#: locale=en
## Hotspot
### Text
HotspotPanoramaOverlayTextImage_FA30D138_E8F9_EFBB_41B5_6E20482BE1C4.text = Alonzo de Ojeda
HotspotPanoramaOverlayTextImage_F98FB530_E888_5745_41A6_1699EBE77A32.text = Christopher Columbus
HotspotPanoramaOverlayTextImage_04513333_3A55_BC45_41C7_5D000EC6019E.text = English Leaders
HotspotPanoramaOverlayTextImage_0F484CE9_3A56_85C5_41B8_F4CCC2112B8A.text = John Rolfe
HotspotPanoramaOverlayTextImage_58BDA304_1B06_9E80_419A_E06B02B64EA1.text = John Smith
HotspotPanoramaOverlayTextImage_A2D30257_81FB_B536_41D0_DEC91FFECB7D.text = Lenape Pre-Contact
HotspotPanoramaOverlayTextImage_916C5FE1_81A5_AED0_41C0_5606078AA363.text = Lenape Regalia
HotspotPanoramaOverlayTextImage_9E5CC181_81A3_72C5_41AE_614CC04E0D6E.text = Lenape Treaties
HotspotPanoramaOverlayTextImage_E44DD315_8D12_7C35_41C6_FBC9C0FDCE5C.text = Pamunkey Archaeological Record
HotspotPanoramaOverlayTextImage_EF2EE8EA_8D12_2C0B_41C8_8CF7EA947D0A.text = Pamunkey Ceremonies
HotspotPanoramaOverlayTextImage_4F11ABEA_1B07_EDA7_41AB_4FA03D7238D0.text = Pamunkey Indian Tribe
HotspotPanoramaOverlayTextImage_7A550CD0_222C_7B52_41A2_E2DA503726B2.text = Pamunkey Men
HotspotPanoramaOverlayTextImage_A99EE1D0_8D1D_68E4_41D9_0F5CC63A67D1.text = Pamunkey Regalia
HotspotPanoramaOverlayTextImage_A90B5B81_8D15_3957_41CB_749EFDDC4A71.text = Pamunkey Women
HotspotPanoramaOverlayTextImage_2C8F7F17_1B0A_A68F_41BB_28FDDF8320AA.text = Pocahontas
HotspotPanoramaOverlayTextImage_AEEAB949_8DF3_5916_41D4_95E9BB4EA8D2.text = Pocahontas
HotspotPanoramaOverlayTextImage_139F7BAD_3A35_8C5F_41B8_96276C622E55.text = Pocahontas
HotspotPanoramaOverlayTextImage_48670084_1B1E_9A62_41B9_C71B1D83F5B6.text = Powhatan \
HotspotPanoramaOverlayTextImage_EEBAE997_8D12_EC0F_41DD_AAFB12CFFE67.text = Powhatan Chiefdom
HotspotPanoramaOverlayTextImage_096C390D_1B3A_A040_4194_D58933C98FA4.text = Shackamaxon \
HotspotPanoramaOverlayTextImage_7864A93B_3A5E_8C54_419A_C1662D83A7FA.text = Siblings of Pocahontas
HotspotPanoramaOverlayTextImage_3D1FD165_15AA_FB26_4181_F08260FCC323.text = Tamanend
HotspotPanoramaOverlayTextImage_0A305120_1B3F_6265_4194_FDF5CE60C32C.text = The Lenape
HotspotPanoramaOverlayTextImage_F93ABCD5_E8F8_B6F5_41C0_C35AB898AA48.text = The Pinzon Brothers
HotspotPanoramaOverlayTextImage_25AC25F8_32D5_33DC_41C1_F2F6C143BA91.text = The Ships
HotspotPanoramaOverlayTextImage_F9C067FD_E8F9_EDEA_41EB_91860113A1E0.text = The Taíno
HotspotPanoramaOverlayTextImage_FA1BFDFB_E6A8_298E_41C5_5981DC9AC9BB.text = The Taíno
HotspotPanoramaOverlayTextImage_0ADC67D2_1B06_A157_41BA_97C0E16920A7.text = Treaty \
HotspotPanoramaOverlayTextImage_75BD8353_3A4E_9CD0_4190_32F161435F3E.text = Uncles of Pocahontas
HotspotPanoramaOverlayTextImage_393DB166_15BA_1B22_41A8_00672BF943A5.text = William Penn
HotspotPanoramaOverlayTextImage_EAC17EDF_F406_2158_41CB_E69F741507DF.text = 🔊 Lenape Greeting by Jeremy Johnson
HotspotPanoramaOverlayTextImage_E86BC350_F40A_2087_41ED_E65DFAF7FED0.text = 🔊 Pamunkey Greeting by Ashley Spivey
HotspotPanoramaOverlayTextImage_EAC759A6_F43A_E3F0_41E1_E20A381F125E.text = 🔊 Pamunkey Greeting by Ashley Spivey
HotspotPanoramaOverlayTextImage_2F2DE332_206B_AE30_41B1_57C2BC0EF756.text = 🔊 Taíno Greeting by Jose Barreiro
## Media
### 360 Video
### Audio
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### Description
photo_3EC83FAC_135C_D1EB_4192_6D90E36E02E3.description = 1928 intertribal gathering of five Native nations including the Pamunkey at Windsor Shades in King William County. Image courtesy of the Library of Virginia. Photo by the Virginia Chamber of Commerce.
photo_398FF63D_135C_32E5_41A9_BF467D7D5F68.description = 1928 intertribal gathering of five Native nations including the Pamunkey at Windsor Shades in King William County. Image courtesy of the Library of Virginia. Photo by the Virginia Chamber of Commerce.
photo_3D0940A8_1354_CFEF_4199_C9807AE5B8E8.description = 1928 intertribal gathering of five Native nations including the Pamunkey at Windsor Shades in King William County. Image courtesy of the Library of Virginia. Photo by the Virginia Chamber of Commerce.
photo_3EC83FAC_135C_D1EB_4192_6D90E36E02E3.description = 1928 intertribal gathering of five Native nations including the Pamunkey at Windsor Shades in King William County. Image courtesy of the Library of Virginia. Photo by the Virginia Chamber of Commerce.
photo_3B30336F_1353_F16B_41AA_7BF65F470465.description = 1928 intertribal gathering of five Native nations including the Pamunkey at Windsor Shades in King William County. Image courtesy of the Library of Virginia. Photo by the Virginia Chamber of Commerce.
photo_3D0940A8_1354_CFEF_4199_C9807AE5B8E8.description = 1928 intertribal gathering of five Native nations including the Pamunkey at Windsor Shades in King William County. Image courtesy of the Library of Virginia. Photo by the Virginia Chamber of Commerce.
