An expression of identity

First Nations beads can be traced back to over 10,000 years ago when most beads were “made of shell, pearl, bone, teeth, stone, and fossil stems” (Aboriginal Perspectives U Regina). Christi Belcourt, a Michif visual artist from Manito Sahkahigan (Lac Ste. Anne, Alberta), explains that “beading is not simply decorating material goods ... it is an expression of a beader’s identity” and “an artform that connects us to the skills, sacrifices and creativity of our ancestors” (Beadwork: First Peoples' Beading History and Techniques). 

Each Indigenous nation has its own traditional beadwork customs, signature styles, materials, symbols, patterns and cultural and spiritual meanings behind their designs. Métis Nation, for instance, is known for the use of floral beadwork patterns, often referred to “as the ‘Flower Beadwork People’ by the Dakota and Cree” (Manitoba Métis Federation). A special characteristic of Métis beading is that “all motifs are normally connected to each other by either stems or tendrils” (Characteristics of Métis Beadwork, from the Virtual Museum of Métis History and Culture).  

Flowers in beadwork

Floral patterns are a popular motif, however, even within the “Yukon First Nations” each “cultural group, each family, and each” individual “beader has their own designs that are passed down through generations” alongside “regional traditions” (Indigenous Yukon). Aside from being from nature, it is suggested that the abundance of flowers in beadwork may be because of “imported floral designs” or potentially because flowers are considered “non-threatening” and “ubiquitous” which, during the potlatch ban, meant that these designs would not be subject to seizure (Indigenous Yukon). 

Adorned apparel that brings health and prosperity