chapter 3 heritage themes and related resources

DEVELOPMENT OF THE events, notes about the current HERITAGE THEMES diversity of cultures found in the watershed, and lists of activities related The seven heritage themes in this to outdoor recreation or local festivals. chapter emerged directly from public Continuing in their small groups, input. During Meeting Two of the participants reviewed all of the items series of four Working Group meetings placed on the maps and devised described in Chapter 1, participants between four and six themes that were divided into small groups and would capture all of the items. Each given large maps of the Little Colorado small group then reported its themes to watershed. They were then asked a the whole group. The whole group then series of four questions designed to worked all of themes suggested by each elicit responses that would describe the smaller group into one set of between heritage of the region. four and six themes. This process took place at five meetings in five different Š If you had a two-week dream locations across the watershed and vacation in the Little Colorado resulted in a total of 25 heritage themes River watershed, where would you being suggested. Many of the themes go? from a Working Group in one meeting Š If you had to describe this area to location were virtually the same as someone who had never been here, themes suggested by one or more what would you say? Working Groups in other meeting Š When friends or family come to locations, thus giving evidence that visit, where do you take them? particular themes indeed identified Š If “something” were to leave this prevalent, consistent, and over-arching area forever, what would you miss characteristics of the region. The most? Heritage Programs Coordinator reviewed all 25 suggestions and found Participants drew or wrote their seven common themes that united the responses on the maps. In most cases, most frequently suggested themes by the maps were completely covered the Working Groups. Those seven with sites, references to historical unifying themes became the seven

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources Page 39

heritage themes described in this were written on large pieces of paper chapter: and participants wrote down the name of the resource (a site, event, Š Sacred and Enchanted Landscapes organization, business, etc.) and its Š Trails, Roads, and Rails of the West general location on the paper of the Š Native Nations particular theme the resource fit. Š Living from the Land Participants were asked to identify Š Archaeology resources that related to tourism as Š Expressions of Art and Life well as those that served local Š Outdoor Recreation communities, although often a single resource fulfilled both functions. After establishing the seven heritage Often, too, a single resource reflected themes, the next round of Working more than one theme. The related Group meetings focused on identifying resources sections that appear in each resources within the watershed that heritage theme chapter are a direct reflected, interpreted, or embodied one result of data generated during these or more themes. The seven themes Working Group meetings.

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 130

Theme 6 Expressions of Art and Life

SUMMARY OF THEME are highly prized by museums, private collectors, and individuals. The American Southwest has long been noted for its association with Native From the late 19th to the late 20th American arts and crafts. For literally century, trading posts were the thousands of years, this region has primary locations where Native artists been home to cultures and tribal took their pieces and where non- groups who developed complex and Natives could purchase them. Trading sophisticated societies that posts also served a crucial role in the incorporated a broad range of religious household economies of most Native activities, governmental systems, families and were a centerpiece of any transportation and communication community. Traders served a key role networks, agricultural practices, in the community, keeping necessary architecture, science, astronomy, and supplies available during economically the technology required to lean times and often serving as liaisons manufacture, utilize, and trade a between the Native community and number of craft items that were outsiders. necessary adjuncts to daily life routines. For over 2,000 years, the vast Several Little Colorado communities Colorado Plateau has been home to the are graced with impressive murals that Basketmaker/Anasazi/Pueblo culture. honor the multi-layered history of their In late prehistoric times, this culture respective locations. Painted by Native became one of the most advanced and non-Native artists alike, their societies in all of North America, in subjects cover the full range of history, spite of the difficult terrain and geography, and cultural diversity. The unpredictable weather patterns. murals, some more than 50 years old and some completed just last year, are The quality and originality of the art vibrant and engaging testimonies to the produced reflects the sophistication of richness of the region. the culture in general. Navajo arts and crafts production is as impressive as that of Pueblo tribes. Both Navajo and DESCRIPTION OF THEME Pueblo cultures are known for pottery, jewelry, weaving, and basket making as Pueblo Arts well as other forms. The Native Southwest artistic style is recognized The ancient culture, variously known the world over. The style embodies key as the Anasazi, Hisatsinom, or elements of the cultures including Ancestral Pueblo, once ranged over the belief systems, the surrounding entire southern portion of the Colorado environment, and various cultural Plateau. The two most western practices. Native arts serve to connect branches, the Zuni and the Hopi, and reconnect the artist to the spiritual occupied the drainages of the Little and physical landscape, as well as Colorado River. One of their most primary sources of income. In the non- significant crafts centered around the Native world, Native Southwest arts tradition of ceramics. Pueblo pottery is

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 131

perhaps the most distinctive, versatile, was successful in revitalizing pottery and long-lived craft found among any making among Hopi artisans. Her North American Indian group. children carried on the tradition, and now many of her grandchildren are Until the end of the 19th century, continuing the craft, still using local pottery was primarily a household supplies of clay and temper, craft. Since the beginning of the manufacturing the vessel by the coil ceramic tradition in the 1st century, technique, painting Sikyatki style millions of pots have been created for designs, and firing the pots in outdoor cooking, food storage, holding water, kilns utilizing sheep dung and locally serving foods, and for ritual uses. mined bituminous coal. Today, pottery Eventually the pots would be given is made in all the villages throughout away, traded, or worn out, broken, and the three mesas on the Hopi discarded. reservation, but painted, or decorated vessels are only produced on First By the middle of the 19th century, with Mesa. Pottery from Second and Third metal pots and pans, and later plastic Mesas are always plainwares with a and glass containers, readily available red slip. at the trading posts, pottery making quickly declined. Modern pottery is The Pueblo of Zuni witnessed a similar only occasionally utilitarian and, when decline of pottery production made for use within the Pueblos, it is throughout the 19th and early 20th mainly for ceremonial use. Irrespective centuries. After World War II, almost of its historical value, almost all every family in the Pueblo was engaged contemporary Pueblo pottery is valued in some facet of silversmithing, and purely on the basis of aesthetics and the only three or four families—and mostly reputation of the potter. It is produced the women of the families—continued by one culture largely for the to produce traditional pottery. In the appreciation of another culture that mid-1960’s, Zuni High School initiated buys and collects it. an art program that included pottery making. A granddaughter of Nampeyo, Generally speaking, Hopi pottery of the Daisy Hooee, who had married a Zuni, 19th century was coarsely made, with was hired to teach the course. She crude designs, and poorly fired. A made a point of teaching only the Zuni major change occurred in 1897 when J. style pottery and even took her Walter Fewkes, the distinguished students to various museums in the anthropologist of the Bureau of Southwest to view and study their Zuni American Ethnology, came to the Hopi pottery collections. By 1975, when villages and began to excavate the long- Jennie Laate took over the program, 78 abandoned ruin of Sikyatki. Here he students had gone through the classes. found quantities of beautiful and well- Currently, these former students, both executed pottery dating back some 400 men and women, and their children years. Among his Native workmen was form the nucleus of the community’s a man named Laysoo, whose wife, a pottery makers. Although most adhere Hopi-Tewa, became extremely to the traditional methods, several now interested in the old pieces and tend to utilize commercial clays, and determined to revive the old styles. fire the vessels in an electric kiln.

This woman, known to all students and In the 21st century, pottery is a vital collectors of Hopi pottery as Nampeyo, craft for both Hopi and Zuni.

