NORVAL MORRISSEAU: ARTIST AS SHAMAN
BY BARRY ACE

(continued from page 1)

Only twice in the thirteen years of correspondence did Norval ask Dewdney to send him information on other Indian cultures. In fact the first request occurred in the fall of 1960 in a letter to Selwyn where he asked, “can you send me some Indian designs or pictures, the ones that could be put on art.” (DIAND, ADAS 306065, November 7, 1960, NM). On first glance, it is quite easy to simply read Norval’s request for new ideas to copy.
But Norval was already painting on birchbark, and he had already developed his unique Woodland signature of painting, so his request was most likely for ideas and motifs that he could adapt as an addition to his work. It is also important to note that Norval was not illiterate, nor was he so isolated and “primitive” that he did not have access to library books. Norval attended Residential School in Fort William (Thunder Bay) and at the age of 15, he left school. Bob Sheppard also noted in his letter to Selwyn that Norval “has done plenty of reading since leaving school, and he himself studies and collects Indian lore.” (DIAND, ADAS 306065 June 7, 1960, BS). In a subsequent letter written to Dewdney in 1962, Norval clarified his intentions in a similar request made for books in lieu of payment for art work he had sent to Toronto art dealer Bob Hughes:

“Sent Bob Hughes 18 blk and Reddish drawings, if he has a hard time selling them at ten dollars each tell him to lower them to $6.50 or $7.00 each. With the money ask him to get me some books about Fish of North American, Animals of North Americ, Birds of the world or N. American Books on Indians of North America. Different titles - of beliefs- lore- B.C. Sulpturing - totem poles art- Indian art etc. I have a private collections of books. So far I have about 7 books. I never pickup no ideas from these but I appreciate book of this type and I like to read at times.” (DIAND, ADAS 306065, January 12, 1962,NM).

What is also revealed later on in this same letter is that Morrisseau had already been exposed to European art movements, more specifically, the 20th century movement of cubism. At one point in the letter, Norval makes direct reference to the artistic merit of his most recent works and humours Selwyn by making a direct reference to Picasso, which may have originated from either his discussions with Weinstein or from his familiarity with Weinstein’s library. Norval states, “I am giving you some of my work. If you don’t like none put them into the stove to make heat like Piccaso does, ha ha, aldo these are not of the best please excuse but I will give you some good ones next time I promise you my friend (DIAND, ADAS 306065, January 12, 1962, NM)”. It appears that Norval was not that impressed with the work of Picasso, for he did not attempt any forays into cubism.

It is probably an undeniable truth, that Morrisseau was unequivocally “awakened” by a number of sources of influences (a moot point for any artist), yet all sources clearly credit Norval as the founder of a new and unique style of Woodland painting. Morrisseau’s distinct style of painting would become a staple and source of inspiration for many of his contemporaries, including Carl Ray, Daphne Odjig, Roy Thomas, Blake Debassige and Richard Bedwash. Even today, many Aboriginal artists continue to follow in his footsteps, fusing their own unique stylistic preferences and innovations.

Today, the Woodland school of legend painting continues to be shrouded by a veil of romanticism that has its origins in the mystique of Morrisseau. >From the letters, we begin to see how this veil of secrecy developed, and much of this lies with Dewdney’s coaching and preparation of the “coming out” of Norval Morrisseau to the academic and artistic elite of the Toronto scene. In what I describe as nothing more than a construction and marketing strategy to sell the public on the authentic Indian myth, Dewdney was highly influential in moulding Morrisseau’s persona in these early years. The very fact that Morrisseau complied, reveals perhaps a little bit of naivety, but even more so, his eagerness to accommodate and garner the trust and respect of Dewdney. Morrisseau recognized a gift horse when he saw one.

It is interesting to note that in the letters, Morrisseau’s strategic ability to conform to Dewdney’s challenges and investigation rose to a high level of intellectual discourse that certainly impressed Dewdney. And although Norval was unequivocally the “knower of knowledge”, he strived really hard not to offend Dewdney, and he used different strategies to prove to Dewdney that he was an authentic “Indian” informant.
In Morrisseau’s first letter to Dewdney in the fall of 1960, Norval confidently declares his depth and understanding when compelled to speak about his personal quest for the preservation and archival storage of his cultural knowledge. Early on, Norval recognized the mutual benefits and future possibilities this chance encounter would provide, and he was more than eager to offer his assistance to Selwyn no matter what the cost. I truly believe that Morrisseau inwardly compared himself to Oglala Sioux elder/shaman Black Elk, and that his relationship with Selwyn was one similar to the one between Joseph Epes Brown and Black Elk, albeit with the eventual publication of Morrisseau’s collection of Ojibway legends and beliefs. It is interesting to note that in a letter dated January 12, 1962 requesting books, Norval clearly notes his familiarity with Black Elk by telling Dewdney that he had a personal copy of The Sacred Pipe - Black Elk’s Account of the Seven Rites of the Oglala Sioux, recorded and edited by Joseph Epes Brown, in his personal library.

