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Transmission of Jewelry Techniques and Symbols Within a Hopi

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Transmission of Jewelry Techniques and Symbols Within a Hopi TRANSMISSION OF JEWELRY TECHNIQUES AND SYMBOLS WITHIN A HOPI FAMILY OF JEWELERS by CHRISTINE FRANCES HELLYER (Under the Direction of TRACIE COSTANTINO) ABSTRACT This study examined the methods in which the techniques utilized in the creation of Hopi jewelry were transmitted within generations of one Hopi family. The qualitative methodologies of ethnography and narrative inquiry were used to explore the questions: (1) How are the symbols and techniques of the Hopi overlay designs being transmitted within generations of a Hopi family of jewelers?, and (2) How can the teaching methods utilized by this Hopi family of jewelers inform jewelry curriculum in a public school setting? The study was conducted within one family of jewelers to seek understanding of the pedagogical means utilized and to ascertain if the methods employed are applicable to a classroom setting. In an attempt to experience the teaching methods used, I became an active participant and interned with the patriarch of the family. The jeweler had also begun teaching one of his granddaughters so I was able to witness his teaching style as he conducted her lessons as well. In addition to my experience of being an intern, interviews were conducted with three family members and the lessons were also videotaped. Analysis revealed that lessons were not usually conducted in a formal setting as we see in a traditional classroom. Instead, most of the lessons were learned by the younger family members by observing the older family members. The setting was more akin to an apprenticeship and would be very difficult to replicate in a classroom. INDEX WORDS: American Indian jewelry, Hopi Arts and Crafts, Hopi jewelry, Narrative, Ethnography, Apprenticeship learning, Overlay technique, Qualitative Study TRANSMISSION OF JEWELRY TECHNIQUES AND SYMBOLS WITHIN A HOPI FAMILY OF JEWELERS by CHRISTINE FRANCES HELLYER B.A.A., University of Minnesota, 1981 M.A., University of Texas, 1989 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2013 © 2013 Christine Frances Hellyer All Rights Reserved TRANSMISSION OF JEWELRY TECHNIQUES AND SYMBOLS WITHIN A HOPI FAMILY OF JEWELERS by CHRISTINE FRANCES HELLYER Major Professor: Tracie Costantino Committee: Carole Henry Mary Hallam Pearse Richard Siegesmund Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia December 2013 DEDICATION To my parents, Norman and Frances Hellyer with all my love, respect, and admiration. You gave me the tools and desire to pursue education. The value you both placed on education in my formative years has stayed with me my entire life. The support and encouragement you showed when I pursued my Bachelor’s and Master’s degrees has given me strength to forge ahead with my doctoral studies without you. I only wish you could have been here to share this with me. iv ACKNOWLEDGMENTS I would like to begin by thanking the members of my committee, thank you for your time and support. Your guidance and suggestions have been invaluable and has led me down paths that I hadn’t considered but am very grateful for those suggestions. Without those suggestions I would not have followed such wonderful paths. To Dr. Tracie Costantino, my major professor, thank you for your continued support and high expectations. Your guidance is greatly appreciated. I am also indebted to the members of the Hopi tribe who welcomed me into the villages, ceremonies, and their homes. I am especially grateful to the members of the Honanie family who made me welcome and accepted me into their home, their culture, and the family. You will always be a part of me and will forever have my gratitude. v TABLE OF CONTENTS Page ACKNOWLEDGMENTS………………………………………………………………………...v LIST OF TABLES.......................................................................................................................viii LIST OF FIGURES....................................................................................................................... ix GLOSSARY…………………………………………………………………………………..…xii CHAPTER 1 INTRODUCTION……………………………………………………………………..1 Purpose of the Study……………………………………………………................2 Key Terms…………………………………………………………………….…...3 Significance of the Study………………………………………………………….4 2 LITERATURE REVIEW ……………………………………………………………..6 Theoretical Framework……………………………………………………………6 American Indian Art History…………………………………...…………………8 Influences on American Indian Artwork……………………………………….....9 Symbolism in American Indian Art……………………………………………...26 Jewelry of the Southwest………………………………………………………...46 Comparison of Eisner, Project Zero, and the Hopi Teaching Style……………..60 3 METHODOLOGY…………………………………………………………………...67 Paradigm and Assumptions……………………………………………………...67 Methodology and Research Design……………………………………………...71 vi Protection of Human Subjects (IRB)…………………………………………....81 Subjectivity Statement and Limitations...