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 132

Production is not limited just to Eventually, the peoples of the Colorado women, as Lawrence Namoki (Hopi) Plateau developed a sturdy, drought- and Randy Nahohai (Zuni) can attest. resistant species of cotton that required In a number of cases, the younger only 85 frost-free days for maturity. craftspeople are not just producing the Known as Gossypium hopii, it soon traditional bowl and jar forms. Their became a fiber of choice among the sculptural pieces are adding a new, northern villages. By the 13th century, fresh dimension to both contemporary the ancestors of the Hopi, Zuni, and Hopi and Zuni ceramics. Acoma were growing and harvesting great quantities of this cotton. Another Pueblo craft that is rooted in Tradition indicates that while women antiquity is textile production. The assisted in de-seeding the bolls and technique of utilizing plant fibers by spinning the fibers into yarn, it was the interlacing two elements, the warp men of the village who did the actual (foundation) and weft (binder), weaving. The first Spaniards who came resulting in a basket, plaque, or even into the area were very impressed with sandals, can be traced back some 6,000 both the quality and quantity of Pueblo years to the Folsom culture. In fact, the blankets. Antonio de Espejo, who earliest phases of the Anasazi/Pueblo visited the Hopi village of Awatobi in culture has been referred to as 1582 recorded, “Hardly had we pitched “Basketmaker” because of the camp when about 1000 Indians came tremendous amount of baskets and laden with maize, ears of green corn, containers produced by these people pinole (corn meal), tamales, and 1,500 to 2,000 years ago. firewood, and they offered it all together with 600 widths of blankets, The people of the past were able to small and large, white and painted utilize a wide variety of plant and (colored) so that it was a pleasant sight animal fibers, including yucca, agave, to behold.” milkweed, hemp, sotol, bear grass, human hair, dog hair, and strips of In late historic times, it seems that the rabbit fur which were incorporated into Zuni stopped growing cotton and yarns made on a yucca-fiber core. The depended entirely on the Hopi for this more rigid fibers were used in making raw material. As Spanish-introduced baskets and sandals, while the more sheep and goats made wool and flexible strands, spun together to make mohair readily available, the use of a long yarn, were favored for weaving cotton yarn was reduced to the blankets or sashes. manufacture of traditional ritual garments. The last recorded harvest of A significant change occurred about cotton on the Hopi reservation 500 A.D. when cotton was introduced occurred in 1942. After World War II, into the region. A species of a long- commercially produced cotton yarns staple cotton, Gossypium hirsutum, became available, and today the few which needed almost 200 days to Hopi men who still produce woven maturity, was grown in large amounts textiles mostly utilize commercial by the Hohokam in the lower Salt and cotton yarns colored with commercial Gila river drainages. For several dyes. Most of their products are centuries, harvested raw cotton was shoulder blankets, kilts, and sashes traded to the northern Mogollon and worn in ceremonies and also traded to Anasazi/Pueblo peoples for their the Zuni, Acoma, and Laguna Pueblos weaving needs. for the same purposes.

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 133

Besides the crafts discussed above, the and then using the surplus for trade. Hopi are also well known for their Navajo oral tradition states the carvings using the root of a knowledge of weaving was a gift cottonwood tree. Begun hundreds of taught by Spider Woman, one of the years ago as simple renditions of their Holy People. Spider Woman’s holy messengers (kachinas) they were husband, Spider Man, built the loom intended as teaching tools for the for her, using elements of the earth and children. By the middle of the last sky, lightning rods, and sun rays for its century, with the availability of construction. This symbolism shows modern carving tools, files, and knives, the great connection and reverence for these carvings became more life-like the natural world in Navajo weavings. and the masks and body paints of the Weaving is as much a spiritual practice figurines more detailed. These uniquely as it is a task necessary for the crafted carvings soon caught the production of needed items. attention of both visitors and collectors. Today, finely carved kachina figurines Nearly all Navajos were forced from are recognized as one of the most their homeland to live at Bosque artistic and sophisticated art forms Redondo in eastern New Mexico from produced by any Native American 1864 to 1868. The Treaty of Peace group. signed on June 1, 1868 established the first part of the current Navajo Reservation and during the last three Navajo Arts decades of the 1800s, the Navajo population and economy grew, as did The various Apache tribes, including their land holdings. By 1890, Navajos the Navajos, are descendants of an were selling over two million pounds Athabaskan migration that arrived, and of surplus wool to the various trading began to settle in the Southwest during posts, who in turn shipped the wool to the early years of the 15th century. By eastern markets. But it was what the the time the Spaniards arrived, a Navajos did with the wool and mohair northern branch of these Athabaskan- they kept that soon created a national Apaches had converted from the market. traditional hunting-gathering society to one heavily involved in agriculture. Up until this time, and even during the Their Tewa Pueblo neighbors referred forced exile at Bosque Redondo, to them as “Nabaju,” or People of the Navajo women took the wool they Great Planted Fields. sheared from their sheep, washed, carded, spun, and dyed it, and wove By the end of the 18th century, Navajos blankets and women’s dresses again re-structured their economy and incorporating plain stripe motifs. lifeways to compensate for the large Although well woven, the designs were flocks of sheep and goats that they had always simple, the colors limited, and acquired from the Spanish. the sizes fairly standard. In response to Consequently, they began a shift to the suggestions from the various traders, south and west of their original Navajo weavers soon began to enlarge homeland in a constant search for new their looms, tighten up the warp, pastures. It was during these times that experiment with both commercial and the Navajo women, using wool from natural dyes, produce a variety of their flocks, began to weave garments sizes, and adapt new designs, including and blankets, first for their own use borders.

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 134

Since weaving was a year-round received in blacksmithing and activity, the sale and trade of textiles metalworking. Once they returned was a constant source of income for home, several continued practicing Navajo families and provided a what they learned and began to work consistent flow of product to the in silver rather than copper. One trading posts. A concerted effort by Navajo silversmith, Atsidi Chon (Ugly several traders, including Lorenzo Smith), after establishing himself as a Hubbell, Sam Day, Cozy McSparron, J. well-known craftsman, moved to Zuni B. Moore, and Mike Kirk, soon Pueblo in the mid-1870s. In exchange produced a national market for these for room and meals, he made jewelry textiles, which were promoted as rugs to sell and also taught several young rather than blankets. Literally tons of men the basic techniques of cast and Navajo rugs were shipped off the stamped items. It has been reported reservation to rail centers in Gallup, that he was the first silversmith, in Winslow, and Flagstaff and on to 1880, to set a piece of turquoise on a eastern and California markets. As time ring, and this wonderful combination went on, the personal preferences of of silver and turquoise has been a the traders, especially regarding hallmark of Southwestern Indian designs and color combinations, jewelry ever since. A decade later, one became strong influences on the local of Atsidi Chon’s sons repeated his weavers and soon resulted in the so- father’s tactics and moved in with a called area or regional rugs. Within the Hopi family on Second Mesa. Again, in Little Colorado region, some of the exchange for room and meals, he most widely recognized regional rugs created custom-ordered jewelry to sell are Ganado Red, Wide Ruins-Pine to the Hopis and also instructed several Springs, Burntwater, Storm-pattern, men in the art of silversmithing. Pictorial, and Gallup throw. More Generally speaking, for awhile, Navajo, recently, trader Bruce Burnham in Zuni and Hopi jewelry styles were Sanders has encouraged weavers in the indistinguishable from each other. Nahata Dziil Chapter (or New Lands) area to recreate the old traditional The Fred Harvey Company took note Germantown designs—Germantown, of the possibilities of selling Navajo Pennsylvania being a source of some of jewelry to non-Indians riding the the early commercial yarns used on the railroad or staying at any one of their Navajo Reservation. guest lodges. The idea proved to be an immediate success, and soon traders in Currently, Navajo weaving is still a Gallup, Winslow, and Flagstaff were vibrant craft and is both a source of responding by ordering large quantities pride as well as income for many of lighter-weight jewelry from the local families. One of the major changes in craftspeople and reselling the pieces to modern times has been the wide the Fred Harvey Company. By the mid- availability of commercially processed 1920s, this commercialization had wool yarns, making the time- produced an enormous awareness and consuming steps of shearing, washing, demand for Native jewelry, but also carding, spinning and dyeing much less had cheapened the product. The common. jewelry typically consisted of bracelets, rings, pins, bolo ties, earrings and One of the few positive aspects of the necklaces of light-weight silver years spent at Bosque Redondo may stamped with so-called Indian designs, have been the training some of the men and set with a few small turquoises.