photo_3B30336F_1353_F16B_41AA_7BF65F470465.description = 1928 intertribal gathering of five Native nations including the Pamunkey at Windsor Shades in King William County. Image courtesy of the Library of Virginia. Photo by the Virginia Chamber of Commerce.
photo_398FF63D_135C_32E5_41A9_BF467D7D5F68.description = 1928 intertribal gathering of five Native nations including the Pamunkey at Windsor Shades in King William County. Image courtesy of the Library of Virginia. Photo by the Virginia Chamber of Commerce.
album_CFC5BF18_8D72_E58D_41DA_379517ADCC5E_3.description = Aerial view of the Pamunkey Indian Reservation, 2022. Image courtesy of the Pamunkey Indian Museum and Cultural Center.
photo_BD7B4CFA_A6AC_DE8F_41D1_78EE8A9E8708.description = Anna Anderson Davis. Image courtesy of the Delaware Tribe of Indians.
photo_BD7B4CFA_A6AC_DE8F_41D1_78EE8A9E8708.description = Anna Anderson Davis. Image courtesy of the Delaware Tribe of Indians.
photo_BD476D8F_A6AC_FF71_41BA_2A3872B156C4.description = Another wampum belt presented by the Lenape to William Penn, ca. 1680. Image courtesy of the National Museum of the American Indian, Smithsonian Institution (5/3150). Photo by NMAI Photo Services.
photo_BD476D8F_A6AC_FF71_41BA_2A3872B156C4.description = Another wampum belt presented by the Lenape to William Penn, ca. 1680. Image courtesy of the National Museum of the American Indian, Smithsonian Institution (5/3150). Photo by NMAI Photo Services.
album_CFC5BF18_8D72_E58D_41DA_379517ADCC5E_6.description = Art installation at Libby Hill Park in Richmond, VA in November 2022. The Tsenacommacah Light Box Installation was designed by four Pamunkey artists in collaboration with Reclaiming the Monument and Recontextualizing Richmond. It is now on a long-term loan at the Chrysler Museum in Norfolk, VA. Image courtesy of the Pamunkey Indian Museum and Cultural Center.
album_C625DF53_8D0E_65B9_41DD_2F940485A31D_3.description = Artifacts found on the Pamunkey Indian Reservation that were excavated under a tribal project undertaken in partnership with Data Investigations, LLC. Image courtesy of the Pamunkey Indian Museum and Cultural Center.
album_9D519E6C_8D1C_FAE3_41CE_7B2F5E847071_1.description = Carrie Fox, 2023. Portrait from the 2023 exhibit "PAMUNKEY NUNOWÁM-I am from Pamunkey.” Image courtesy of the Pamunkey Indian Tribe. Photo by Rebecca Hill.
album_CFC5BF18_8D72_E58D_41DA_379517ADCC5E_5.description = Chief Robert Gray delivering his welcome speech at the Federal Recognition Ceremony, 2016. Image courtesy of the Pamunkey Indian Museum and Cultural Center.
album_C625DF53_8D0E_65B9_41DD_2F940485A31D_4.description = Close up of artifacts found on the Pamunkey Indian Reservation that were excavated under a tribal project undertaken in partnership with Data Investigations, LLC. Image courtesy of the Pamunkey Indian Museum and Cultural Center.
album_CFC5BF18_8D72_E58D_41DA_379517ADCC5E_2.description = Depiction of King William County during the Civil War highlighting the location of the Pamunkey Indian Reservation (“Indian Town”). “Map of King William County, Va,” 1865. Retrieved from the Library of Congress.
album_82882381_8D1D_2A2C_41D1_B3B01233FCAE_0.description = Desiree Nuckols, 2022. Portrait from the 2023 exhibit "PAMUNKEY NUNOWÁM-I am from Pamunkey.” Image courtesy of the Pamunkey Indian Tribe. Photo by Rebecca Hill.
photo_BD8F01A4_A6B4_E75A_41DF_D342F25DC051.description = Detail of Lenape beaded bag with strap, ca 1840-1859. Bequest of William H. Claflin, Jr., 1985. Image courtesy of the Peabody Museum of Archaeology and Ethnology,, Harvard University 985-27-10/60535.
photo_BD8F01A4_A6B4_E75A_41DF_D342F25DC051.description = Detail of Lenape beaded bag with strap, ca 1840-1859. Bequest of William H. Claflin, Jr., 1985. Image courtesy of the Peabody Museum of Archaeology and Ethnology,, Harvard University 985-27-10/60535.
photo_BD8CCD6F_A6B7_5FA7_41D4_52FA410D2685.description = Detail of Lenape beaded bag with strap, ca 1840-1859. Bequest of William H. Claflin, Jr., 1985. Image courtesy of the Peabody Museum of Archaeology and Ethnology,, Harvard University 985-27-10/60535.
photo_BD8CCD6F_A6B7_5FA7_41D4_52FA410D2685.description = Detail of Lenape beaded bag with strap, ca 1840-1859. Bequest of William H. Claflin, Jr., 1985. Image courtesy of the Peabody Museum of Archaeology and Ethnology,, Harvard University 985-27-10/60535.
photo_BD470E2D_A6AC_BDB0_41C9_31A55662DECA.description = Detail of a wampum belt presented by the Lenape to William Penn, ca. 1680. Image courtesy of the National Museum of the American Indian, Smithsonian Institution (5/3150). Photo by NMAI Photo Services.
photo_BD470E2D_A6AC_BDB0_41C9_31A55662DECA.description = Detail of a wampum belt presented by the Lenape to William Penn, ca. 1680. Image courtesy of the National Museum of the American Indian, Smithsonian Institution (5/3150). Photo by NMAI Photo Services.
album_9C4E9117_8D1C_E647_41C3_E667F8E77C64_1.description = Detail of beadwork on regalia by Theodora Dennis Cook. Chief George Major Cook's Regalia, ca. 1910-1920s. Image courtesy of the Pamunkey Indian Museum and Cultural Center.
album_C0FFE9C3_8D11_ECEF_41D0_11B86EBEBA06_2.description = Detail of glazed ware painted with the “Pocahontas Story” by Pamunkey Potter, Bernice Langston. Image courtesy of Pamunkey Indian Museum and Cultural Center.
photo_BD789AF5_A6AD_5A96_41DF_C8846AC332BF.description = Detail of the wampum belt showing a Quaker figure holding hands with a Lenape. © Philadelphia History Museum at the Atwater Kent. Courtesy of Historical Society of Pennsylvania Collection, licensed through Bridgeman Images.
photo_BD789AF5_A6AD_5A96_41DF_C8846AC332BF.description = Detail of the wampum belt showing a Quaker figure holding hands with a Lenape. © Philadelphia History Museum at the Atwater Kent. Courtesy of Historical Society of Pennsylvania Collection, licensed through Bridgeman Images.
