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Chapter 2 Hopi Mesas And Migrations: Land And People, Lomawywesa (Michael Kabotie)

Hopi Nation: Essays on Indigenous Art, Culture, History, and Law

Survival and revival; the varied landscapes, buildings and environment; agricultural practices, arts and crafts; community institutions, cultural programs, clan beliefs and rituals—these all have meaning to our Hopi people and Hopi land.

The Hopi Reservation is situated in northeastern Arizona, about seventy-five or one hundred miles from the San Francisco Peaks, one of our sacred mountains. We call it Nuvatukwiovi. An examination of the geographical area reveals that to the far eastern edge of the Hopi Reservation is Keam’s Canyon, the region in which the Federal Government offices are located. Westward from Keam’s Canyon are the three Hopi mesas with …

Exemplary Arts: Section B — Subject: Corn As Life Essence, Edna Glenn

Hopi Nation: Essays on Indigenous Art, Culture, History, and Law

Five Paintings by the Artist Hopid

Figure 13: Four Mother Corn — Dawakema (Milland Lomakema)
Figure 14: Kachina Maiden Watching Fields — Coochsiwkioma (Delbridge Honanie)
Figure 15: Harvest Prayer — Honvantewa (Terrance Talaswaima)
Figure 16: Kachinas Germinating Plants — Dawakema (Milland Lomakema)
Figure 17: Angak’ China (Long-haired Kachina) — Honvantewa (Terrance Talaswaima)

“Hopi basically are corn people. We believe in agriculture because our greatest symbol is the corn, the ‘Corn Mother’.”—Lomawywesa

Commentary Ii: Ceremony, Edna Glenn

Hopi Nation: Essays on Indigenous Art, Culture, History, and Law

A typical Hopi ceremonial day offers a visual reality. At Walpi, a village on First Mesa, it is summer and Niman time, and a thanksgiving ritual is beginning. The Kuwan Heheya Kachinas set the first foot movements. Their body actions of their dance begin while their “uncle,” Tu-uqti,1 vigorously performs his solo act in front of their dance lines. A cluster of Koshari clowns,2 starkly visible in their body-paint stripes, collect their parade paraphernalia for antics later in the day. The plaza is crowded, action is anticipated. It is a Hopi celebration day.

The all-encompassing character of the scene itself …

Exemplary Arts: Section A — Subject: Concepts Of Emergence And Migration, Edna Glenn

Hopi Nation: Essays on Indigenous Art, Culture, History, and Law

Three Paintings by the Artist Hopid

Figure 7: Emergence — Dawakema (Milland Lomakema)
Figure 8: Migrational Patterns — Lomawywesa (Michael Kabotie)
Figure 9: Spiritual Leadership — Dawakema (Milland Lomakema)

“We believe that we are a part of a great living force which began hundreds of years ago ... Our concept is that we came from the Third World of the Hopi and that now, we are in the Fourth World ... We emerged from underground, somewhere in the Grand Canyon.”—Honvantewa

Ideas of EMERGENCE and MIGRATION permeate the consciousness of every Hopi. They structure ceremonial time and provide patterns for daily …

“Frontmatter” To Hopi Nation, Edna Glenn, John R. Wunder, Willard Hughes Rollings, C. L. Martin

Hopi Nation: Essays on Indigenous Art, Culture, History, and Law

Contains:
Editor’s Note
Contents
List of Illustrations
Preface by Edna Glenn, Texas Tech University and John R. Wunder, University of Nebraska-Lincoln

The Hopi Nation reminds itself daily that it is “at the center” of life on the arid mesas of the Hopi Reservation in northeastern Arizona. It has been doing so for over 1000 years, and it will likely do so for many centuries to come. Hopi life is not an easy life, but it is a full and rewarding life. Read this book and enjoy a visual and intellectual celebration of the Hopi Nation.