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 135

Both the Depression and World War II Trading Posts played havoc with the production and sale of Indian jewelry, although by the Both historically and in the present- early 1950s, the situation had turned day, large amounts of Native arts and around. Returning Navajo veterans, crafts can be found in the region’s finding jobs scarce, took up various trading posts. The history of silversmithing as a home-based Indian trading practices goes back to industry. A number of Hopi veterans, the itinerant Spanish-Mexican trader with financial support through the G.I. with his pack train who would wander Bill, formed the Hopi Silversmiths from pueblo to pueblo, or visit Guild and concentrated on producing a rancherias, clusters of Navajo hogans, distinctive style of overlay jewelry. scattered throughout the mountainous Zuni silversmiths, with newly headwaters of the San Juan River. A developed precision tools, emphasized few Mexican settlements such as cluster work, petit-point and inlay Cubero and Cebolleta also served as using a variety of semi-precious stones. trading centers, as did the larger pueblos at Jemez, Acoma, and Zuni. This renewal of jewelry making was During the early years of the American coupled with a post-war economic period, second generation Santa Fe or boom. After years of gas rationing, Taos traders began edging closer to the Americans were on the move like never Little Colorado region. Romulo before. Traffic on old Route 66 was Martinez moved back and forth along almost bumper to bumper, and these the eastern escarpment of the Chuska people were in a mood to stop at a Mountains. Juan Anaya, who in his roadside booth, or a store downtown, youth had been captured and raised by and buy—pottery, rugs, paintings, and the Navajos and spoke their language jewelry. fluently, began a trading post in the 1850s near “Pass Washington” (now Jewelry production is still a good Narbona Pass) on what is now New source of employment and income Mexico Route 134. among the Zuni, Hopi, and Navajo to this day. Changes and improvements in Most trading posts in the Little equipment and tools have made it Colorado region, however, developed easier to produce fine, and very after 1868 when the Navajo were expensive, items of jewelry. However, transferred from Bosque Redondo to the indiscriminate use of treated their own reservation. It was the turquoise, other stones of poor quality, military that stripped Navajos of their and the flooding of the market with self-sufficient household economics, look-alike pieces that are not produced but it was the trader that aided in that by Native Americans in more recent recovery and started many households times have negatively impacted the in a new direction. The four years at buying public’s trust and interest in Bosque Redondo, followed by ten years acquiring and wearing Native of rations distribution once the American jewelry. Much effort on the reservation was established, part of individual artists, artists’ accustomed Navajos to manufactured guilds, tribal agencies, and other American goods and basic foodstuffs. organizations has been put into public The trader provided these in exchange education campaigns to teach ways in for the Navajo products of wool, which to discern authentic pieces from blankets, jewelry, livestock, and other fakes. goods. Manufactured goods, of course,

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 136

were also sought by other tribes and because what would happen would non-Natives living in the vicinity. be, the temptation would be just too great for the customer to just For the most part, Indian agents spend all their buying power in a appointed from Washington to six-week period, and then have supervise these newly-designated two, three months of no ability to reservations were in office too short a buy at all. And so a trader had a time to begin to understand the people grave responsibility of budgeting or to care about their problems. On the his customer… You knew always, other hand, traders had a real vested within ten dollars—I don’t know interest in the welfare of their how we did it—but a good trader customers. In this post-Civil War always knew within ten dollars of period, firearms were not usually a what every customer owed. And trading post commodity, nor was you knew that they would have whisky freely dipped from a hidden ten, twelve bags of wool, or you barrel as many Hollywood movies knew that they would have depict; the trader, wishing to stay alive, seventy-five or eighty head of placed too high a value on his life. lambs to sell. So you knew what Traders who moved in with an idea of their capacity was to pay their bill, making quick fortunes found no hard so you kind of gauged ‘em and money in circulation—many trading only would let ‘em spend so much posts issued tin tokens in exchange for every month, knowing that by the goods—and the Indians too clever to time wool season was here, or the trade long with anyone who cheated time lamb season was here, they them. would be pretty much at their limit…We knew within ten dollars Simple integrity, leavened with of how much a customer owed. We understanding, humor, personal knew within ten or fifteen dollars courage, and commitment were prime how much they would have in requisites for a successful trading assets to pay. So it was a funny venture. John Lorenzo Hubbell, system, but that was probably the founder of the trading post that is now gravest responsibility that a trader the Hubbell Trading Post National had. But it wasn’t something that Historic Site and one of the most was explained to him, it was just successful and respected traders of his something that you took for time, wrote in 1907 that, “…The first granted, and your customer took it responsibility of an Indian trader…is to for granted, and that’s just the look after the material welfare of his way it was. You didn’t do neighbors” (Blue 1986:17). Modern-day anything that would put a family trader Bruce Burnham elaborates in in a position of not being able to this way: eat. (Burnham 1998) I would say that the role of the trader in the community was In the early days, most traders had almost family-like, inasmuch as only a grammar school education but you had a responsibility to take they soon found themselves bilingual care of your customer. You had a and playing the roles of a doctor, responsibility of making sure they banker, advisor, peacemaker, and even ate year-round. A trader couldn’t mortician. They also found themselves just merchandise his wares, thrust into a position of being the

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 137

bridge between their community and enough credit to assemble a wagonload the various government agencies. of pots and pans, staples like flour, coffee, and sugar, some bolts of cloth, They came from various backgrounds. and a variety of tools. At the same time Among the first in the Little Colorado they would initiate the difficult and region were a German named thorny process of obtaining a trader’s Hermann Wolf, who established a post license from the Indian Service, a in the 1870s near Canyon Diablo, and process dependent more on who you the legendary trader, Berrando, who knew, rather than what you knew. also about 1870 built “a kind of trading With license and inventory in hand, the post” at Horse Head Crossing—later would-be trader began to look for a known as Holbrook, Arizona—and put good location—easy for his Native up a sign at the door reading “If you customers, but not too close to his have money, you can eat. No got competition. In most cases, this money, eat anyway.” Some were resulted in locating near a spring or Mormons like Joseph Lehi Foutz and other source of water used by locals for his sons and sons-in-law who settled in their domestic and livestock needs. the Tuba City area along with Jacob Since they had to make periodic trips to Hamblin. Fellow Mormons David the water source, the trader could Udall and his sons established count on their business at the same themselves around St. Johns and Seth time. Historical records are replete “Shush” Tanner and his sons scattered with the names of traders who stayed in and around the Gallup area. A in the business less than a year, but a number were Civil War veterans, from number of them stuck it out and made both North and South, sick of war and a life-long vocation of it, like Dan crowding civilization: men like Anson DuBois at Rock Springs, Charles Damon and Samuel Day. Damon was a Cousins at Cornfields, Thomas Keam at son of Irish immigrants and a veteran Hopi, David and William Babbitt at of the California Column who had been Red Lake, Flagstaff, Willow Springs, stationed at Ft. Sumner during the last Cedar Ridge and Tuba City. By the two years of Navajo incarceration. He beginning of the 20th century, there married a Navajo woman and returned were nearly 50 active trading posts with them to their reservation in 1868 throughout the southern portion of the and set up a trading post in Ft. Navajo Reservation, the area embraced Defiance. Day served with an Ohio by the Little Colorado River and its Infantry Regiment during the Civil tributaries. Lorenzo Hubbell owned or War, then came West as a surveyor, managed about two dozen of these and eventually to the Navajo posts, including a retail business in Reservation where he and his sons Winslow. established several trading posts near St. Michaels and Chinle, Arizona. In Zuni, and the region to the north, Others were Englishmen, Irish, traders like C.G. Wallace, Charles Germans, or Czechs. A rare few were Kelsey, and the Vanderwagens were survivors of the old mountain-man responding to the request by Fred trade, their leathery skins bullet- Harvey to furnish his company with scarred and sun-cured. Indian-made jewelry. For more than four decades, almost every family in Many of these early traders had very Zuni had at least one active little collateral or financial backing but silversmith. The Navajos to the north would manage, somehow, to get also became highly involved in this

