Dear Readers,
It's been a while, and I'm back with a lengthy post following a week-long RV trip through the American Southwest! If you're reading this via email, be sure to click through to the web version or view it on the Substack app to see the complete post.
Ah, the American Southwest—a region that has always held a special place in my heart. From the enchanting allure of Tucson to the spiritual awakening amidst Sedona's crimson cliffs, each stop left an indelible mark on my soul. Our family embarked on a loop journey, winding from northern Utah down to Arizona and back, venturing through breathtaking landscapes—Antelope Canyon, Lake Powell, the majestic mountains and streams of Zion, and discovering new camping spots every two days.
The influence of indigenous peoples in this region is palpable and woven into the fabric of the land. As we traversed vast expanses of terrain, rich with history and stories, I found myself drawn to the exploration of adornment. Roadside shops, souvenir stands, and interactions with local people provided opportunities to admire their craftsmanship. Each piece of jewelry became a gateway to understanding the cultural heritage and significance embedded in every bead and silver setting.
Living in New York, I've come to realize how distant we are from the untouched purity found in other parts of America—the old America that transports you back to simpler times. The more I examined and learned about the heritage behind traditional Native American and Southwestern jewelry, the more I noticed parallels with the techniques and bold use of stones and mixed metals in mid-century modern jewelry, which I’m very drawn to. Inspiration begets inspiration, fueling the evolution of ideas. Design, to me, is the interconnectedness of all things—how we adorn ourselves, dress ourselves, identify ourselves, and communicate through our appearance, arming ourselves with symbols and expressions of who we are.
One of the most enlightening stops on our journey was Tribal Arts Zion, nestled near a campground at the base of the vast Zion state park in southwestern Utah. The gallery boasts an extensive collection of authentic Native American art, including jewelry, fetishes, katsinam1 (kachinas), pottery, rugs, baskets, and sculpture, representing various tribes such as Hopi, Navajo, Kewa (Santo Domingo), and Zuni. Engaging with the gallerist provided invaluable insights into the craftsmanship and cultural significance of each piece, from the intricate symbolism of Navajo turquoise jewelry to the spiritual depth of Hopi katsinam.
During my visit at Tribal Arts Zion, I learned about the unique techniques and materials commonly used by each major jewelry-producing tribe in the Southwest:
Navajos: The Navajos were the original Southwest Indian silversmiths. They are masters of hammering, bending, and molding silver. Silver is the most important element in the majority of Navajo Indian jewelry. When stones are used, they are usually larger in size and bold. The Navajo people are highly skilled in inlay2 work. Their inlay is characterized by the abstractness of the design - typically asymmetrical.
Hopi: Hopi overlay3 jewelry is created by sawing the design out of a sheet of sterling silver. The sheet containing the design is soldered to a second sheet of silver. The portion of the bottom piece that is exposed by the design is hand-stamped then oxidized to achieve a textured and dark background. The top surface of the piece is either polished to a high shine or to a beautiful satin sheen. Occasionally, the top surface has a sandcast finish.
Kewa (Santo Domingo): The jewelry from the Kewa (Santo Domingo) Pueblo in New Mexico is more like that of the ancestral Puebloans than the work of any other Indian tribe. Their jewelry has changed little over the centuries. They are the artists who create the handmade heishi (the Santo Domingo word for beads) and the mosaic onlay—stones and shells set on a shell backing.
Zuni: With a focus on stones, the Zuni artisans primarily highlight them in their jewelry, using silver sparingly to complement the stones. As a result, stones take precedence in their designs, with silver serving to accentuate them. The precision of Zuni inlay work ensures that individual stone and shell elements are seamlessly integrated, often separated by less than the thickness of a sheet of paper.
It's interesting how we often categorize this type of jewelry under one umbrella term. What's also noteworthy is the prevalence of contemporary designers and fashion brands mimicking these original designs. So much so that while touring the gallery and gift shop at Antelope Canyon, located on Navajo land, there's a strict "no photo" policy. Similar rules applied at Tribal Arts Gallery in Zion, although they graciously allowed me to sneak a few select items.
Traditional jewelry often showcases intricate designs inspired by Native American motifs, including geometric patterns, animal symbols, and spiritual icons. These pieces are typically handcrafted using traditional techniques passed down through generations, highlighting the skill and artistry of the artisans.
In contrast, contemporary Southwestern jewelry embraces innovation and experimentation, blending traditional elements with modern aesthetics. Contemporary pieces may incorporate unconventional materials, avant-garde designs, and cutting-edge techniques, reflecting the evolving tastes and styles of today's artisans and collectors.
I found that people of this region, regardless of their ethnicity, embrace this style of adornment. Karlie, our horseback riding guide at Zion Ponderosa Ranch Resort, who has been riding horses since before she could walk, is an example of that. Her turquoise and silver earrings, symbolizing good luck and protection, along with her fringed chaps, are integral parts of her identity. She feels naked without these items, even when she's not working. They are just as much a part of her as the people who originated them. It's not a costume—it's a way of life, a part of her identity.
