Tuesday, April 14, 2009

Collecting Zuni Fetishes, the Changing Woman of the Navajo

Andres Quandelacy, Bisbee Cobolt Azurite Buffalo

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

Historical description of Zuni fetishes and collector's information
Frank Hamilton Cushing, Zuni fetishes, Second Annual Report of the Bureau of Ethnology

Zuni fetish carvings depict animals and reptiles such as the frog, turtle, buffalo, deer, ram, otter, and others. There are many more subjects of contemporary carvers that may include dinosaurs, for example, that would be considered non-traditional, or some insects and reptiles that are traditionally more integral to Zuni mythology and folklore, or to petroglyphs, symbolism, and the patterns of design in pottery, e.g. dragonflies and butterflies, water spiders, and lizards. There is also the corn maiden, a symbol of fertility and the hope of a good harvest. Other animals, such as the horse, ram, or sheep, were carved mainly for trade. The Zuni was not a horse culture but their horse carvings were considered by the Navajo and the horse cultures to the north as having great power for the protection of their herds. Each animal is believed to have inherent powers or qualities that may aid the owner. The Navajo, for example, treasured and bartered for figures of horses, sheep, cattle or goats to protect their herd from disease and to insure fertility.

Traditionally, the materials used by carvers were often indigenous to the region or procured by trade. The most important of these materials was turquoise, which is considered by the Zuni as the sacred stone. Jet, animal shell (primarily mother-of-pearl), and coral are also frequently used. These materials and their associated colors are principle in the Zuni sunface, a cultural symbol which is present in Zuni jewelry and fetish carvings and represents their sun father. It should be noted that different turquoise stones gained their name from the great peaks, or sacred mountains from which they are mined, while the other three principle materials of the Zuni sunface were at one time a living thing (See Zuni substance). The list of other materials used is extensive and includes Zuni rock, jaspers, pipestone, marbles, or organic items such as bone and deer or elk antler (there are some Zuni carvers that will not carve bone or antler, considering the practice as dangerous). Even artificial substances such as slag glass and casilica are used. In recent years Zuni carvings, or fetishes, have become popular collectibles and Zuni artisans have familiarized themselves with materials available from all parts of the world in order to serve the aesthetic tastes of collectors.

As a form of contemporary Native American art Zuni carvings are sold with non-religious intentions to collectors worldwide. The artist's styles are as unique as the artists themselves, and there are many whose works are highly sought after by collectors. Some collectors prefer a figure that is more realistic in appearance, while others prefer the more traditional styles that are intrinsic to Zuni belief. The traditional belief of the Zuni is that the least modification of the original material maintains, or heightens, the power of the fetish as a "natural concretion". Realism in carving style is a matter relative to the beliefs of its owner, and the realism in contemporary carving is a product of collector request and demand and the intent of Zuni carvers to raise the level of their art form through participation in the world of contemporary art. The enigma or apparent paradox relevant to Zuni belief and realism in art is resolved in the notion that carvings for sale and collection are produced without religious intent. For this reason some carvers prefer the term "carvings" rather than the term "fetishes" when referring to offerings for collectors.

A carving may be signed by the carver, or not. Personalization by signing a piece of art is a form of individualism that traditionally violates the Zuni notion of community purpose. Native American cultures in general traditionally viewed art objects as community property, and Native languages did not have a word translating to "art". The signing of artwork is a concept introduced to the Zuni by white collectors at the beginning of the twentieth century (ca. 1915) when artists began signing their paintings, and most Zuni carvers did not begin signing their carvings until the last part of the twentieth century. Often, though, a Zuni carver feels that their own unique style is readily identifiable and the fetish's style will be enough to identify the carver as surely as would any other mark. Some carvings are so intricate and small that it is impractical to sign it, and there always is the fear that the piece could be chipped, scratched, or otherwise damaged in the attempt. Most carvers are the recipients of a family tradition of style and have learned their skill from parents, grand parents, or siblings, and have passed the art to their own children as well.

Besides being made from various stones and other materials, the fetish may carry an offering of a smaller animal or a prayer bundle of carved arrowheads with small beads of heishe. It may be adorned with a heishe necklace, feathers, etchings representing ancient petroglyphs, or an etched or inlayed heartline representing the animal's Sa-ni-a-kia. These items are intended to protect and feed the fetish itself. In regard to feeding, it is believed from tradition that the Keeper of fetishes is required to feed a meal of cornmeal and ground turquoise periodically and provide the carving with access to water. Fetishes are often kept in and attached to clay pots adorned with ground turquoise. The corn maiden, an icon so important in Zuni mythology regarding fertility and a good harvest in an arid desert agricultural environment, is often portrayed holding a bowl of ground turquoise, sometimes trailing to the ground.