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 138

lucrative jewelry manufacturing At the same time, communities on the business. various reservations became more cosmopolitan. Ramah, Zuni, Window This demand also led to the production Rock, Ft. Defiance, Ganado, Keams of imitation jewelry, and in an effort to Canyon, Polacca, Tuba City, and curtail this activity, a number of traders Pinyon were supporting grocery stores, banded together to form the United gas stations, restaurants, laundromats, Indian Traders Association (UITA) in churches, public schools, post offices, 1931. The initial function of this and a motel or two. In many cases, the organization was to fight for legislation old traditional trading post was closed that would insure authenticity of down, or converted into a convenience Indian arts and crafts. But then came store. the Depression, and World War II, followed by a period of dramatic Things came to a climax in 1972, with a transformations throughout Indian series of hearings carried out by the Country. With the demise of passenger Federal Trade Commission, responding trains, the need for Indian jewelry and to complaints over relationships souvenir crafts by the Fred Harvey between some traders and their Company likewise diminished. For customers and abuses of the pawn awhile, however, this was offset by system. For over a century, the practice increased automobile traffic on national of pawn was a central part of Navajo highways such as Route 66. household economics and, to a lesser degree, for the Apache, Hopi, and Indian craftspeople took advantage of Zuni. For the Navajo in particular, their this increased traffic by setting up little major source of income came in the late road-side booths and selling their spring and early summer with the sale jewelry, pottery, and rugs directly to of wool and lambs. For the rest of the the tourist. For the first time, Navajos, year, they had to rely on their ability to Zunis, and Hopis became produce and sell woven rugs and/or entrepreneurs, resulting in less and less pieces of silver and turquoise jewelry. dependence on the middleman—the In many situations, it was the practice trader. At the tribal level, guilds and of pawning individual property that co-ops were established to encourage provided the necessary funds for consistency in products, provide raw acquiring foodstuffs, clothing, and materials, and develop regional and supplies for immediate domestic needs. national markets. All these activities replaced the role the local trader had Because trade in Indian country existed played in the area of arts and crafts. on a system of barter and credit, the most successful traders were those who By the end of the 1960s, paved roads extended enough credit to keep their crisscrossed the Navajo and Hopi clientele through the lean months, but reservations, and almost all families not to the extent that they bankrupted had replaced their wagons with pick- themselves. Collateral for this credit ups. This made travel a lot easier and was usually jewelry, Pendleton trips to border towns, like Gallup, blankets, guns, or even saddles that Holbrook, Winslow, and Flagstaff, were deposited as pawn with the became routine for shopping purposes. trader. Government regulations This, too, further eroded the need to determined the amount of interest the rely on the local trader for foodstuffs trader could charge, and the length of and gasoline. time the trader had to keep the item

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 139

(usually six months) after the last Bruce Burnham describes the future of principle/interest payment had been his profession in this way: made before he could consider the loan in default and take possession of the The future of Indian trading, I item (then considered “dead” pawn). think, is going to swing more and more in line with rug weaving and Most traders carried some families on arts and crafts. The traders are no their books indefinitely, and when a longer going to be general trading post changed hands or went merchandise Indian traders as out of business, it was often found that we’ve known ‘em, but they’re the owner was owed large sums of going to become specialized traders money in uncollected debts. In the vast of dealing in arts and crafts. The majority of cases, traders conducted trading posts, as a trading post, is their pawn business with utmost doomed, and we’re on the last legs honesty and integrity, and Native of it now… And we’re just one of families scrupulously made their many, many businesses in the interest and principle payments on United States that have made the time and redeemed the items in proper crossover into the computer age fashion. and not survived it. It was more pronounced for us, because we Unfortunately, within a system of went from seeing our customers barter and exchange such as this, there riding in a wagon to data was bound to be situations, on both processing, in forty years. That’s a sides, that would lead to controversy, tremendous change. It hasn’t been arguments, and accusations. As a result that long since I’ve seen Navajos of the FTC hearings and coming into the store in a wagon. recommendations, Congress enacted (Burnham 1998) new regulations regarding the procedures dealing with pawn. These However, a vestige of that era still stifling regulations were appealed by remains in Gallup, and to some extent, UITA, but to no avail. Within a year or along the Route 66-Interstate 40 so, pawn, which had been a constant corridor. Perhaps the store that most form of exchange between Navajos and retains the atmosphere of the old-time traders for over a century, ceased trading post is Ellis Tanner Trading almost altogether. Today, only a few Company. It includes a complete line of businesses in border towns continue to groceries, plus a meat counter (always deal in pawn, in spite of all the new fresh mutton), a cafeteria that serves restrictions and paper work. the best fry bread and lamb stew in town, a very active pawn department, By the end of the 20th century, the and a sizable selection of Indian arts classic trading post era was over. The and crafts for sale. In the spring there Hubbell trading post and home in are clerks who will assist their Indian Ganado had been purchased and customers in filing their income tax restored by the National Park Service forms. They pay good prices in the as a National Historic Site and UITA spring for wool, and for pinyon nuts in had been disbanded. Many other posts the fall. Another major operation in lie alone and abandoned, their stark, downtown Gallup is Richardson’s decaying walls mute testimony to one Trading Post. The business has been in of the most unique and fascinating the family since 1911, and the family stories of the life in the Southwest. patriarch, 86-year-old Bill Richardson,

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 140

still works at least five days a week. Native American customs, dances, His business is centered around the traditional foods, rodeos, and other buying and selling of Indian crafts, games would expand public mainly jewelry, rugs, and paintings, appreciation of Native arts and crafts, but he does carry on a lively pawn and thus, increase the demand. business. Two other stores, Perry Null’s (formerly Tobe Turpen’s) At a Kiwanis Club meeting in the Trading Post and Bill Malone’s Shush spring of 1922, trader Mike Kirk Yaz Trading Post also deal in pawn, as proposed that the community well as buying and selling arts and undertake an annual tribute to Native crafts. Griswold’s Trading Post, just people from around the region. With east of Window Rock, conducts a the financial backing of the railroad similar business. and the Kiwanis Club, Gallup hosted a four-day gathering in the early fall of In the Sanders, Arizona area there are that year. Indian families arrived from also two traditional trading posts that, all directions in their horse-drawn although visitor/tourist oriented, do a wagons, bonfires attracted Indian and good business with their Navajo visitor alike, and automobile headlights customers. One is Indian Ruins Trading were used to illuminate the night Post owned by a second-generation dances. Over the years, the Inter-Tribal trader, Armand Ortega, and the other Indian Ceremonial became firmly is Burnham Trading Post, owned and rooted in Gallup’s calendar of activities operated by fourth-generation trader and was attended by thousands of Bruce Burnham. Southwestern Indians, tourists, craft dealers, and collectors from all over the country. Gallup: Home of the Inter-tribal Indian Ceremonial In 1952, the Gallup Ceremonial welcomed its most famous guest. In the 1920s Gallup was a dry, dusty Having just won the Republican town spread along the rail tracks of the nomination for president, Dwight D. Atchison, Topeka and Santa Fe Eisenhower accepted an invitation to Railroad. People and buildings alike attend that year’s event. He felt it was were constantly pounded by the most appropriate since that was the unrelenting winds, and covered with a first time Navajos could vote in both combination of dust and coal soot. national and state elections. Many streets in town were not yet paved. The town boasted almost 2,000 The mid-1970s saw a major change in residents, a railroad depot, several the Ceremonial. The old performance hotels and cafes, a number of saloons, grounds were incorporated into the and Kitchen’s Opera House. Both in right-of-way for the new Interstate 40 town and scattered throughout the and land was purchased about five vicinity were a number of trading posts miles east of Gallup, near Churchrock, that catered primarily to Navajos and for the new facility. In 1975, the Gallup Zunis. Thanks to businesses like the Ceremonial held its first event in the Fred Harvey Co., Navajo and Zuni, as new arena and grounds at Red Rock well as some Hopi, jewelry and other State Park. Today, the Gallup Inter- crafts were getting recognized by the Tribal Indian Ceremonial, the largest general public. Therefore, it seemed Indian related event in North America, likely that a broader exposure to is still a major attraction. Held during