For those who are not familiar with Black Elk, he was a spiritual elder who carried with him oral teachings of the sacred rites of the Oglala Sioux. In his old age and close to death, he lamented that he was the last surviving, of three apprentices of Elk Head (Hehaka Pa), Keeper of the Sacred Pipe, to pass on this sacred knowledge. Elk Head had warned Black Elk that the teachings must be handed down for “their people will live for as long as the rites are known and the pipe is used. But as soon as the sacred pipe is forgotten, the people will be without a centre and they will perish (Black Elk 1971, p. xvii)”. Black Elk chose academic Joseph Epes Brown to record the sacred teachings to ensure that the teachings would be preserved for the time when his people would seek cultural renewal. Did Norval share a deep affinity to Black Elk? Did he see this burgeoning relationship with Selwyn as a likeness to Epes Brown?

“I often remember the visit we all had last summer and I remember what you told me that we will see one another again. I trust this will be soon. As I look forward to that time...I wish to ask you I am sure you know a lot of people and I have written a book on Ojibwa beliefs of all nature...If you have time again to come into the Lake Nipigon area next summer I would take you to some places that you might have not been at the time of your trip into the area. There is a place at Lake Superior where the Ojibwa used to put offerings in a sacred cave to a demi-god and I believe alot of this stuff could be recovered for the museum. Also if you wish to see where the Ojibwa used to get a blue and white coloured liquid that oozed out of the rocks and that was used for medicine I could arrange for you to see. This place as well as a place the Ojibwa used to place ther dead on trees, and other stone medicines also a place where the Ojibwa of Lake Nipigon used to get Copper for their pails etc. this has to be very secret as copper is considered sacred among the Ojibwa- and to other rock painting you have not seen about 3 in all. I will have a holiday next summer. Perhaps then we could arrange this.” (DIAND, ADAS 306065 November 7, 1960, NM).

One month later, Norval writes again:

“Sorry I did not enclose a letter with the writings if you think that there is a chance to publish these I send you I would be very glad to get some royalty’s or money from them not that I want the money that bad. As I would be foolish to think that way but my idea is I wish to use this money to a good purpose. I wish only one thing to be an artist and to be respected as one - and my paintings....I think I could get some information on rock paintings. Its secret to the Ojibwa but being an Indian and respected as one I will be told just by the asking also what I wish to get is a tape recorder if my beliefs are accepted with a tape recorder I could get alot accomplished and I could get some Indian chant’s and Medawiin and Wabino-wiin songs as well as many other I know alot of Indians who would be glad to sing on a tape recorder also some legends are very long on a tape recorder every thing that take’s place in the legend is recorded. Selwyn I ask you as one artist to another. Not for my-self but for my people. Try to help me out. To put in a good word for me time and again to the right party. I will promise you as a freind I will do my very best to repay you in a way someday I will help you get alot of information about the Ojibwa - what you would wish to know more - about conjuring or rock paintings etc. I will do my best to get some information also there is alot of ancient Indian stone medicine compounds in form of liquid that oozes out of the rocks, colors of light blue and white to use as medicine for pains and other sickness. I will get this medicine this summer. Have it and other matters analyzed.” (DIAND, ADAS 306065, December 10, 1960. NM).

Whether or not Morrisseau truly felt an affinity to a Fenimore Cooper “Last of the Mohicans” fantasy, he clearly set out to affirm his positioning as someone worthy of documentation. Dewdney on the other hand, quickly established his own dependency on Morrisseau, and from the outset, appeared to be quite taken by Morrisseaus’s seductive and irresistible charm. Dewdney was so enamoured with Morrisseau that he went so far as to advocate for the inclusion of Morrisseau’s work in the collection of the Royal Ontario Museum, and convinced his colleague Kenneth Kidd, Curator of Ethnology to acquire more information and commission additional works from Morrisseau. Selwyn quickly fired off a letter back to Norval asking him to send two samples of his work; one on birch bark and one on plywood. Morrisseau completely and unequivocally complied. It is interesting at this point to note whether or not Dewdney was beginning to feel that Norval might be playing him a little. For Dewdney went into great detail regarding the request to ensure Morrisseau clearly understood the seriousness and implications. He also suggested that Norval include an unedited (which he underlined in the letter), verbatim account of each legend associated with the works, and told Norval that he would use these works as a leverage to convince a Toronto publisher to consider Norval’s collection of beliefs and legends.