Hopi Nation: Essays On Indigenous Art, Culture, History, And Law [Complete Work], Edna Glenn, John R. Wunder, Willard Hughes Rollings, C. L. Martin

Hopi Nation: Essays on Indigenous Art, Culture, History, and Law

Contents

EDITOR’S NOTE

CONTENTS

LIST OF ILLUSTRATIONS

PREFACE: Edna Glenn, Texas Tech University and John R. Wunder, University of Nebraska-Lincoln

COMMENTARY I: CELEBRATION: Edna Glenn

1 THE HOPI NATION IN 1980: “It is a time to recall and to revitalize the good things of Hopi life and to celebrate Hopism.” Abbott Sekaquaptewa, Chairman, Hopi Tribal Council

EXEMPLARY ARTS: SECTION A — Subject: Concepts of Emergence and Migration: Edna Glenn

2 HOPI MESAS AND MIGRATIONS: LAND AND PEOPLE: “Here among the sandstone mesas you will find the Hopis. ‘Among them we settled as rain....’” Lomawywesa (Michael Kabotie), Hopi Cultural Center and …

Exemplary Arts: Section D — Subject: Contemporary Arts And Crafts, Edna Glenn

Hopi Nation: Essays on Indigenous Art, Culture, History, and Law

Hopi people have always been very fine artists. In 1950 we developed the Hopi Arts and Crafts Cooperative Guild . . . The Hopi Co-op supports some four hundred artists and craftsmen . . . Basketry and pottery are the oldest of the art forms among our people. — Lomawywesa

Sixteen examples are presented in this section. Other examples of painting, photography, and graphics are included throughout the book.

Ceramics, Figures 43-51
43. HOPI CERAMIC PROCESSES, 2 photographs — Sylvia Naha Talaswaima, potter,First Mesa, Arizona. 1981
45 – 48. ONE CERAMIC BOWL (four views) — Sylvia Naha Talaswaima, potter,First Mesa, …

Commentary Iii: Challenge, Edna Glenn

Hopi Nation: Essays on Indigenous Art, Culture, History, and Law

A visual challenge results from experiences with original works of art reproduced on these pages. These are contemporary Hopi paintings and craft-works executed by young artists who call themselves the Artist Hopid. Coochsiwukioma (Delbridge Honanie), a painter of the Artist Hopid group, presents a view of “Hopi Life,” the title of an extremely complicated work completed in 1974. Examining this painting is indeed valuable in the pursuit of defining the contemporary HOPI. “Hopi Life,” according to its painter, symbolically evolves from the central theme of Hopi migrations. 6 Ideas of migration, fertility, and growth, structure the centuries-old concept of Hopi …

Bibliography — Hopi Nation, John R. Wunder

Hopi Nation: Essays on Indigenous Art, Culture, History, and Law

Selected Basic Hopi Bibliography — 51 works
General Hopi Bibliography — 71 works

Chapter 1 The Hopi Nation In 1980, Abbott Sekaquaptewa

Hopi Nation: Essays on Indigenous Art, Culture, History, and Law

“It is a time to recall and to revitalize the good things of Hopi life and to celebrate Hopism.”

The Hopi people have retained their cultural life to perhaps a greater degree than most Indian peoples in the United States today. Customary practices which govern the pattern of life from birth to death for most Hopi are still carried out to a large extent.

The Hopi mesas are located in northeastern Arizona in the plateau country where the Hopi clans began gathering a millennium ago. The clans were not strangers to the land at that time, for many had passed …

Chapter 3 The Hopi Way: Art As Life, Symbol, And Ceremony, Honvantewa (Terrance Talaswaima)

Hopi Nation: Essays on Indigenous Art, Culture, History, and Law

“As artists, we try to document every aspect of Hopi life. We know the Hopi way; we live it, we can taste, we can see, and we can smell Hopi.”

