I N S I D E

n ACTIVITIES YOU CAN DO WITH YOUR STUDENTS BEFORE YOUR VISIT

n MUST-READ INFORMATION TO HELP YOU PREPARE

n WHAT TO DO WHEN YOU GET TO THE HALL

n CONNECTIONS TO OTHER PLACES IN THE MUSEUM

n TIES TO NEW YORK STATE STANDARDS

n PRE-, DURING-, AND POST-VISIT ACTIVITIES

FOR FURTHER INFORMATION AND ACT IV IT IES V IS IT OUR WEB SITE AT

www.amnh.org/resources/exhibi t ions/totems

turquoise

A n E d u c a t o r ’s G u i d e

totems to

Native North American Jewelry Arts of the Northwest and Southwest

BACKGROUNDThis exhibition is about material culture: how the things people make reflecttheir worldview and their lives. Objects are one way that cultural knowledgeis transmitted across generations. Jewelry from two very different geograph-ic regions, the American Southwest and the Pacific Northwest Coast ofCanada and Southeastern Alaska, draws on forms and materials that dateback many centuries. The extraordinary objects in Totems to Turquoiseexpress both the innovative artistry of Native American jewelry makers and

the remarkable continuity and vitality of the cultures to which they belong.

KEY CONCEPTSThe following concepts are key for teaching social studies and map to the

standards. They correlate directly to the themes presented in Teaching inthe Exhibition.

All objects have cultural meaning.Everything humans make — whether boats, bowls, or bracelets — comesfrom a specific culture at a specific time. Understanding the cultural con-text of an object — the symbols, meanings, and values that it represents

— makes it possible to appreciate its beauty far more deeply. The contin-uum of styles and symbols across time and place demonstrates rich, living tra-

ditions. This jewelry expresses deeply held beliefs that are still very much a partof Native peoples’ lives. Yet culture is dynamic. Today’s Native artists inevitably explore

new directions, often combining traditional forms and materials with new ones in a single piece.

Native American jewelry provides a window into culture. Like other art forms, Native bracelets, belts, and necklaces embody symbols and motifs with deepcultural significance. Mythic animals often populate Northwest jewelry, while colors in theSouthwest have enormous symbolic meaning. Unlike totem poles or blankets, jewelry is smallenough to be held in the hand. Yet it has the power to make complex beliefs accessible on ahuman scale: the connection between humans and animals, the celestial and the terrestrial, thenatural and the supernatural — our place in the cosmos.

Native peoples of the Southwest and Northwest make jewelry that reflects theirenvironments and embodies their worldviews.Rainfall is as scarce in the arid, open American Southwest as it is abundant in the wet, wood-ed Pacific Northwest. Artistic techniques also differ. Northwest Coast art is highly sculptural anddraws on fluid forms, while Southwestern art embraces strong colors and angular geometry. Yetjewelry from both regions — and the worldviews it embodies — also shares certain aspects. Forexample, both traditions emphasize transformation, from self to spirit or nature to humanity.The idea of cyclical process also informs much Native American thought and art, reflected incountless stories of birth and rebirth, hero and trickster, creator and destroyer.

Shaped by technology, trade, and innovation, traditions change over time.An exhibition captures a particular moment, like a snapshot, and also places it within a histori-cal and cultural context. But tradition is ever-changing, sustained by innovations that emergefor many reasons. Likewise, styles in Native artwork are always evolving. These groups havealways traded and borrowed (shells, copper, amber, and obsidian in the Northwest, and coral,obsidian, macaws, turquoise, and shells such as spondylus and abalone in the Southwest).Contact with Europeans introduced silverworking and new materials — innovations that artistscombined with techniques learned from old masters. A growing commercial market also influ-enced products and practices. Shaped by all these factors, contemporary Native jewelry reflectsboth past and present.

Adornment reflects both personal and collective identity.Across time and place, people have always used jewelry and other forms of adornment to serveseveral purposes: to express what they think is beautiful, to convey their beliefs about the nat-ural world, and to show their place in society. At ceremonies, people wear fine clothing, orna-ments, and body decoration to transform their identities. In these ways, adornment both con-nects people and also distinguishes them from one another.