album_CFC5BF18_8D72_E58D_41DA_379517ADCC5E_1.description = Detailed view showing the Powhatan capital, Werowocomoco. “Nova Virginiae tabula” by Hondius, Hendrik Hondius, cartographer, 1644. Retrieved from the Library of Congress.
album_C625DF53_8D0E_65B9_41DD_2F940485A31D_2.description = Dora Cook Bradby posing with her pottery at the Pamunkey Indian Reservation, ca. 1930-1940s. Image from the Cook/Bradby family collection, courtesy of the Pamunkey Indian Tribe
album_82882381_8D1D_2A2C_41D1_B3B01233FCAE_1.description = Dora Cook Bradby, ca. 1980s admiring her work in the Pamunkey Pottery school. Image from the Cook/Bradby family collection, courtesy of the Pamunkey Indian Tribe.
album_9D519E6C_8D1C_FAE3_41CE_7B2F5E847071_0.description = European clothing. Engraving by Simon van de Passe, 1616. Image courtesy of the National Portrait Gallery, Smithsonian Institution.
album_C0FFE9C3_8D11_ECEF_41D0_11B86EBEBA06_1.description = Glazed ware painted with the “Pocahontas Story” by Pamunkey Potter, Bernice Langston. Image courtesy of Pamunkey Indian Museum and Cultural Center.
album_C0FFE9C3_8D11_ECEF_41D0_11B86EBEBA06_4.description = Glazed ware painted with the “Tribute Story” by Pamunkey potter Daisy Bradby. Image courtesy of Pamunkey Indian Museum and Cultural Center.
album_C625DF53_8D0E_65B9_41DD_2F940485A31D_1.description = Glazed ware painted with the “Tribute Story” by Pamunkey potter Dora Cook Bradby. Image courtesy of the Pamunkey Indian Museum and Cultural Center.
photo_BD47D352_A6AF_6B96_41CC_F07A6057EC44.description = Jeremy Johnson with the wampum belt presented to William Penn in 1682. Image courtesy of Jeremy Johnson.
photo_BD47D352_A6AF_6B96_41CC_F07A6057EC44.description = Jeremy Johnson with the wampum belt presented to William Penn in 1682. Image courtesy of Jeremy Johnson.
photo_BD70F0D1_A6AD_A69B_41E2_4900CA95445C.description = Laura Maynor and Mary Watters in regalia. Image courtesy of the Delaware Tribe of Indians.
photo_BD70F0D1_A6AD_A69B_41E2_4900CA95445C.description = Laura Maynor and Mary Watters in regalia. Image courtesy of the Delaware Tribe of Indians.
photo_BD8D7F82_A6B7_BB5B_41CB_7A64151CA047.description = Lenape beaded bag with strap, ca 1840-1859. Bequest of William H. Claflin, Jr., 1985. Image courtesy of the Peabody Museum of Archaeology and Ethnology, Harvard University, 985-27-10/60535.
photo_BD8D7F82_A6B7_BB5B_41CB_7A64151CA047.description = Lenape beaded bag with strap, ca 1840-1859. Bequest of William H. Claflin, Jr., 1985. Image courtesy of the Peabody Museum of Archaeology and Ethnology, Harvard University, 985-27-10/60535.
photo_BC016864_A6B7_E5DF_41A5_2E98841D7B8B.description = Lenape straight dancer in regalia. Image courtesy of the Delaware Tribe of Indians.
photo_BC016864_A6B7_E5DF_41A5_2E98841D7B8B.description = Lenape straight dancer in regalia. Image courtesy of the Delaware Tribe of Indians.
photo_BD7BFACA_A6AC_BA8C_41C4_E67393350B81.description = Lenape war club, flute, and tomahawk. Image courtesy of the Delaware Tribe of Indians.
photo_BD7BFACA_A6AC_BA8C_41C4_E67393350B81.description = Lenape war club, flute, and tomahawk. Image courtesy of the Delaware Tribe of Indians.
photo_BD7ABAE3_A6AD_7ABE_41D4_88893D1DBD0D.description = Lewis Ketchum in regalia. Image courtesy of the Delaware Tribe of Indians.
photo_BD7ABAE3_A6AD_7ABE_41D4_88893D1DBD0D.description = Lewis Ketchum in regalia. Image courtesy of the Delaware Tribe of Indians.
photo_BD8F0FB7_A6B5_7AA5_41D7_D354387686CF.description = Pair of Lenape moccasins made in 1838 by Delaware artist Touissant Cox. Gift of George Oscar Jenkins, 1941. Image courtesy of the Peabody Museum of Archaeology and Ethnology,, Harvard University 41-62-10/23539.
photo_BD8F0FB7_A6B5_7AA5_41D7_D354387686CF.description = Pair of Lenape moccasins made in 1838 by Delaware artist Touissant Cox. Gift of George Oscar Jenkins, 1941. Image courtesy of the Peabody Museum of Archaeology and Ethnology,, Harvard University 41-62-10/23539.
album_C0FFE9C3_8D11_ECEF_41D0_11B86EBEBA06_5.description = Pamunkey Artist Ethan Brown gifts Governor Terry McAuliffe a gourd at a Pamunkey Tribute Ceremony in 2017. Image courtesy of Pamunkey Indian Museum and Cultural Center.
album_82882381_8D1D_2A2C_41D1_B3B01233FCAE_3.description = Pamunkey potters and Chief Tecumseh Deerfoot Cook dressed for ceremony. From left to right: Ruth Cook, Tecumseh Deerfoot Cook, Daisy Stewart Bradby, Mary Bradby, ca. 1970 -1980s. Image from the Cook/Bradby family collection, courtesy of the Pamunkey Indian Tribe.
album_CFC5BF18_8D72_E58D_41DA_379517ADCC5E_4.description = Pamunkey tribal citizens at the Federal Recognition Celebration on the grounds of the Pamunkey Indian Museum, 2016. Image courtesy of the Pamunkey Indian Museum and Cultural Center.
album_C0FFE9C3_8D11_ECEF_41D0_11B86EBEBA06_0.description = Pictographs of the “Pocahontas Story” that was painted on glazed pottery from the 1930’s until the present. Image courtesy of Pamunkey Indian Museum and Cultural Center.
album_C0FFE9C3_8D11_ECEF_41D0_11B86EBEBA06_3.description = Pictographs of the “Tribute Story” that was painted on glazed pottery from the 1930’s until the present. Depicts ceremony for the 1677 Treaty of Middle Plantation. Image courtesy of Pamunkey Indian Museum and Cultural Center.
album_C625DF53_8D0E_65B9_41DD_2F940485A31D_0.description = Pit fired black ware hand-built pot. Image courtesy of the Pamunkey Indian Museum and Cultural Center.
album_C625DF53_8D0E_65B9_41DD_2F940485A31D_5.description = Points and a shark tooth found on the Pamunkey Indian Reservation from the Pamunkey Indian Museum collection. Image courtesy of the Pamunkey Indian Museum and Cultural Center.