Spiritual essence is the heart of the Hopi way. It is the ceremonial way, but also it is the every-day way of Hopi, human life. It is the physical world of beauty which surrounds us in animals and plants, but also it is the spiritual world, because everything in nature has a spirit. Our concept of the Hopi way is that a spiritual essence touches every part of our lives; …

Exemplary Arts: Section C — Subject: Ceremony — Ancient And Contemporary Images, Edna Glenn

Hopi Nation: Essays on Indigenous Art, Culture, History, and Law

The Artist Hopid were inspired and challenged when we took time in the early years of the 1970s to study wall paintings from kivas unearthed at the ancient villages.... We did some intensive research for the purpose of learning about ancient, Hopi ceremonial art. Primarily, we were interested in the style of images, form and composition, and symbolic meaning.—Honvantewa

Twenty-three examples are presented:

Ancient Awatovi site: Figures 20-23(Courtesy of the Peabody Museum, Harvard University, Cambridge, Massachusetts)
20. AWATOVI KIVA MURAL, Arizona,Room 529, Right Wall, Design 1
21. AWATOVI KIVA MURAL, Arizona, Room 788, Composite of Left and Right Walls, Design …

Chapter 4 Hopi Kachinas: A Life Force, Barton Wright

Hopi Nation: Essays on Indigenous Art, Culture, History, and Law

“Everything has an essence or life force, and humans must interact with these or fail to survive.”


It is not known where the Kachina Cult originated, but some evidence points to a Meso-American origin, brought possibly with the clans which migrated from north to south and north again. There are a few archaeological hints which indicate that there was a viable Kachina Cult by the time the Hopi settled at the center of their world in 1100. The Kachina Cult is shared with all the other Pueblo peoples who live to the east, from Zuni to Taos and formerly Pecos …

Exemplary Arts: Section E — Subject: Kachinas, Edna Glenn

Hopi Nation: Essays on Indigenous Art, Culture, History, and Law

“The central theme of the Kachina Cult is the presence of life in all objects that fill the universe.” — Barton Wright

“The concept of fertility is central in Hopi thinking. It applies not only to good crops but to the general multiplication of good and desired objects and beings . . . Thus, as women give birth to the people and cause them to multiply, so do the kachinas cause food and other blessings to multiply.” — Alice Schlegel

Eight examples are presented in this section; others are included on previous pages

Sculptural forms: Figures 68-70
68. EOTOTO AND …

Chapter 5 Hopi Social Structure As Related To Tihu Symbolism, Alice Schlegel

Hopi Nation: Essays on Indigenous Art, Culture, History, and Law

“Life is the highest good; in an environment where survival requires constant effort, . . . the richest blessing is abundance of food and children.”


Kachina dolls, those representations of the dancers who impersonate the supernatural kachinas, have captured the fancy of many art lovers for their colorfulness, the skill with which they are frequently made, and the variety of kachina forms they represent. To the collector, they are art objects, to be appreciated in terms of color, design and quality of craftsmanship. To the historian or museum curator, they are representative of the kachinas; as such, they are classified …

Chapter 6 Contemporary Hopi Courts And Law, Piestewa (Robert H. Ames)

Hopi Nation: Essays on Indigenous Art, Culture, History, and Law

“We believe we are ‘at the center’ and this gives us a very secure feeling about where we are, where we have been, and what we are going to do.”


To understand how Hopi courts are trying to utilize custom and tradition, it is necessary first to understand the court structure, jurisdiction, and procedures of the Hopi Nation’s judicial system. The Hopi court system is composed of two courts—the Hopi Tribal Appellate Court and the Hopi Tribal Trial Court. My present appointment is Chief Judge of the Hopi Tribal Trial Court. The Hopi Trial Court is the highest trial court …

Chapter 7 The Enduring Hopi, Peter Iverson

Hopi Nation: Essays on Indigenous Art, Culture, History, and Law

The Hopi world is centered on and around three mesas in northeastern Arizona named First, Second, and Third. It is at first glance a harsh and rugged land, not always pleasing to the untrained eye. Prosperity here can only be realized with patience, determination, and a belief in tomorrow. For over 400 years, the Hopis have confronted the incursion of outside non-Indian societies. The history of white-Indian relations in this country suggests that men and women of good will may differ over the appropriate strategy, over the proper behavior, and over the definition of identity. The Hopis are not exceptions …

Hopi Essence: Self-Portrait And Poem, Lomawywesa (Michael Kabotie)