Inside Passage, British Columbia, Canada

come prepared !About the ExhibitionEvery object in this exhibition was made by aNative North American artist from theAmerican Southwest or the Pacific NorthwestCoast. Many of these masters are at worktoday, contributing to a body of remarkable artthat is internationally recognized and valued.This exhibition places contemporary jewelry incontext with historic Native American pieces. Itincludes an introduction to the societies towhich these artists belong: their social organ-ization, rituals and beliefs. Selected works byinfluential artists are highlighted in a centralsection. The exhibition closes with jewelry frommore than 20 tribes — including the Haida,Kwakwaka’wakw, (kwok-WOK-a-wok) Tlingit,Tsimshian, Navajo, Hopi, Zuni, and otherPueblo groups — that shows the range anddiversity of contemporary Native Americanartists. Although many other Native Americangroups make jewelry, this exhibition focuseson two regions where the jewelry exemplifiesexceptional cultural continuity.Text, graphics, and images from the exhibitiontext are available online at www.amnh.org/exhibitions/totems

What’s in a name?The terms “Native American,” “Indian,” “NativePeoples,” and “First Peoples” are used todescribe diverse groups of people whoseancestors lived in the Americas before thearrival of Europeans. They speak differentlanguages, live in different places (from ruralreservations to big cities), and have a rangeof different customs and traditions.

Teaching in the MuseumThe Museum offers many opportunities forself-directed learning, so give students timeto explore the exhibition on their own. Youcan adapt the questions and activities in thisguide for your class level and curriculum.

key conceptsand background

native northamerican jewelry

T he five themes below explore the key concepts and represent pos-sible tours through the exhibition. (Locations are indicated in ital-icized text.)

The cultural meaning of objectsAll objects have stories to tell. Sometimes we’re lucky enough to havethe maker comment on its meaning; other times, we have to figure it outfrom other sources.

n the theater [after Introduction] — Watch the introductory video tomeet some of the artists featured in this exhibit.

n katsina dolls [Southwest Community Life] — Katsinas are benevolentspirit beings that participate in communal ceremonies as maskeddancers. Look around for jewelry that shows images of katsinas (bothfull images and faces).

n crest case [Northwest Community Life] — Look here for ravens, whales,and other creatures. Most of these are crests: emblems of a family’sancestral history. Can you find other crests elsewhere in the exhibition?

n killer whale box by Bill Reid (Haida) and height bracelet by CharlesLoloma (Hopi) [both in Modern Masters] — Cultural meaning is notalways obvious. What do you think these master jewelers were trying

to communicate? Read the labels and see if they change your pointof view.

Jewelry as a window into culture Artists have always made miniature objects that possess great culturalsignificance. What do you think it’s like to wear this kind of jewelry?

n “Chief of the Sea Mask” by an unknown late 19th century artist, and“Chief of the Sea Mask” pendant by Kevin Cranmer (bothKwakwaka’wakw) [both in Introduction] — Cranmer reproduces thehistorical mask in miniature. The wearer forges a personal connectionwith that supernatural creature.

n Shalako kachina pins and photo of Zuni Shalako ceremony[Southwest Community Life] — The photograph shows Shalakodancers in sacred costumes, as do these pins.

Worldview and environments can inspire artistsn Go to the Seasons Case [Worldviews]. Look for examples of jewelry

that reflect the natural environment of the artists. What landscapes,animals, and cycles of the natural world are depicted? For example,look at “The Lonely Salmon” bracelet by Lyle Wilson (Haisla), and theblue corn bracelet by Lee Yazzie (Navajo).

“The old ways, the prayers, thinking aboutthe sacred colors — it all makes you morebalanced in the world. For me and my art, it’simportant to reach back to my tradition.”

Jesse Monongya, Navajo artist

Jim Hart

before your visit1. This exhibition focuses on the Native American groups who live in the

Pacific coastal forests of western Canada and Alaska, and the wide-opendeserts and mountain ranges of the American Southwest. Ask your stu-dents to pick one of the following groups: Hopi, Navajo, Zuni, Haida,Tlingit, Kwakwaka’wakw. Use the map insert to locate these groups. Then,using books and the internet, students can research the environment(flora and fauna) of the group. What environmental resources are mostabundant/scarce in each? What kinds of materials and images mightthey expect to see each tribe use in making art?