album_9C4E9117_8D1C_E647_41C3_E667F8E77C64_3.description = Portrait of Chief George Major Cook, photographed by Dementi Studio in Richmond, VA, ca. 1920s-1930s. Image courtesy of the Pamunkey Indian Museum and Cultural Center.
album_9C4E9117_8D1C_E647_41C3_E667F8E77C64_2.description = Portrait of Ottigney Cook, son of Chief George Major Cook, ca. 1920s. Image from the Cook Family collection, courtesy of the Pamunkey Indian Tribe.
album_9C4E9117_8D1C_E647_41C3_E667F8E77C64_4.description = Portrait of Pocahontas Cook, daughter of Chief George Major Cook, ca 1930s-1940s. Image from the Cook/Bradby Family collection, courtesy of the Pamunkey Indian Tribe.
photo_BD8EEB8C_A6B7_BB6F_41E0_1C90C5754356.description = Red Day Johnson in Lenape regalia. Image courtesy of the Delaware Tribe of Indians.
photo_BD8EEB8C_A6B7_BB6F_41E0_1C90C5754356.description = Red Day Johnson in Lenape regalia. Image courtesy of the Delaware Tribe of Indians.
album_9C4E9117_8D1C_E647_41C3_E667F8E77C64_0.description = Regalia worn by Chief George Major Cook, ca. 1910-1920s. Image courtesy of the Pamunkey Indian Museum and Cultural Center.
photo_BBCA7ADB_A6AD_FA8F_41E2_8F4355877F61.description = Sarah Johnson and Katharine Maynor in regalia. Image courtesy of the Delaware Tribe of Indians.
photo_BBCA7ADB_A6AD_FA8F_41E2_8F4355877F61.description = Sarah Johnson and Katharine Maynor in regalia. Image courtesy of the Delaware Tribe of Indians.
photo_B2BC1236_8311_BE51_41D1_4D8341E7BF88.description = Taíno Sandals, donated to NMAI by the family of Francisco Ramirez Rojas (Taíno) through José Barreiro (NMAI staff member) in 2015. Image courtesy of the National Museum of the American Indian, Smithsonian Institution (26/9691).. Photo by NMAI Photo Services.
photo_B2BC1236_8311_BE51_41D1_4D8341E7BF88.description = Taíno Sandals, donated to NMAI by the family of Francisco Ramirez Rojas (Taíno) through José Barreiro (NMAI staff member) in 2015. Image courtesy of the National Museum of the American Indian, Smithsonian Institution (26/9691).. Photo by NMAI Photo Services.
photo_B2BC3B59_8312_4ED0_41D2_4E0823DF4247.description = Taíno [Jamaica] Rattle, collected at an unknown date by Jane Davenport De Tomasi. Image courtesy of the National Museum of the American Indian, Smithsonian Institution (25/2449). Photo by NMAI Photo Services.
photo_B2BC3B59_8312_4ED0_41D2_4E0823DF4247.description = Taíno [Jamaica] Rattle, collected at an unknown date by Jane Davenport De Tomasi. Image courtesy of the National Museum of the American Indian, Smithsonian Institution (25/2449). Photo by NMAI Photo Services.
photo_B2BFE351_8312_5ED0_41C1_903C1E199151.description = Taíno [Puerto Rico] Musical rasp, collection history unknown. Image courtesy of the National Museum of the American Indian, Smithsonian Institution (23/2323).. Photo by NMAI Photo Services.
photo_B2BFE351_8312_5ED0_41C1_903C1E199151.description = Taíno [Puerto Rico] Musical rasp, collection history unknown. Image courtesy of the National Museum of the American Indian, Smithsonian Institution (23/2323).. Photo by NMAI Photo Services.
photo_B2BF4DFA_8312_45D0_41D7_9B700AF4BCA3.description = Taíno petroglyphs carved between 900 and 1450 AD at Reef Bay in the U.S. Virgin Islands. Image courtesy of National Park Service
photo_B7013AAB_8312_4E70_41B4_DD5C6F6EF899.description = Taíno petroglyphs carved between 900 and 1450 AD at Reef Bay in the U.S. Virgin Islands. Image courtesy of National Park Service
photo_B2BF4DFA_8312_45D0_41D7_9B700AF4BCA3.description = Taíno petroglyphs carved between 900 and 1450 AD at Reef Bay in the U.S. Virgin Islands. Image courtesy of National Park Service
photo_B7013AAB_8312_4E70_41B4_DD5C6F6EF899.description = Taíno petroglyphs carved between 900 and 1450 AD at Reef Bay in the U.S. Virgin Islands. Image courtesy of National Park Service
album_82882381_8D1D_2A2C_41D1_B3B01233FCAE_2.description = The family of Chief George Major Cook on the front porch of their home on the Pamunkey Indian Reservation. From left to right: Pocahontas Cook, man unknown, Theodora Dennis Cook, Dora Cook Bradby, ca. 1920-1930s. Image from the Cook/Bradby family collection, courtesy of the Pamunkey Indian Tribe.
photo_BBD2356B_A6AD_6FB3_41E1_1A65E71ABD8B.description = The wampum belt given by the Lenape to William Penn in 1682. © Philadelphia History Museum at the Atwater Kent. Courtesy of Historical Society of Pennsylvania Collection, licensed through Bridgeman Images.
photo_BBD2356B_A6AD_6FB3_41E1_1A65E71ABD8B.description = The wampum belt given by the Lenape to William Penn in 1682. © Philadelphia History Museum at the Atwater Kent. Courtesy of Historical Society of Pennsylvania Collection, licensed through Bridgeman Images.
album_CFC5BF18_8D72_E58D_41DA_379517ADCC5E_0.description = This mid-17th century map of Virginia illustrates the Powhatan chiefdom with names and locations of specific towns and villages of both Native nations and European settlers. “Nova Virginiae tabula” by Hondius, Hendrik Hondius, cartographer, 1644. Retrieved from the Library of Congress.
photo_B2BC5817_8311_CA50_41D0_D966E9843DA4.description = This photograph from the early 1900s shows children sitting in front of a bohío in Puerto Rico, evidence of continuing Taíno culture after contact with Europeans. Photograph courtesy of the Library of Congress.
photo_B2BC5817_8311_CA50_41D0_D966E9843DA4.description = This photograph from the early 1900s shows children sitting in front of a bohío in Puerto Rico, evidence of continuing Taíno culture after contact with Europeans. Photograph courtesy of the Library of Congress.
photo_BD8FE5A3_A6B5_EEA3_41DF_0F266F64A8DF.description = Wood and catlinite peace pipe with painted cross-hatching design, silver inlay, beads, feathers and leather decoration by Delaware artist George Washington. Museum Purchase, 1972. Image courtesy of the Peabody Museum of Archaeology and Ethnology,, Harvard University, 972-54-10/51901.
