The players of the National Youth Brass Band of New Zealand have been enjoying tackling demanding repertoire on their annual course under MD, Tyme Marsters.
The watercolors that White produced during his yearlong voyage can be found in two sources: a collection of originals at the British Museum in London and the illustrated edition of Hariot’s
A briefe and true report of the new found land of Virginia. Hariot’s illustrated report, published by Theodor de Bry in 1590, includes etchings based on White originals, some of which were later lost. Many more of White’s illustrations were destroyed when, as the colonists deserted Virginia, Drake’s sailors threw overboard a chest containing his work.
White’s surviving illustrations provide a detailed account of Indian life informed by the artist’s European training and cultural expectations. Often posing his subjects in the Hapsburg style, White drew a warrior decorated in body paint and holding a bow, and a chief looking to his right and with one arm akimbo. White also captured Virginia Indian cultural activities, such as a couple sitting on a mat eating, a group of men and women
kwiocosuk. The
quiocosin was at least as large as a chief’s house (20 feet wide and up to 100 feet long, according to the colonist William Strachey) and usually situated in remote forest areas; entrance was forbidden to all but shamans and chiefs. Oriented east to west, with a door on the eastern end, the
quiocosin was partitioned off into two areas. The east end, being a gathering place for priests, was empty save for a central fire that was never allowed to go out. The more restricted western end housed wooden carvings, including one of Okee. Other carvings took the form of posts or pillars set upright in the ground, the upper ends of which featured likenesses of human heads (perhaps suggesting ancestors or spirits). The western room of the