As I came to the end of the welcoming hall, I spotted a sign above open doors reading "Sandra Day O'Connor Gallery". Yes, that Sandra Day O'Connor — the former Supreme Court Justice. She served as an officer on the museum’s Board of Trustees for 13 years, between 1968 and 1981. She was the Board’s president on July 7, 1981, when President Ronald Reagan nominated her to the United States Supreme Court.

The contents of that room are entitled "The Grand Procession" celebrating a wonderful collection of dolls, also known as soft sculptures, created by various artists.

However, what first caught my eye was a large photo of two Cheyenne men, taken around 1880, by Cosand and Mosser.

I turned to look at a plexiglass case just behind me to see my first soft sculpture, "Oren, Crow Warrior" by Jamie Okuma, Okinawan-Hawaiian. Oren represents a proud Crow warrior in his glorious assemblage. On his back, he wears an otter skin arrow quiver case while holding a mirror bag and traditional lance. His headdress, long hair, and hairstyle clearly identify Oren as Crow. For this piece, Okuma was awarded the prestigious Best of Show ribbon in 2000 at SWAIA's Indian Market in Santa Fe.

Next, we see another piece by Okuma, "Enzo, Blackfoot Man". The artist states, "In the summer when I am working on my figures, I get on a movie or television series kick. When I made Enzo, I was watching "The Godfather" and gangster movies. So a whole lot of the pieces from that year have Italian names.

Also by Okuma, is the "Blackfeet Family Group", which the artist states was "his most important piece of work. There is no need for actual facial features, as this would distract their essence from transcending through the viewer. They are created with such strong spirits within them."

This is "Lady in Red, Lakota Woman" by Okuma. This fully beaded dress with complex geometric designs is complemented by shell earrings, a choker, a concho disk belt, a beaded handbag, and beaded moccasins. A calico dress is worn underneath. The entire outfit represents Northern Plains women's ceremonial clothing of the late 19th century.

Next up is another large photo of a man and a young girl wearing an elk-teeth dress (Crow) from the late 1800s.

Following is another photograph, this one of Crow men taken in 1905.

I love this one — "Peston and Skylar", also created by Okuma. The artist states, "Each and every piece has a little bit of my soul in [it]. They have lived through whatever life has thrown at me during their time of creation. I have to create to survive. I know no other way. If I can't create, I feel lost; it's what I was here to do. I feel blessed and honored for the gift of art."

Here we see work from another artist, Rhonda Holy Bear, of the Cheyenne River Sioux/Lakota. It is entitled "Ghost Dancer".

In response to the devastation of the former lifeways, a Native revitalization movement — the Ghost Dance — spread throughout the Northern and Southern Plains during the late 1800s. Enacting the Ghost Dance promised the disappearance of white people and the return of the buffalo and the past good life. Bringing back the old ways, which required discarding non-Native dress, stimulated an abundance of vision-inspired clothing. Although most Ghost Dance imagery signaled protection, the clothing was used for dancing, not combat.

Here we see another work by Rhonda Holy Bear entitled "Interview with a Warrior". The artist states, "Two Leggings was orphaned as a little boy, but he had big dreams: he wanted to be somebody. I have read his biography, 'Two Leggings: the Making of a Crow Warrier', at least five times. The strongest message in the book is to listen to wisdom. And to follow — to chase — your dream. I was inspired to capture the spirit of Chief Two Leggings clothes in his regalia while seated in his chair for his interviews."

And here is a photo of Chief Two Leggings, from 1908.

The next photo had no title but it is obviously a young mother and her child.

Last for today is another photo — this one of a young boy, Arapaho — dated 1882.