Monday, January 15, 2018

Red Electric Earth/ Red Resonant Moon - Resonant Monkey Moon of Attunement, Day 5

Vintage Pueblo Pottery of the Southwest - Frog Woman - Helen Naha Feather Woman.

Helen Naha (1922–1993) was the matriarch in a family of well known Hopi potters. 

Helen Naha was the daughter-in-law of Paqua Naha (the first Frog Woman). Helen was married to Paqua’s son Archie. She was mostly self-taught, following the style of her mother-in-law and sister-in-law Joy Navasie (second Frog Woman). Her designs are often based on fragments found at the Awatovi ruins near Hopi. Her hallmark style was finely polished, hand-coiled pottery finished in white slip with black and red decorations. She would often take the extra step to polish the inside of a piece as well as the outside.

She signed her pottery with a feather glyph. This resulted in her being called “Feather Woman” by many collectors. Both of her daughters, Sylvia and Rainy (Rainell), as well as her granddaughter Tyra Naha are well known potters. Today, her medium to larger pots typically sell for several thousand dollars. She has been recognized by the Southwestern Association for Indian Arts for her body of work through the creation of the Helen Naha Memorial Award - For Excellence in Traditional Hopi Pottery.

Naha was a member of The Church of Jesus Christ of Latter-day Saints.*


Kin 237: Red Electric Earth

I activate in order to evolve
Bonding synchronicity
I seal the matrix of navigation
With the electric tone of service
I am guided by the power of birth.

Much of the intelligence that filters to this planet is a function of highly directed synchrotronic communication beam that is streaming to Earth from the Arcturus galaxy.*

*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.

The Sacred Tzolk'in 

Visshudha Chakra (Alpha Plasma)

Sunday, January 14, 2018

Yellow Lunar Warrior/ Yellow Rhythmic Star - Resonant Monkey Moon of Attunement, Day 4

Woman of the Seneca Tribe.

Catherine Montour, also known as Queen Catherine of the Senecas (died after 1791), was a prominent Iroquois leader living in Queanettquaga, a Seneca village of Sheaquaga, informally called Catharine's Town, in western New York. She has often been confused with Elizabeth "Madame" Montour, her aunt or grandmother who was a noted interpreter and adviser to the governor, and with "Queen Esther" Montour, usually described as her sister. Several places in western New York were later named in her honor, after most of the Iroquois had been forced to cede their lands and were driven out of the region.

Early life

Catherine was likely born in Pennsylvania or New York as the daughter of Marguerite Fafard Turpin, an Iroquois-French Métis also known as Margaret Montour or "French Margaret." Margaret was either the daughter or niece of Madame Montour. Catherine's father was Katarioniecha, also known as Peter Quebec. He was described as a Caughnawaga Mohawk, referring to converted Catholic Mohawk who lived in the Jesuit mission village now known as Kahnawake. It was founded south of Montreal across the St. Lawrence River in Quebec in the early 18th century.

Catherine had a sister named Mary (or Molly), and two brothers: Andrew Montour and Nicholas Quebec. (Her brother Andrew should not be confused with Andrew Montour (c. 1720–1772), who was the son of Elizabeth "Madame" Montour and was probably Catharine's uncle. He was a well-known interpreter in the back country of Pennsylvania and Virginia.)

Marriage and family

Catherine Montour married a Seneca chief named Telenemut, also known as Thomas Hudson. She and her husband lived in the Finger Lakes region at Queanettquaga, a Seneca town that became known as Catherine's Town. After the village was destroyed by rebel continental forces during the 1779 Sullivan Expedition in the American Revolutionary War, Montour relocated with other Seneca to Niagara. This area was held by the British at the time, although it later became part of New York state. When Schuyler County in western New York was settled by European Americans following the revolution and United States independence, they named several places after Catharine Montour.

Historical references to Catherine in her later years are few. In 1791, Catherine's sister Mary sought permission to live at the Moravian mission village of New Salem, near present Milan, Ohio. Missionary David Zeisberger recorded at the time that Catherine Montour was still living near Niagara.

Representation in media

"Catherine Montour" was the name of a fictional leading character of a 1917 silent film, The Spirit of '76. She was portrayed as a mistress of King George of Great Britain and an adventuress in America.

Legacy and honors

Several places in New York were named after Montour in the period of European-American settlement following the American Revolution.

