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Michael Kabotie MICHAEL KABOTIE A TRICKSTER FOR THE ARTS Carolyn L. E. Benesh he Hopi Pueblos, given their relative isolation, have enabled its peoples to maintain many of their ancestral Treligious practices and clan lifestyles inherited from the ancient Anasazi cultures, (the descendents of those who constructed the splendid edifices at Chaco Canyon, Mesa Verde and Casa Grande), and also to more slowly adapt to changing fortunes and influences given the powerful European and American cultures that drastically affected Native American lives over hundreds of years. With their traditions of sacred origin myths, Pueblo cultures developed elaborate, dramatically staged ceremonials which celebrated and impersonated anthropomorphized divine spirits through whom they prayed for the critical sustenance that would support life’s continuance. Even today many Hopis maintain a strong and privately practiced attachment for their ancient religion and ceremonials. Nature and God are one. Supernatural spirits live under the world or in the sky; and animal spirits, serpents, spiders, or the dead can be friendly or hostile but each deserving of CAPTION respect and veneration in the formal rituals of the Katsina or Kiva societies. 34 ORNAMENT 34.1.2010 33_5_Kabotie1.CB.indd 34 10/20/10 6:45 PM By word and action, poetry and art, Michael Kabotie pointed the way of life as a journey into the mystery of the MICHAEL KABOTIE OVERLAY BRACELETS, sterling silver, including his floating design, 6.3 to 6.9 centimeters wide. universe and of one’s self within it. His Opposite page, bottom: OVERLAY BELT BUCKLE AND BRACELET, both commissioned work, 7.3 to 8.1 centimeters wide. Photographs by works seem to have emerged from some Robert K. Liu/Ornament. abstract, elemental dreamtime. Opposite page, top: MICHAEL KABOTIE at the Grand Canyon. Photograph by Ruth Ann Border. Opposite page, middle: RAIN SPIRITS LITHOGRAPH, 1984. The fun-making Clowns or Tricksters were also sacred on the south rim of the Grand Canyon. He was also a teacher within the inclusive totality of the Hopi cosmic world, where of painting to hundreds of Hopi high school students and the sun, moon, earth, wind, and fire were the determinants through the aegis of the Museum of Northern Arizona, Kabotie of nature, and everything counted and had a place. With wily and his cousin Paul Saufkie developed an overlay technique, attributes and the butt of their own misbehavior, they poked unlike those of recognizable Zuni and Navajo silversmithing, fun at human folly and weaknesses but also represented creative and taught returning Hopi veterans of World War II at the powers so critical to survival and enrichment of life. museum, funded by the Indian Service and GI Bill. While his The Hopi have lived in the harsh, dry environment of works bespoke of traditional Hopi imagery, Michael’s father northeastern Arizona for over sixteen hundred years; their was, nevertheless, truly a vital conduit for bridging traditional reservation of some twenty-four-hundred-square-miles is now and nontraditional aesthetics and techniques in the creation contained within the much larger twenty-six-thousand-square- of Native arts over many decades of the twentieth century. mile Navajo Reservation, with the Hopi Pueblos encompassing Named an Arizona Indian Living Treasure, Michael Kabotie three mesas, part of the Colorado Plateau, known as First, Second became very much an important artist in his own right: a poet, and Third. Among those on the Second Mesa is Shungopavi painter, printmaker, and silversmith, with his works housed in village, home to Michael Kabotie’s people. major museum collections. Among his many honors, he was Here on Second Mesa kinship ties are strong and matrilineal named Signature Artist for the 2010 Heard Museum Indian and Kabotie inherited his mother’s Snow Clan membership; Fair and Market in Phoenix, Arizona; and was featured in in 1967 he initiated into the Hopi manhood society Wuwutsim numerous Heard Museum exhibitions. Kabotie also designed and received his Hopi name, Lomawywesa —Walking in the front gate for the Heard’s Berlin Gallery, a showcase for Harmony. Kabotie’s parents basketmaker Alice Talayaonema contemporary Native arts. and noted artist Fred Kabotie (born 1900) formed the lineage Born September 3, 1942 to his unexpected death October for his life path. Fred Kabotie became a famous painter (first 23, 2009, Kabotie over his sixty-seven years had the vision to exhibiting in 1919), watercolorist and muralist, who, among take the rich traditions of his Hopi culture and refashion them other enterprises, was commissioned by architect Mary Colter in works of art spoken with a visual voice fresh and responsive to paint the murals (1932) for her Desert View Watchtower to the fluid, more spontaneous, experimental and experiential 35 ORNAMENT 34.1.2010 33_5_Kabotie1.CB.indd 35 10/20/10 6:45 PM MICHAEL KABOTIE TEACHING SILVERSMITHING STUDENTS at the Idyllwild Arts Center, Idyllwild, California, which the author attended; July 2008. Below: KABOTIE’S SIMPLE AND PORTABLE BENCH, true for many Native