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Exploring Representation and Collaboration in Navajo Weaving Exhibitions University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2011 Woven Kin: Exploring Representation and Collaboration in Navajo Weaving Exhibitions Teresa Maria Montoya University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Anthropology Commons, Indigenous Studies Commons, and the Museum Studies Commons Recommended Citation Montoya, Teresa Maria, "Woven Kin: Exploring Representation and Collaboration in Navajo Weaving Exhibitions" (2011). Electronic Theses and Dissertations. 443. https://digitalcommons.du.edu/etd/443 This Thesis is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. WOVEN KIN: EXPLORING REPRESENTATION AND COLLABORATION IN NAVAJO WEAVING EXHIBITIONS __________ A Thesis Presented to the Faculty of Social Sciences University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Master of Arts __________ by Teresa M. Montoya August 2011 Advisor: Dr. Christina Kreps © Copyright by Teresa M. Montoya 2011 All Rights Reserved Author: Teresa M. Montoya Title: Woven Kin: Exploring Representation and Collaboration in Navajo Weaving Exhibitions Advisor: Dr. Christina Kreps Degree Date: August 2011 Abstract Following recent trends in scholarship that establish museums as complex sites where representations of Native American cultures are actively negotiated, this thesis explores the relationship between representational strategies and the employment of critical Indigenous methodologies by museum institutions in the display of Navajo weavings. A postcolonial theoretical framework is utilized to analyze six Navajo weaving exhibition installments over the past decade. Additionally, a critical reflection is offered about the development of the author’s collaborative exhibition, Na’ashjé’ii Biką’ Biyiin (Chant of the Male Spider): A Holistic Journey with Diné Weaver Roy Kady, that reveals both the rewards and challenges of collaborative exhibition making between two members of the Navajo community. This study problematizes the historical process of museum representation and suggests a more nuanced investigation of the collaborative dynamics that contribute towards the decolonizing efforts in Native scholarship and museum practice. ii Acknowledgements This research project would not been possible without the support of encouraging faculty in the University of Denver Department of Anthropology. I acknowledge my thesis committee: Christina Kreps, Richard Clemmer-Smith, Chip Colwell-Chanthaphonh, and Jennifer Shannon. Thank you to museum staff at the Navajo Nation Museum and the Museum of Indian Arts and Culture: Shelby Tisdale, Louise Stiver, Joyce Begay-Foss, Diane Bird, Manuelito Wheeler, and Clarenda Begay. Thank you to Brooke Rohde and others that assisted with exhibition design and/or installation: Freddie Bitsoie, Joe Kee, Leo Begay, Kellen Hinrichsen, Robynne Locke, Kat Young, Paul Swader, Willi Lempert, David Garrison, and Brian Murphy. Thank you to Johanna Leyba and the rest of the staff at the University of Denver Center for Multicultural Excellence, Native Student Alliance, Native Alumni Group, the Denver Museum of Nature and Science and Theresa Halsey for marketing and/or financial support. Thank you to Al Snipes, John and Lily Johansson, Caroline Hussman, Veronica Bauers, and Laura Rice for loaning weavings to display in our exhibition. I am very grateful to James Brooks at the School for Advanced Research and Cynthia Chavez Lamar at the Indian Arts Research Center. A special thank you to my fellow SAR scholars: Melissa Nelson, Lucas Bessire, Doug Kiel, Linda Cordell, Cathy Cameron, Sarah Croucher and Gloria Bell. A big ahe’hee to Roy Kady: the “other-half” to our collaborative exhibition and inspiration for my future museum endeavors. Last but not least, thank you to my loving family and friends for their endless support and faith in my academic capabilities. iii Table of Contents Chapter One: Introduction............................................................................................ 1 The Problem of Representation......................................................................... 1 Collaboration – A Response to the Problem...................................................... 3 Summarizing the Study..................................................................................... 5 Situating the Researcher.................................................................................... 7 Chapter Two: Theoretical Framework .........................................................................10 The Postcolonial Critique.................................................................................10 The Politics of Representation in the Museum Venue ......................................15 The Problem of Authority.....................................................................18 The Problem of Object and Meaning-Making.......................................22 The Problem of Temporality.................................................................28 The Problem of Authenticity ................................................................31 The Transformation of Representation..................................................35 Chapter Three: Literature and Exhibition Review........................................................41 An Overview of Navajo Weaving in the Literature...........................................41 An Analysis of Navajo Weaving Exhibitions ...................................................53 Woven to Wear: Navajo and Hopi Textiles from The Durango Collection .............................................................................................................54 Diyogí t'áá bil ‘Ánooséél Generations ..................................................58 Navajo Weaving: Diamonds, Dreams, Landscapes...............................63 Weaving in the Margins: Navajo Men as Weavers................................69 Diné Dah’ Atl’ó (Men Who Weave): A Revival in Diné Bikéyah ...........76 Chapter Four: Research Design ...................................................................................84 Critical Indigenous Methodology.....................................................................84 Considering Collaboration ...............................................................................93 Methods.........................................................................................................107 Participant Observation ......................................................................107 Semi-structured Interviews.................................................................108 Archival and Secondary Source Research...........................................110 Surveys ..............................................................................................111 Ná’ashjé’ii Biką’ Biyiin (Chant of the Male Spider): A Holistic Journey with Diné Weaver Roy Kady..................................................................................113 The Genesis........................................................................................114 Discussing Museum Representation ...................................................119 Reflecting on Past Exhibitions............................................................121 Planning a New Exhibit Together.......................................................125 Expanding our Collaboration..............................................................136 Opening Night....................................................................................140 Audience Surveys...............................................................................143 Challenges We Encountered...............................................................151 iv A Summative Analysis in Retrospect..................................................159 Chapter Six: Conclusion............................................................................................170 Final Thoughts...............................................................................................170 Future Endeavors...........................................................................................175 References.................................................................................................................177 Appendix A...............................................................................................................188 Appendix B...............................................................................................................189 Appendix C...............................................................................................................193 Appendix D...............................................................................................................194 Appendix E ...............................................................................................................195 Appendix F ...............................................................................................................197 Appendix G...............................................................................................................198 Appendix H...............................................................................................................199
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