photo_BD8FE5A3_A6B5_EEA3_41DF_0F266F64A8DF.description = Wood and catlinite peace pipe with painted cross-hatching design, silver inlay, beads, feathers and leather decoration by Delaware artist George Washington. Museum Purchase, 1972. Image courtesy of the Peabody Museum of Archaeology and Ethnology,, Harvard University, 972-54-10/51901.
photo_B2BC1403_8312_7A30_41D7_8607C9722E54.description = Yara Taíno Vessel and cover, collected in 1919 by Mark Raymond Harrington. Image courtesy of the National Museum of the American Indian, Smithsonian Institution (9/2253). Photo by NMAI Photo Services.
photo_B2BC1403_8312_7A30_41D7_8607C9722E54.description = Yara Taíno Vessel and cover, collected in 1919 by Mark Raymond Harrington. Image courtesy of the National Museum of the American Indian, Smithsonian Institution (9/2253). Photo by NMAI Photo Services.
### Image
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### Subtitle
panorama_A7DCF260_ACEA_73B4_41D7_6DA8AAB9BA1B.subtitle = BY ANTONIO CAPELLANO
panorama_A7DB1D57_ACEE_119D_41E2_EF0F28B0F60D.subtitle = BY JOHN G. CHAPMAN
panorama_EDA274C5_FE27_76DB_41E8_CA8AE643DC78.subtitle = BY JOHN VANDERLYN
panorama_A7DB5596_ACEE_109F_41AA_E2BE97180299.subtitle = NICHOLAS GEVELOT
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Pamunkey Archaeological Record
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Baptism of Pocahontas
John Gadsby Chapman
Conflict of Daniel Boone and the Indians
Enrico Causici
Death of Tecumseh at the Battle of Thames, 1813
Filippo Costaggini from a sketch by Constantino Brumidi
Discovery of the Mississippi by De Soto in 1541
William H. Powell
Landing of Columbus
John Vanderlyn
Landing of Columbus
John Vanderlyn
Landing of the Pilgrims, 1620
Enrico Causici
Peace Between Governor Oglethorpe and the Indians, 1732
Filippo Costaggini from a sketch by Constantino Brumidi
Preservation of Captain Smith by Pocahontas
Antonio Capellano
Preservation of Captain Smith by Pocahontas
Antonio Capellano
The Baptism of Pocahontas
John Gadsby Chapman
William Penn's Treaty with the Indians
Nicholas Gevelot
William Penn's Treaty with the Indians
Nicholas Gevelot
Pamunkey Archaeological Record
José Barreiro: The Taíno had a perception of themselves as a wealthy people because of their agriculture.
They had some wonder crops in the starch base and the carbohydrate base. They had the yuca, the manioc, which is still a primary crop on the islands, and from the yuca some derivatives of different products and then there was the cassava, which is the tort, which is very sought after and appreciated. So their agriculture cycles or capacity to produce was their strongest sense of themselves.
Their capacity to navigate. They were seagoing people who used the Caribbean Ocean and the currents within as highways to take them from island to island, trading and visiting and intermarriages and sometimes raiding not in a warfare of conquest, but in occasional spats between folks, but really generally a peaceful culture.
A tremendous depth of knowledge about the natural world – ecology, the environment. The useful use of the environment for everything from the making of their buildings, their bohios, thatch roof structures are very tight actually and not at all really primitive in their own construction and in their own ecological conception as was the agriculture which is still practiced in many ways.
And their spiritual sense of life which is not remarked enough upon. That people in our old cultures live and have lived the constant movement through the day and time itself in a ceremonial context. So all activities were infused with spiritual energies whether it was the making of foods or the harvesting, the planting, the different parts of life, were very cohesive.
As some of our contemporary elders, I'm thinking of Cacique Panchito in Cuba, say all life really is a ceremony. It's not separate.
So there was a way of life that's very intricate that I don't think the Spanish, definitely the Spanish of the time, understood and I think generally about the Native world, generally the Indigenous world, especially of the Americas, anthropology and the various sciences, have really understood very well the intricacy of Native cultural life in that sense. The ceremonialization of life is a big piece of it.
So there was a richness that was internal that to the Spanish would have seen being primitive nakedness, savagery, etc. as it came to be called and it was just a very deeply perceptive and connective way of being in nature.
So the Taíno had their own sense of themselves that they valued and that they ultimately fought for very strongly.
Learn more about present-day Taínos in Connections.
Jeremy Johnson: First and foremost what strikes me is the regalia of those who are said to be Lenape. The headdresses look nothing like what we would have worn at the time. As far as the clothing, I’m looking at these things, I’m not sure what the man on the left is wearing. It is something that is foreign to me from my experience as a Lenape male to see someone wearing something like that.
What really stands out to me honestly is the pipe that I believe that’s supposed to be Tamanend is carrying. That is a plain style pipe. We did not have plain style pipes with the pipe stone or the soap stone like that that we would have used.
Ashley Spivey: The way that Pocahontas is depicted in the image of the baptism is not how she would have been depicted as an Indigenous woman. For example, she would not have been, you know, wearing the clothing that you see in the image.
Typically, women of that period would have been wearing materials that were made locally, you know, deer skin, for example, would have been something that she would have worn. She would have been “dressed less modestly” because there was not really that concept for Indigenous people, for Pamunkey people at that time.
The body was not seen as something that was immoral, and so parts of her body would have been exposed. And she would have also likely been tattooed. Depending on her status within her life as a mother, as a married woman, also potentially her political relationships to the leadership of the Powhatan chiefdom, so she would have been and I'm sure she was tattooed as well and you would have seen that on her body that would have expressed who she was and the role that she played in her society.
Hear more from Ashley Spivey in the “Preservation of John Smith by Pocahontas.”
Ashley Spivey: The way that these individuals are being depicted, I would again argue with the accuracy. I think this painting was completed in the 19th century and so you have, I think, quite a bit of mixture of Indigenous representations regarding hair and clothing that would not have been something you would have seen in the early 17th century.
So it's presenting a mishmash, quite frankly, of Indigenous peoples, which again to me is not surprising as there's this idea that Indigenous people in the United States are all the same. And these images perpetuate that stereotype that, oh, all of these, maybe individual traditions that might have existed that are represented on Indigenous bodies, it doesn't matter about accuracy...all Indigenous people are the same. And unfortunately, I feel that this painting helps support that mentality and that stereotype.
Hear more from Ashley Spivey in the “Preservation of John Smith by Pocahontas.”
Ashley Spivey: In terms of the bas relief depicting the Preservation of John Smith, there are several issues there just in terms of the ways in which Indigenous people are being presented.
