#piegan blackfeet history

[valkyries-things]

LILY GLADSTONE // ACTRESS

“She is an American (Piegan Blackfeet/Nez Perce) actress. Raised on the Blackfeet Reservation, she earned critical acclaim for portraying Mollie Kyle, an Osage woman who survived the Osage Indian murders, in Killers of the Flower Moon (2023), receiving several accolades. She became the first Native American to win the Golden Globe Award for Best Actress in a Motion Picture Drama and be nominated for the Academy Award for Best Actress.”

[this-world-of-beautiful-monsters]

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This article was originally published in August. We are recirculating it now timed to Killers of the Flower Moon’s theatrical release.

Before she was cast as the anguished center of Martin Scorsese’s Killers of the Flower Moon, before she played a grief-stricken mother on Reservation Dogs, and before her breakout role in Kelly Reichardt’s Certain Women, Lily Gladstone taught school children about Native American history. She taught while in character as part of an educational theater program — the kind of steady work you’d feel lucky to get as a young actor (which Gladstone was at the time), even if it wasn’t what you dreamed of doing as an acting student (which she had been at the University of Montana not long before) — touring alone to school auditoriums, trading lines with a prerecorded track about having to shed her culture while a multimedia presentation was projected behind her. She played Alice, a Navajo girl who endured an abusive, assimilationist education in order to become a nurse. The part didn’t reflect Gladstone’s background — her father is Blackfeet and Nez Perce, her mother white, and her childhood was split between Montana’s Blackfeet Reservation and Seattle — but it wasn’t entirely distant, either. Her grandmother had attended one of those infamous boarding schools, Chemawa, from which hundreds of children never returned; they are buried there in marked and unmarked graves.

It was rewarding for Gladstone to expose young audiences to facts that weren’t included in their textbooks, even if she had to supplement the job with weekly shifts at Staples for health insurance. But serving as an envoy for the injustices and suppressed stories of a whole people was exhausting. “It makes you tough,” she told me in New York in June before the start of the SAG strike. By her last performance, a month after she had finished filming Certain Women, “there was nothing more I had to give to it. If I were to do that kind of work again, that history about trauma to our communities, I would want to do it with the community, not alone.” With Killers of the Flower Moon, it seems, she has found a way.

Onscreen, Gladstone is known for her silences — for being an observer and for her singular ability to hold a viewer’s attention without needing to speak. “She had a very sharp sense of her own presence before the camera and an extremely unusual trust in simplicity,” observes Scorsese, who chose her to play Mollie Burkhart, an Osage woman living in 1920s Oklahoma and the female lead of the film. “That’s a rare thing. You can’t take your eyes off her.” She got her first movie role, in a 2013 indie called Winter in the Blood, after serving as a reader during an open call in Missoula. Gladstone had acted in one of the directors’ student films and wasn’t actually auditioning, just helping out. But casting director Rene Haynes found her attention drifting in Gladstone’s direction throughout the day: “She wasn’t stealing the spotlight or anything like that. But she was just so riveting.”

Despite having such a prized quality in her performances, Gladstone has never thought of herself as especially quiet. “I’m a character actress. I was always the squirrelly, overcharged kid,” she reflects with a deliberation that seems characteristic. In person, she’s earnest but can be disarmingly chatty, sharing childhood family photos and behind-the-scenes videos from set on her phone and telling stories about how her father loved that Scorsese had palled around with the Band’s Robbie Robertson. (“You got Hollywood’s greatest director just hanging out with the Indians!”) It’s her face, she thinks; that’s the reason — and it is a very good face with the oval symmetry of a Madonna statue and an emotional clarity that makes you feel as if you can see her thoughts. “My dad, when I was little, always told me I couldn’t lie to him because you could see what my face was doing,” she says. She also credits the time she has spent in the company of elders: “I got used to being in a position where you’re open and ready to learn and listen. Somebody who is listening is super-interested. I think that’s what’s interesting to a camera, but who knows?”

Photo: Hugo Yu

Gladstone is 37 now, and her performance as Mollie has been the most buzzed-about part of the movie since it premiered at Cannes and kicked off a seemingly inexorable march toward awards glory, slated to reach theaters on October 20. But back in 2019, when she was first approached for the role by casting director Ellen Lewis, the project looked very different. The film, which Dune screenwriter Eric Roth adapted from David Grann’s 2017 book, takes place a few decades after oil was discovered on the Osage Nation Reservation, when the money from that boom brought enormous wealth to the community along with a rush of attention from opportunistic outsiders who tried to get a piece of it through marriage, manipulation, or murder. Leonardo DiCaprio, who eventually took on the role of Mollie’s slippery husband, Ernest, was initially set to play Tom White, the proto-FBI agent who leads an investigation into the ongoing killings of the Osage, crimes the local police were indifferent to or in on.

