow (1755-1811), British naval officer on the Great Lakes and pioneer settler on the St. Clair River above Algonac.
Detroit Institute of Arts records
About This GRASAC Record
This record was augmented by Natasha Fares on January 31st, 2024. The photographs were removed by Natasha Fares January 31, 2024 to respect an agreement between the Detroit Institute of Arts and the Michigan Anishinaabeg Communities of Practice group.