It is at this point in the correspondence that Selwyn begins to allude to a growing concern for Morrisseau’s public presentation, authenticity and reception, particularly by the academic and professional museum communities. Dewdney seems to assume a very paternal role and begins to coach Norval on a variety of aspects concerning his art practice, types of materials and professionalism of the finished product. One quickly gets the impression that Dewdney may have had some concerns that Morrisseau might be perceived and revealed as an impostor. Dewdney would have been certainly aware of this potential and the damage it could inflict on his professional reputation and life’s work. This must have been further compounded by Morrisseau’s unpredictable and uncontrollable behaviour during his bouts with alcohol.

“Kenneth Kidd, Curator of Ethnology (in charge of the section of the Museum that deals with North American races and their cultures) and his two assistants, Walter Kenyon and Ed Rogers, both of whom have had considerable contact with the Ojibway Indians, all saw the colour photographs of your paintings that I took last summer; and they were impressed. Mr. Kidd would like two samples of your paintings for the Museum’s collection. I would suggest that you send him one on birch bark (perhaps, since you have to wait till spring for more bark, Dr. Weinstein might contribute one of his), and one on plywood. You might also send him a decorated bark dish like the one you made for Dr. Weinstein, if obtainable....Could you also write an account of the legend connected with each picture; and get someone to type it for you, without changing your wording.

Next, get some tracing paper from the mining engineer’s office and trace the outline only (not the details, unless they have a special meaning) of all the figures or objects in each painting. Write a note, explaining all you know about each figure or object and its connection with it, number the note, and number the figure or object it explains, on the tracing.

This is a lot of work. But I am sure the Museum will be glad to pay you for your time and trouble. Once these samples of your work are in Toronto I can go down there to see that a reliable book publisher sees them. I will look after this personally, and find out from him what the possibilities are of getting a book published in book form.This will be quite easy as I have connections with most of the Toronto publishers ... Meantime, keep working on your painting, trying out all the ways you can think of to improve your technique so as to get results that satisfy you most. Painting thinly in oil colours on the raw wood might give you some of the effects you want; and scraping the bark, or staining some of the areas might help too. If you use oil paints thin them with turpentine rather than oil, so you get a dull, rather than a shiny finish. You might also try getting rock textures with oil colours as a background for your designs. An artist owes it to himself to experiment with many effects in order to reach the highest possible quality. And, for you particularly, who wants the world to respect your people, their beliefs and legends, it would be of value to learn all you can about the many techniques of painting, so as to earn the respect of your fellow artists in the white world... Please use my first name, from now on - as one artist to another.” (DIAND, ADAS 306065, November 15, 1960, SD).

Selwyn’s overly controlling concern over Norval’s ethnographic contributions and artistic forays is clearly revealed in the letter of March 6, 1961. In the letter, Selwyn goes into great detail offering a plethora of advice on technique and medium. By this point in their relationship, I believe it was becoming exceedingly difficult for Dewdney to allow Morrisseau to enter the art world without his guidance and protection. It is at this point that Dewdney clearly makes an attempt to direct Morrisseau’s public persona. Dewdney crosses the fine line between researcher and artist/informant by suggesting that Morrisseau try painting on moose-hide using colors that are similar to those used by “prehistoric Indians”. This is a pivotal letter in unravelling the Morrisseau myth, and as one begins to read between the lines, we begin to see that there is more here than meets the eye. Was Dewdney knowingly attempting to market Morrisseau’s image to an art buying and academic community, or was he just overly concerned as a friend to help Morrisseau prepare for the public scrutiny of the south. It is also important to interject at this point that Morrisseau was not a complacent player in this relationship, and both were actively engaged in creating some kind of public persona. One must remember that Morrisseau was an avid collector of “Indian lore” and a collector of books about various Aboriginal cultures of North America. It would have been very clear to Norval exactly what Dewdney was proposing to him, and Norval did not want to negatively impact or terminate what he must have felt was a mutually profitable relationship. Dewdney offers Morrisseau the following advice:“In a separate parcel I am sending you several tubes of oil paint, two oil brushes, and two pieces of moose-hide tanned by a local leather company.
The oil colours I have chosen because they are all “earth colours” that is, they occur naturally. All but the terre vert (earth green) are similar to the pigments used by the prehisitoric Indians. I added the terre vert because I thought you might want to use at least one cool colour. Any of these oil colours thinned out with turpentine will apply to hide, will never change colour, and will not flake off.