2. All objects have stories to tell. Ask students to bring in an object fromhome that reflects something about themselves or their families, suchas a photo, a souvenir, or an accessory. Place all the objects on a tablewithout identifying the owners. Invite each child to choose an object andexamine it closely, then draw it, describe it, and guess why it’s importantto its owner. Ask each person to share his or her analysis with the class.Then ask the owner to reveal the object’s actual significance. Did any

patterns or themes emerge from the selection of objects or the subse-quent discussion?

3. Like many people around the world, those featured in this exhibitionpass myths down through generations. Ask individual students, orsmall groups, to choose one myth from the list provided atwww.amnh.org/resources/exhibitions/totems and respond to the follow-ing questions: What does this myth tell you about the culture it comesfrom? What does it say about the tribe’s connection to the natural worldor about how people in the tribe relate to each other?

4. Start a discussion about what kinds of jewelry or adornment each studentwears.What influences their style choices? What are these things made of?Who else wears them? Have their choices changed over time, and why?

5. Ask students to think about what an exhibition of Native North Americanjewelry might contain. Then ask them to look at the quotes and portraitson the insert. How does what they learn from the insert compare to theirexpectations?

exhibitionteaching in the

“For our people, what we wear is who we are.Our jewelry and our clothing represent where we come from. We wear our history.”

Jim Hart, Haida artist and chief

rth jewelry

n Investigate the many symbols and imagesthat appear in jewelry from both regionsfeatured in the Northwest and Southwestinteractive stations.

Traditions change over timeArt is influenced by history and trade. Someartists incorporate unfamiliar materials into tradi-tional forms, while others use traditional techniquesto shape innovative objects.

n shooting star concho belt by Jesse Monongya (Navajo)[Introduction] — Compare this interpretation of a classic art formto the belt in the photograph.

n silver mural by Michael Kabotie (Hopi) [Southwest Contemporary] — This artist reworkedimages from an ancestral Hopi kiva that can be worn as pendants.

n bow guard by an unknown Navajo artist [Southwest History] — Coins were the first formof silver that many Native peoples encountered. This artist used dimes in this ceremonialbow guard.

n Northwest History and Southwest History walls: Look for examples of materials andstyles that reached these two regions from distant places. What can you find out abouthow materials were used and traded?

Personal and collective identityEvery artist in this exhibition belongs to a family, a tribe, and a culture. Look at both Artistsat Work videos [Theater]. Then visit the contemporary jewelry sections and look for objectsthat stand out as highly individual. What makes them distinctive? Here are some examples to get you started:n mosaic bracelet by Angie Reano Owen (Santo Domingo) [Southwest Contemporary] —

Owen connects prehistoric patterns with innovative inlay techniques and materials.n frog necklace by Dempsey Bob (Tlingit/Tahltan) [Northwest Contemporary] — The gold frogs

at the center of this necklace are connected at the tongue, symbolizing communication.n Inspirations of Haida Gwaii necklace by Veronica Poblano (Zuni) [Southwest

Contemporary] — On her way to visit Haida jewelers, this Zuni artist was inspired bytheir island landscape.

n Many societies use motifs and symbolsrepeatedly in their work. As you walk throughthe exhibition, look carefully for examples —such as the raven and the face onNorthwestern objects, and the butterfly andzigzag patterns on Southwestern ones. Howmany examples of each can you find? Is thesame motif used in different types of objects(such as pins and blankets)?

n Pick a type of jewelry to focus on, such as abracelet or necklace. Then choose two itemsin each category, one modern and one tradi-tional. Compare them. What does your selec-tion say about your personal style? Now lookat the photographs of people wearing jewelry.What do their choices say about their person-al styles?

n Choose a tribe (such as Hopi, Navajo, Zuni,Haida, Tlingit, or Kwakwaka’wakw) and selectfive objects from that culture. What kinds ofattributes—such as color, material, or images—do they share? How are they different fromwork made by artists from other tribes?

n Many of the artists whose work appears in theexhibit are quoted as they reflect on theirtechniques and inspirations. Connect two ormore quotes to pieces of jewelry made bythose artists.

n If you could go back in time to see one piecein the show being made, which one would itbe? What questions would you ask the artist?

