A Stylistic Analysis of the White Swan Robe: Crow Representational and Applied Art as Ethnic Markers

The White Swan robe constitutes an extraordinary source of data concerning the manner in which Crow men and women differentially employed elements of somatic, representational, and applied art to simultaneously communicate their tribal affiliation, and to differentiate themselves from members of neighboring Plains tribes. The unique value of this specimen arises from the fact that it is not only the “canvas” upon which White Swan and an anonymous second artist depicted their respective military exploits, but is also embellished with a classic Transmontane-style beaded strip. Analysis of the painted vignettes was conducted for the purpose of determining thematic content, with particular attention devoted to those mnemonic devices used to convey ethnicity. Interpretations were based upon data derived from comparative examinations of war exploit robes and ledger drawings, archival photographs, and museum collections. While it is possible to elicit the basic pictographic message of each vignette, efforts to establish an historical context for the events represented therein are hampered by the absence of primary narratives from White Swan. Notwithstanding the significance of his participation in the Battle of the Little Bighorn, White Swan apparently chose, in this case, to emphasize war honors earned within the context of intertribal warfare. This conclusion is based upon the absence of certain stylistic conventions which White Swan typically employed in depicting events associated with the Battle of the Little Bighorn.

Analysis of the beaded strip was conducted, ultimately, for the purpose of determining whether it was of Crow or Plateau manufacture. Consideration of the latter possibility was necessary since previous researchers have documented a tendency toward subareal specialization in the application of Transmontane-style beadwork to specific artifact classes. Using criteria derived from provenienced specimens, it was concluded that the White Swan blanket strip was of Crow origin. The problem of whether blanket strips were essentially a Plateau specialization, or were produced with roughly equal frequency by the Crow and Intermontane peoples, has not been resolved, but can fruitfully be explored through a comprehensive examination of unprovenienced blanket strips using criteria of attribution derived from provenienced pieces. A number of research venues are also suggested which may contribute to greater understanding of White Swan as an artist and historical figure.