Beaded bandolier bags can be found in a number of Indigenous nations in North America from about the mid 19th century onward, but perhaps the most spectacular flowering of the artform occurred in the Midwest Woodlands region. The Ojibwe of Minnesota were (and continue to be) enthusiastic and talented practitioners of the art; their beautiful Gashkibidaaganag are celebrated in Marcia G. Anderson’s 2017 book, A Bag Worth a Pony: The Art of the Ojibwe Bandolier Bag. Gashkibidaaganag (plural) are made to be worn slung over one shoulder, with the pocket resting on the opposite side. Originally worn mostly by men, they came to symbolize power and prestige, and as displays of gratitude and friendship. Because of their beauty, they have been eagerly collected by visitors since the 19th century [1].

Until about 1880, Gashkibidaaganag were made on wooden looms; since then they were mostly made by spot-stitch appliqué. This is a very labour intensive method but it allows greater freedom in creating free-flowing designs rather than the geometric patterns found elsewhere. Indigenous beadwork from around North America reveals the influence of European floral designs, but Ojibwe women took much of their inspiration from their natural environment. Many Gashkibidaaganag, including this stunning example, emphasize leaves, vines, and fruits rather than flowers. As well, many practitioners chose to create free-form, meandering designs rather than symmetrical ones.

A Bag Worth a Pony illustrates many scores of examples. It is a testament to the artistry and imagination of this bag’s maker that we could not find a perfectly matching example. This beautiful Gashkibidaagan, however, does have more than a passing resemblance to the example chosen for the book’s cover.