First of all, Pocahontas was not a grown woman when this supposed event took place. She was a young child, a young, young woman at best. And it's very clear too that the Indigenous men presented in this are relegated to being seen as savage, a part of nature and of the wild while Smith is seen as kind of demure and threatened.
And unfortunately, you know, that is a stereotype that exists still to this day when it comes to Indigenous people and I would say especially Indigenous men. So, it's all of those stereotypes kind of laid bare.
And at the minimum, the ways in which Pocahontas and the men are depicted is also wholly inaccurate regarding what they would have looked like, what have they would have been wearing at this time that the event had taken place.
And just to kind of get into the historic specifics of the image, as I mentioned, we don't know if this actually happened. John Smith was a notorious embellisher of his experiences across the globe. I would assume that his time in Virginia was no different.
You know, and then also again, I want to flip it around and bring it back to the Indigeneity of this potential experience. If this actually happened, it was not about Pocahontas saving his life. It was about Powhatan, Wahunsenacawh, again being politically savvy.
A lot of folks look to the wider story of what John Smith was experiencing at the Powhatan capital, Werowocomoco, it was a ritual. It was a ceremony that he was engaged in that at the very end, according to him, stopped with the saving of his life by Pocahontas.
A lot of us believe it might be an adoption ceremony. It was another way for Chief Wahunsenacawh to bring the English into his fold, because according to Smith, after this event Wahunsenacawh referred to him as son.
And so it was again, if you want to look at it from Indigenous perspective, if this event actually happened, it was our people being savvy and making sense of who these people were and what they were doing and our lands to us, making sense of it to us. And again creating a relationship that would benefit us.
But you don't get the Indigenous side of that story, especially in an image like this and because the myth has perpetuated that it was just Pocahontas saving John Smith's life.
It's not, again, as simple as that. We missed the complexity of what those relationships are represented in that image.
Ashley Spivey: In terms of archaeological evidence related to our traditions that are still practiced today, one of those more evident traditions is definitely the art of making pottery.
So archaeologically, you can find evidence of pottery making among the Pamunkey and other Indigenous peoples in Virginia over 3,000 years ago. That's typically the time period when we say ceramics are being invented and made in the region. And the Pamunkey Indian Tribe has never stopped making pottery, so 3,000 plus years is the age of that tradition.
Of course, that tradition, in terms of the way that it's practiced, the way that the ceramic vessels are shaped and formed and how they're used, has changed over time, but that is the nature of culture. All cultures and societies change over time, and traditions change alongside that as well, and pottery is no different. But the art and practice of making it has always been with our people.
And the Pamunkey Indian Reservation in particular regarding the archaeological record is astounding, and I can say that from not only being a member of the tribe and who has had the ability to visit with grandparents and cousins and aunts throughout my life, but as an archaeologist who has conducted research on the reservation.
We are very rare when it comes to a place that evokes kind of the archaeological history of a tribal community. We live on a piece of land that our people have been on since time immemorial. We've never not had ownership or access to this piece of land, and so the archaeological record shows our history from about 10,000 years ago, all the way up until the present day and that is kind of unprecedented in most places in the United States, especially in Virginia and the Middle Atlantic region.
So the archaeological record tells a plethora of stories regarding our ancestors, our relatives and even what our family members were doing up into the 20th century. So you can see kind of the trajectory of traditions. You can also see maybe the introduction and the adoption of new traditions, right, and practices, and that's all laid bare in the archaeological record at the Pamunkey Indian Reservation.
Ashley Spivey: The Pamunkey people prior to European colonization were the central community that comprised the Powhatan paramount chiefdom. Powhatan, who we refer to typically as Wahunsenacawh, was the paramount leader of that chiefdom. When he was born, he inherited about six tribal communities, or villages under his leadership and throughout his lifetime, up until the English arrived in 1607, he had expanded his reach across the entire coastal plain of what is now today Virginia to include up to 32 tribal communities. And the Pamunkey were at the center of that politically and geographically.
And what I mean by it in terms of the geographic – the heart of it is where the current reservation sits, right. So it's the York River and its tributaries, the Pamunkey and Mattaponi, that were kind of the heart and the center of the chiefdom.
Politically, we are at the center of that chiefdom because of who Wahunsenacawh was. His mother was Pamunkey, therefore he was Pamunkey. We were a matrilineal society traditionally. We do not practice matrilineality anymore, but prior to European arrival we were a matrilineal society, and so the leadership of this chiefdom followed the mother's line and that line was a Pamunkey one.
And so after Wahunsenacawh passed on, it would have been through that matriline well up until the first decades of the 18th century that Pamunkey leaders remained as the paramount leaders of the chiefdom.
So there's so much that I can say about who the Pamunkey were, but I really want to bring home the complex and powerful and political and economic and social reality that were the Pamunkey people at this time.
Again, there's this misunderstanding and stereotype and misconception about Indigenous people that we were just living off the land without any kind of structure. No, we were complex political, economic and social people and understanding kind of our engagement in the chiefdom and the role that we played in it and I think gets at understanding the complexity of Indigenous society prior to European arrival.
Jeremy Johnson: Pre-contact, our communities were matriarchal. Oftentimes you would have a council of men or a group of men within each community who were tasked with making decisions, but they took their direction from the matriarchs within the society.
The matriarchs had all the control in relationships when it came to their partners. If they felt that their partner was not providing, they could just end that relationship without any recourse for the other partner.
We had communal living where families took care of families. You had longhouses for larger families who lived together. The society itself provided for each and every member. People had different jobs. You had people who would hunt. Our women oftentimes they would farm, they would take care of the area around the homes, they would do a lot of things. And within that society a lot of people look at it now as maybe being quite different than what is perceived today, but I think there’s a misconception.
We don’t have roles within our society that are inferior to another role. Our women are held in high regard and just as the men. Now they have different duties and each of those duties or those sets of duties are equal to each other – just as important. For example, whenever we would do ceremonies, it was our men’s job to sing for those ceremonies and perform those ceremonies and prepare for those and it was the women’s duty to cook for the people who attended. We hold our cooks in high regard because they give life. They put their energy into something that helps to give us strength and power and life.
When we look at the roles of men and women in Lenape society you could almost say that the men’s roles were as lifetakers because they had to hunt, they had to fish, they had to protect their communities. Whereas the women’s roles were very much lifegivers. They produce children, they would cook for us, they would take care of families, they would also perform the duties of healers. We didn’t have “medicine men.” Our healers were mainly women who would have a vast knowledge of the properties of many plants to create medicines for the people that they were trying to heal. So the roles were very much equal and just in the sense of men and women’s roles were equally important.
Jeremy Johnson: The treaty representation as a paper treaty here in this art is incorrect in itself because the treaty was made with a wampum belt that was presented to Penn and his family for the sale of that land and to signify friendship and peace.