As far as describing the Zuni culture by the term "fetishism" it should, like any other culture, be considered carefully and as a matter of degree. According to modern anthropology's definition of "fetishism" every culture theoretically has its iconic worship of sacred things. As Cushing noted, to the Zuni a fetish is a "mediator" and represents the "roar of the animal". This is not a totemism or a strict fetishism as witnessed in, for example, some African cultures or Alaskan native tribes. The medicinal power of the fetish is a triadic relationship between the fetish, the owner, and Po-shai-an-kia. It is an idiosyncrasy shared by many cultures and as a matter of degree is always arguable..........Read the entire article here

PBS and Native American History

"The lack of historical storytelling about Native Americans is the best evidence I know to support the cynical cultural studies argument that history is merely the stories told by those who won the wars and hold the power."

See full article here

May 23-24, 2009:

Native Treasures - Presented by the Museum of Indian Arts and Culture, Native Treasures features over 140 Native American artists who are specially invited by the museum to represent the best and brightest of the Indian art world. At the Santa Fe Convention Center.

Museum website

14th Annual 2009 Wildcat Powwow

Festival included variety of tribes, showcased Native American food, crafts

See full article here

Little Rock Museum explores state's Native American history

Describes the history of the tribes through Native American voices
See full article here

"Red Man's View," a Native American Story

Remake of the original 1909 silent "Red man's View" about the plight of a Native American tribe during the mid 1800's
See full article here

Susan Peterson, ceramics artist studied Native American potters, dies at 83

Susan Peterson, a ceramics artist, educator and writer who revealed the lives and techniques of Native American women potters of the Southwest
See full notice here

Joanne Shenandoah

One of the nation’s leading American Indian recording artists
See article here

Three Native American musical performers at the Soaring Eagle Casino and Resort the weekend of April 24 and 25.

Brulée and American Indian Rock Opera will take the stage at the Entertainment Hall on Friday, April 24

On Saturday, April 25, Crystal Shawanda and 2006 Grammy Award and Native American Music Academy Award winner Star Nayea will perform. Tickets for the April 24 show and the April 25 show are available through the Soaring Eagle Box Office or by calling 800-585-3737

To obtain current information

Idyllwild Summer Arts Program

Native American Arts Festival, will take place July 12-18

"More than Fry Bread"

Residents audition for role in American Indian movie

See full article

Saving Native American languages

Some 40 languages, mainly in California and Oklahoma, where thousands of Indians were forced to relocate as part of the notorious 19th Century Trail of Tears, have fewer than 10 native speakers.

See full article

Smithsonian’s National Museum of the American Indian

National Museum of the American Indian Awarded Accreditation by the American Association of Museums

See full article

Iroquois Indian Museum exhibition “Native Americans in the Performing Arts: From Ballet to Rock and Roll.”

Start Date: March 30, 2009 - End Date: December 31, 2009
Location: Iroquois Indian Museum Howes Cave, N.Y.
Phone: (518) 296-8949

iroquoismuseum.org

Cherokee Chiefs

Changing Woman

Changing Woman [Asdz nádleehé] comes closest to being the personification of the earth [Nahasdzáán] and of the natural order of the universe [Yádihi Bii' Bi Haz'ánígíí] as to any other brief way of describing her. She represents the cyclical path of the seasons [nináhágháhígíí], birth (spring [daan dgo]), maturing (summer [sh shgo]), growing old (fall ['ak'eed]) and dying (winter [haigo]), only to be reborn again in the spring [daan dgo].

The birth of Changing Woman [Asdz nádleehé] was planned by First Man [Átsé hastiin] and First Woman [Átsé asdzáán]. First Man [Átsé hastiin] repeatedly held up his medicine bundle [jish] toward Gobernador Knob [Ch'óol''] at dawn [hayíík]. Somehow from this action Changing Woman [Asdz nádleehé] was born and found lying on top of Gobernador Knob [Ch'óol'']. She was found by Talking God [Haashch'éét'í] who was sent to investigate. First Man [Átsé hastiin] then presented her to the diyinii, saying that you could see that this is the child of the young man and young woman of exceeding beauty who themselves had arisen from the same medicine bundle to become the inner form of the earth.{*}

First Man [Átsé hastiin] raises and teaches Changing Woman [Asdz nádleehé]. She grew from infancy to puberty in four [d] days, thus acquiring the name Changing Woman [Asdz nádleehé]. This occasioned the first puberty ceremony. The Holy People [diyin diné] were called for and Talking God [Haashch'éét'í] officiated at the ceremony.

Changing Woman [Asdz nádleehé] was dressed in jewels (white shell [yoogaii], turquoise [doot'izhii], abalone [diichi] and jet [bááshzhinii]), blessed with pollen [tádídíín] from the dawn [hayíík] and from twilight [nahootsoii], and with “pollen” from many jewels and soft fabrics, symbolizing her control over these articles. After this blessing, her hair was bathed with dews [dahtoo'] and she was instructed to run toward the dawn [hayíík] as far as she could see and then to return. As she ran, her dress of jewels jingled. She repeated this for four [d] nights [t'éé]. On these days [j], when not involved in ceremonies, she occupied herself with planning for the future of the earth [nahasdzáán]. By the end of the ceremony she had made millstones [tsédaashjéé and tsédaashch'íní], a whisk broom [bee nahalzhoohí], pots ['ásaa']and stirring sticks [ídístsiin]. The songs that were sung for Changing Woman [Asdz nádleehé] as she ran are sung today for young women at their puberty ceremonies [kinaaldá].