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 141

the second week in August, the event can also watch artisans, weavers, inlay consists of a colorful and exciting jewelers, fetish carvers, potters, and assortment of arts and crafts booths, painters demonstrate their crafts. The food booths, exhibit hall of juried art, Hopi show always takes place around craft demonstrators, fashion shows, the Fourth of July weekend, and cultural workshops, rodeos, song-and- features numerous artists and dance competitions, golf tournament, craftspeople from the twelve Hopi pow-wows, queen contest, parades, villages who continue to create and entertainment, long-distance runs, and innovate upon centuries-old arts and its famous Night Performances which crafts traditions. Up-close proudly depict traditional songs and demonstrations, dance groups, music, dances of almost two dozen tribal traditional foods, and insightful groups from the western United States, discussions about the Hopi values of Canada, and Mexico. humility, cooperation, respect, balance, and earth stewardship fill the Museum grounds throughout the weekend. The Native American Arts Shows Navajo show takes place in early and Auctions August and is augmented by cultural seminars and workshops on Navajo Throughout the Little Colorado River language and philosophy, traditional Valley, or nearby, a number of art songs and dances, a retrospective shows and/or auctions in addition to fashion show, presentations by the Ceremonial are conducted contemporary native filmmakers, annually. booths selling native foods, and craft demonstrations, including weavers The Hubbell Trading Post National working on upright looms. Historic Site in Ganado, Arizona sponsors two extraordinary Native These three shows have a fascinating American Art Auctions every year. history. In the 1920s, the new director Both auctions include contemporary of the Museum of Northern Arizona, and antique Navajo weavings, Pueblo Dr. Harold Colton, and his wife, Mary- kachina carvings, pottery, paintings, Russell Ferrell Colton, a recognized sculptures, and baskets from many artist in her own right, became very tribes. Sale of items usually ranges concerned over the deterioration of from $20 to $4,000. All contemporary traditional crafts among Southwest items are submitted for sale by the Indians. Their efforts to help remedy artisans themselves, some of whom this situation centered on their creation attend the auction and will pose for a of an exhibit and sale on the museum picture with their item and the winning grounds. This exhibit, specializing on bidder. In association with the auction the Hopi, and the subsequent ones are a number of booths selling a variety focusing on Navajo and Zuni, have a of native foods. four-fold objective: (1) to encourage the manufacture of objects of artistic and The Museum of Northern Arizona in commercial value which have fallen Flagstaff conducts three major Native into disuse and are becoming rare; (2) American Festivals of Art and Culture to stimulate better workmanship each year. The Zuni show is usually among all the people; (3) to encourage held at the end of May, and is a good the development of new forms of art of opportunity to experience traditional purely Indian design and the Zuni dances and flute playing. Visitors application of old arts to modern uses;

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 142

and (4) to create a wider market for traditional dances, as well as a large Hopi (and Navajo and Zuni) goods of assortment of contemporary arts and the finest type. crafts. The Navajo Nation Fair in Window Rock and the fair held in Tuba In 1930, the Coltons established the City are truly spectacular cultural annual Hopi Craftsman Exhibit at the events. museum to provide a place for Hopi craft work to be shown and sold and to furnish an incentive for excellence in Ancient Way Arts Trail the work. At first they concentrated on pottery, basketry, and weaving, but by A recent development has been 1940 jewelry also became an item of undertaken to expand the old Trail of interest. The shows were discontinued the Ancients Byway into an Ancient during World War II, but started up Way Arts Trail. This trail will again in 1947. At that time, the Coltons incorporate Route 53 from Grants, New worked closely with Paul Saufkie, Fred Mexico, to Zuni Pueblo, and then north Kabotie, and 18 Hopi veterans who on Route 602 to Gallup, and then established the silversmithing training follow Route 491 to Newcomb. The classes under the G.I. Veterans’ goal of this designation is to better Program. This project not only market the artists and craftspeople who produced a number of fine Hopi live along the route and to enhance silversmiths, but was also instrumental regional economic development by in the development of an overlay providing additional advertising and technique that became distinctively exposure to trading posts, art galleries, Hopi. museums and other tourist-related facilities that can be found along the In 1949, the Coltons expanded their Trail. The corridor between El Morro efforts at promoting Indian crafts by National Monument and the small initiating a Navajo Crafts Show, and in community of Ramah is active year- 1986 the museum added an exhibit and round with some type of art-related sale of Zuni crafts and jewelry. event. To the south, the Navajo families around Pine Hill, have formed the The Museum of Northern Arizona also Ramah Navajo Weavers Guild. The sponsors a “Celebraciones de la association utilizes a traditional 8-sided Gente,” or Celebration of the Day of the hogan as their office, meeting place, Dead (Dia de los Muertos). This is an and sales room. These weavers ancient Mesoamerican holiday held maintain their own standards for throughout Mexico, Latin America, and beautiful rugs and pillows. All in the Hispanic American Southwest. products are woven with locally This festival offers the visitor an insight grown, handspun, naturally dyed, to traditional rituals, songs, foods, and Churro wool. Members are available a wide assortment of Hispanic crafts for craft demonstrations and/or and art. lectures on the history of Navajo weaving. The Navajo Nation conducts a series of fairs throughout the fall at several Zuni Pueblo includes an Arts & Crafts locations. Each of these fairs include Enterprise, a Visitor Center, the rodeos, carnivals, queen contests, 4-H A:shiwi A:wan Museum and Heritage and livestock exhibits, pow-wows, a Center, the Zuni Craftsman’s parade, evening programs and Cooperative, and several privately

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 143

owned and operated galleries and Silvercraft Guild. Cecil Calnimptewa a studios. Tours can be arranged to visit well-known kachina carver also artists at their workrooms in the homes operates a gallery on the outskirts of and to the old Spanish mission church Old Oraibi, near the Monongye which has beautiful murals of Zuni Gallery. kachinas. An annual Zuni Arts Expo is always held on the same weekend as Since 2000, the Hopi Putavi Project has the Inter-Tribal Indian Ceremonial in sponsored Tuhisma, the Hopi Indian Gallup and the annual Zuni Tribal Fair Arts & Crafts Market Show. It is held follows shortly thereafter. Two active every Columbus Day weekend on trading posts, Turquoise Village and Second Mesa and consists of a number Silver Rain Jewelry, provide a wide of Hopi craft vendors, social dances, assortment of Zuni jewelry, fetishes, and native food booths. Another paintings, and pottery. annual show and sale of crafts takes place on a Saturday in July during On Route 602, Joe Milo’s (Joe Suvoyuki Day at Homol’ovi Ruins Milosevich) Whitewater Trading Co. is State Park. Dances, art demonstrations, an active, modern trading post and food booths are all part of this representing a legacy of the working event and a larger arts and crafts sale relationships between a trader and his occurs the following day in the village Navajo and Zuni customers. of Sipaulovi. Furthermore, on most Saturdays during the summer, the Park In Gallup, a new facility, the Gallup hosts a series of cultural programs and Performing Arts Center (GPAC), plays lectures on Hopi culture. host to a number of cultural activities, including dance and music classes and recitals, monthly art shows featuring Economic Impact of Native Arts local artists, bluegrass sessions, teacher workshops and private musical Native American arts are a key factor instrument lessons. Generally, GPAC in the continuing development of broadens the base of understanding, tourism, especially heritage tourism. appreciation and support for the Tourism has been and is a significant performing and visual arts through contribution to the economic prosperity meaningful educational initiatives and of both New Mexico and Arizona. The community partnerships. estimated overall economic impact of the arts and crafts produced and sold in McKinley County alone amounts to Hopi Festivals approximately 20 percent of the total economy for the county. A fairly The Hopi villages also offer a variety of representative sample of statistics can outstanding crafts including plainware also be seen in data provided by and decorated pottery, overlay jewelry, McKinley County for 2003. The first ceremonial textiles, and kachina quarter of Arts & Crafts Cluster wages figurines. They are the only Puebloans for McKinley County was $4,524,910 who still produce baskets in fairly large out of a total amounting to $29,516,517. numbers and in a variety of techniques This equates to 15.3 percent of all (plaited, coil, and wicker). The Hopi wages for that quarter in the county Cultural Museum and craft shop on that were directly associated with the Second Mesa maintains an expansive Arts & Crafts Cluster. For the same inventory, as does the nearby Hopi quarter, the data show that 3,493 jobs