Catharine, New York
Catharine Creek
Montour, New York
Montour Falls, New York*


Kin 236: Yellow Lunar Warrior

I polarize in order to question
Stabilizing fearlessness
I seal the output of intelligence
Withe the lunar tone of challenge
I am guided by the power of elegance.

Planet Earth is a repository or receptacle of the full spectrum of the totality of cosmic sky teachings.*

*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.

 The Sacred Tzolk'in

Svadhistana Chakra (Kali Plasma)

Saturday, January 13, 2018

Blue Magnetic Eagle/ Blue Overtone Hand - Resonant Monkey Moon of Attunement, Day 3

Devon A. Mihusuah

Devon Abbott Mihesuah (born 2 June 1957) is a Choctaw historian and writer, and a previous editor of the American Indian Quarterly.

Mihesuah's non-fiction work concentrates on stereotypes and misrepresentations of Native American peoples, customs and beliefs in academic writing.


Trophy Award for the Best Fiction Book of 2011 presented by the Oklahoma Writers' Federation for Document of Expectations
Outstanding Book on Oklahoma History Award presented by the Oklahoma Historical Society for Choctaw Crime and Punishment, 1884-1907
Trophy Award for the Best Non-Fiction Book of 2009 presented by the Oklahoma Writers' Federation for Choctaw Crime and Punishment, 1884-1907
Finalist, Oklahoma Book Award for Choctaw Crime and Punishment, 1884-1907
Special Award of the Jury of the Gourmand World Cookbook Awards, for Recovering Our Ancestors’ Gardens: Indigenous Recipes and Guide to Diet and Fitness; Finalist for Best in the World Cookbook.
Wordcraft Circle of Native Writers' Best Research Book of the Year; Finalist, Gustavus Myers Center for the Study of Bigotry and Human Rights; and Arizona Writer’s Association Best Non-Fiction Book Honorable Mention for So You Want to Write About American Indians? A Guide for Scholars, Students and Writers
Finalist Oklahoma Book Awards, Grand Canyon Rescue
Oklahoma Writers’ Federation Trophy Award for Best Non-Fiction Book, American Indigenous Women: Decolonization, Empowerment, Activism
Oklahoma Writers’ Federation Trophy Award for Young Adult Novel Award for Lost and Found.
Arizona Writers’ Association Best Book of the Year, for Grand Canyon Rescue.
Wordcrafters’ Circle of Native Writers’ Journal Editor of the Year Award for the American Indian Quarterly, 2001
Oklahoma Writers’ Federation Trophy Award for Best Fiction Book for The Roads of My Relations
Critics' Choice Award of the American Educational Studies Association for Natives and Academics: Researching and Writing About American Indians.
Critics' Choice Award from the American Educational Studies Association, for Cultivating the Rosebuds.



Document of Expectations (Michigan State University Press, 2011)
Big Bend Luck (Booklocker, 2008)
The Lightning Shrikes (Lyons Press, 2004)
Grand Canyon Rescue (Booklocker, 2004)
Roads of My Relations (University of Arizona Press, 2000)


Choctaw Crime and Punishment, 1884-1907 (University of Oklahoma Press, 2009)
Recovering Our Ancestors’ Gardens: Indigenous Recipes and Guide to Diet and Fitness (Nebraska, 2005)
So You Want to Write About American Indians? A Guide for Scholars, Writers and Students (University of Nebraska Press, 2005)
ed. with Angela Cavender Wilson, Indigenizing the Academy: Transforming Scholarship and Empowering Communities (Nebraska, 2004)
ed. First to Fight: The Story of Henry Mihesuah (Nebraska, 2003)
American Indigenous Women: Decolonization, Empowerment, Activism (Nebraska, 2003)
ed. Repatriation Reader: Who Owns Indian Remains? (Nebraska, 2000)
ed. Natives and Academics: Research and Writing About American Indians (Nebraska, 1998)
American Indians: Stereotypes and Realities (Clarity International, 1996)
Cultivating the Rosebuds: The Education of Women at the Cherokee Female Seminary, 1851-1909 (University of Illinois Press, 1993)*


Kin 235: Blue Magnetic Eagle

I unify in order to create
Attracting mind
I seal the output of vision
With the magnetic tone of purpose
I am guided by my own power doubled.

There is a way of tuning into and using number matrices in relation to the synchronic order to create a mental force field to shift the world hologram.*

*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.