Gladstone had planned to accept the part if it were given to her — “You don’t say no to that offer” — but she was nervous about this brutal chapter in Osage history being framed as a mystery to be solved by swashbuckling federal law enforcement. Mollie’s family were among those targeted for their headrights — lucrative shares of the mineral royalties, which were passed down through families and which you didn’t have to be Osage to inherit — but Mollie’s sisters (played by Cara Jade Myers, Jillian Dion, and Janae Collins) didn’t seem like significant presences in the script. Then the pandemic and what Gladstone refers to as “the great rewrite” happened, reportedly at DiCaprio and Scorsese’s urging. Rather than focus on White (who does show up late in the film, played by Jesse Plemons), the new version centered on the Osage and the structures that allowed others to get away with brazenly killing them.

“It’s not a white-savior story,” Gladstone says of the film they ended up making. “It’s the Osage saying, ‘Do something. Here’s money. Come help us.’” It’s clear from the start that William Hale (Robert De Niro), a prominent local landowner and self-proclaimed friend to the Osage, is conspiring to accrue all the oil rights he can and that Ernest, his nephew, obeys his orders, including a strong suggestion to romance and wed Mollie for the windfall it could bring; Ernest eventually comes to love Mollie even as he helps bring about the deaths of her friends and family. The Burkharts’ disturbing marriage became the core of the film, an intimate version of the predation happening to the local Native community as a whole. The relationship reminded Gladstone of the love triangle in Graham Greene’s novel The Quiet American, in which the dynamics between a British journalist, an American CIA agent, and a Vietnamese woman come to represent the West’s intrusions into Vietnam.

DiCaprio and Gladstone as husband and wife. Photo: Courtesy of Paramount

Gladstone has thought a lot about the stories that get told about Indigenous characters and who gets to tell them: “There’s that double-edged sword. You want to have more Natives writing Native stories; you also want the masters to pay attention to what’s going on. American history is not history without Native history.” To have someone on the level of Scorsese make a film about the Osage murders means attention and scale. At the same time, she’s aware of filmmakers in the past who have parachuted into tribal communities only to leave the members regretful for participating in their projects.

Being a working actor means not always having the liberty to pick and choose your material, especially when those pickings are slim. Over the years, Gladstone has appeared in work by Native and non-Native artists alike. She’ll happily dunk on the cowboy mythmaking of Taylor Sheridan(“Delusional! Deplorable!”) but adds of Yellowstone, “No offense to the Native talent in that. I auditioned several times. That’s what we had.” Even during those lulls, she had a way of lingering in the minds of those who had seen her work. A few years after casting her in Winter in the Blood, Haynes was shopping at Costco when she got a call from Mark Bennett, who was trying to fill a key role in Certain Women. As a cashier rang up her groceries, she thought of Gladstone, who went on to give a performance in the film that exudes longing and loneliness in every beat. Haynes, who was also involved in casting Killers of the Flower Moon, says she will read a script and start to hear the voice of the actor she thinks could play the role. For Mollie, “from the outset, this was Lily.”

During the pandemic, Gladstone was living north of Seattle with her parents, uncle, and grandmother, whom Gladstone helped care for as she coped with dementia. (She passed away last summer; when Gladstone asked about her time in the boarding school, she said only that “there were parts of that school that were pretty rough.”) While she was in a house full of elderly and immunocompromised people, and with so many productions — including Killers of the Flower Moon — slowed or stopped entirely, work seemed impossible as she had known it when alternating jobs in theater and indie films. She had always loved bees, and after watching a video of Asian giant hornets annihilating a hive (“Not another murderous colonizer taking out the only thing that’s good and pure that’s left!”), she looked into a seasonal data-analytics job tracking the invasive species for the Washington State Department of Agriculture. Then she got the notification requesting a Zoom with Scorsese.