A wampum belt is a belt that is made of small beads which are made from quahog and whelk shells, so oysters, clams, mussel shells is what these are made from. The quahog is often purple with white striations through it because they use the thickest part of the quahog shell to make these beads.
And each one of these small beads were strung onto thread or sinew or something of the like and then put together to form a belt of hundreds of these beads. And the colors of the purple and white were arranged to create pictures in these belts.
And the picture represented on the Penn belt is of a Lenape man standing next to a man who is obviously a Quaker with a hat on and they have extended their hands and are holding hands, so it is extending that friendship to William Penn and his family and basically ensuring their peaceful existence there in Lenapehoking in what was to become Pennsylvania.
José Barreiro: The Taíno had a perception of themselves as a wealthy people because of their agriculture.
They had some wonder crops in the starch base and the carbohydrate base. They had the yuca, the manioc, which is still a primary crop on the islands, and from the yuca some derivatives of different products and then there was the cassava, which is the tort, which is very sought after and appreciated. So their agriculture cycles or capacity to produce was their strongest sense of themselves.
Their capacity to navigate. They were seagoing people who used the Caribbean Ocean and the currents within as highways to take them from island to island, trading and visiting and intermarriages and sometimes raiding not in a warfare of conquest, but in occasional spats between folks, but really generally a peaceful culture.
A tremendous depth of knowledge about the natural world – ecology, the environment. The useful use of the environment for everything from the making of their buildings, their bohios, thatch roof structures are very tight actually and not at all really primitive in their own construction and in their own ecological conception as was the agriculture which is still practiced in many ways.
And their spiritual sense of life which is not remarked enough upon. That people in our old cultures live and have lived the constant movement through the day and time itself in a ceremonial context. So all activities were infused with spiritual energies whether it was the making of foods or the harvesting, the planting, the different parts of life, were very cohesive.
As some of our contemporary elders, I'm thinking of Cacique Panchito in Cuba, say all life really is a ceremony. It's not separate.
So there was a way of life that's very intricate that I don't think the Spanish, definitely the Spanish of the time, understood and I think generally about the Native world, generally the Indigenous world, especially of the Americas, anthropology and the various sciences, have really understood very well the intricacy of Native cultural life in that sense. The ceremonialization of life is a big piece of it.
So there was a richness that was internal that to the Spanish would have seen being primitive nakedness, savagery, etc. as it came to be called and it was just a very deeply perceptive and connective way of being in nature.
So the Taíno had their own sense of themselves that they valued and that they ultimately fought for very strongly.
Learn more about present-day Taínos in Connections.
Kevin Krigsvold: What many people don't understand about Pamunkey and many of the tribes on the East Coast is that we were a matrilineal society, meaning that women had quite a bit of power. So Powhatan, for example, probably earned his chiefdom through his mother's line. And women also were omnipresent in everything about Pamunkey life.
So a man, for example, could have a number of wives, but if he couldn’t take care of them, the wife could just throw them out and get somebody else. The women built the houses. The women cooked all the food. The women tended to the gardens with the small children. The women participated in torture of enemies. The women were very strong part of the tribal communities.
So the common perception is male warriors kind of ruled and women acquiesced to what the male warriors wanted, but that's actually not true in Pamunkey and other Eastern Woodland Indian tribes. Women had a very strong role throughout our entire society.
Ashley Spivey: The way that Pocahontas is depicted in the image of the baptism is not how she would have been depicted as an Indigenous woman. For example, she would not have been, you know, wearing the clothing that you see in the image.
Typically, women of that period would have been wearing materials that were made locally, you know, deer skin, for example, would have been something that she would have worn. She would have been “dressed less modestly” because there was not really that concept for Indigenous people, for Pamunkey people at that time.
The body was not seen as something that was immoral, and so parts of her body would have been exposed. And she would have also likely been tattooed. Depending on her status within her life as a mother, as a married woman, also potentially her political relationships to the leadership of the Powhatan chiefdom, so she would have been and I'm sure she was tattooed as well and you would have seen that on her body that would have expressed who she was and the role that she played in her society.
Hear more from Ashley Spivey in the “Preservation of John Smith by Pocahontas.”
Ashley Spivey: In terms of archaeological evidence related to our traditions that are still practiced today, one of those more evident traditions is definitely the art of making pottery.
So archaeologically, you can find evidence of pottery making among the Pamunkey and other Indigenous peoples in Virginia over 3,000 years ago. That's typically the time period when we say ceramics are being invented and made in the region. And the Pamunkey Indian Tribe has never stopped making pottery, so 3,000 plus years is the age of that tradition.
Of course, that tradition, in terms of the way that it's practiced, the way that the ceramic vessels are shaped and formed and how they're used, has changed over time, but that is the nature of culture. All cultures and societies change over time, and traditions change alongside that as well, and pottery is no different. But the art and practice of making it has always been with our people.
And the Pamunkey Indian Reservation in particular regarding the archaeological record is astounding, and I can say that from not only being a member of the tribe and who has had the ability to visit with grandparents and cousins and aunts throughout my life, but as an archaeologist who has conducted research on the reservation.
We are very rare when it comes to a place that evokes kind of the archaeological history of a tribal community. We live on a piece of land that our people have been on since time immemorial. We've never not had ownership or access to this piece of land, and so the archaeological record shows our history from about 10,000 years ago, all the way up until the present day and that is kind of unprecedented in most places in the United States, especially in Virginia and the Middle Atlantic region.
So the archaeological record tells a plethora of stories regarding our ancestors, our relatives and even what our family members were doing up into the 20th century. So you can see kind of the trajectory of traditions. You can also see maybe the introduction and the adoption of new traditions, right, and practices, and that's all laid bare in the archaeological record at the Pamunkey Indian Reservation.
Ashley Spivey: The way that these individuals are being depicted, I would again argue with the accuracy. I think this painting was completed in the 19th century and so you have, I think, quite a bit of mixture of Indigenous representations regarding hair and clothing that would not have been something you would have seen in the early 17th century.
So it's presenting a mishmash, quite frankly, of Indigenous peoples, which again to me is not surprising as there's this idea that Indigenous people in the United States are all the same. And these images perpetuate that stereotype that, oh, all of these, maybe individual traditions that might have existed that are represented on Indigenous bodies, it doesn't matter about accuracy...all Indigenous people are the same. And unfortunately, I feel that this painting helps support that mentality and that stereotype.
Hear more from Ashley Spivey in the “Preservation of John Smith by Pocahontas.”
Ashley Spivey: The Pamunkey people prior to European colonization were the central community that comprised the Powhatan paramount chiefdom. Powhatan, who we refer to typically as Wahunsenacawh, was the paramount leader of that chiefdom. When he was born, he inherited about six tribal communities, or villages under his leadership and throughout his lifetime, up until the English arrived in 1607, he had expanded his reach across the entire coastal plain of what is now today Virginia to include up to 32 tribal communities. And the Pamunkey were at the center of that politically and geographically.