Hopi Nation: Essays on Indigenous Art, Culture, History, and Law

The somber face, the snow-misting hair and the eyes looking at me/you is me—Lomawywesa, Antelopes Walking in Harmony. Born to the Snow/Water Clan of Shungopavi, a migratory people who traveled to the Hopi mesas from the legendary Red City to the South, Paalotkwapi.
It was at Paalotkwapi that our Father, the Serpent, emerged and gathered us, his children, and blessed us with Clouds. “Go northward my Children,” he directed us. So northward we journeyed and among the barren mesas we emerged to reside with the Bear Clan and build our Cloud-Inspired Homes.
And
to these Cloud-Terraced homes our Cloud Fathers/Mothers …

Contributors — Hopi Nation, [The Editors]

Hopi Nation: Essays on Indigenous Art, Culture, History, and Law

Robert H. Ames (PIESTEWA)
Edna Glenn
Peter Iverson
Michael Kabotie (LOMAWYWESA)
Alice Schlegel
Abbott Sekaquaptewa,
Terrance Talaswaima (HONVANTEWA)
Barton Wright
John R. Wunder

Wind Through The Buffalo Grass: A Lakota Story Cycle, Paul A. Johnsgard

Paul Johnsgard Collection

Wind Through the Buffalo Grass: A Lakota Story Cycle is a narrative history of the Pine Ridge Lakota tribe of South Dakota, following its history from 1850 to the present day through historical events and through the stories of four fictional Lakota children, each related by descent and separated from one another by two generations. The ecology of the Pine Ridge region, especially its mammalian and avian wildlife, is woven into the stories of the children. Illustrated by the author, the book indudes drawings of Pine Ridge wildlife, regional maps, and Native American pictorial art. Appendices indude a listing of …

Warps & Wefts 2009, Carol Bier

Textile Research Works

The interlacing of warp and weft defines a woven fabric. The weaver strings warp yarns onto a loom, a frame designed to hold the warps parallel and taut, and then introduces the wefts sequentially. The process is weaving; the result is a textile.

When we think of textiles, we most often think of garments to clothe our bodies and furnishings to supply our domestic needs. But throughout history, textiles have also played a primary role in fashion, drawing on not only color and pattern but also draping qualities and the effects of tailoring to cover (or show off) the body. …

Wind Through The Buffalo Grass: A Lakota Story Cycle, Paul A. Johnsgard

Paul Johnsgard Collection

Wind Through the Buffalo Grass: A Lakota Story Cycle is a narrative history of the Pine Ridge Lakota tribe of South Dakota, following its history from 1850 to the present day through actual historical events and through the stories of four fictional Lakota children, each related by descent and separated from one another by two generations.

The ecology of the Pine Ridge region, especially its mammalian and avian wildlife, is woven into the stories of the children. Illustrated by the author, the book includes drawings of Pine Ridge wildlife, regional maps, and Native American pictorial art. Appendices include a listing …

Exhibition Review Of "Cosmophilia: Islamic Art From The David Collection, Copenhagen", Carol Bier

Textile Research Works

THIS EXHIBITION WAS organized by the Isabella V. McMullen Museum of Art at Boston College. It is accompanied by a catalogue of the same title published in 2006 by Sheila S. Blair and Jonathan M. Bloom, who also seived as curators, selecting objects in collaboration with the David Collection. The exhibition contains more than I 00 outstanding objects of Islamic art and includes more than 20 significant textiles, which represent diverse geographic origins (Yemen, Spain, India, Egypt, Central Asia, Turkey and Iran); with dates ranging from the 7th through the 19th centuries. Linen, cotton, wool and silk, traditional textile materials, …

Vanishing Points, Deformed Planes, Negative Spaces, Empty Solids And Topological Genius – Or, How I Got Lost In Bilbao, Carol Bier