Now, with her name on the lips of every Oscar pundit (she would be the first Native American woman to win Best Actress), Gladstone is in the rare position of being able not just to find work but maybe even to make things happen. And there are a lot of things she’d like to make happen: a movie about jazz singer Mildred Bailey, who grew up on the Coeur d’Alene Reservation and became known as the Queen of Swing, or one about folk musician Karen Dalton, Cherokee on her father’s side, who was a favorite of Bob Dylan’s but didn’t make it big in her lifetime. There are so many stories that haven’t been told onscreen, and Gladstone now has a sense of how to figure out whom she wants to work with. It comes down to one thing, she says: “How well they listen.”

lily gladstone the woman that you are

“She had always loved bees, and after watching a video of Asian giant hornets annihilating a hive (“Not another murderous colonizer taking out the only thing that’s good and pure that’s left!”), she looked into a seasonal data-analytics job tracking the invasive species for the Washington State Department of Agriculture. Then she got the notification requesting a Zoom with Scorsese.”

[fashionsfromhistory]

Dress

Pikuni Blackfeet (Piegan) People

c.1850

National Museum of the American Indian (Catalog Number: 10/8454)

Learn more about the Pikuni Blackfeet at their website: https://blackfeetnation.com/

[theamericanparlor]

Three Piegan (Blackfeet) Chiefs

Albumen print. 1900

The North American Indian by Edward S. Curtis. These images were published between 1907 and 1930.

[breezyqueer-blog]

The massacre in Las Vegas is the worst mass shooting only in recent memory of USA. But it didn't have the most casualties. It's not the only one, and, sadly, it will not be the last, considering we have gun-fucking, genocidal white supremacists in the White House that refuse to do anything about this. This is a white terrorist act, and the media sought to humanize the killer once again.

In 2016, the Pulse nightclub mass shooting in Orlando Florida is currently the deadliest massacre of the LGBTQ community in USA. This surpassed the UpStairs Lounge arson attack in New Orleans Louisiana that killed 32 LGBTQ people in 1973. 49 people were lost that night. Most of them were people of color, including Puerto Rican descendants. Even after this tragedy, there is still a blood ban against LGBTQ people in this forsaken country.

Here are some examples of the deadliest mass shootings in USA history. The tribes people of the First Nations of this continent were deliberately massacred, and USA was responsible for these attacks.

"Sand Creek: November 29, 1864, Kiowa County, Colorado. - 163 Cheyenne and Arapaho men, women, and children were killed. After that initial attack, 400 more of their people were killed at Sand Creek, according to the Southern Cheyenne Chief, Laird Cometsevah. - Murderers: US Army Colonel John Chivington, a methodist preacher, and the 1st Colorado Cavalry, 3rd Colorado Cavalry, and a company of the 1st Regiment New Mexico Volunteer Cavalry

Marias River: January 23, 1870. Marias River, Montana. - Piegan Blackfeet tribes people. 15 men, 212 women and children, 50 of those children were just under the age of 12. - Murderers: 2nd US Cavalry Regiment and 13th US Infantry Regiment.

Wounded Knee: December 29th, 1890. Pine Ridge, South Dakota. - 150-300 Lakota men, women, and children. - Murderers: 7th US cavalry regiment. 20 Medals of Honor awarded.

Bear River: January 29th, 1863. Franklin County, Idaho. - 410 Shoshone men, women, and children. - Murderers: 3rd Regiment California Volunteer Infantry.

Yontocket: Autumn of 1853. Yontocket, Del Norte County, California. - 250-600 Tolowa men, women, elders, and children were killed in the middle of their prayer ceremony. After the attack, one eyewitness saw the murderers burn live infants of the slain Tolowa villagers, including their sacred ceremonial clothing and tribal artifacts. - Murderers: Crescent City California militia.

Medals of Honor were awarded. The largest mass shootings, mass murders, were legal actions, with legal assault weapons, carried out by US government, state government representatives, and local citizen militias and were celebrated by the United States."

[tinmsn]