The oil brushes are in two sizes. With a little practice you can get any kind of detail you wish. For instance, if you use the corner of the small brush you’ll find you can show even the fisher’s claws in the morning in the painting I have copied from one of your drawings. But these brushes must be cleaned thoroughly after each use. Rinse them out in turpentine, wipe them dry, then work soap or detergent into the bristles till it lathers. Rinse with water, soap again, and again, until the brush is clean. Treated like this the brushes will last for ten years or more...On your painting of Misshipeshoo, for instance, you used too much shellac in one area, so that it is noticeably thicker. In time this would be distinctly yellower than the rest. In the thunderbird painting only the medicine balls are varnished. The tempera colour elsewhere in the painting is unprotected and would flake or run under damp conditions. Also shellac or varnish over tempera gives a “cheap” appearance that is unworthy of the quality of thought and feeling that go into your paintings.

Another point, that will seem very unimportant to you, is that whoever crated your paintings for shipping, put nails through the middle of two of the paintings. Perhaps I should put it this way. Your work is to show to non-Indians the richness and variety of Ojibway beliefs and legends through your paintings.
Those paintings should be “dressed” as carefully as a great Meedayweninny would have dressed himself in the old days before going to a Meeday ceremony. To put it in other words you are not only an artist, but a representative of your people. To gain respect among the non-Indians your paintings must show more than the thought and feeling, forms and colours that make them works of art. They must also show craftsmanship, a concern for the way the painting is prepared for display or sale - the finish of the surface. This will help to explain to you why I am going so slowly in encouraging you. Before we make a serious attempt to sell or exhibit your work we must be sure that you have found a way of rendering it that will (a) satisfy you as an artist (b) satisfy the non-Indian viewer.” (DIAND, ADAS 306065, March 9, 1961, SD).

Selwyn’s use of cultural metaphors and his concern over presentation is clear in his comparison to a Midewiwin elder preparing for a ceremony. His choice of words, although somewhat paternal, does reveal a heartfelt respect for Morrisseau. But it is also couched in Eurocentric concerns to shelter Norval from potentially damaging and disparaging criticism by the predominantly non-Indian world.
Norval quickly bought into Selwyn’s advice and began to produce a massive body of work based on Dewdney’s advice, straying very little from what Dewdney had told him to produce. Norval even went so far as to begin sending Dewdney his work for critique. The letter of April 20, 1961 is perhaps the best example of the level of discourse that transpired between Norval and Selwyn on issues relating to construction and representation of Ojibway mythology.

It is clearly a well documented lesson by Selwyn on the importance of presenting oneself as the pure and authentic primitive. The debate arose out of Selwyn’s concern over the accuracy of one of Norval’s visual depictions of Neebanape and Maymaygwaysiwuk, two Anishnabe water beings of Lake Nipigon. Selwyn took issue on two points. First, he queried Norval on the inclusion of breast on a mythical figure Neebanape, citing that no drawing in his recollection revealed Neebanape with breasts. Secondly, he challenged Norval on the concept of female demi-gods in Ojibway myth and legend. Again, this interchange appears to be an early test case of Dewdney’s to ensure that Norval is not only a reliable and authentic informant, but one who is willing to accept scrutiny when confronted by a challenging and critically astute intellectual audience.

“One thing I suggest you be very sure of: that “white” man’s concepts do not in any way creep into your paintings. For example, I have seen a number of 19th century Indian drawings of Neebanape, and none shows female breasts. Even if this is an Indian idea, it is so much like the European idea of a mermaid that buyers will wonder how Indian it really is.

Or what about the idea of a “Mrs.”Maymaygwess? Have any of the older Indians you have spoken to over the years ever mentioned a female Maymaygwess? Perhaps I am mistaken but all that I have read or heard so far suggests that the demi-gods were either male or sexless.