while you’re at the museum

Jesse Monongya

Dowa Yallane, the sacred Corn Mesa, at Zuni Pueblo, New Mexico

Introduction

Southwest Community Life

Southwest Contemporary

Introduction

Northwest Community Life

Northwest Comtemporary

Totems to Turquoise

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NAVAJO

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RIO GRANDE PUEBLOS

HAIDA

KWAKWAKA'WAKW _ _

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INTRODUCTION

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n Ask students to write an article for the school newspaper that describes the exhibition. Whatwould they emphasize, and why? What objects would they choose to illustrate those points?

n There is no right way to make art, but it always involves a design process. Often it beginswith an idea, which may be inspired by an image, a memory, or a feeling. Next, artists maysketch out the idea, and revise it repeatedly while considering tools and materials. Finally,they create the piece. Ask students to follow this process and design a piece of jewelrythat represents them or their background. They should present a detailed sketch, identifythe materials they would use to make the piece, and explain their decisions. If possible,extend the activity by using classroom materials to create the piece.

n All exhibitions involve choices, which are made by a team of curators. They pick a topic,select objects, and collaborate with designers, writers, and other experts to create sup-porting materials and organize all the elements in a way that communicates a point of view.Ask students to pick a topic that would make a good classroom exhibit. Drawing on whatthey observed during their Museum visit, they should choose a theme, select objects, writelabels, and arrange the items for display.

n Research the jewelry and artwork created by Native Americans from other areas, such asthe Eastern Woodlands, Plains, Mexico, and Central and South America. Compare designstyles and materials.

Links to Learning StandardsThe exhibition and activities in this guide will help meet the following standards:

New York State Standards for Social StudiesStandard 3: Geography

New York State Art StandardsStandard 1: Creating, Performing, and Participating in the ArtsStandard 2: Knowing and Using Arts Materials and ResourcesStandard 3: Responding to and Analyzing Works of Art

National Curriculum Standards for Social Studies1 — Culture2 — Time, Continuity and Change3 — People, Places and Environment4 — Individual Development and Identity8 — Science, Technology and Society

National Standards in the ArtsUnderstanding the Visual Arts in Relation to History and CulturesUsing Knowledge of Structures and Functions

n There are three other Native North American Halls in theMuseum, the Hall of Northwest Coast Indians, the Hall ofEastern Woodlands Indians, and the Hall of PlainsIndians. All feature objects used by Native people about100 years ago. What kinds of jewelry and ornamentationcan you find?

n North American Mammals:Visit the Hall to find the mountain goat, brown bear, andmountain lion — animals that live in the Northwest andSouthwest. Draw each animal. Then, create an abstractdesign of one of the animals to use in a piece of jewelry.

n Hall of Minerals and Gems:Look at the ornamental gemstones, turquoise, coral, andjet. Which would you use in a piece of jewelry?

n Hall of North American Forests:Look for the map of North American forests. Compareand contrast the Northwest and the Southwest.

Resources:For additional activities visit: www.amnh.org/resources/exhibitions/totems

connections to other exhibits

in the museum

The educational materials and programs for the Totems toTurquoise: Native Jewelry Arts of the Northwest andSouthwest exhibition at the American Museum of NaturalHistory are supported in part by:Barbara G. FleischmanPhylis P. Fogelson

Produced by: Caroline NobelWritten by: Ashton ApplewhiteDesigned by: Amanda Kavanagh, Ark DesignContent Review: Sonia Dingilian, Lauri HaldermanCurriculum Development: Stephanie FinsSpecial thanks to: Dr. Peter Whiteley, Curator of North American Ethnology, AMNH Maps: Kascha Semon

This guide was developed by the Education Department and the NationalCenter for Science Literacy, Education, and Technology.

Photo CreditsCover: n Universe Within the Bear pendant. Jesse Monongya (Navajo). PrivateCollection. Photo by K. Togashi. n Woman in the Moon pendant. Jim Hart(Haida). Private collection. Photo by K. Togashi. n Mosaic bracelet. AngieReano Owen (Santo Domingo). Private collection. Photo by K. Togashi. n

Nathan Jackson (Tlingit). Photo by K. Togashi. n Man’s Earring. ArtistUnknown (Tlingit).AMNH Collection. Photo by AMNH. n Woman and Child(Navajo). AMNH Collection. Photo by AMNH.