……………………….........................82 4 HOPI CULTURE…………………………...………………………………………..85 5 LEARNING THE HOPI WAY…………………………………………………..…..94 First Visit………………………………………………………………...………94 The Adventure Begins…………………………………………………………...96 Return to Hotevilla…………………………………………………………......137 6 REFLECTIONS OF A CORN MAIDEN….…...………………..………….……...149 Learning by Observing…………………...…………………………………….149 Family Encouragement…………………………………………………………156 Experimentation and Return to Tradition …………………..………………….157 Tolerance, Understanding, and Respect………………………………………..158 Conclusion……………………………………………………………………...160 REFERENCES...……………………………………………………………………………….163 APPENDICES A. Interview Protocol…………………………………………………………….……177 B. Interview Participant Consent Form………………………………………………..178 C. Timeline…………………………………………………………………..………...180 D. Northern Arizona University Permission to Publish ……………………................181 E. Letter Assuring No Research will be Conducted on the Reservation..……………..187 F. IRB Approval………………………………………………….................................188 vii LIST OF TABLES Page Table 1: Research Questions & Data Collection Methods……………………………...………80 Table 2: Implementation of Data Collection Measures…………………………………………82 viii LIST OF FIGURES Page Figure 1: Hellyer, Christine. (2012). Inside Hubbell trading post...…………….………..…....19 Figure 2: Hellyer, Christine. (2012). Road sign in front of McGee’s Gallery..………………..21 Figure 3: Hopi Medicine Wheel………………………………..……………………………….27 Figure 4: Cree Medicine Wheel……………………………………………………..……….….28 Figure 5: Snow, Milton. (1944-1950). Display of Hopi pottery and jewelry…………………..36 Figure 6: Saufkie, Lawrence. (n.d.). Pin with corn plant and Mudhead Katsina [sterling silver]………………………………………………………………………………...…37 Figure 7: Snow, Milton. (1944-1950). GI silversmithing class on use of traditional Hopi design in modern jewelry…………………………………………………………………..38 Figure 8: Snow, Milton. (1944-1950). Hopi Clan symbols used in silver designs………….….40 Figure 9: Snow, Milton. (1944-1950). Hopi Arts & Crafts Guild-Hopi silver [Bracelets, necklaces, belt buckles, etc.] ………………………………………………………………..…..42 Figure 10: Artist unknown (1930’s). [Sterling silver]………………………………………….44 Figure 11: Artist unknown. (1880-1900). Tufa cast Concho belt [Sterling silver]………….…45 Figure 12: Darryl Dean Begay. (n.d.). Contemporary tufa cast bracelet [sterling silver, turquoise, black jade, and opal]…………………………………………………………….……46 Figure 13: Artist unknown. (1900). Early Navajo bracelet with turquoise settings [Sterling silver and turquoise]………………………………………………………………….…………..50 ix Figure 14: Peina, Lorena. (n.d.). Miniature squash blossom necklace [sterling silver and turquoise]………………………………………………………………………………………...51 Figure 15: Loloma, Charles. (1975). Bracelet [14k gold, lapis lazuli, wood, fossilized ivory, coral, and malachite]…………………………………………………………………….…….…54 Figure 16: Lomawywesa. (1975). Migrational patterns [acrylic]……………………….……..58 Figure 17: Dawakema. (n.d.). Emergence [acrylic]…………………………………………...59 Figure 18. Hellyer, Christine. (2012). Watson’s hallmark……………………………………..89 Figure 19: Honanie, Watson. (n.d.). Belt buckle with Eagle Katsina, Kiva ladders, and Kokopelli [Sterling silver and gold]…………………………………………………….…..91 Figure 20: Honanie, Watson. (n.d.). Corn Maiden [gold]……………………………………..92 Figure 21: Honanie, Watson. (n.d.). Turtle pendant [sterling silver and gold]…..………….....93 Figure 22: Snow, Milton. (1953). Keams Canyon Hill road construction. First past March 1953………………………………………………………………………..……………………..98 Figure 23: Hellyer, Christine. (2012). Window design on house…....…………………………99 Figure 24: Hellyer, Christine. (2012). Bear sculpture with adornment..………………….......100 Figure 25: Hellyer, Christine. (2012). Wall with Kachina dolls and baskets....………………100 Figure 26: Illustration of clowns misbehaving on an apron given to me by Sarah…………....106 Figure 27: Hellyer, Christine. (2012). Table laden with food during a dance.…….……….....107 Figure 28: Honanveama, L. S. (2012). Helili [cotton wood root, feathers, fiber, and paint]…109 Figure 29: Adams, Sr., Ronald. (2013). Broad face Whipper [cotton wood root and paint]..109 Figure 30: Hellyer, Christine. (2013). Watson’s studio………………………………………116 Figure 31: Hellyer, Christine. (2012). Jump ring tool [Aluminum].…...………..………........118 x Figure 32: Hellyer, Christine. (2012). Traditional Hopi chain and dragonfly pendant [sterling silver]……………..…………………………...………………………………………121 Figure 33: Hellyer, Christine. (2012). Watson soldering on a bracelet.……………..……......125 Figure 34: Hellyer, Christine.
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