Textile Research Works

Midsummer’s green along the flanks of the Pyrenees in Basque country welcomed us as we drove from Donostia (San Sebastian) west to Gernika and Bilbao. The mountains to the south physically separate this area of northern Spain from the rest of the Iberian Peninsula. To the north lies the Atlantic with its vast expanse of water, gentle waves lapping at the shore. The mountain slopes here are profoundly uplifted and folded – nature’s deformations of the plane – and the steep valleys and rushing rivers exhibit visible geometric perspectives of geological forms. To be here in summer makes one especially …

From Folding And Cutting To Geometry And Algorithms: Integrating Islamic Art Into The Mathematics Curriculum, Carol Bier

Textile Research Works

Drawing upon visual forms of expression prevalent in Islamic arts and architecture, this workshop offers handson experience for understanding basic concepts in geometry, with reference to algorithms in processes of patternmaking. Art teachers and math educators may learn a variety of strategies for classroom teaching, adaptable for K-12, to acquaint students with principles underlying patterns in Islamic art. Such patterns relate to the history of mathematics at a time when Baghdad was an intellectually vibrant center of patronage, and al-Khwarezmi was engaged in the development of what we now call algebra and algorithms. Students may explore these ideas through their …

Native America History, Comparative Genocide And The Holocaust: Historiography, Debate And Critical Analysis, Brenden W. Rensink

Department of History: Dissertations, Theses, and Student Research

This study explores the complex issues surrounding comparative genocide studies and how Native American history relates to this field. Historical contexts for Native American historiography, particularly the scholarship of Vine Deloria, Jr., are examined. In addition, the manifestation of some problematic trends in the field is detailed through the mordant debate between scholars of native America and the Jewish Holocaust. Arguments over Holocaust uniqueness and how the depopulation of Native America should be classified typifies how certain aspects of comparative genocide studies have a propensity for subjectively motivated and biased methodology. Finally, a case study using the historiography of the …

Islamic Art: An Exploration Of Pattern, Carol Bier

Textile Research Works

As an historian of Islamic art in the Department of Art History at the Maryland Institute College of Art, I am continually learning as I endeavor to teach my students about pattern. Teaching about pattern in Islamic art has facilitated my own exploration of geometry in ways that also benefits my students. This visual presentation explores the results of a single assignment that pertains to coloring a linear plate reproduced in Bourgoin’s classic work [6], Arabic Geometrical Pattern and Design.

Book Review: Viet Cong At Wounded Knee: The Trail Of A Blackfeet Activist, Tom Holm

Great Plains Quarterly (through 2013)

Woody Kipp's life story is a reflection of a new generation of Native writers and activists. His autobiography has nothing to do with trying to save the white world from itself or to explain Indians to a curious and perhaps even sympathetic white audience. The white world literally and figuratively took aim at Woody Kipp (and a number of other American Indian Vietnam veterans) for daring to oppose the injustices he saw in Indian life. He became, as the title of his book indicates, the then-current enemy of the American state. He was, ironically, a domestic version of the Viet …

Gender, Sexuality, And Race: Rereading The Dakota War, Jonathan Went

Department of History: Dissertations, Theses, and Student Research

December 26, 1862, marked the culmination of the brutal hostilities that transpired between the Dakota Indians and American soldiers and settlers over the late summer and fall months in Minnesota. The American government condemned thirtyeight Dakota men to die on the gallows as punishment for their involvement in the war. While the event served as punishment for the Dakotas, it was also a culturally pregnant spectacle that provides deeper insight into not only the war but also Dakotan and American societies. The hanging was just as much about manhood, sexuality, and race, as it was about retribution.

Organized thematically, this …

Symmetry And Symmetry-Breaking: An Approach To Understanding Beauty, Carol Bier

Textile Research Works

Considering the relationship of symmetry and beauty, the author examines three textiles from the collection of Doris Duke at Shangri La in Honolulu. Referring to abstract expressionism of the 20th century as antithetical to symmetry, and the Arts & Crafts Movement of the 19th century as countering the insistency of industrial mass production, Bier explores the relative roles of symmetry and symmetry-breaking in the construction of three embroideries (called suzani, after the Persian and Tajik word for “needlework”), using as her point of departure a recent research initiative, the Shangri La Suzani Project. The study of colors, motifs, stitches, designs …