Norval, you know how interested I am in your mission - to pass on the ancient legends and beliefs of the Ojibway people to the “white” people of Canada. When my ancestors came over to North America from Europe they brought the legends and beliefs they had borrowed from many other races.

For instance, when the Romans invaded England, the Britons (like the Indians of North America after Columbus), were pushed back into the bush country and treated as third-class citizens by the newcomers. Gradually, as they lost their faith in themselves, Roman ideas crept into their own beliefs, and the ancient Druid religion of the Britons slowly faded. Yet even today 2,000 years later, mistletoe – a sacred plant to the British Druids appears in our Christmas decorations.

This is where your importance comes in. The more you can express in your writing and painting the strongest and oldest Indian beliefs, the more likely it is that they will be picked up by the non-Indians and become a part of our Canadian heritage. But if, in your honest attempt to build a bridge between your people and other Canadians, you - say your mermaid painting with the breasts says - “Look, our beliefs are just like yours” you will only convince the non-Indian that the Ojibway people have little that is new, or strong, or different, to offer the rest of the world.” (DIAND, ADAS 306065, April 20, 1961, SD).
Norval responds:

I agree with you about Neebanape about the breast I did not like the idea myself at all but I put it there to see what you might think of it but I knew right along what you might say but I did not mention now about Neebanape. I know that the Indian long ago would not paint the breast beacuse it would not look good to the painter at the time to put a breast on the figure.. I know Neebanape the Mermaid as the Europeans called it is a woman the Ojibwa knew this water dweller to be a women of the lake Nipigon area - also why I painted the Demigod or water God besides the mermaid was for one reason that both live in the water but they got no relationship or contact of any kind whatsoever. If she could be referred as a Demi-god or Demi-goddess or a water goddess I would not say at this time- but according to some beliefs of my people she is known to be powerfull in her own way. I could be wrong and if I am wrong then the rest of my tribe are wrong.... you tell me also that the Demigods are all male and sexless if they are how can a male Demi god have children or small offspring - take the case of Missipisso the water god at a certain lake where this demigod lived for years, the Ojibwa never travel upon this lake in fear of this being but offered some offerings to it such as - tabbaco dogs etc.

One day about some hundred years ago a women lost her baby while portageing the lakes in this area knowing she lost her child she called upon her father who knew the mighty thunderbirds for help. All that night and next day the very sky itself was dark and showers of lighting poured into this lake two days lake every thing was calm the lake where like this (Norval draws three unconnected lakes in a row ) and when they look upon these lakes there where none except one long lake like this (Norval draws one large, long lake) on the surface the old man the father seen two things on the surface of the water floating around dead when he came upon there where the two water god cubs where . Now if the being was male and sexless how could he have these cubs or small cat like things so there must be a female - now about Mrs Maymaygwessii I agree with you that this being was never seen by the Ojibwa except the male she did not have any importance. But the male did. I will refer to you again about offsprings.

I was told by a few of the older people I have talk to that there was a female Maymaygwissi. I have heard at times where off springs are mentioned that they looked cute and that there children are hairy these I was told are the children of these most respected water dwellers here again I do not know if I could call them demi god except there is the one demi god I knew that is (Norval draws a cat-like animal) that is him - he is more powerfull of the water beings - in water the snake for the land and thunderbird for the sky and if there is no Mrs Maymaygwess then where do the children fit in this picture - so there must be some female demi-god but they are not as important as the male - but the mermaid sure found her way to respect, she is known to change herself into a baby who is lost by the lake crying then if there is kids playing nearby that hear its cry she would take them away. I was told this when I was small that she would take me away so I sure keeped my distants from water.” (DIAND, ADAS 306065, April 25, 1961,NM).

Selwyn clearly articulates his growing concern that Morrisseau publicly present himself as the authentic, pure and primitive Ojibway Indian in his statement that Norval must ensure that no “white” concepts creep into his work. Dewdney sends a very clear message to Morrisseau that he must never incorporate any elements of modernity or cross-cultural influences in his work. And it is at this point that Morrisseau understands that if he is going to be successful in the “white world”, he must play the part. It is also ironic that both Morrisseau and Dewdney are well aware that Morrisseau’s grandmother was a devout Roman Catholic, and this influence unequivocally rubbed off on Morrisseau. It would be several years later, while incarcerated, before Norval would dare to present this part of his persona to an art buying public. But early on, Norval was still eager to demonstrate his support and compliance to Dewdney by offering his services to actively engage in the preservation and cultural authenticity of Midéwiwin songs and teachings on a tape recorder:

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