Middle: n Turquoise necklace. Della Casa Appa (Zuni). Joe Tanner, Gallup, NM. Photoby K. Togashi. n “The Lonely Salmon” pin. Lyle Wilson (Haisla). Courtesy ofthe Museum of Anthropology, University of British Columbia, Vancouver,Canada. Photograph by Bill McLennan, UBC Museum of Anthropology. n

Parrot Motif Necklace. Lambert Homer, Sr. (Zuni). Challis L. Thiessen collection.Photograph by Arch Thiessen. n Silver kiva mural. Michael Kabotie (Hopi). Dr.Edwin L. Wade collection. Photo by K. Togashi. n Woman in the Moon BoloTie. Donnie Edenshaw (Haida). AMNH Collection. Photo by AMNH. n NW andSW landscapes, Jim Hart carving, and stones in Veronica Poblano’s studio.Photos by Harry Borelli. n Jesse Monogya (Navajo). Photo by K. Togashi.

Back: n Brown Bear Dish. Artist Unknown (Tlingit). AMNH Collection. Photo byAMNH. n Silver bracelet. Jim Hart (Haida). Courtesy of the Museum ofAnthropology, University of British Columbia, Vancouver, Canada. Photo by K.Togashi. n Model totem pole. Charles Edenshaw (Haida). AMNH Collection.Photo by AMNH. n Frog necklace. Dempsey Bob (Tlingit/Tahitian). PrivateCollection. Photo by K. Togashi. n Katsina bracelet. Charles Loloma (Hopi).Dr. and Mrs. E. Daniel Albrecht collection. Photo by K. Togashi. n Katsina doll.Ernest Moore, Jr. (Hopi). AMNH Collection. Photograph by AMNH. n Butterflymaiden necklace. Jesse Monongya (Navajo). Marjorie Raike collection. Photoby K. Togashi.

Photos near credits:n Heishi. Johnny Rosetta (Santo Domingo). Joe Tanner, Gallup, NM. Photo byK. Togashi. n Eagle Face Pendant. William Kuhnley (Nuu-chah-nulth)AMNH Collection. Photo by AMNH. n Butterfly pin. Unknown Artist (Zuni).Eleanor Tulman Hancock collection. Photo by K. Togashi. n Northwest histori-cal photo. AMNH Collection. Photo by AMNH.PMS 438 / 436C=72 M=69 M=79 K=0C=23 M=23 Y=27 K=0

PMS 222 / 1945C=0 M=100 Y=15 K=60C=0 M=100 Y=56 K=18

PMS 144 / 116C=0 M=47 Y=100 K=0C=2 M=21 Y=97 K=0

PMS 392 / 5787C=6 M=0 Y=100 K=47C=6 M=0 Y=30 K=11

PMS 526 / 535C=79 M=94 Y=11 K=0C=43 M=30 Y=6 K=0

PMS 444 / 5787C=9 M=0 Y=6 K=47C=6 M=0 Y=30 K=11

PMS 554 / 625C=87 M=0 Y=60 K=65C=56 M=0 Y=47 K=34

PMS 313 / 308C=100 M=0 Y=6 K=18C=100 M=0 Y=0 K=51

PMS 2935 / 291C=100 M=47 Y=0 K=0C=47 M=11 Y=0 K=0

© 2004 American Museum of Natural History.All Rights Reserved.

In the exhibition, there is jewelry and often other artworkfrom many of the groups represented on these maps.

As you walk through the exhibition, find at least one object designed by an artist from each group.

3 0 02 0 01 0 00

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Juneau

Vancouver

Seattle

Sitka Nisga'a_Gitxsan_

Tlingit

Haisla

Heiltsuk

Nuu-chah-nulth

Coast SalishKwakwaka'wakw_ _

Tsimshian Nuxalk

Haida

UNITED STATES

CANADA

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ALASKA

Stikine River

Nass River

Skeena River

Bel la Coola River

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Albuquerque

Santa Fe

Taos

Picuris

PojoaqueNambe

San IldefonsoTesuqueCochiti

Santo DomingoSan Felipe

Sandia

Isleta

Laguna

Acoma

Santa Clara

JemezZia

Santa Ana

Pueblos

Rio Grande

Litt le Colorado

River

Grand Canyon

Mesa Verde

Chaco Canyon

PACIFICOCEAN

Pueblos

Apache

Zuni

Hopi

Navajo

MEXICO

ARIZONA

UTAH COLORADONEVADA

CALIFORNIA

Tucson

Albuquerque

Santa Fe

Phoenix

Flagstaff

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PMS 438 / 436C=72 M=69 M=79 K=0C=23 M=23 Y=27 K=0