And what I mean by it in terms of the geographic – the heart of it is where the current reservation sits, right. So it's the York River and its tributaries, the Pamunkey and Mattaponi, that were kind of the heart and the center of the chiefdom.
Politically, we are at the center of that chiefdom because of who Wahunsenacawh was. His mother was Pamunkey, therefore he was Pamunkey. We were a matrilineal society traditionally. We do not practice matrilineality anymore, but prior to European arrival we were a matrilineal society, and so the leadership of this chiefdom followed the mother's line and that line was a Pamunkey one.
And so after Wahunsenacawh passed on, it would have been through that matriline well up until the first decades of the 18th century that Pamunkey leaders remained as the paramount leaders of the chiefdom.
So there's so much that I can say about who the Pamunkey were, but I really want to bring home the complex and powerful and political and economic and social reality that were the Pamunkey people at this time.
Again, there's this misunderstanding and stereotype and misconception about Indigenous people that we were just living off the land without any kind of structure. No, we were complex political, economic and social people and understanding kind of our engagement in the chiefdom and the role that we played in it and I think gets at understanding the complexity of Indigenous society prior to European arrival.
Ashley Spivey: In terms of the bas relief depicting the Preservation of John Smith, there are several issues there just in terms of the ways in which Indigenous people are being presented.
First of all, Pocahontas was not a grown woman when this supposed event took place. She was a young child, a young, young woman at best. And it's very clear too that the Indigenous men presented in this are relegated to being seen as savage, a part of nature and of the wild while Smith is seen as kind of demure and threatened.
And unfortunately, you know, that is a stereotype that exists still to this day when it comes to Indigenous people and I would say especially Indigenous men. So, it's all of those stereotypes kind of laid bare.
And at the minimum, the ways in which Pocahontas and the men are depicted is also wholly inaccurate regarding what they would have looked like, what have they would have been wearing at this time that the event had taken place.
And just to kind of get into the historic specifics of the image, as I mentioned, we don't know if this actually happened. John Smith was a notorious embellisher of his experiences across the globe. I would assume that his time in Virginia was no different.
You know, and then also again, I want to flip it around and bring it back to the Indigeneity of this potential experience. If this actually happened, it was not about Pocahontas saving his life. It was about Powhatan, Wahunsenacawh, again being politically savvy.
A lot of folks look to the wider story of what John Smith was experiencing at the Powhatan capital, Werowocomoco, it was a ritual. It was a ceremony that he was engaged in that at the very end, according to him, stopped with the saving of his life by Pocahontas.
A lot of us believe it might be an adoption ceremony. It was another way for Chief Wahunsenacawh to bring the English into his fold, because according to Smith, after this event Wahunsenacawh referred to him as son.
And so it was again, if you want to look at it from Indigenous perspective, if this event actually happened, it was our people being savvy and making sense of who these people were and what they were doing and our lands to us, making sense of it to us. And again creating a relationship that would benefit us.
But you don't get the Indigenous side of that story, especially in an image like this and because the myth has perpetuated that it was just Pocahontas saving John Smith's life.
It's not, again, as simple as that. We missed the complexity of what those relationships are represented in that image.
Jeremy Johnson: The treaty representation as a paper treaty here in this art is incorrect in itself because the treaty was made with a wampum belt that was presented to Penn and his family for the sale of that land and to signify friendship and peace.
A wampum belt is a belt that is made of small beads which are made from quahog and whelk shells, so oysters, clams, mussel shells is what these are made from. The quahog is often purple with white striations through it because they use the thickest part of the quahog shell to make these beads.
And each one of these small beads were strung onto thread or sinew or something of the like and then put together to form a belt of hundreds of these beads. And the colors of the purple and white were arranged to create pictures in these belts.
And the picture represented on the Penn belt is of a Lenape man standing next to a man who is obviously a Quaker with a hat on and they have extended their hands and are holding hands, so it is extending that friendship to William Penn and his family and basically ensuring their peaceful existence there in Lenapehoking in what was to become Pennsylvania.
Jeremy Johnson: First and foremost what strikes me is the regalia of those who are said to be Lenape. The headdresses look nothing like what we would have worn at the time. As far as the clothing, I’m looking at these things, I’m not sure what the man on the left is wearing. It is something that is foreign to me from my experience as a Lenape male to see someone wearing something like that.
What really stands out to me honestly is the pipe that I believe that’s supposed to be Tamanend is carrying. That is a plain style pipe. We did not have plain style pipes with the pipe stone or the soap stone like that that we would have used.
Jeremy Johnson: Pre-contact, our communities were matriarchal. Oftentimes you would have a council of men or a group of men within each community who were tasked with making decisions, but they took their direction from the matriarchs within the society.
The matriarchs had all the control in relationships when it came to their partners. If they felt that their partner was not providing, they could just end that relationship without any recourse for the other partner.
We had communal living where families took care of families. You had longhouses for larger families who lived together. The society itself provided for each and every member. People had different jobs. You had people who would hunt. Our women oftentimes they would farm, they would take care of the area around the homes, they would do a lot of things. And within that society a lot of people look at it now as maybe being quite different than what is perceived today, but I think there’s a misconception.
We don’t have roles within our society that are inferior to another role. Our women are held in high regard and just as the men. Now they have different duties and each of those duties or those sets of duties are equal to each other – just as important. For example, whenever we would do ceremonies, it was our men’s job to sing for those ceremonies and perform those ceremonies and prepare for those and it was the women’s duty to cook for the people who attended. We hold our cooks in high regard because they give life. They put their energy into something that helps to give us strength and power and life.
When we look at the roles of men and women in Lenape society you could almost say that the men’s roles were as lifetakers because they had to hunt, they had to fish, they had to protect their communities. Whereas the women’s roles were very much lifegivers. They produce children, they would cook for us, they would take care of families, they would also perform the duties of healers. We didn’t have “medicine men.” Our healers were mainly women who would have a vast knowledge of the properties of many plants to create medicines for the people that they were trying to heal. So the roles were very much equal and just in the sense of men and women’s roles were equally important.
Kevin Krigsvold: What many people don't understand about Pamunkey and many of the tribes on the East Coast is that we were a matrilineal society, meaning that women had quite a bit of power. So Powhatan, for example, probably earned his chiefdom through his mother's line. And women also were omnipresent in everything about Pamunkey life.
So a man, for example, could have a number of wives, but if he couldn’t take care of them, the wife could just throw them out and get somebody else. The women built the houses. The women cooked all the food. The women tended to the gardens with the small children. The women participated in torture of enemies. The women were very strong part of the tribal communities.
So the common perception is male warriors kind of ruled and women acquiesced to what the male warriors wanted, but that's actually not true in Pamunkey and other Eastern Woodland Indian tribes. Women had a very strong role throughout our entire society.