American jewelers, shown at Idyllwild’s silversmithing class. Photographs by Carolyn L.E. Benesh/Ornament. Right: KABOTIE AT DEL RIO GALLERY finishing a commission of Mother and Child, 2007. Photograph by Ruth Ann Border. aspects of contemporary life. His art both vividly demonstrates with a tribute and exhibition that celebrated him as “artist, his Native heritage in form and content but also includes teacher, philosopher, trickster, mythic archaeologist, and friend.” Western Euro-centric art influences such as the cubistic shapes It was within the context of the exhibition this year at the found in the paintings of Pablo Picasso or the geometrics of Museum of Northern Arizona in Flagstaff, Arizona, that Fernand Léger. He used best what was most well suited to his Kabotie’s life and artistic oeuvre reveal the degree by which individual inclinations and was comfortable and confident the spiritual and cosmic shaped his exquisite sensibility. Walking with the cross-cultural melding evident in his works. in Harmony: The Life and Work of Lomawywesa Michael His actual voice was also kind and thoughtful, compassionate Kabotie was a visceral event, instantly communicating a with affirmation and showed his interest in others. His wit connectivity for the souls who entered the display. The exhibit was dry and insightful, and his persona, weighted toward a showed more than just his art, including Kabotie’s family and mischievous ironic humor, was used to good effect in his his Hopi community. It was a tangible expression of his interactions with his students, friends and professional associates. journey for enlightenment and meaningful growth through He taught Hopi silversmithing for twenty-six summers family, religion, art, culture, and in the personal and at Idyllwild Arts in Idyllwild, California, and was a consultant professional associations made each day, each year over to the Native American Arts Festival on its campus since its a lifetime. beginning in 2000, a gathering for artists, tribal elders and His paintings, prints and murals vibrate with life, scholars, and open to those with an interest in the most action and movement, prismatic with color and bold in line. current issues and theories concerning Native American artists, His artwork is narrative and instructive in nature; Kabotie art and culture. This summer the program honored Kabotie is a storyteller of the spirit world. Some paintings are stately 36 ORNAMENT 34.1.2010 33_5_Kabotie1.CB.indd 36 10/20/10 6:45 PM MEMORIAL PLAQUE WRITTEN BY ONE OF KABOTIE’S CHILDREN, hung on wall at the art gallery of Idyllwild Arts honoring the life of Michael Kabotie. Image to the left: anyone writing a plaque would exchange the wood slab for a framed photograph. These messages were to be burned as fuel for a firing of Hopi pottery the next day; July, 2010. Photographs by Robert K. Liu/Ornament. He liked to say that jewelry was a violent artform, that you had to attack it with a hammer and wrestle the resistant metal, you had to saw it and torch it, put it in acid, and buff it and buff it to conform with your creative desires in order to bring out its essential spirit and beauty. And he accomplished compositions lushly decorated with corn, flowers, clouds, just that: Kabotie’s jewelry is high energy, chaotic with action altars, and dragon flies. Others are electrically-charged studies and dramatic flourishes. His jewelry is in your face, life forces of the underworld, serpents residing deep in the earth, or of their own, honoring the mythic and the metaphor in his of Kokopelli, a germination spirit, carrying light and fire in wonderfully stylized abstractions of traditional Hopi motifs. his humpback. By word and action, poetry and art, Michael Kabotie He especially relished clown/trickster performances as pointed the way of life as a journey into the mystery of the emblematic of a healing journey that we must take in order to universe and of one’s self within it. His works seem to have grow and mature, and was developing a mural that would emerged from some abstract, elemental dreamtime. His art is thematically show how we must work through our many fashioned from an intuitive facility for simple resonant images, imperfections and willful egos as we make our way through ambiguously stated, that connect us deeply and intricately the world, arriving at a more peaceful place of spiritual harmony with the infinite regions of the unknown and unnamed. His and intrinsic balance. Attentive to both the dysfunctional gifts reach back into the ancient arts of the imagination, leading and enlightened aspects of human nature, he drew on the the viewer to examine one’s unique and universal experiences. mindfulness of Buddhism and the psychology of Swiss Like other artists who have avoided the neutral objective psychiatrist Carl Jung, as well as his concepts of universal quality of much of current art and its artifacts, Kabotie archetypes and the collective unconscious to help inform his searches in his artworks for its warmly transformative qualities attraction to the spiritual and the cosmic.
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