The Sacred Tzolk'in

Ajna Chakra (Gamma Plasma)

Friday, January 12, 2018

White Cosmic Wizard/ White Self-Existing World-Bridger - Resonant Monkey Moon of Attunement, Day 2

Isabel Meadows in her 40's, circa 1890.`

Isabel Meadows (July 7, 1846 – 1939 was the last fluent speaker of the Rumsen Ohlone language once common on the Central Coast of California. Her father James Meadows was born in Norfolk, England, in 1817. He was serving aboard a whaler in 1837 when he deserted the ship in Monterey. He married Maria Loretta Onesimo, a Native American, one of the last Rumsen Ohlone. 
Meadows' great-grandmother Lupecina Francesa Unegte had been baptized at the Mission San Carlos Borromeo in 1792 when about 800 Native Americans lived there. She died in 1872 at age 100.

When she was older, Isabel worked closely with Smithsonian ethnologist J.P. Harrington and shared her knowledge of her tribe's culture and languages in the Monterey, Carmel, and Big Sur regions of California. When she was in her eighties, she went with Harrington to Washington D.C. where she lived for five years to continue their work on language. While Harrington was focused on what was then called "salvage ethnology" and paid Isabel for her interviews, she often inserted stories that she believed better illustrated her culture and tribal memory, like that of Vicenta Gutierrez who was raped by Franciscan priest José María Refugio Suárez del Real:

Vicenta Gutierrez, sister of ‘The Blonde’ Gutierrez, when [she was] a girl went to confession one evening during Lent, and Father Real wanted her, to grab her over there in the church. And next day there was no trace of the padre there, and he was never seen again. He probably fled on horseback in the night. Some said he fled to Spain. He was a Spaniard. He grabbed the girl and screwed her. The girl went running to her house, saying the padre had grabbed her.

Meadows died in Washington D.C. on May 22, 1939. Her body was returned to Carmel for a memorial service. She was survived by one brother, Thomas Meadows of Monterey, and his children.


Kin 234: White Cosmic Wizard

I endure in order to enchant
Transcending receptivity
I seal the output of timelessness
With the cosmic tone of presence
I am guided by the power of endlessness.

The purpose of the AA Midway station at this particular time is to refocus and reconnect an information vortex here on this test tube planet, which is a micro-galactic brain.*

*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.

The Sacred Tzolk'in 

Muladhara Chakra (Seli Plasma)

Thursday, January 11, 2018

Red Crystal Skywalker/ Red Electric Serpent - Resonant Monkey Moon of Attunement, Day 1

A Wichita grass house. Painted by George Catlin in 1834.

Doris Jean Lamar-McLemore (April 16, 1927 – August 30, 2016) was an American teacher who was the last fluent speaker of the Wichita language, a Caddoan language spoken by the Wichita and Affiliated Tribes, indigenous to the U.S. states of Oklahoma and Texas.

Early life

McLemore was born in 1927 in Anadarko, Oklahoma. Her mother was Wichita and her father was European-American. McLemore was raised by her full-blood Wichita maternal grandparents, and Wichita was her first language.

McLemore graduated from Riverside Indian School, an American Indian boarding school, in 1947 and worked as a house mother there for 30 years. She married twice and had a son and two daughters. In 1959 McLemore moved back to live near Gracemont, Oklahoma, to live among her relatives.

Language preservation work

In 1962, McLemore met David Rood, a linguist from the University of Colorado, and they collaborated to preserve the Wichita language.

McLemore taught language classes for the Wichita and Affiliated Tribes and before her death, was collaborating with linguist David Rood to create dictionary and language CD's.

"Doris is amazing for being able to retain as much as she does without having anyone to speak it to on a daily basis," said former Wichita tribal chairman, Gary McAdams. She died on August 30, 2016, at the age of 89.*


Kin 233: Red Crystal Skywalker

I dedicate in order to explore
Universalizing wakefulness
I seal the output of space
With the crystal tone of cooperation 
I am guided by the power of life force.

The tomb is a symbol that represents death, resurrection and the transmigration of souls.*

*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.

The Sacred Tzolk'in 

Sahasrara Chakra (Dali Plasma)

Wednesday, January 10, 2018

Yellow Spectral Human/ Yellow Lunar Seed - Rhythmic Lizard Moon of Equality, Day 28

A pot by Maria Martinez, approximately 1945,
 at the de Young Museum in San Francisco.