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 144

were linked to the Arts & Crafts during, and after World War II. In Cluster out of a total of 14,015. This 2005-06, Sargent completed two more computes to almost one-quarter of all murals on the front of the Gallup- the jobs in the county being related to McKinley County Adult Detention the business of supplying the raw Center. The “Work of Mind” is on the materials, producing, buying, or selling left side of the main entrance and is Native American arts and crafts. balanced by the “Work of Heart” mural on the right. At the same time, the The simple acts of buying and selling county sponsored a contest for a mural are one facet of the economics related design that would enhance the new to arts production. Engaging people in addition of the County Administration the experience of arts and crafts Building. The winner was Navajo artist production adds another layer. More Jerry Brown who conceived, produced, and more, people are seeking and installed a 20-ft by 25-ft mural educational, authentic experiences and using hundreds of ceramic tiles to one-on-one interactions when they create a mosaic depicting an idealized travel—and research shows they are rural landscape of McKinley County. willing to pay for the privilege. Artists who are willing and able to host guests Perhaps the grandest, and most can provide the unique experience and expensive, mural project began in 2005. opportunity to learn about a culture Known as the Downtown Mural that many travelers are seeking. Project, it consisted of eight buildings with unobstructed walls, eight subjects, and eight artists. Over the next two Mural Art Reflects Life in Little years the following artists all Colorado Communities completed their assigned projects: Irving Bahe, “Ceremonial;” Andrew For decades, Gallup has been graced Butler, “The Coal Mining Era;” Geddy with murals, both indoors and on the Epaloose, “The Zuni Mural;” Chester walls of buildings throughout the Kahn, “Native American Trading;” downtown area. Remnants of a Paul Newman, “The Great Gallup painting of a 1920s-style tour bus on a Mural;” Leon “Ric” Sarracino, “Gallup south First Street building is perhaps Community Life;” Erica Rae Sykes, the oldest public mural in town. In the “Multi-Cultural Women’s Mural;” and 1980s and early 1990s, several murals Richard K. Yazzie, “The (Navajo) Long were commissioned by the Main Street, Walk Home.” In 2007, two additional U.S.A. Program. These included Elmer murals were completed. One is a Yazzie’s rendition of Pyramid Rock – tribute to all the veterans from Church Rock scene, “The Rainmaker” McKinley County, and the other, by Ric by Ken Van Brott, and “Historical Sarracino is entitled “Gallup Buildings” by Mike Wallace. In 2001, Hispanics.” Be Sargent was commissioned to paint what is now the largest (18 ft by 60 ft) Gallup is renowned for its indoor outdoor public mural in the downtown murals as well. The two most famous area. The mural honors the famous murals were done under the auspices Navajo Code Talkers, a group of World of the Works Progress Administration War II Marines who used their native (WPA). Both are inside the McKinley language as a code in many Pacific County Courthouse, which was also battles. The mural depicts these Navajo built with WPA funds. On the ground warriors in cultural scenes before, floor is a 60 square-foot mural entitled

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 145

“Zuni Pottery Woman” done by Anna and a research library, and has Keener Wilton. On the second floor, in developed an outreach program the main courtroom, all four walls are available to schools. covered with a mural by Lloyd Moyan entitled “History of New Mexico.” This Tanner, a fourth-generation Indian 2,000 square-foot mural is the largest trader, sees this Circle of Light Mural WPA painting in the state of New project as a means to pay honor to the Mexico. Both murals were executed in people with whom he has worked for 1940. most of his life. This unique set of murals is a visual rendering of Navajo Without doubt, the most ambitious history and culture, and can be as undertaking, at least from the private popular with tourists and visitors as it sector, has been Ellis Tanner’s “Circle is with his Navajo customers. of Light.” In 1994, Tanner commissioned Navajo artist Chester In Window Rock, the Navajo and Kahn to paint murals of prominent Bureau of Indian Affairs buildings that Navajos on the walls of his business, were to comprise the new Navajo Ellis Tanner Trading Company, for the Tribal administrative center were built purpose of inspiring Navajo youth. The between 1933 and 1935. The Navajo seven-year project resulted in 58 Tribal Council Chamber was individual panels honoring prominent constructed of sandstone blocks, in an Navajo people of the 20th century. From 8-sided configuration, resembling a nationally recognized traditional and traditional Hogan. The interior walls contemporary artists, musicians, sports are covered with a mural that depicts figures, published scholars, journalists, the history of the Navajo people. Using physicians, educators, entrepreneurs, WPA funds, Indian Commissioner John tribal government and community Collier hired Gerald Nailor and his leaders, to lawyers, scientists, and assistant Hoke Dinetsosie to use the veterans, these individuals exemplify fresco technique for painting the mural. the tenacity and commitment of the Over the years the mural has been Navajo to succeed in their chosen fields subjected to abuse and leaky ceilings, while still maintaining a strong sense of but at present, has been restored and is cultural affiliation and pride. Three properly attended to, in recognition of additional murals, the “Return from Ft. its true historical value. Sumner,” “Honoring the Veterans,” and “The Working People” represent In Zuni, unusual and fascinating significant events and accomplishments murals appear on two interior walls of of the Navajo people as a nation. Our Lady of Guadalupe Mission. Built in 1629 and restored after the Pueblo Once the murals were finished, Tanner Revolt of 1680, the church gradually expanded the project in several fell into disuse in the latter part of the directions to continue the idea of 19th century. In 1966, that the Catholic inspiring Navajo youth. He established Church, Pueblo of Zuni, and the a non-profit organization, the Circle of National Park Service cooperated in a Light Navajo Educational Project project to restore the church. The effort (CLNEP), whose objective is to foster a was completed in 1970 and the mission strong sense of cultural pride and self- was formally rededicated on May 29, worth in Navajo youth. Today, the 1972. It was then that the noted Zuni project has a full-time staff, gives tours artist Alex Seowtewa approached Fr. of the murals, has created publications Niles Kraft with the idea of painting

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 146

representations of traditional kachinas Second Street (Route 66) and Kinsley on the walls of the restored mission. Avenue is now the most famous spot in Permission was granted and Seowtewa Winslow. There is a life-size bronze laid out his plans for the two murals. statue of a young man holding a guitar On the north wall, the main subject and a two-story mural depicting the would be the Shalako who would be story behind the famous song. On the associated with all the other Holy last weekend in September, the People that are active and present in townspeople turn out for the annual the winter dances and ceremonies. On Standin’ On The Corner Festival. This the south wall, he planned to paint two-day street party features a variety renditions of all the kachinas that dance of live music and numerous arts and in the summer months when villagers crafts booths (mostly Navajo and seek rain and bountiful crops. Hopi). In conjunction with the festival Seowtewa’s son Kenneth finished the is the annual show and sale of the High murals three decades later and the Desert Piece-makers Quilt Guild. This paintings have received both national unique show features the products of and international recognition. Mass is more than 20 Winslow artists. The no longer celebrated in the mission, but Guild has their own workshop, a guided tours are available from the converted home, where the members Zuni Tourism Office. can share the work space, tools, and sewing machines. Quilting is a Painting murals inside religious quintessential American art tradition, buildings is nothing new to Pueblo reflecting the creativity and artists. Kivas—traditional, semi- resourcefulness of the quilter. Quilts underground, Pueblo sacred structures from the High Desert Piece-makers used by men—were also sometimes reflect Southwest and Native- painted with murals that represented influenced designs as well as more clan and other sacred ceremonies, common quilt patterns. Another deities, or other important subjects and activity tied into the festival is the Just events. Cruzin’ Car Show. This event is a showcase for antique and restored Both Winslow and Holbrook boast vintage autos that come from around many downtown murals. Large and the nation. It features a large array of small, they depict different aspects of automobiles of all styles and sizes. life in the two frontier towns including the railroad, shootouts, Native Holbrook, in addition to its murals, has American trading, cattle grazing, the its impressive courthouse. In 1895, Pony Express, Route 66, and the Navajo County was created from mythical jackalope. A look at these western Apache County, and Holbrook murals is a look back in time. was designated the county seat. The imposing courthouse was completed in One of Winslow’s murals, however, 1898, and served in that capacity until has a more modern reference. In the 1976. Today, the courthouse is home to The mural and bronze sculpture early 1970’s, a song written by Glenn a fascinating museum. Visitors step that comprise “Standin’ on the Frey and Jackson Browne, Take It Easy, back in time and learn about the area’s Corner Park” on Route 66 in Winslow are already a focal became the first hit song by The Eagles. wild history. A walk through the old point of the community. The The verse, “Standin’ on a corner in jail, with walls covered in prisoners’ Route 66 Performance Plaza Winslow, Arizona” peaked people’s artwork, is especially interesting. being built adjacent to the park will add additional interest and interest in this small town on Route 66. During the summer months, Native life to the downtown. The corner, at the intersection of American dances are held in the

