New Frontiers nect with the cultures they represented. The eagle-feathered headdress (fig. 14) was the star attraction of the exhibition, being an item of prestige made familiar to the Chinese viewers through film and television. The art in general was discussed in terms of creativity and originality, an emphasis especially poignant as traditional Chinese art practice relies on a learn-by-copying approach. It is no secret that the Chinese are masters at art replication, and as this collection continues to tour, one can’t help but wonder if reproductions will show up in Chinese antique markets. Perhaps a clue for how to foster appreciation of Native American art in China can be learned from examining one of the Guangdong Museum’s most successful programs during the exhibition. Visitors were given the materials to make dream catchers, which are small, net-like objects strung from eight points on a hoop and decorated with shells, beads, feathers, and other natural items imbued with special meaning for Native Americans. Hung near the sleeping quarters, its purpose is to intercept evil and bad dreams and keep them from entering the head. This project resonated with the Chinese people, for whom the number eight is associated with wealth and prosperity. The participants’ conclusion was that the inventors of such an object were wise and harmonious, and making the object helped them connect to cross-cultural concepts of luck, happiness, and benevolence. The First Americans exhibition was viewed by more than 100,000 visitors at the Guangdong Museum and is expected to draw similar attendance at its next venues. The Bowers will once again use the exhibition exchange model that was successful in Bogotá. It is still uncertain if and when there will be a greater demand for exhibitions of tribal art in China, but one thing is undeniable: To have contributed to this endeavor to foster a spirit of cultural exchange and cultural openness has been an honor for the Bowers Museum. Traditions and Transitions: Tribal Art from North America October 3, 2012–February 3, 2012 Museo del Oro, Bogotá www.banrepcultural.org/museo-del-oro 91 First Americans: Tribal Art from North America July 11–October 19, 2014 Guangdong Museum, Guangzhou www.gdmuseum.com December 12, 2014–March 10, 2015 Shanxi History Museum, Taiyuan old.shanximuseum.com March 27, 2015–May 27, 2015 Hunan Provincial Museum www.hnmuseum.com FIG. 11 (top left): Burden basket. Apache, Southwest. Willow, martynia, leather. H: 45.7 cm. Bowers Museum, inv. 33133. FIG. 12 (left middle): Basket. Pima, Southwest. C. 1900. Willow, martynia. W: 38.7 cm. Bowers Museum, inv. 20290. FIG. 13 (bottom left): Don “Lelooska” Smith (1933–1996), bowl, c. 1985. Kwakwaka’wakw, Northwest Coast. Wood, opercula. Bowers Museum, inv. 86.51.1. FIG. 14 (top): Headdress. Lakota, Great Plains. C.1900. Golden eagle feathers, wool cloth, cotton cloth, beads. H: 57.5 cm. Bowers Museum, inv. F82.26.1. FIG. 15 (above): Orca rattle. Haida, Northwest Coast. Early 20th century. Wood, pigment. L: 27.9 cm. Bowers Museum, inv. 2003.38.42. FIG. 16 (below): Mask. Inupiaq. Arctic North. Late 19th century. Wood, pigment. W: 22.2 cm. Bowers Museum, inv. 92.61.4.
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