Maria Montoya Martinez (1887, San Ildefonso Pueblo, New Mexico – July 20, 1980, San Ildefonso Pueblo) was a Native American artist who created internationally known pottery. Martinez (born Maria Poveka Montoya), her husband Julian, and other family members examined traditional Pueblo pottery styles and techniques to create pieces which reflect the Pueblo people’s legacy of fine artwork and crafts.

Martinez was from the San Ildefonso Pueblo, a community located 20 miles northwest of Santa Fe, New Mexico. At an early age, she learned pottery skills from her aunt. During this time, Spanish tinware and Anglo enamelware had become readily available in the Southwest, making the creation of traditional cooking and serving pots less necessary. Traditional pottery making techniques were being lost, but Martinez and her family experimented with different techniques and helped preserve the cultural art.


During an excavation in 1908 led by Edgar Lee Hewett, a professor of archeology and the founder and director of the Museum of New Mexico in Santa Fe, examples of black-on-black pottery were discovered. While searching through the sandy dirt and red clay of the New Mexico desert terrain, broken pieces of polished, jet-black pottery were uncovered (Peterson 89). At this time, few people were aware that during the Neolithic period, the Pueblo peoples crafted this style of finished ware. The Historical Pottery of the Pueblo Indians 1600-1800 text states that the finished ... pottery held a glossy, melted appearance which was only used for decoration on the pots.

It is a common misconception that, "during the end of the 18th century, the use of plant pigments and finely powdered mineral substances became the preferred technique of painting and slowly caused the extinction of glazed pottery" (Frank and Harlow, 8). "In reality, the nearby inhabitants of Santa Clara Pueblo, were still producing the highly burnished, black on black pottery, since the 1600's, therefore lending to the revival of the San Ildefonso style of black on black "painted" pottery. The only difference between the two pueblo's styles is that in Santa Clara, pots are deeply carved and incised, whereas, in San Ildefonso, the pottery is generally not carved and painted with pigments to cause un-polished designs on a polished surface."

Hewett sought a skilled pueblo potter who could re-create this ancient pottery style. His intention was to place re-created pots in museums and thus preserve the ancient art form. Maria Martinez was known in the Tewa pueblo of San Ildefonso, New Mexico for making the thinnest pots in the least time; therefore, Hewett saw her as the perfect Pueblo potter to bring his idea to life.

Challenges and experiments

A long process of experimentation and overcoming challenges was required to successfully recreate the black-on-black pottery style to meet Maria’s exacting standards. "As almost all clay found in the hills is not jet black, one specific challenge was to figure out a way to make the clay turn the desired color. Maria discovered, from observing the Tafoya family of Santa Clara Pueblo, who still practiced traditional pottery techniques, that smothering the fire surrounding the pottery during the outdoor firing process caused the smoke to be trapped and is deposited into the clay, creating various shades of black to gunmetal color."  She experimented with the idea that an unfired polished red vessel which was painted with a red slip on top of the polish and then fired in a smudging fire at a relatively cool temperature would result in a deep glossy black background with dull black decoration.[Shards and sheep and horse manure placed around the outside and inside of the outdoor kiva-style adobe oven would give the pot a slicker matte finished appearance. After much trial and error, Maria successfully produced a black ware pot. The first pots for a museum were fired around 1913. These pots were undecorated, unsigned, and of a generally rough quality. The earliest record of this pottery was in a July 1920 exhibition held at the New Mexico Museum of Art. 


Embarrassed that she could not create high quality black pots in the style of the ancient Pueblo peoples, Martinez hid her pots away from the world. A few years later, Hewett and his guests visited the little Tewa Pueblo. These guests asked to purchase black ware pottery, similar to Martinez's pots housed in a museum. She was greatly encouraged by this interest and resolutely began trying to perfect the art of black ware pottery. Her skill advanced with each pot, and her art began to cause quite a stir among collectors and developed into a business for the black ware pottery. In addition, Martinez began experimenting with various techniques to produce other shapes and colorful forms of pottery.