Tipi là gì

Tipi

[[File:Oglala girl in front of a tipi2.jpg|thumb|250px|An [[Oglala Lakota]] tipi, 1891]] A ”’tipi”’ (also ”’teepee”’[http://en.wiktionary.org/w/index.php?title=teepee&oldid=21764460 Teepee], en.wiktionary.org (last visited August 25, 2013). “[http://www.dict.org/bin/Dict?Database=*&Form=Dict1&Strategy=*&Query=teepee teepee]”. www.dict.org.(last visited August 25, 2013). And rarely, “tepee” [http://www.britannica.com/EBchecked/topic/587697/tepee tepee] (dwelling) — Encyclopædia Britannica) is a cone-shaped tent, traditionally made of animal skins upon wooden poles. Modern tipis usually have a canvas covering. last2 = Laubin A tipi is distinguished from other conical tents by the smoke flaps at the top of the structure.Holley, Linda A. ”Tipis-Tepees-Teepees: History and Design of the Cloth Tipi.”The American Antiquarian and Oriental Journal, Volume 24. Edited by [[Stephen Denison Peet]]. [https://books.google.com/books?id=XEPzAAAAMAAJ&pg=PA253 p253]History of Dakota Territory, Volume 1. By [[George Washington Kingsbury]]. S.J. Clarke Publishing Company, 1915. [https://books.google.com/books?id=sXBEAQAAIAAJ&pg=PA147 p147] Historically, the tipi has been used by [[Indigenous peoples of the Americas|Indigenous people]] of the [[Plains Indians|Plains]] in the [[Great Plains]] and [[Canadian Prairies]] of [[North America]]. They are still in use in these communities, though now primarily for ceremonial purposes rather than daily living. A similar structure, the ”[[lavvu]]” is used by the [[Sámi people]] of northern Europe.The People of Tipi Sapa (the Dakotas): Tipi Sapa Mitaoyate Kin. By [[Sarah Emilia Olden]]. Morehouse Publishing Company, 1918. [https://books.google.com/books?id=0AETAAAAYAAJ&pg=PA25 p25]Guide to the museum, first floor. By [[Museum of the American Indian]], [[Heye Foundation]]. 1922. [https://books.google.com/books?id=FF3zAAAAMAAJ&pg=PA105 p105]Geological Survey Professional Paper, Volume 670. U.S. Government Printing Office, 1969. [https://books.google.com/books?id=rSolAQAAIAAJ&pg=PA21 p21] Tipis are often [[Stereotypes about indigenous peoples of North America|stereotypically and incorrectly]] associated with all [[Native Americans in the United States]] and [[Indigenous peoples in Canada]], despite their usage being unique to the peoples of the Plains.publisher=HarperCollins Native American [[tribe (Native American)|tribe]]s and [[First Nations|First Nation]] [[band government]]s from other regions have used other types of [[dwelling]]s.[[Lewis H. Morgan]], “I have seen it in use among seven or eight [[Sioux|Dakota]] sub-tribes, among the [[Iowa people|Iowas]], [[Otoes]], and [[Pawnees]], and among the [[Piegan Blackfeet|Black-feet]], [[Crow Nation|Crows]], [[Assiniboines]], and [[Plains Cree|Cree]]s. In 1878, I saw it in use among the [[Ute people|Utes]] of Colorado. A collection of fifty of these tents, which would accommodate five hundred persons, make a picturesque appearance. Under the name of the “[[Sibley tent]]” it is now in use, with some modifications of plan, in the [[United States Army]], for service on the plains.” [A Sibley tent has one pole in the center and no flaps for guiding the smoke from the central fire.] (Contributions to N. A. Ethnology, vol. iv., p. 115.) The tipi is durable,Annual Reports, Volume 17, Part 1. 1898. [https://books.google.com/books?id=f9sRAAAAYAAJ&pg=PA405 p405] provides warmth and comfort in winter,“[https://books.google.com/books?id=titLAAAAYAAJ&pg=PA99 Shelter]”. Anthropological Papers of the American Museum of Natural History, Volumes 5-6. Published by order of the trustees, 1910. [https://books.google.com/books?id=titLAAAAYAAJ&pg=PA115 p115] is cool in the heat of summer,With the sides raised; As seen in: Anthropological papers. 1917. [https://books.google.com/books?id=RE5SAQAAIAAJ&pg=PA211 p211] and is dry during heavy rains.The tipi: a center of native American life. By [[David Yue]], [[Charlotte Yue]]. 