Designed by Kyle Malott (Pokagon Band Potawatomi), painted and scaled by Sergio Ceron (Otomi-Pame), this ceiling mural depicts Potawatomi Star Constellations and is accompanied by a guide book to learn more about the stories depicted above. Take a seat in our library, browse the books, or ask for a blanket to lay down, look up, and enjoy the view.
Living Stories is part of Art Design Chicago, a citywide collaboration initiated by the Terra Foundation for American Art that highlights the city’s artistic heritage and creative communities.
Living Stories is funded by the Terra Foundation for American Art.
Open from January 27, 2025 – June, 2026
Reflected through the artists’ works and perspectives and the rooted in Great Lakes and Woodland Indigenous cultures, the exhibit explores themes of Ancestors’ spirituality, Balance in nature, Identity and representation, and Expressions of survival. As you go through the exhibit you’ll have chances to reflect on these themes, what they mean to you, and how you relate to them.
“Our art breathes. It moves.
It tells of who we were – who we are – and who we are becoming.
When you look at our creations
you’re not seeing artifacts
you’re witnessing living stories.”
Long ago, after the Great Spirit Kitchi-Manitou created humankind, the Anishinaabe wandered away from their peaceful ways and began to fight amongst themselves. Brother fought against brother, and sister fought against sister. Gone were the peoples’ harmonious ways. Discord, jealousy, and bitterness ruled the people. Seeing that the people had lost their peaceful ways and there was no longer respect for all living beings, Kitchi-Manitou decided to cleanse the Earth by bringing about a flood that drowned the Anishinaabe people and most of the animals. This flood was known as mush-ko-be-wun.
The only person to survive the flood was Nanaboozhoo and a few animals that could swim or fly. Nanaboozhoo floated on a log and searched for land, and no ground could be found because the entire Earth had been flooded. As Nanaboozhoo was very kind, he allowed the remaining animals to take turns resting on the log.
Nanaboozhoo said, “I am going to dive to the bottom of the water and grab a handful of earth. With this earth, we could make a new land on which to live”. Nanaboozhoo dived into the water and disappeared for a long time. The animals waited and waited, and they thought that he had drowned. Finally, Nanaboozhoo surfaced, gasping for air, and muttered, “the water is too deep for me to reach the bottom.”
Then “Mahng,” the Loon spoke, “I can dive deep into the water, and that is how I catch my food. I will try to reach the bottom and return with some Earth in my beak.”
The Loon made a clean dive into the water. After a few long minutes, only small air bubbles broke the water’s surface. Finally, the Loon returned to the surface, weakened and out of breath after the longest time. “I could not make it. There must be no bottom to the water.” said the Loon
Next to try was Zhing-bi-biss, the helldiver. “Everyone knows that I can dive very well into deep water,” and the helldiver dove headfirst into the water. After another long time, during which the animals scanned the surface of still water, the helldiver floated to the surface, unconscious. After he was revived, he recounted how the water was too deep for him to reach the bottom.
After that, many more animals tried to reach the bottom to bring much-needed Earth to the surface, and no one succeeded. Even Zhon-gwayzh, the mink, and Mizhee-kay the turtle attempted, but to no avail.
Then after it seemed that no one would be able to reach the bottom and bring Earth to the surface to create a new beginning for all the living things, a soft, muffled voice was heard to say, “I can do it.” To everyone’s astonishment, they looked about, trying to see who had just spoken. It was Wazhusk the Muskrat who came forward. Again he repeated, “I’ll try.” Some of the other larger, more powerful animals mocked the little Muskrat. Nanaboozhoo spoke, reminding everyone that only Kitchi-Manitou can place judgment on others. Like the others, Wazhusk the Muskrat must be given a chance to contribute.
Off into the water went the Muskrat. Soon the wave that formed after he dived into the water disappeared, and the water was perfectly still. He stayed underwater for what was the longest time. However, underneath the water, the Muskrat had indeed reached the bottom. Feeling exhausted and with his lungs screaming for air, he grabbed some Earth in his paw and used all his remaining might and strength to return to the surface.
On the surface of the water, everyone waited for what seemed an eternity. Finally, the Muskrat’s body floated to the surface. Nanaboozhoo pulled the motionless body onto the log. “Brothers and sisters,” said Nanaboozhoo, “muskrat went too long without air, and he is now dead.” A song of mourning and praise was heard across the water as the Muskrat’s spirit passed on to the spirit world. Suddenly, Nanaboozhoo realized that the Muskrat’s paw was clenched tightly. He carefully opened the small foot and then, realizing what the Muskrat held so tightly, exclaimed in amazement, “Look, there is a small ball of earth in the muskrat’s paw!” All the other animals gathered around in awe and excitement. They all shouted with joyfulness. Muskrat sacrificed his life so that life on Earth could begin anew.