Description of black ware pottery

An olla jar has a slightly flattened rim and a marked angle at the shoulder. The one created by Maria and Julian Martinez is "decorated on the rims only above the angle of the shoulder with continuous paneled bands." Light is reflected off of the shiny, smooth surface. The jet black ceramic product’s finish appears unblemished in any way. A band of a lighter black decoration stands out against a solid black matte background. The pot “depends on the decorative effect of the manipulation of the surface finish alone” to appear as though the decorations are scratched into the pot’s surface. The band wraps directly below the narrow neck of the pot. A wide-eyed avanyu, or horned serpent, encircles the pot and slithers inside the band. The serpent's tongue almost touches the tip of his tail. The snake's body movements seem alive; a tribute to the appreciation the Pueblo peoples have for nature and life. The decorations on the pot give the pot a personality and unique individualized look.


Creating black ware pottery is a long process consisting of many steps requiring patience and skill. Six distinct processes occur before the pot is ready to be sold. According to Susan Peterson in The Living Tradition of Maria Martinez, these steps include, “finding and collecting the clay, forming a pot, scraping and sanding the pot to remove surface irregularities, applying the iron-bearing slip and burnishing it to a high sheen with a smooth stone, decorating the pot with another slip, and firing the pot."

The first step in creating a pot is gathering the clay. The clay is gathered once a year, usually in October when it is dry and stored in an old weathered adobe structure where the temperature remains constant. When Martinez is ready to begin molding the clay to form a pot, the right amount of clay is brought into the house. A cloth, laid upon a table, holds a mound of gray pink sand with a fist hole in the center filled with an equal amount of blue sand. A smaller hole is made in the blue sand and water is poured into the hole. The substances are then all kneaded together, picked up within the cloth, washed, and covered with a towel to prevent moisture from escaping where the clay will sit for a day or two to dry. The pukis or "the supporting mold, a dry or fired clay shape where a round bottom of a new piece may be formed" builds the base shape of the pot looking like a pancake. After squeezing the clay together with one's fingers, a wall is pinched up about an inch high from the pancake base. A gourd rib is used in cross-crossing motions to smooth out the wall, making it thick and even. Coiling long tube shapes of clay on the top of the clay wall and then smoothing it out with the gourd increases the pot’s height. Air holes are patched with extra clay and sealed away with the gourd rib like a patch being sewn on a pair of blue jeans.

After drying, the pot is scraped, sanded, and polished with stones. This is the most time consuming part of the entire process. A small round stone should be applied to the side of the pot in a consistent, horizontal, rhythmic motion. Rubbing the stone parallel with the side of the pot produces a shiny, polished, even look. Creating the polished finish with the stone is called burnishing. The pot is finally ready to fire after the secondary slip is applied, by painting onto the burnished surface various traditional designs.


When firing the pots, Maria Martinez used a firing technique called "fire reduction". "...A reduction atmosphere occurs when the amount of available oxygen is reduced". The firing was a very long process that would take hours the day of in addition to the months of preparation beforehand. She would often receive help from either her husband or her children. The firing had to be done early in the morning on a clear, calm day when wind would not hinder the process.

They started by carefully placing all of the pots to be fired in a fire pit, and then covered them carefully with broken pieces of pottery and aluminum sheets or any metal scraps they could find. In order to allow ventilation to keep the fire burning, they left small spaces uncovered, after which they meticulously surrounded the homemade kiln with cow chips - very dry cow dung - used to fuel the fire, careful to leave the vents free. The goal was to prevent any flame from actually touching the pots, hence the protective metal sheets. After covering the kiln with the cow chips, they lit the kindling on all sides to ensure an even distribution of heat. They continued to feed the fire with dry cedar until the fire reached the desired temperature of around 12 to 1,400 degrees Fahrenheit, depending on what look they were attempting. If the fire continued to burn, the pottery would achieve a red-brown color. But in order to make the black pottery that Maria was famous for, the fire was smothered with dry powered horse dung. By doing this, the amount of oxygen within the kiln was greatly reduced, therefore creating a reduction atmosphere which caused the color of the pots to turn black. After several hours, they shifted the horse dung around to kill the fire and bury the pots so they could cool slowly. After the kiln had cooled enough, they carefully pulled the pots out using either a stick if the pots were still hot, or waiting until they were cool enough to touch. 

During the process of firing, they didn't know whether the pots would make it or not.


Julian Martinez, Maria's husband, began attempting to decorate the pots she made. Although Julian did eventually master decorating techniques for Maria’s pots, the process consisted of many trials and errors. "To create his designs, a slurry of clay and water known as slip is created and applied to the already burnished, but yet unfired surface. You cannot polish a design into a matte background, as the stone is not as precise as a brush is." He discovered that after the guaco juice burned out from the heat of the fire, he could mix the guaco with clay which then provided the perfect paint for his decorations. The process Julian settled on was to polish the background first, then matte paint the decoration in the negative.