1984. p15.Camping and Camp Outfits: A Manual of Instruction for Young and Old Sportsmen. By [[George O. Shields]]. Rand, McNally, 1890. [https://books.google.com/books?id=sZQCAAAAYAAJ&pg=PA43 p43] Tipis can be disassembled and packed away quickly when people need to relocate and can be reconstructed quickly upon settling in a new area.The North-Americans of yesterday. By [[Frederick Samuel Dellenbaugh]]. G.P. Putnam’s Sons, 1900. [https://books.google.com/books?id=L1KUlwDIhX4C&pg=PA204 p204][[Lewis H. Morgan]], “[http://www.gutenberg.org/ebooks/8112 Houses and House Life of the American Aborigines],” Contributions to N. A. Ethnology, vol. iv., p. 114.[[Lewis H. Morgan]] notes the Dakota call their skin tents, “wii-ka-yo”. The following is an extract of his text: “When first discovered the Dakotas lived in houses constructed with a frame of poles and covered with bark, each of which was large enough for several families. They dwelt principally in villages in their original area on the head-waters of the Mississippi, the present State of Minnesota. Forced upon the plains by an advancing white population, but after they had become possessed of horses, they invented a skin tent eminently adapted to their present nomadic condition. It is superior to any other in use among the American aborigines from its roominess, its portable character, and the facility with which it can be erected and struck. “[…]” When the tent is struck, the poles are attached to a horse, half on each side, like thills, secured to the horse’s neck at one end, and the other dragging on the ground. The skin-covering and other camp-equipage are packed upon other horses and even upon their dogs, and are thus transported from place to place on the plains. This tent is so well adapted to their mode of life that it has spread far and wide among the Indian tribes of the prairie region.” (Contributions to N. A. Ethnology, vol. iv., p. 114.) Historically, this portability was important to [[Plains Indians]] with their at-times [[nomad]]ic lifestyle.[https://books.google.com/books?id=h9clAAAAMAAJ North American Indians of the Plains]. By [[Clark Wissler]]. American Museum of Natural History, 1920. == Etymology and nomenclature == The word ”tipi” comes into English from the [[Lakota language]].last2=Porterfield The Lakota word ”thípi” means “a dwelling” or “they dwell”, from the verb ”thí”, meaning “to dwell”.pages= The [[wigwam]] or “wickiup”, a dome-shaped shelter typically made of bark layered on a pole-structure, was also used by various tribes, especially for hunting camps.[https://books.google.com/books?id=HjSXKyZ2HOgC&pg=PA76 ”[[The Mythology of All Races]]”]. 1916. p. 76.The Archeological History of New York, Issues 231-238. By [[Arthur Caswell Parker]]. University of the State of New York, 1922. [https://books.google.com/books?id=T0qESR8QbowC&pg=PA387 p387] The term ”wigwam” has often been incorrectly used to refer to a conical skin tipi.The North-Americans of yesterday. By [[Frederick Samuel Dellenbaugh]]. G.P. Putnam’s Sons, 1900. [https://books.google.com/books?id=L1KUlwDIhX4C&pg=PA200 p200]Usually wigwams are a domed structure; conical wooden wigwams are known (as seen [[:File:Wigwam Indigenous peoples.JPG|here]] in the background), though, and presumably gave rise to the confusing of the different structures. For more, see: Notes on the Eastern Cree and Northern Saulteaux, Volumes 9-10. By [[Alanson Skinner (Anthropologist)|Alanson Skinner]]. The Trustee, 1911. [https://books.google.com/books?id=5Q8TAAAAYAAJ&pg=PA12 p12]+13. == Types and utility == === Structure === [[File:Tipi Inside.png|thumb|[[Crow Nation|Crow]] lodge interior, 1907, showing the poles and outer skin at the top, the inner lining and bedding. The lashing rope is tied off to a wooden stake at the bottom of the photograph. Clothing is suspended on a line tied between two of the tipi poles.]] A typical family tipi is a conical, portable structure with two adjustable smoke flaps, multiple poles (historically from 12 to 25 feet long) called lodge poles. [[Lewis H. Morgan]] noted that,

