Object: Effigy Jar

E/1956/6/5
Owl Effigy Jar
Pueblo of Zuni
North America: New Mexico
ca. 1912
Material: Ceramic

This object is an effigy jar in the form of an owl. It was produced by the Pueblo of Zuni around 1912 in present-day New Mexico. It measures 12.25 inches tall by 10 inches wide and is made from two separate pieces. Jars like this one are decorated with pottery slips, a method in which ceramic vessels are dipped in colored clay (see video below). The body of the jar has two wing-like projections on each side and a tail-like projection on the rear. There are also two horned projections on the head. Two frogs decorate the breast of the figure and may serve as symbols of rain. According to some Zuni artists, ceramic owl effigies have been in production for at least 400 years and have been used for ceremonial purposes. Among the Zuni, owls are often viewed as messengers of alertness. The Zuni people refer to themselves as A:shiwi and maintain a linguistically unique language that is unrelated to other languages in the area. The Pueblo of Zuni has been one of the most often visited groups of Native Americans by anthropologists and European surveyors. The pueblo has undergone many changes in pottery production, land holdings, and government. In the past century, the arts market has flourished, while over 450,000 acres of land holdings have been accumulated in Arizona and New Mexico, and the Zuni government has changed from a theocracy to a secular tribal council government.

[Lauren Simons]

Object: Tray

E/1982/11/450
Hopi: Basket Tray
North America
c. 1930
Materials: Grasses, Yucca, Devil’s Claw

This object is a basket tray made by the Hopi Indians of northern Arizona. The Hopi people are considered one of the oldest indigenous tribes of North America. The term “Hopi” comes from the name Hopituh Shi-nu-mu, which means “The Peaceful People.” Hopi are known for their production of high-quality art such as dolls, jewelry, ceramic, and baskets. This basket tray is made of a primary coil of grasses and a secondary coil of yucca, willow, and devils claw. There is a small handle on the top of the tray for hanging the basket in a display or as a plaque on the wall. The design on the basket is a pictorial of a Kachina or Katsina figure woven in devil’s claw. The devil’s claw is an integral part of the artistic design.

Yellow-flowered perennial devil's claw blossom.

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There are literally thousands of species of beautiful wildflowers in North America, but some of the loveliest and most interesting are called devil’s claws. They produce bizarre seed-pods that attach to the feet and legs of large animals, and include some of the largest hitchhiker fruits in the world.

Seed capsules - Proboscidea althaeifolia (Benth.) Decne.

The devil’s claw fruit is technically a drupaceous capsule with a woody inner part surrounded by a fleshy layer. The rather sinister common name of “devil’s claw” refers to the inner woody capsule that splits open at one end into two curved horns or claws. Each capsule contains about 40 black seeds that are gradually released when the claws split apart.

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[Loree Mcdonald and Lauren Simons]

Object: Basket

E/1979/1/17
Akimel O’odham: Basket
North America
c. 1920
Material: Yucca, devil’s claw

This is an Akimel O’odham (or Pima) basket from the early 20th century. It is made of coiled yucca and devil’s claw. The Akimel O’odham are known for their skilled basket-weaving as well as the use of Squash Blossom and similar designs like the one on this basket. The Akimel O’odham are a group of American Indians living in an area consisting of what is now central and southern Arizona (USA) and Sonora (Mexico). The name means “river people.” They are thought to be culturally descended from the group archaeologically known as the Hohokam. The term Hohokam is a derivative of the O’odham words “Huhugam” (pronounced hoo-hoo-gahm) which is literally translated as “those who have gone before” but meaning “the ancestors.”

Currently, the majority of the population is based in the Gila River Indian Community (GRIC), although in historic times a large number of Akimel O’Odham migrated north to occupy the banks of the Salt River and formed the Salt River Pima-Maricopa Indian Community. Both tribes are confederations of two distinct cultures that include the Maricopa.

[Loree Mcdonald]

Object: Basket

E/1993/1/3
Tohono O’odham: Coiled Basket
North America
19th Century
Materials: Grasses, Yucca, Devil’s Claw

This is a Tohono O’odham basket coiled in the shape of a duck. The Tohono O’odham currently reside in southwest Arizona and northern Mexico, though historically they occupied a much larger land base known as the Papagueria. For this reason, the Tohono O’odham were often referred to as “Papago” tribes by early European settlers.

This basket measures approximately 10 inches long and 4 inches high. It is constructed from grasses, yucca, and devil’s claw and features closed-coil stitching. In closed-coil stitching, the coiled grasses are completely covered by the outer stitch and are not visible through the stitching. Baskets made with closed-coil stitching require more time and detail than those bound together with open stitches. In this basket, strips of white yucca cover the coils of grasses that make up the body of the duck. Additionally, dark strips of devil’s claw are used to stitch a geometric design into the basket.

While Tohono O’odham baskets are used to carry things and prepare food, this basket was probably made for the tourist market. Basketmakers can spend days, if not weeks, on the production of a single basket. Common techniques used in Tohono O’odham basketmaking include stitching horizontal lines, parallel lines, and vertical frets as seen here. More baskets like this one are expected to be displayed at SNOMNH in the coming spring; plan a visit and enjoy getting to know the Story Behind the Object!