In 1918, Julian finished the first decorated black ware pot with a matte background and a polished Avanyu design. (Still achieved by painting the background on an already burnished surface). "The first rush of water coming down an arroyo after a thunderstorm, a symbol of thanksgiving and for water and rain" was the interpretation by Julian of an avanyu or a horned water serpent. Many of Julian’s decorations were patterns adopted from ancient vessels of the Pueblos. Some of the patterns consisted of birds, road runner tracks, rain, feathers, clouds, mountains, and zigzags or kiva steps. The museum displayed the first two decorated black ware pots painted by Julian.


Maria signed her creations in different ways throughout her lifetime. The signatures found on the bottom of the pottery help date the pieces of art. Maria and Julian’s oldest work were all unsigned. The two had no idea that their art would become so popular and did not feel it was a necessity to claim their work. The unsigned pieces were most likely made between the years of 1918 and 1923. Once Maria gained success with her pottery she began signing her work as "Marie." She thought that the name "Marie" was more popular among the non-Indian public than the name "Maria" and would influence the purchasers more. The pieces signed as "Marie" date the pottery between 1923 and 1925. Even though Julian decorated the pots, only Maria claimed the work since pottery was still considered a woman’s job in the Pueblo. Maria left Julian’s signature off the pieces to respect the Pueblo culture until 1925. After that, “Marie + Julian” remained the official signature on all of the pottery until Julian’s death in 1943. Maria’s family began helping with the pottery business after Julian’s death. From 1943 to 1954 Maria’s son, Adam, and his wife Santana, collected clay, coiled, polished, decorated, and fired pottery with Maria. Adam took over his father’s job of collecting clay and painting the decorations. “Marie + Santana” became the new signature on the pots. For about thirty years Maria signed her name as “Marie.” Once her son, Popovi Da, began working alongside his mother, Maria began referring to herself as “Maria” on the pottery. They began co-signing their pieces around 1956 as “Maria+Poveka” and “Maria/Popovi." Thus, studying the signature on one of Maria’s pots may give a hint at the completion date of the pottery since dates were not added to the pottery until recent years.


Although black ware pottery received a lot of success, the true legend behind the pottery is Maria Martinez herself. She won many awards and presented her pottery at many world fairs and received the initial grant for the National Endowment for the Arts to fund a Martinez pottery workshop in 1973. Martinez passed on her knowledge and skill to many others including her family, other women in the pueblo and students in the outside world. When she was a young girl she had learned how to become a potter by watching her aunt Nicolasa make pottery. During the time that she developed what we now know as the San Ildefonso style of traditional pottery, she learned much from Sarafina Tafoya, the pottery matriarch of neighboring Santa Clara Pueblo.*


Kin 232: Yellow Spectral Human

I dissolve in order to influence
Releasing wisdom
I seal the process of free will
With the spectral tone of liberation
I am guided by my own power doubled.

The fictitious self, by its nature, is constructed to conform to conditioned patterns, creating a self-perception based on skewed information parameters.*

The Sacred Tzolk'in 

Anahata Chakra (Silio Plasma)

1/9/18 Blue Planetary Monkey/ Blue Magnetic Night - Rhythmic Lizard Moon of Equality, Day 27

Magdelaine Laframboise; artist's depiction from descriptions.

Madeline La Framboise (1780–1846), born Marguerite-Magdelaine Marcot, was one of the most successful fur traders in the Northwest Territory of the United States, in the area of present-day western Michigan. Of mixed Odawa and French descent, she was fluent in the Odawa, French, English and Ojibwe languages, and partnered with her husband. After he was murdered, she managed the fur trade successfully for more than a decade. She retired from the trade, building a fine home on Mackinac Island.

As one of the most prominent early businesswomen of Michigan, she was elected in 1984 to the state's Women's Hall of Fame. La Framboise became active in founding a school on Mackinac Island for Native American children, and supporting a Sunday School and other activities at Sainte Anne Church. She donated land for a new site for the church, and was buried beneath its altar.