The frame consists of thirteen poles from fifteen to eighteen feet in length, which, after being tied together at the small ends, are raised upright with a twist so as to cross the poles above the fastening. They are then drawn apart at the large ends and adjusted upon the ground in the rim of a circle usually ten feet in diameter. A number of untanned and tanned buffalo skins, stitched together in a form adjustable to the frame, are drawn around it and lashed together, as shown in the figure. The lower edges are secured to the ground with tent-pins. At the top there is an extra skin adjusted as a collar, so as to be open on the windward side to facilitate the exit of the smoke. A low opening is left for a doorway, which is covered with an extra skin used as a drop. The fire-pit and arrangements for beds are the same as in the Ojibwa lodge, grass being used in the place of spruce or hemlock twigs.Morgan, Lewis H., ”Contributions to Native American Ethnology”, vol. iv., p. 114.

[[File:Tipi01.jpg|thumb|250px|[[Sioux]] tipi, watercolor by [[Karl Bodmer]], ca. 1833|left]][[Lodgepole pine]] is the preferred wood in the Northern and Central Plains and [[Juniperus virginiana|red cedar]] in the Southern Plains.Wishart, David J.. ”Encyclopedia of the Great Plains Indians”. Lincoln: University of Nebraska Press, 2007. 89. Tipis have a detachable cover over the structure. The cover has historically been made of [[American Bison|buffalo]] hide, an optional skin or cloth lining, and a canvas or bison calf skin door. Modern lodges are more often made of canvas.The Indian Tipi: Its History, Construction, and Use By Gladys Laubin, Reginald Laubin. p3, p58. Ropes (historically raw hide) and wooden pegs are required to bind the poles, close the cover, attach the lining and door, and anchor the resulting structure to the ground. Tipis are distinguished from other tents by two crucial elements: the opening at the top and the smoke flaps, which allow the dweller to heat themselves and cook with an open fire; and the lining that is primarily used in the winter, which insulates. Tipis were designed to be easily set up or taken down to allow camps to be moved to follow game migrations, especially the bison. When dismantled the tipi poles were used to construct a dog- or later horse-pulled [[travois]] on which additional poles and tipi cover were placed. [[File:Catlinpaint.jpg|thumb|Tipis painted by [[George Catlin]] in the 1830s|left]] Tipi covers are made by sewing together strips of canvas or tanned hide and cutting out a semicircular shape from the resulting surface. Trimming this shape yields a door and the smoke flaps that allow the dwellers to control the chimney effect to expel smoke from their fires. Old style traditional linings were hides, blankets, and rectangular pieces of cloth hanging about four to five feet above the ground tied to the poles or a rope. === Decoration === [[File:Tipi Artwork.jpg|right|thumb|Examples of painted tipi covers, from [[Paul Goble]]’s book, ”[[Tipi: Home of the Nomadic Buffalo Hunters]]”, 2007.]] Historically, most tipis in a village would not be painted. Painted tipis often depicted note-worthy historical battles and often featured geometric portrayals of [[celestial bodies]] and animal designs. Sometimes tipis have been painted to depict personal experiences, such as war, hunting, a dream or vision. When depicting visions, “ceremonies and prayers were first offered, and then the dreamer recounted his dream to the priests and wise men of the community. Those known to be skilled painters were consulted, and the new design was made to fit anonymously within the traditional framework of the tribe’s painted tipis.” location=USA == See also == Div col * [[Chum (tent)]], a similar structure used by various peoples from northwestern Siberia to northern Mongolia. * [[Goahti]], a somewhat similar structure used by the [[Sami people|Sami]] people of northern Scandinavia * [[Oca (structure)|Oca]], a typical Brazilian indigenous housing; * [[Hogan]] * [[Igloo]] * [[Lavvu]], a similar structure used by the [[Sami people]] of northern Scandinavia * [[List of human habitation forms]] * [[Longhouse]] * [[The Tepee]] * [[Plains hide painting]] * [[Wigwam Motel]] * [[Yurt]] * [[Lone Teepee]], a historic place in [[Montana]], US * [[List of house types]] Div col end == References and notes == ;General * Holley, Linda A. ”Tipis-Tepees-Teepees: History and Design of the Cloth Tipi.” Gibbs-Smith, 2007. * [[Reginald Laubin]], Gladys Laubin, [[Stanley Vestal]], ”The Indian tipi: its history, construction, and use.” Norman: University of Oklahoma Press, 1989, ISBN. * American Anthropologist. [https://books.google.com/books?id=GoR0AAAAIAAJ Vol. 16; No. 1]. American Anthropological Association of Washington, 1914. ;Citations Reflist ;Notes group=note == External links == commons category * [http://www.tipis.org History, construction, and evolution of tipis plus Photos and drawings] * [http://SimplyDifferently.org/Tipi Simply Differently.org: Tipi], tipi building resource, how-to manuals and online calculator for canvas lanes * [https://web.archive.org/web/20061116053349/http://tipi.com/tipipoles/Tipi%20Instructions22.pdf Tipi Instructions], a PDF document detailing the construction of a tipi. Tents Huts [[Category:Indigenous culture of the Great Plains]] [[Category:Indigenous architecture]] [[Category:House types]] [[Category:Portable buildings and shelters]] [[Category:Traditional Native American dwellings]] [[Category:Tents]] [[Category:Lakota words and phrases]]