[Lauren Simons]

Object: Basket

E/1954/19/10

Armadillo Basket
North America
20th Century
Materials: Armadillo shell

This basket is made from the shell of a nine-banded armadillo. The back of the armadillo forms the body of the basket and the looped tail forms the handle. The nine-banded armadillo is the only North American species of armadillo. Prior to 1850, the nine-banded armadillo was not found north of the Rio Grande river. In the past 150 years, however, armadillo populations have increased greatly in southern portions of the United States, and members of the species have been spotted as far north as Illinois. Armadillos generally live in temperate climates due to the lack of body fat and insulation against the cold. They are the only living mammals with shells and they subsist on insects, plants, and fruit.

The armadillo basket was popularized in the early 20th century by basketmaker Charles Apelt. Baskets, such as this one, were first displayed at the World’s Fair in 1902 and were an instant hit. Charles Apelt started the first armadillo farm in the United States and raised the animals for commercial purposes, producing baskets, lampshades, and smoker stands for tourists and collectors until the 1970s. Armadillo shells have also been used in other countries to make utility objects like musical instruments and food containers.

What do you think about this basket? Share your thoughts and enjoy getting to know the Story Behind the Object!

[Lauren Simons]

Object: Basket

E/1982/11/403

Pomo Tribes: Feather Basket
North America
Early 20th Century
Materials: Feathers, Grasses

This object is a Pomo feather basket from the early 1900s. The “Pomo” name was originally ascribed to Indian tribes living in the area of present day California during the turn of the century, though researchers have since noted that over 70 different groups were represented by the name. Basketry techniques and styles were similar among the groups, however, especially in the production of feather baskets. This basket is small and measures only 3 inches wide (about the size of a baseball). It features a coiled construction– formed by small bundles of grasses stitched into a spiral to create the round shape and coiled body of the basket.

The yellow feathers on the basket come from the Western Meadowlark (see figure left). The Western Meadowlark is a North American species of the blackbird family. It lives in grassland areas primarily west of the Great Plains. The red feathers on the basket come from the Acorn Woodpecker (see figure right). The Acorn Woodpecker is a species of woodpecker that lives in the western and southwestern portions of the United States. Pomo baskets are produced by both men and women. Basketmakers collect the bright yellow feathers of the meadowlark and the small red feathers of the woodpecker with respect and reverence for the birds. In fact, many Pomo basketmakers, such as Mabel McKay, regard feather baskets as living entities in themselves and are careful to honor the spirit of the baskets. Just like the birds represented in the baskets, Pomo feather baskets are unique and come in many different types. They serve a variety of purposes and have been produced for ceremonial and religious contexts, daily use, and even tourism.

What do you think about this basket? Share your thoughts and enjoy getting to know the Story Behind the Object!

[Lauren Simons]

Object: Basket

E/1982/11/341
Pima Tribe: Basket
North America
c. 1930
Materials: Devil’s Claw, Willow, Grass

This is a double-necked basket from the Pima (Akimel O’Odham) tribe in present day Arizona. Pima baskets are known for their fine detail and tightly woven materials that make them waterproof without the aid of tar or sealant. This basket is woven from devil’s claw, willow, and grasses. It contains a geometric pattern and measures approximately 13″ x 6″ x 7″.

The devil’s claw plays an important role in the production of Native American basketry. The naturally dark color of the devil’s claw is often used to weave contrasting designs on the body of the basket. Gathering the devil’s claws, however, can be a dangerous task! Devil’s claws have sharp ends and can easily puncture or poke if picked up the wrong way (see picture). The use of devil’s claw plants in basketry requires skill and patience–something Anna Moore Shaw learned at a young age. Anna Moore Shaw was a Pima woman born in the late 1800s. She wrote an autobiography describing growing up as a Pima girl and learning the art of Pima basket making. She explains how the process began with gathering the materials for production. It could take several weeks and involve many members of the tribe to gather all the materials needed for basket making. Once gathered, the materials had to be prepared. The devil’s claw, for example, had to be placed in water to soften the thorns and then stripped with a sharp awl (a tool like the one seen here). The grasses were separated and the cattail were split by the basket weaver’s teeth! Then the baskets were created, with woven patterns representing flowers (such as the squash blossom seen here) or spiritual elements (such as the geometric design seen here).

What do you think about the designs on this basket? Share your thoughts and enjoy getting to know the Story Behind the Object!

[Lauren Simons]

Object: Ceramic Moccasin

E/1955/9/29
Ohkay Owingeh Pueblo: Ceramic Moccasin
Southwest US
Date Unknown
Materials: Ceramic

This ceramic moccasin is from the Ohkay Owingeh Pueblo (renamed the Pueblo de San Juan de los Caballeros by the Spanish in the 1500s). Ohkay Owingeh literally means “Place of the Strong People.” During the periods of Spanish occupation (late 1500s to early 1800s), the Pueblo became a stronghold for neighboring Puebloans, so much so that it was said only an O’ke native could declare war for the Pueblo Indians. One of their most famous members, Popé, did just that and led the Pueblo Revolt of 1680! Today Ohkay Owingeh Pueblo serves as the headquarters of the Eight Northern Indian Pueblos Council.