PMS 222 / 1945C=0 M=100 Y=15 K=60C=0 M=100 Y=56 K=18

PMS 392 / 5787C=6 M=0 Y=100 K=47C=6 M=0 Y=30 K=11

PMS 526 / 535C=79 M=94 Y=11 K=0C=43 M=30 Y=6 K=0

K=65C K=34

K=0C K=0

NORTHWEST

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© 2004 American Museum of Natural History. All Rights Reserved.

Read quotes from artists featured in the show, either in jewelry displays or in the videos. How doestheir jewelry express their ideas? What do you think about when you are creating something?

Dempsey BobTlingit and Tahltan In a way, artists were like the leaders in our societybecause they made the culture visible. Art makes you see who you are. It reflects theculture, and culture is what youdo, where you live, what youbelieve.

Will BurkhartTlingit Jewelry has always been important. The jewelry is morethan a piece of adornment. Itrepresents the clan crests, a particular hero in a story, orsome event that happened in the past. I think I’m doing something for the future because I’m perpetuating the art.

Kevin CranmerKwakwaka’wakw You always try to do your bestwork, because you want to represent the chief, his standing,and his family well. And it’s areflection of the people whotaught you. If you do good work, it shows that they taughtyou well.

Beau DickKwakwaka’wakwThe designs and motifs on thepoles and jewelry, bowls andladles—everything—representedthe people’s history, their identity,and their very essence. It’s alltold in the artwork.

Nick GalaninTlingitPeople have preconceptionsabout what traditional artwork is or what Tlingit art should looklike. Hopefully I can educatethrough my art form, and seewhat’s possible.

Dorothy GrantHaidaBeing a Haida woman, it’s important to have jewelry. It signifies a lot in your life—yourstatus, your identity. We all love to have lots of bracelets when we go to functions or momentous occasions, because it’s a show of love. Jewelry makes me feelempowered.

Jim HartHaidaFor the Haida people, being anartist is one of the highest thingswe can do. Because as artists,we’re involved in the supernatu-ral. We bring that world to life; wemake it physical, so you can seesupernatural creatures in three-dimensional view.

Nathan JacksonTlingit There are standard elements inthe designs, and you go fromthere to create a style that’sidentifiable as your own.

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Corey MoraesTsimshian The ovoids and the U-forms arelike an alphabet, and the moreyou use them and see them, themore they become like sentencesand phrases and paragraphs andstories.

Norman TaitNisga’a The art is carrying on our tradition. Just like my name, I’llpass the Nisga’a art on to mynephews. Both the name and theart are inheritances that have tobe kept up. It’s the same for theKwakuitl, and the Haida, and theTlingit; they’ll all pass it on totheir children.

Marvin TallioNuxalk and Heiltsuk I learned by watching the olderpeople. I think it’s up to the individual if he wants to experiment with different newtypes of material, maybe add insome new stories. you know, ourlife and times, in this day andage. So that’s where I like to takemy art, but also keep the tradi-tional art in there.

Evelyn VanderhoopHaidaWhen a chief or high ranked person commissions me to makesomething for them, I know thatthey will dance it. And when acollector commissions some-thing, I know it’s going to hangon a wall, but I approach it thesame way. I want to use the bestmaterial, make it as strong as itpossibly can be. Because, even ifa collector buys it now, somedayit may dance.

Dan WallaceKwakwaka’wakw and HaidaToday when we adorn somebodywith jewelry—our grandmothers orour mothers—we’re raising theirstatus and their wealth in a visual sense. It makes me feel so good to see them wear thejewelry with pride. I like decorat-ing our people.

Christian WhiteHaidaEach time I hear a Haida storyI’m inspired by a new part thatI’ve never understood before.There’s a constant renewal ofideas for me.

Lyle WilsonHaislaWhat’s nice about NorthwestCoast art style is you can transfera lot of the skills from one medium to the other. It’s not agreat leap from the way I makejewelry to wood carving. the jewelry is carved too, but inminiature. It’s actually harder tocarve wood than it is to carvejewelry.