Early life

She was born Marguerite-Magdelaine Marcot in February 1781 at Fort St. Joseph, near present-day Niles, Michigan. She was the youngest of seven children of Jean Baptiste Marcot (1720–1783), a French fur trader. Her mother was Marie Nekesh (c.1740 - c.1790), an Odawa woman also known as Marianne or Marie Amighissen. Her maternal grandfather was Chief Kewinoquot. The children's father was killed in 1783. Therese and Magdelaine, the two youngest children, were baptized as Roman Catholic a few years later on August 1, 1786, on Mackinac Island. When their father was alive, he sent the children to Montreal to be educated, but their mother did not have the financial resources to do that. She moved to Mackinac with Madeline and her sisters after the British abandoned Fort St. Joseph, ceding the area to the United States.

Her mother raised the younger daughters in a Lac Courtes Oreilles village at the mouth of the Grand River. (This has been a federally recognized tribe since 1854.) This area was later developed by European Americans as Grand Haven, Michigan. Therese and Madeline both became fluent in four languages: Ottawa, French, English and Chippewa (Ojibwe).

In later years, Magdelaine's older sisters Therese and Catherine Marcot also became active in the fur trade, taking over from their husbands, George Schindler and Jean Baptiste Cadotte, respectively. Although neither became as successful as Magdelaine, they made good lives for themselves and descendants. Also fluent in several languages, they were aided by their ties among the Odawa and familiarity with Native American culture.

Marriage and family

Marcotte married Joseph La Framboise (1765–1806) in 1794. On September 24, 1795, they had their first child, a daughter, Josette La Framboise (1795–1820). Their son Joseph La Framboise was born in March 1805. (He lived to 1856). Although the couple were married by Odawa custom (known as "the custom of the country"), they had their marriage solemnized on July 11, 1804, by a Catholic missionary at Michilimackinac (Mackinac Island). (Magdelaine/Madeline's surname has also been recorded as Laframboise, and she became known as Mme. La Framboise.)

Fur trading

Madeline La Framboise and her husband Joseph developed a fur trade in the Grand River Valley of west Michigan, where they established many trading posts. Every fall they would take their trade goods for business with the Ottawa from Mackinac Island down to the Grand River area. They built another post at what has developed as Fallasburg, Michigan. This was the first permanent mercantile building in the west Michigan area. Every spring they returned to Mackinac Island with the furs they had acquired through the season's trading.

On her own

After Joseph La Framboise was murdered in 1806, Madeline La Framboise took over their fur trade. She continued to manage several trading posts, and expanded her business throughout the western and northern portions of Michigan's lower peninsula. She also raised their two children, sending both Josette and Joseph to Montreal for education in French schools.

Fur trading could be a lucrative business: an experienced fur trader earned about $1000 per year (which was a large sum at the time); La Framboise was highly successful, earning $5000 to $10,000 per year.

"La Framboise, the half-Ottawa wife of a murdered French trapper, owned a string of trading posts in the Grand River Valley. Reputed to be no ordinary woman — probably for succeeding in an exclusively male trade in the "pays d'en haut" or savage country."

In the early 1800's Mackinac had a permanent population of about 250; although it was part of the United States and a territory, most of the residents were still of French and Métis ancestry, and French was the predominant language. In the summer trading season, the population could reach 4,000, attracting agents and Native Americans from the interior. La Framboise was not alone as a woman fur trader. In 1805 her sister Therese moved with her daughter Marianne to Mackinac full-time after her marriage to trader George Schindler, who was well-respected. They lived nearby and Therese worked with her husband in the trade.

In addition, both women had become friendly with Elizabeth (Bertrand) Mitchell (c.1760-1827) and her husband. She was the mixed-race wife of the Scots physician David Mitchell (c.1750-1832), who had served with the British at Michilimackinac since 1774 and married her there. When the 8th Foot regiment departed in 1780 during the American Revolutionary War, Mitchell chose to resign and stay on Mackinac Island with his wife and children. He had begun fur trading and by 1790 built quite a business with his wife's help and her Ottawa family connections. They were also among the elite traders; they sent their sons to Montreal for their education and their daughters to Europe. Their lives were quite interrupted by the War of 1812, during which Mitchell rejoined the British Army. Afterward, under pressure by Americans, the family moved to Drummond Island, where Mitchell stayed with three of their sons. Elizabeth was with him temporarily, but returned about 1816 with their son William to manage their holdings on Mackinac. They had retail stores at both places and traveled to see each other.