As the fascination lingered during my flight home and in the first few days back in the bustling big apple, I found myself more attuned to everyone's self-expression, as if viewing it all through a new lens. I began researching contemporary Southwestern jewelry makers, but my initial searches yielded little. Eventually, I stumbled upon Medicine Man Gallery, where I discovered a diverse selection of contemporary jewelry by designers like Kee Nataani, Duane Maktima, and collectibles from the Patania family, who were based in Santa Fe.
Further exploration led me to the Newark Museum of Art, where I found an ongoing exhibition honoring innovators of mid-20th-century Southwest jewelry. Among them were names unfamiliar to me, such as Patrick Pruitt and Kenneth Begay, alongside the more recognizable figure of Charles Loloma. Their bold works redefined traditional forms, utilizing silver, turquoise, and other semi-precious stones to convey Hopi and Navajo aesthetics, thus reshaping the landscape of Southwestern jewelry design.
Back in New York, as many of you who have been reading for a bit know, I am familiar with Manhaz Gallery and have a relationship with them. However, I hadn't previously paid much attention to their collection of jewelry in this category, which speaks volumes! Reflecting on this now, I realize it says a lot about where my focus was before my trip and where it is now. Now, back from my journey, I'm eager to delve deeper into their offerings. I'm excited to return and explore more of their collection, which features a well-curated selection of Native American and Indigenous, as well as non-native makers, primarily from the Southwest region. Here, you will find names like Charles Laloma and Richard Chavez, whose works I had come across during my initial online search on sites like 1stDibs and later at the Newark Museum. They are showcased alongside lesser-known names and unsigned second-hand pieces, all rich in history.
I cannot end without acknowledging the commercialization and appropriation of Native American jewelry by mainstream fashion brands, which often overlooks the cultural significance and sacredness of these adornments to Native peoples. What may be viewed as trendy or fashionable by some is deeply intertwined with tradition, religion, and spirituality for indigenous communities. It's a disheartening reality that meaningful symbols are frequently commodified and exploited, while the original creators are often marginalized or overlooked.
Yet, as we navigate this complex landscape, we must ask ourselves: What can we do? What is our part in this dialogue? It's a complicated issue. While appreciating the craftsmanship and aesthetics of these pieces, we must also consider the impact of our actions. At what point does our admiration for the art veer into harmful territory? Can we, as collectors and appreciators, approach this art with respect and intention, rather than contributing to its exploitation? Perhaps it comes down to our intention—those who seek to connect and honor versus those who seek to profit and exploit.
Ultimately, it's my mission to foster a deeper understanding and appreciation for the cultural significance of Native American jewelry, while also advocating for the rights and recognition of the indigenous communities whose heritage it represents. I firmly believe that only through respectful engagement and mindful action can we move towards a more equitable and just appreciation of this rich and diverse art form. At some point in the near future, I hope to have the opportunity to interview an indigenous jewelry designer, engaging directly with their perspectives and insights firsthand.
Thank you for reading. And as always, I would love to hear from you. Please feel free to share your thoughts.
xx Veronica
Katsinam, also known as kachinas, are spiritual beings in the Pueblo Indian cultures of the Southwest. Katsina dolls are carved figures that represent these spiritual beings. They are given out during ceremonial dances by the katsinam themselves. These dolls aim to reward good behavior and teach people about the appearance and role of the katsinam they depict. While katsinam are integral to the culture of all the Pueblo tribes of the Southwest, it's primarily the men of the Hopi Tribe who carve a substantial number of these dolls for sale. Carving dolls holds deep significance in Hopi tradition and comes with various responsibilities. For instance, a Hopi katsina doll is traditionally carved from cottonwood root, with driftwood always being used—never roots from a living tree.
Inlay: Inlay involves setting small pieces of stone, shell, or other materials into a surface to create a decorative design. In the context of Native American jewelry, inlay typically refers to the process of setting stones or shells into a metal backing, such as silver. The stones or shells are carefully shaped and arranged to fit together tightly, often with minimal gaps between them. This creates a smooth, flush surface. Inlay work can range from simple patterns to intricate designs, and it is often characterized by the close fit of the individual pieces.
Overlay: Overlay is a technique where a design is cut or sawn out of a sheet of metal, typically silver, and then soldered onto a second sheet of metal. The underlying sheet may also be textured or decorated before the overlay is added. This creates a dimensional effect, with the design standing out from the background. In the context of Native American jewelry, overlay is commonly used by tribes such as the Hopi. The process allows for intricate designs and can involve techniques such as oxidation to create contrast between the layers.
This is one of my dream road trips and I'm vicariously enjoying it through your travelogue until I can plan my own! There is no substitute for authenticity in personal style and manners of adornment.
Another illuminating piece. I loved the way you highlighted each tribes expertise. Here in my part of Ireland we revere the Native Americans. The Choctaw sent money to Ireland during our famine in the 1800’s .