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Read quotes from artists featured in the show, either in jewelry displays or in the videos. How doestheir jewelry express their ideas? What do you think about when you are creating something?

Harvey BegayNavajo As I began designing things thatwere similar to my father’s butdifferent, I gained confidence.My inspiration comes largely from things I observe and cantranslate into jewelry form.

Mike Bird-RomeroSan Juan and Taos Pueblos I call myself a silversmith, not ajeweler, because when I startedmaking jewelry, I learned the oldway. In other words, I can makeanything that I need to make. Idon’t depend on somebody elseto cut my silver for me, melt mysilver, make my castings. I do itall myself.

Richard ChavezSan Felipe Pueblos I am influenced by whatever I see…buildings, paintings,sculpture. But I don’t use symbolism that contradicts where I come from, that’s notallowed in my culture. I put mywhole self into the work fromstart to finish. When someonepurchases a work of mine I feelhonored that it’s appreciated.

C ippy Crazy HorseCochiti Pueblos One of my favorite designs is theradial tire design. I helped thesepeople with a flat tire one day,and when I saw the nice intricatepatterns of the tire, I thought,“Wow, I bet that would look goodin a bracelet.” So, for me, the patterns are all out there. It’s justa matter of trying to capture themand put them into one of my silver pieces.

Vernon HaskieNavajoActually I started making thingswhen I was nine years old. I hadobserved my parents making jewelry, so I challenged myself to make a pendant. My parentswere away one afternoon and Ijust did it. I completed my firstpendant on my own.

Michael KabotieHopiIn jewelry work, you have to dealwith your emotions, with yourexpectations, with your perfec-tionism, and with your skills.There’s usually a big gap betweenwhat you think and what yourhands can do.

James LittleNavajoI get ideas from lots of places,like when I have a trip, like ascene, or a landscape, or some-thing from my mom or my dad…it all makes a history.

Phil LorettoJemez and Cochiti Pueblos I guess I’ve recorded history inmy jewelry, because I draw onwhat goes on in Pueblo life or inNavajo life—the traditionaldances and people working intheir fields.

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Anthony LovatoSanto Domingo I’m a third-generation jeweler. Myfather did silver work, but nobodyever told me, ‘Come here andlearn this.’ I just started watching;that’s how I picked up jewelry.When I was in high school I tookjewelry classes, and then Imajored in metals in college,just to go further.

Jesse MonongyaNavajo and Hopi When you’re on the reservation,you feel like you can touch thestars because they’re so closeand they’re so bright. I alwaysthought it was a beautiful way to live. That’s all in my work.

Verma NequatewaHopi It’s the hardest thing to do, tomake a piece simple or subtle. Itry to make a piece clean and sobeautiful that it hurts. The mostimportant thing that I learnedwas about the stones them-selves, how to work the stoneand study the stone. Actually, Idon’t create the jewelry. It’s likethe beauty of the stones directsme how to use them.

Myron PanteahZuni and Navajo I get ideas from everywhere—lightfixtures, pottery, driving throughthe mountains in Vermont, seeingthings that are different than whatyou see at home. That’s what mywork shows, connections to newthings.

Veronica PoblanoZuniSometimes you’ve got to leave an area to find yourself, to findout what you really want to be in life. I’m proud of myself fordoing that, and to come homeand show my people what I havedone with my creativity.

Angie Reano OwenSanto DomingoI love making jewelry. Once youdecide what you want to do, thenyou want to see it finished. Youhave to have the passion andlove for it otherwise things justdon’t come together. You have toput your whole heart into it.

Perry ShortyNavajoIt's like I have a file in my mindof designs and patterns from theold phases. The creative part istaking one design that was usedin this period, and then anotherone, and put them together tomake a piece that will work. TheNavajo has a saying, "walk inbeauty, walk in harmony." If I'vemade something that's nice andit flows and it pleases someone'seye, then I've done a good job.

Lee A. YazzieDineh (Navajo) I feel blessed that I have a lot of ideas, a lot of designs that Ihaven’t even made yet. And theyare still coming. It’s just like theenergy and the light that comesfrom the sun. If we can harnessit, it will be for our benefit.

Raymond YazzieNavajo Cutting stones is an art, to getthat smooth polish and to findthe best area in the stone toshow it off. I spend a lot of timethinking how to give life to apiece of turquoise or coral.

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