Nanaboozhoo took the ball of Earth and held it in his hand. Just then, the turtle swam forward and said Use my back to bear the weight of this piece of Earth. With the help of Kitchi-Manitou, we can make a new earth. Nanaboozhoo put the small part of Earth on the turtle’s back. Suddenly, the wind blew from the Four Directions. The tiny ball of Earth started to grow. It grew until it formed a mi-ni-si or island in the water. The island grew larger and larger, heavier and heavier, but still, the turtle bore the weight of the Earth on his back. Nanaboozhoo and all the animals danced in a widening circle and sang songs of praise on the growing island. After a while, the Four Winds ceased to blow, and the water became still. A huge island sat in the middle of the water, and that island today is known to us as North America.
This mural was created in collaboration with St. Kateri Center of Chicago youth group, led by youth programs coordinator Negwes White (Ojibwe/Diné) and Milwaukee artist Stacy Vittal (Oneida/Ho-Chunk).
Youth Artists:
The Gichigamiin Museum is in the Woodlands region.
Tribes in the Woodlands area relied on a balance of hunting, fishing, gathering, and agriculture; they were not entirely nomadic but traveled seasonally. Their homes reflect this lifestyle. The mural in this gallery will help you understand how community members with specialized skills worked together for the benefit of the community. There are also models of an Iroquois longhouse and Anishinaabe wigwam that visitors can examine and compare.
Birch bark canoe – The birch bark canoe is from the Ojibwe tribe, who traditionally resided around the Great Lakes north of what is now the Chicago area. To the left, you’ll see photos of its traditional construction and use in gathering wild rice and for fishing.
Bandolier bags –– Bandolier bags are still an important part of the Great Lakes region and ceremonial dress. These large, elaborately beaded shoulder bags form part of the traditional dress for both men and women among the Great Lakes tribes. They generally consist of a fully beaded panel and strap with floral beadwork on black or brown velvet. Bandolier bags developed from smaller more functional 18th-century leather shoulder bags that were decorated with porcupine quill designs. Over time the bags have increased in size and become less functional. Some bags are even made without an interior pocket and so only have a decorative use.
Seminole Man’s dress – – Men of the Seminole tribe wore dresses or ‘long shirts’ like this one. The style of the garment is similar to that of European garments and is an adaptation by the members of this tribe of more traditional types of clothing. The fabric was obtained from trade with Europeans, later Americans. Beginning in the 17th century, clothing with stripes of fabric sewn together, called “patchwork”, was the common form of clothing. This was partially the result of the introduction of the hand-powered sewing machine.
Cherokee Syllabary – This writing system was invented by Sequoyah, a Cherokee silversmith in the frontier of Alabama during the years of the early Republic, who had frequent contact with white settlers. By 1809 he had begun work on a writing system for his language. He developed symbols that represented the syllables used in spoken Cherokee. After years of work, his syllabary was officially accepted by the Cherokee Nation in 1825. It is still used by members of the Cherokee tribe.
After the Spanish introduced the horse to the Americas around 1600, tribes living at the edges of the Plains region were able to travel greater distances and began to fully utilize the region and its resources. The primary food source in the Plains were the herds of buffalo. As their dependence on this food source grew their lifestyle became increasingly nomadic. The tipi reflects this need to accommodate frequent travel. Take a look at the mural in this gallery. It will help you appreciate the ingenuity and adaptability of these groups, in their ability to adapt. If you would like to build a tipi, please ask us to get the kit out for you.
Breastplate– Men of the Seminole tribe wore dresses or ‘long shirts’ like this one. The style of the garment is similar to that of European garments and is an adaptation by the members of this tribe of more traditional types of clothing. The fabric was obtained from trade with Europeans, later Americans. Beginning in the 17th century, clothing with stripes of fabric sewn together, called “patchwork”, was the common form of clothing. This was partially the result of the introduction of the hand-powered sewing machine.
After the Spanish introduced the horse to the Americas around 1600, tribes living at the edges of the Plains region were able to travel greater distances and began to fully utilize the region and its resources. The primary food source in the Plains were the herds of buffalo. As their dependence on this food source grew their lifestyle became increasingly nomadic. The tipi reflects this need to accommodate frequent travel. Take a look at the mural in this gallery. It will help you appreciate the ingenuity and adaptability of these groups, in their ability to adapt. If you would like to build a tipi, please ask us to get the kit out for you.
Cradleboard – Cradleboards varied in material and design from tribe to tribe. Look at the map below and see the adaptations that were made by mothers based on available resources and climate. The basic form consists of a backboard and a lashing of material or animal skins to hold the infant to the backboard. Many cradleboards have a third element, a band of wood, metal, or basketry that protrudes from the backboard and forms a hoop, which protects the infant’s head should the cradleboard be dropped or fall over when propped against a tree or dwelling. The cradleboard keeps the baby safe and snug, and allows the mother and other caretakers to continue in their own work or travel easily. While very functional, these items were often very elaborately decorated as well. Some cradleboards were made for an individual infant, while others were handed down through families. Cradleboards were also created in toy form, so that future mothers could learn how to care for their dolls, as they would one daycare for their own infants.