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 147

courtyard on weekday evenings. Many RELATED RESOURCES LIST special events also center around the courthouse, such as Old West Days in Š 1st Friday Art Walk, Flagstaff: A August which features arts and crafts popular event in Flagstaff for years, booths in addition to other kinds of the many downtown art shops and entertainment. galleries stay open late, host artist receptions, and otherwise celebrate the arts once a month. The vast DISTINCTIVENESS OF THEME majority of the businesses feature Native arts or arts by non-Native Native Southwest arts and crafts are locals. among the most recognizable artistic styles in the world. Navajos, Hopis, Š Ancient Way Art Trail, New Mexico: and Zunis share in this rich tradition, A designated route that takes developed over thousands of years, travelers through Navajo, Zuni, and and yet exhibit techniques and other artistic points of interest in specialized forms and patterns that western New Mexico. distinguish their art from other Southwest cultures. Native art, Š Bitahochee Trading Post, Indian whether of traditional or contemporary Wells: A trading post in the past, a design, continues to enjoy popularity new non-profit hopes to make the with collectors and individual historic site a center for Navajo arts enthusiasts worldwide. Arts and crafts and cultural education in the future. production is one of the mainstays of Native economies and one way culture Š Burnham Trading Post, Sanders: and customs are transmitted from one Operated by fourth-generation trader generation to the next. Trading posts, Bruce Burnham and his wife, who one of the iconic images of the also comes from a long line of American Southwest, were in reality as traders, Burnham’s is one of the few influential in the shaping of the remaining posts that still trades in Southwest in the late 19th and 20th the traditional way. Part convenient centuries as was the railroad or other store, part trading post with pawn, industries. As places where diverse and part Navajo arts gallery, the post cultures met, staple goods were is a source for wool dyed by hand obtained, and the business of daily life using vegetal dyes, rugs woven in the was conducted, their role in their New Lands style, and other exquisite respective communities was significant Navajo arts. and long-lasting, sometimes to this day. Numerous murals in Little Colorado Š Cameron Overlook Market, communities depict the impact of Cameron Chapter: Roadside vending Native arts, trading, and other of arts and crafts has been a common significant aspects of life in the practice among many Native artists. Southwest. While the mural art form Highway 64, leading from Cameron itself is not exclusive to the Little to the South Rim of the Grand Colorado River Valley, the distinctive Canyon, has been one of the most subject matter of the paintings is. The popular locations. Arizona subject matter reflects both major Department of Transportation milestones or aspects of local history concerns over the safety of cars and culture and major national events exiting and entering the highway and their impact on the local region. from vending stalls led to the idea of

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 148

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 149

a single site developed specifically community dances, poetry groups, for venders and also incorporating and more. traditional Navajo structures, a cultural area, and information Š Flagstaff Friends of Traditional signage. The site, now under Music and Pickin’ in the Pines development, overlooks the Bluegrass and Acoustic Music incredible Little Colorado River Festival, Flagstaff: Begun in the Gorge and affords views of the 1980s, this organization has been Painted Desert to the east. promoting acoustic music and traditional dancing through public Š Cameron Trading Post, Cameron concerts and collaboration with other Chapter: First established in 1916, it organizations. With the opening of has served Grand Canyon and Native the Pine Mountain Amphitheatre, American Indian Country visitors for FFOTM began Pickin’ in the Pines more than 90 years. Gardens and an Bluegrass and Acoustic Music old suspension bridge over the Little Festival in 2006. It is quickly Colorado River delight guests. becoming a major event in the world of acoustic music and in 2008, the Š Circle of Light Murals, Gallup: festival will feature the Grammy Inside the Ellis Tanner Trading Award-winning Del McCoury Band Company, the 58 portraits of among others. prominent Navajos and three historical panels serve as an Š Gallup Performing Arts Center, illustrated history of Navajo Gallup: The GPAC provides accomplishments and source of performance space, summer art inspiration for Navajo youth and camps, gallery space, and artistic non-Natives alike. instruction of all types.

Š Coconino Center for the Arts, Š Hubbell Building, Winslow: A Flagstaff: The Center has a 4,000 sq. trading post for decades, the Hubbell ft. gallery and 200-seat theatre and Building is currently being renovated hosts temporary exhibits and other as the Winslow Welcome Center. arts programming year-round. Distinctive Navajo rug patterns are Annual exhibits and programs focus painted on the outside walls. The on children’s art, contemporary building will continue to display Native art, and recycled art. Most of Native American arts and museum- the exhibits feature local artists or quality exhibits. local subjects. Š Hubbell Trading Post National Š El Morro Area Arts Council and Old Historic Site, Ganado Chapter: John School Gallery, Ramah: Located in Lorenzo Hubbell began trading at an old schoolhouse, the El Morro this site in 1878. He and his Area Arts Council promotes the descendents operated the post until it significant talents of regional artists was sold to the National Park Service who work in a variety of media in 1967. The Hubbell family were including glass, ceramics, paint, successful and well-respected metal, and more. Extensive traders, owning or operating up to programming includes art two dozen other trading posts workshops for adults and children, throughout the region. The Hubbell theatrical and musical productions, Trading Post is still an active trading

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 150

post, hosts two auctions of Native and regional news and some American arts every years, is in the National Public Radio programming. process of restoring gardens that would have been present during J. L. Š La Posada Hotel, Winslow: The Hubbell’s time, and allows visitors to architectural masterpiece of Mary tour the Hubbell home. Colter, the former ATSF station and resort hotel is once again a Š Indian Dances, Gallup and functioning and popular restaurant, Holbrook: Both communities hold hotel, and meeting place for locals regular, evening Indian dances in and visitors alike. The hotel also front of their respective courthouses features many works by artist Tina during the summer months. It is a Mion, who was one of five artists good opportunity for residents and exhibited as part of the Portraiture visitors alike to experience Native Now: Framing Memory exhibit at the dances without imposing on a Smithsonian National Portrait religious ceremony. Gallery from 2007-08.

Š Inscription Rock Trading Post, Rte. Š Museum of Northern Arizona 53 near Ramah: A modern-day (MNA), Flagstaff: The permanent “trading post,” Inscription Rock collection of MNA consists of Native features the work of artists from and non-Native arts from the nearby Zuni and Navajo as well as Colorado Plateau region. The from around the world. museum also hosts four major annual art shows and sales featuring Hopi, Š Inter-Tribal Indian Ceremonial, Navajo, Zuni, and Hispanic art as Gallup: Since 1922, this event has well as the Trappings of the American grown to be one of the premier West annual exhibit that features arts gatherings and celebrations for and crafts related to the ranching Native Americans in the United lifestyle. MNA also has an artists in States. This annual four- to five-day residence program and many arts event, the Inter-Tribal Ceremonial education programs for children and includes a juried art show, traditional adults alike. dances, and traditional song performances, in addition to other Š Music from Greer, Greer: Classical events. Featured artists and music finds a home in the White performers come from surrounding Mountains. Special summer concerts, tribes and from Native communities including a free children’s concert, across the United States, Canada, and give residents and visitors alike the Central America. opportunity to enjoy a type of performance usually found in urban Š KUYI Hopi Radio: KUYI, Hopi settings. owned and operated, began broadcasting in 2000 and currently Š Native American Festival, Pinetop- reaches Flagstaff, Winslow, Tuba Lakeside: This festival will celebrate City, and the Interstate 40 corridor in its 21st year in 2008. It is a two-day addition to the Hopi Reservation. Its juried art show that exhibits the work programming features a mix of of approximately 80 Native artists. traditional Hopi music, All work must be handmade and all contemporary Native music from artists must be present during the Hopi and other tribes, as well as local show.