The Ohkay Owingeh Pueblo is part of the Tewa linguistic group. Five other Pueblo groups share this language, including the Nambé, Pojoaque, San Ildefonso, Santa Clara, and Tesuque Pueblos. Recently, Puebloans such as Ester Martinez have worked to preserve the Tewa language and pass it on to new generations of Puebloans. To hear an audio sample of Tewa from the Tewa Pueblo Women’s Choir of New Mexico, click on the player above!

Ohkay Owingeh 2009

This ceramic moccasin is small, measuring only 3.5 x 3.0 inches (about the size of a Post-it® note), and is chipped on the toe. A small groove is etched around the base of the moccasin to differentiate the sole from the rest of the body. The body of the moccasin is slipped in red clay, and the sole, in brown clay. In pottery production, slips are similar to glazes. The process of slipping requires that the pottery be dipped in colored clay, fired, and then stone-polished to achieve luster and shine. There are no maker’s marks or signatures on the piece, and the date of production is unknown. According to some historians, “San Juan” pottery production ceased in the early 1900s, with the exception of occasional pieces for sale or trade, like this piece. If you have more information about moccasin pottery, or can help identify the maker of this piece, let us know. And enjoy getting to know the Story Behind the Object!

[Lauren Simons]

Object: Cooking Pot

E/1956/6/2
Navajo Tribe: Cooking Pot
Southwest US
19th Century
Materials: Ceramic

This cooking pot is an example of Navajo pottery from the early 1800s. Navajo pottery has been in production for hundreds of years and is unique from the pottery of many other American Indian tribes in that it does not exhibit the artistic designs traditionally associated with Indian pottery (compare to the example of Hopi pottery below). Painted designs were prohibited due to a belief that they would bring misfortune to the tribe. Navajo pottery was produced primarily by women, though in recent years this has changed with the work of male artists such as Jimmy Wilson. The process of making Navajo pottery is unique. Unlike other tribes, the Navajo do not grind old shards of pottery for reuse in new pieces. This comes from the belief that old pottery shards belong to Anasazi ancestors. Also unique to the Navajo tradition is the practice of covering pottery pieces with melted piñon pitch after firing. The coating gives Navajo pottery a dark appearance and distinct smell.

Navajo pottery was not recognized for its artistic value until the 1950s when artists such as Rose Williams attracted the attention of museum markets and pottery fairs. Today, however, there are many collectors of Navajo pottery and interest in its production has been revived. Museums now display Navajo pottery and schools offer lessons on Navajo pottery techniques. Many Navajo artists fire their pieces one at a time, outside in a traditional fire pit. The process involves the whole family, as individual members are responsible for digging the clay, coiling/pinching the vessel, gathering the pitch, and tending the fire.

The following is a video excerpt of Michelle Williams, granddaughter of Rose Williams, explaining how she makes contemporary Navajo pottery. Check it out and enjoy learning the Story Behind the Object! [Lauren  Simons]

[Lauren Simons]

Object: Mask

E/1951/9/1
Cherokee Tribe: Mask
Southeastern US
20th Century
Materials: Wood, Animal Fur

This mask is a wooden “Booger” mask from the Eastern Band of Cherokee Indians of present-day North Carolina. Masks like this one were often used in ritual dance performances to satirize the tensions between tribal members and outsiders. Booger masks were fashioned to represent the faces of foreigners –Europeans, Germans, Africans, or neighboring Indians– and the masks were worn during the dance to designate these clumsy intruders.

In this Booger mask, an eagle feather and strips of white deer skin and brown bear skin make up the hairpiece. The mask was made in 1939 by Will West Long, a Cherokee shaman, who lived on the Qualla Reservation in North Carolina. His influence on the social, political, and cultural ways of the Cherokee is still being studied to this day. Additionally, with anthropologist Frank Speck, he put together several books, recordings, and collections of Cherokee dance and drama.

Booger masks were usually carved from wood or gourds and dyed with vegetable pigments. They often exhibited sexual characteristics, like phallic noses with opossum fur as seen here, and the actors who wore them made obscene, albeit humorous, gestures during the dance to illustrate the perception many had of foreigners with rude behavior and a preoccupation with sex. In the Booger Dance, “Boogers” dressed in European clothing, wrapped themselves in sheets and bed quilts, and chased women around the room, fondling them and soliciting giggles and screams. The performance often culminated in the community Eagle Dance, whereby both the Cherokee and the Boogers danced, and singing and partying continued into the night.

The following is a video of Michael Searching Bear, a Cherokee and Powhatan musician, performing a rendition of the Booger Dance. Check it out and enjoy getting to know the Story Behind the Object! [Lauren  Simons]

[Lauren Simons]