Pottery – Living in a sedentary agricultural society lends itself well to the creation and use of pottery in daily life. Gathering clay for pottery is a family activity. A pot is formed by coiling long rounded pieces. This technique is best exemplified in the Mogollon mug, viewed in our South. Traditional pottery design is best viewed on the Anasazi bowl (bottom row center). A revival of traditional pottery took place during the late 19th century and early 20th century. The black on black plate by Maria Martinez is from this period.
Katsina dolls – The Pueblo people believe in spirit helpers, called katsinas. It is believed that the katsinas bring rain to this arid desert climate and help in other ways. They are portrayed by men during ceremonies, and dolls are made to educate children about their religious beliefs. Older katsina dolls are simple in form; cylindrical, and made of cottonwood root (which seeks out water). The newer katsina dolls show more movement and greater detail.
Weaving – While both men and women were responsible for herding the sheep, women in the Navajo tribe owned the sheep and were responsible for all aspects of treating the wool, except for the steering. Similar to the example in this picture, you can enjoy an interactive weaving experience in our southwest section.
Like most coastal settlements in the world, the Native American tribes in the Northwest Coast relied on fishing as a means of subsistence. Community members worked together to capture and kill large fish, including whales. Photos in this gallery depict permanent fishing villages and many of the dugout canoes that allowed them to venture out into the ocean. An important tradition among the peoples of the Northwest Coast is the Potlatch. A Potlatch is a community celebration of a major life event (a name giving, birth, marriage, etc.). A Potlatch may include the raising of a totem pole. The chief hosts the Potlatch and gives away many of his personal possessions, redistributing the wealth of the community. Both the Canadian and United States governments prohibited the Potlatch during the late 19th to mid-20th centuries.
Hat – In the small case next to the chair lift a hat is woven from cedar bark and the spruce root. is from the Nootka tribe. Notice the design woven into the hat. It is a fishing scene complete with men in canoes and whales. The finial shape of the hat denotes that the wearer has hosted one potlatch. Chiefs who hosted multiple potlatches would wear hats with multiple finials.
Totem Pole – The totem pole for the people of the Northwest Coast has special significance. The figures on the pole are often representations of the legends of the community, and are raised by the entire community. A totem pole is carved from a tall cedar tree, which is a very important material for the people of the Northwest Coast. It was used to construct not only their sea-going canoes, but also their homes and many items of importance in daily life as well as spiritual life. In this gallery you will see two reproduction or model totem poles. See if you can identify the figures on these models.
Masks – Among the tribes of the Northwest Coast stories were very important. Stories were collected and passed down through clans. During celebrations and ceremonies, these stories were acted out by members of the clan that owned them. Just as actors wear costumes in plays or movies to get into a character, these masks brought the spiritual being to life during the performance. Masks, like many of the other painted wood surfaces, are traditionally painted in red and black. These natural paints were made by crushing the eggs of salmon (red caviar) and other fish (black caviar). Trying to paint with these materials might be a fun at-home activity. Masks with paint colors of blue and green are often post-European contact, since they are commercially made paints.
Button Blanket – In a cool rainy environment it is important to protect your body from chill by wearing a protective cloak. Before contact with Europeans and Americans, members of the Northwest Coast tribes made cloaks of woven cedar bark. After contact, wool fabric and different types of beads (glass and mother of pearl buttons replaced abalone or dentallium shell decorations) became available. The design on the blanket is that of the clan to which the wearer belongs.
In this frozen part of the world, people are experts at adapting to the harsh environment. You might think that an igloo built of blocks of ice would make for a very cold home, but in fact, these ice houses can be up to 68 degrees in the interior, not much cooler than your home during the winter. Another way that people who live in such a cold climate have adapted is to eat a diet high in fat; blubber from sea mammals (whales, walrus, etc.) give each person a store of calories that aren’t available to people who eat leaner diets and live in a more temperate climate.
Whale Bone Sculpture – After a whale was hunted and stripped of its meat and blubber, the other useful parts, particularly bone, were used to create a variety of items. Pictured here is an Alaskan walrus carved from whale vertebrae. The whale and walrus provided sustenance, which is still critical to surviving the harsh winters in the Arctic.
Gutskin Parka – In the arctic, keeping dry while fishing and hunting is as important as keeping warm. A parka made from the outer layer of the intestine, called gutskin, of a sea mammal provides such protection and is easily available after the slaughter of one of these animals for its meat as a food source. A second parka, made of skins, would be worn beneath this one to provide warmth, similar to wearing an all-weather jacket with its liner.