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 151

Š Northern Arizona Book Festival, celebration of the town, its culinary Flagstaff: Founded in 1998, the legacy, and the creativity of local annual festival features appearances bakers. Many pies entered into the by local and nationally-renowned contest contain distinctly Southwest writers including Toni Morison, ingredients such as pinyon nuts. Russell Banks, and others. Events include Native poetry readings, Š Quilt Shows, Bacavi, Holbrook, writing workshops, signings, and Pinetop-Lakeside, Winslow: The more. distinctly American art form of quilting reflects the surroundings, Š Octavia Fellin Public Library, cultural influence, and creativity of Gallup: Librarian Octavia Fellin individual quilters. Native and amassed a 10,000+ collection of Southwest-inspired designs can be Southwest books of significant found at these shows along with the quality over a period of 40 years and more traditional. the collecting continues today. In addition to the Southwest Collection Š Ramah Navajo Weavers Association of books, the library holds 30 pieces and New Mexico Fiber Arts Trail, of art from the Works Progress Pine Hill: Weavers belonging to the Administration, some of which are Association use handspun and on display, and approximately 130 naturally dyed wool from locally pieces from local artists. raised Churro sheep. The workshop, located in a hogan, is open to visitors Š Our Lady of Guadalupe Mission, seasonally. The Association is on the Zuni: The church itself is a classic New Mexico Fiber Arts Trail which example of 17th century Spanish features 71 sites across the state mission architecture and inside are where fiber arts are practiced with two contemporary murals by Zuni richness and vibrancy. artist Alex Seowtewa and his son Kenneth. These murals feature the Š Sacred Heart Cathedral, Gallup and summer and winter pantheon of Zuni Church of the Good Shepherd, Ft. kachinas. Defiance Chapter: Both were designed by John Gaw Meem. Meem Š Painted Desert Inn (Fred Kabotie is recognized as a leader in the murals), Petrified Forest National Pueblo Revival style of architecture Park: Fred Kabotie became an and designed many buildings in accomplished artist of several forms: Santa Fe, at the University of New painting, silversmithing, and Mexico in Albuquerque, and won illustrating. He was known for recognition at an international rendering traditional Hopi themes in competition for his design of the modern media. Three of his murals Colorado Springs Fine Arts Center in can be found inside the Painted Colorado. Desert Inn. Š Snowdrift Art Space, Winslow: Š Pie Town Pie Festival, Pie Town: Pie Located in the historic Babbitt Town, New Mexico got its name Brother Department Store (built in from the reputation of a WWI 1914), Snowdrift is a studio, gallery, veteran who started baking pies as a and living space that features the business venture in the 1920s. The sculptures of its owner as well as the modern-day Pie Festival is a work of other regional artists.

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 152

Š Storyteller Museum and Wisdom for their in-depth cultural detail and Keeper Bookstore at Gallup sensitivity. Cultural Center, Gallup Š Tuhimsa, Second Mesa: Held in Š Tony Hillerman novels: Tony October along with the Bacavi Quilt Hillerman has written 18 mystery Show, the arts and crafts show novels as well as other fiction and features Hopi artists skilled in a non-fiction books pertaining to variety of forms and media. Navajo culture, the culture of other Natives and non-Natives living in the Š Zuni Cultural Arts Expo, Zuni: Since Southwest, and the landscape. He has 1993, the Expo has showcased high won two awards from the American quality and authentic arts from Mystery Writers of America: a 1974 award-winning Native artists. The Best Novel award and a 1991 Grand Expo also features Zuni social Master award. His works are noted dances.

PRIMARY REFERENCES

Adair, John 1944 The Navajo and Pueblo Silversmiths. University of Oklahoma Press, Norman.

Allen, Laura Graves 1984 Contemporary Hopi Pottery. Museum of Northern Arizona, Flagstaff.

Babbitt, James E. 1984 Trading Posts Along the Little Colorado River. Plateau (57)3:2-10.

Bahti, Mark 1975 A Consumers Guide to Southwestern Indian Arts & Crafts. Bahti Indian Arts, Tucson.

1999 Spirit in the Stone. Treasure Chest Books, Tucson.

Bahti, Tom, and Mark Bahti 1997 Southwestern Indian Arts & Crafts. K. C. Publications, Las Vegas.

Bassman, Theda 1993 The Beauty of Hopi Jewelry. Kiva Publishing Co., Santa Fe.

1996 Treasures of the Zuni. Northland Publishing Co., Flagstaff, Arizona.

1997a The Beauty of Navajo Jewelry. Kiva Publishing Co., Santa Fe.

1997b Treasures of the Hopi. Northland Publishing Co., Flagstaff, Arizona.

1998 Treasures of the Navajo. Northland Publishing Co., Flagstaff, Arizona.

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 153

Bassman, Theda, and Michael Bassman 1998 Zuni Jewelry. Schiffer Publishing Ltd., Atglen, Pennsylvania.

Blue, Martha 2000 Indian Trader: The Life & Times of J. L. Hubbell. Kiva Publishing, Inc., Walnut, California.

Burnham, Bruce 1998 Bruce Burnham Interview. Colorado Plateau Digital Archives, Cline Library, Northern Arizona University, Flagstaff, Arizona.

Cousins, Jean, and Bill Cousins 1986 A View from the Bullpen: A Navajo Ken of Traders and Trading Posts. Plateau 57(3):10-19.

1996 Tales from Wide Ruins. Texas Tech University Press, Lubbock.

Dittert, Alfred, and Fred Plog 1980 Generations in Clay. Northland Publishing Co., Flagstaff, Arizona.

Eddington, Patrick, and Susan Makov 1995 Trading Post Guidebook. Northland Publishing Co., Flagstaff, Arizona.

Getzwiller, Steve 1984 The Fine Art of Navajo Weaving. Ray Manley Publications, Tucson.

Gillmor, Frances, and Louisa Wade Wetherill 1953 Traders to the Navajos: The Story of the Wetherills of Kayenta. University of New Mexico Press, Albuquerque.

Graves, Laura 1998 Thomas Varker Keam: Indian Trader. University of Oklahoma Press, Norman.

Hall, Edward T. 1994 West of the Thirties. Anchor Books Doubleday, New York.

Hayes, Allen, and John Blom 1996 Southwestern Pottery: Anasazi to Zuni. Northland Publishing Co., Flagstaff, Arizona.

Hegemann, Elizabeth Compton 1963 Navaho Trading Days. University of New Mexico Press, Albuquerque.

Jacka, Lois E., and Jerry Jacka 1994 Navajo Jewelry: A Legacy of Silver and Stone. Northland Publishing Co., Flagstaff, Arizona.

1997 Art of the Hopi. Northland Publishing Co., Flagstaff, Arizona.

Draft: 8 April 2008 Chapter 3: Heritage Themes and Related Resources [Theme 6: Expressions of Art and Life] Page 154

James, Harold 1988 Rugs and Posts. Schiffer Publishing, Ltd., Atglen, Pennsylvania.

Kaufman, Alice, and Christopher Selser 1985 The Navajo Weaving Tradition. E. P. Dutton Co., New York.

McNitt, Frank 1962 The Indian Traders. University of Oklahoma Press, Norman.

Newcomb, Charles 1968 The Smoke Hole. The Naylor Company, San Antonio.

Ostler, James, Marian Rodee, and Milford Nahohai 1995 Zuni: A Village of Silversmiths. Zuni A:Shiwi Publishing Co., Albuquerque.

Pendleton, Mary 1974 Navajo and Hopi Weaving Techniques. Macmillan Publishing Co., New York.

Powers, Willow Roberts 2001 Navajo Trading: The End of an Era. University of New Mexico Press, Albuquerque.

Richardson, Gladwell 1986 Navajo Trader. University of Arizona Press, Tucson.

Rodee, Marian 1996 One Hundred Years of Navajo Rugs. University of New Mexico Press, Albuquerque.

Rodee, Marian, and James Ostler 1986 Zuni Pottery. Schiffer Publishing, Ltd., Atglen, Pennsylvania.

Wagner, Sallie 1999 Wide Ruins: Memories from a Navajo Trading Post. University of New Mexico Press, Albuquerque.

Weigle, Marta, and Barbara Babcock 1997 The Great Southwest of the Fred Harvey Co. & Santa Fe Railway. The Heard Museum, Phoenix.

Wright, Barton 1977 Hopi Kachinas. Northland Publishing Co., Flagstaff, Arizona.

Wright, Margaret Hopi Silver. Northland Publishing Co., Flagstaff, Arizona.

Draft: 8 April 2008