At Changing Woman’s [Asdz nádleehé] next menstration another puberty ceremony was held, similar to the first. But at this ceremony other procedures for the future were defined. These decree that no menstruating woman shall be present at any ceremonial. The order of songs at future Blessingway [hózhójí] ceremonies was thus determined.

After this ceremony Changing Woman [Asdz nádleehé] would go outside and walk on the trail which had been prepared for her. One day at noon a strange man walked up to her and spoke to her. He said “Prepare yourself for something that is going to happen, after a while I will visit you.” This stranger was so dazzling that Changing Woman [Asdz& n nádleehé] had to look away. When she turned back, he was gone. She returned home and reported this encounter to First Woman [Átsé asdz] and First Man [Átsé hastiin]. It seems that First Man [Átsé hastiin] was expecting this occurence, which happened twice again. On the third time Changing Woman [Asdz nádleehé] was told to fix her bed outside, with her head to the east. When she fell asleep a young man came and lay beside her. This happened again and she asked who he was. He replied, “Don’t you know me? Didn’t you ever see me? Don’t you know that you see me all the time? It is I that takes care of all things, whatever there is on earth. I am the Sun’s inner form. In my very presence you came into being, in my presence you were put into shape, even I was among them!” He then indicated that First Man [Átsé hastiin] had directed him to do this. The next day she decided to bathe because the young man might visit her again.

While bathing the young man appeared again and with the collaboration of the dripping water impregnated Changing Woman [Asdz nádleehé]. In nine [náhást'éí] days [j], twins were born to Changing Woman [Asdz nádleehé]. These twins were to become Monster Slayer and Born for Water. These two [nakii] also grew in four [d] day [j] periods and in twelve [nakits'áadah] days [j] they were grown young men.

At this point Changing Woman [Asdz nádleehé] asked for and receives the medicine bundle [jish] that First Man [Átsé hastiin] had brought up from the previous worlds. She moves to a hooghan that was built for her at the base of Huerfano Mountain [Dzina'oodIII. Here she conducted the first wedding ceremony, the mating of corn. After this ceremony Changing Woman [Asdz nádleehé] leaves for the house that her sons have built for her, at the direction of their father, the Sun [Jóhonaa'éí], in the west ['e'e'aah], at or on the Pacific Ocean.

Here Changing Woman [Asdz nádleehé] grew lonely and created the Navajo People from skin rubbed off various parts of her body. The four [d] pairs of people created at this time are the ancestors of all Navajo today.

Changing Woman [Asdz nádleehé] also caused the abduction of the two children of Rock Crystal Talking God. They were taken to her house in the west ['e'e'aah] by way of a rainbow [nááts'íílid] and a sunbeam [shábit'óól]. Here they were taught the Blessingway [Hózhójí] ceremony. They returned home to teach the ceremony to all of their people (the original Navajos saw the ceremony being taught to these children). The diyinii all gathered to learn the ceremony and to construct the original Mountain Soil bundle, containing soil from each of the sacred mountains [dzi dadiyinígíí], with which the ceremony is still conducted. The Holy People then said that, after their departure from this ceremony, they would never be seen in person again but that their presence would be manifest in the sound of the wind [níyol], the feathers [ats'os] of an eagle ['atsá], in various birds [naat'a'gii], the growth of the corn [naad] and other aspects of the world surrounding the earth surface people.The two children who had been taught the Blessingway ceremony [Hózhójí] then departed to live with the Holy People.

{*} The parentage of Changing Woman [Asdz nádleehé] is described in several different ways by different informants; however these can be thought of as just different ways of saying the same thing. Some say that her father and mother are the Sky and the Earth. Others say her parents are sa’a naghái ashkii (boy) and bik’e hózh at’ééd (girl) as in this version. However the Sky is sometimes referred to as sa’a naghái and the Earth as bik’e hózh. In either case, Changing Woman is Earth’s child, the child of the Sky and the child of the mountain. As she was planned for by First Man [Átsé hastiin] and First Woman [Átsé asdz] and called forth by First Man [Átsé hastiin], she is also their child.

Keeper of Stories

DVD- American Experience: Last Stand at Little Big Horn (2005)

Narrated by Pulitzer Prize-winning Native American writer Scott Momaday, "Last Stand at Little Big Horn" is an examination of Custer's last stand from the viewpoints of the Lakota Sioux and the white settlers. The film is a collaboration of Native American novelist James Welch (Winter in the Blood, The Indian Lawyer) and white filmmaker Paul Stekler (Eyes on the Prize).

Order American Experience: Last Stand at Little Big Horn

Recent Books of Interest

''Canyon Gardens: The Ancient Pueblo Landscapes of the American Southwest (University of New Mexico Press: 2006). Editors V.B. Price and Baker H. Morrow have assembled 15 essays on the millennium-old Puebloan landscape.

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Zuni fetish updates from Amerindian Arts

posted by Amerindian Arts at 12:58 AM 0 Comments