La Framboise's several languages and her strong network among the Native Americans helped her continue successful trading against the competition of John Jacob Astor's American Fur Company monopoly. About 1818 she became an affiliate of his, and sold out in 1822 to his American Fur Company. Rix Robinson, a Michigan pioneer, completed the transaction and took over her business. La Framboise, then 41 years old and a very wealthy woman, retired to a stately home on Mackinac Island, which construction was managed by her son-in-law Captain Benjamin Pierce, commandant of Fort Mackinac.

Life on Mackinac Island

After her retirement from fur trading, La Framboise taught herself to read and write in both French and English. She supported the first Catholic school for Native American children on the island, starting it in her home. Continuing her devotion to Ste. Anne's Church, she taught catechism to children there. She was influential in keeping the congregation together in the several years when it did not have a regular priest. Both her activism with the church and work for the education of children secured her place in Mackinac society.

The parish register lists Mme. Laframboise as godmother for many baptisms and witness at many marriages. When the church leaders decided to move the church from its original location, La Framboise donated the property next to her home as the site for the building. Ste. Anne's Church still stands there today. In exchange for her gift of land, La Framboise asked to be buried beneath the altar of Ste. Anne's at her death.

Her daughter Josette La Framboise, known as Josephine, was married on April 2, 1816 to Benjamin Kendrick Pierce (1790–1850), commandant of Fort Mackinac. When they lived in Washington, DC, she was consulted on Indian affairs. Benjamin was the brother of Franklin Pierce, who was elected as U.S. President in 1852. Pierce and Josette had two children, Josette Harriet Pierce (also known as Harriet Josephine Pierce), born in 1818, and Benjamin Langdon Pierce, born in 1820. Josette La Framboise Pierce died on November 24, 1820. Their son Benjamin Langdon Pierce died in infancy. Magdelaine La Framboise took over the upbringing of her granddaughter after her daughter's death.

Magdelaine's son Joseph La Framboise became a fur trader and merchant, living along the Minnesota River Valley and also in Montreal, where his mother traveled to visit him. He married Magdeleine “Sleepy Eyes” Sisseton around 1827, a member of the Sioux tribe. They had one son, Francis La Framboise. After his wife Magdeleine died, Joseph married again in 1845 in Nicollet County, Minnesota, to Jane Dickson, daughter of fur trader William Dickson. She was believed to be 1/4 or half-Sioux through her mother. They had children. Joseph La Framboise died there in November 9, 1856, Little Rock Creek, Ridgely Township.

During the 1830's and 1840's, La Framboise continued to host many prominent visitors to Mackinac Island, including French writer Alexis de Tocqueville, who explored the United States and wrote about it, and Sarah Margaret Fuller, an "American woman of letters" from Massachusetts. Fuller memorialized her trip in a non-fiction book entitled Summer on the Lakes, where Fuller referred to her interaction with Laframboise, saying "The house where we lived belonged to the widow of a French trader, an Indian by birth, and wearing the dress of her country. She spoke French fluently, and was very ladylike in her manners. She is a great character among them. They were all the time coming to pay her homage, or to get her aid and advice; for she is, I am told, a shrewd woman of business." " Juliette Augusta Kinzie described La Framboise as “a woman of a vast deal of energy and enterprise – of a tall and commanding figure, and most dignified deportment.”

Death and legacy

La Framboise died on April 4, 1846. Father Henri Van Renterghen of Ste. Anne's honored the request of Mme. La Framboise and had her interred beneath the altar of the church. In the 1960's, Ste. Anne's was renovated and a basement activity center was added. The remains of La Framboise, as well as those of her daughter Josephine Pierce and her infant daughter Josette, who had been buried with her, were relocated and interred in Ste. Anne's churchyard. A historic marker there also recognized La Framboise and her contributions.

In the early 21st century, Ste. Anne's Church constructed a crypt in the church for interment and prayer. It honored La Framboise by reinterring her and her family's remains in the crypt on July 26, 2013. Some of her descendants attended the ceremony.

The mansion of La Framboise still stands next door to the church. It has been acquired, renovated and adapted for use as the Harbour View Inn.*


Kin 231: Blue Planetary Monkey

I perfect in order to play
Producing illusion
I seal the process of magic
With the planetary tone of manifestation
I am guided by the power of self-generation.

Everything is part of one inherently artistic cosmic plan.*

*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.

The Sacred Tzolk'in 

Manipura Chakra (Limi Plasma)