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Based
upon the Navajo creation tales, the sculptures of Marvin Jim reflect a
time long ago, when animals and humans walked and worked together to create
a new world. These traditional stories speak of conversations among all
beings, of behaving in a manner of mutual respect and of all beings having
an equal position in the community. These legends are an essential part
of the Navajo culture. The tales are of universal interaction, compassion
and tolerance; the things necessary to live a balanced existence.
The animals played prominate roles in these myths. For example, Coyote
is often portrayed delivering fire to humans, a selfish act initially,
but one that proved selfless in the end. There was Turkey who kept his
wits about him during the great flood. When everyone else grabbed prized
personal possessions, he gathered life giving seeds. These seeds made
it possible for the people to survive. The four great rams who dispersed
the flood waters into a mirage world, making the earth livable are mentioned.
Duck, who dove back into the troubled waters to fetch the forgotten medicine
bag of First Man is also an important part of the stories. This act cost
him his beautiful plumage, but gave rise to the sacred mountains which
guard and protect the people.
Every animal holds an important position within the Navajo culture. Their
efforts and assistance made the world of today an enjoyable place. Unfortunately,
in an imperfect world, relationships are destroyed by subtle indecencies.
Greed, jealousy and lack of compassion and understanding, the mistakes
common to man are often committed. It was these things that forced the
separation of the animal and human worlds. During the separation each
went their separate way; intolerance destroyed a harmonious and beneficial
relationship. The stories of old remind the Navajo people of their past
mistakes and teach them how to avoid making the same errors.
Marvin has chosen to recreate these lessons through sculpture. Raised
in the traditional way, this talented young artist, carves his "upright
animals" to show that there was once, and will be again, a personal
connection to the animal world.
FINDING GRACE
Every once in a while at the trading post we see an artistic movement
begin to take shape that we feel may result in a new and important movement
in a traditional art form. We have recently begun to wonder whether the
work of Navajo wood carver Marvin Jim signals one of those shifts.
By way of background, Blue Mountain Trading Post was founded in 1976,
and Twin Rocks Trading Post came along about thirteen years later. Prior
to the establishment of Blue Mountain, Rose and Duke Simpson (Mom and
Dad) and their five children (us) had established themselves as small
dealers of Native American art. The forum was a Plateau filling station
on the south side of Blanding, Utah. Duke and Rose were young and had
a very large brood of children to keep busy, so the service station filled
the bill. As the business developed, many of the local Navajo people began
to bring in their crafts for sale or to trade for a little gas to get
them down the road. So, at an early age, we were exposed to a wide variety
of local crafts.
One thing we noticed over the next 25 years was that our youth had slipped
away - Whoops, sorry, wrong story. We noticed that many of the Navajo
wood carvers were carving themes that were, for one reason or another,
inspired by another culture. Navajo themes rarely seemed to be considered.
There were the ever present representations of Hopi katsina dolls; which
in those days we referred to as Kachina dolls, and which were often referred
to by the tourists as "kachinka" dolls. These Navajo representations
created a great deal of controversy, because the Hopi people did not appreciate
the Navajos carving Hopi cultural icons. As you may guess, there were
both religious and economic reasons for the controversy. The Navajo people,
however, were not inclined to give up such a good thing.
We often asked the Navajo carvers why they did not, and would not, carve
representations of the Talking God, Changing Woman and other Navajo deities.
The common answer was that their medicine man had instructed them not
to do so. They had been told that an improper representation of such deities
may result in the carver becoming inflicted with a twisted limb, a blind
eye or some other severe disability, so they left those images alone.
There were, however, a few carvers who were willing to take a chance.
Charlie Willeto, in the 1960's, carved very powerful depictions of Navajo
men and women in semi spiritual representations. Charlie also carved representations
of owls and half animal beings, which were strictly taboo in the Navajo
culture.
In the 1990's Lawrence Jaquaz caught many of us by surprise when he began
carving representations of skin walkers; possibly one of the most taboo
themes in Navajo culture. Lawrence had lost his family to a drunk driver
and felt that he had nothing left to lose. So he carved his skin walkers,
daring the evil spirits to take action and tempting fate.
Not so long ago Marvin Jim was carving representation of Hopi katsina
dolls. The problem was that Marvin had real talent, and carved very nice
katsinas. By the time Marvin began to visit the trading post, however,
we had decided that we would no longer buy Navajo representations of Hopi
katsinas. So, Marvin's marketing plan was ineffective when it came to
us.
In spite of our explanations and protestations, about eight months ago
Marvin came into the trading post with a nicely carved representation
of a Hopi Long Hair katsina. I was a bit exasperated, since I had told
him time and again that we could not buy carvings of that nature. Marvin,
who is very good natured and extremely persistent, said, "Okay, thanks
anyway," and headed out the door. I watched him walk to his little
white car and start to get in. I noticed him hesitate as he spoke with
the woman in the vehicle. Half in and half out of the driver's side, he
stopped. He was balanced in a peculiar way, with his carving in hand.
It was apparent that he was uncertain what to do. I watched rather amused
at his predicament, curious what his dilemma was. I would soon find out.
Out of the passenger side of the car came a rather determined looking
Navajo woman; and she was heading my way. Marvin was still undecided what
his participation in this undertaking would be, and a quick hand motion
from his companion decided his fate. Regaining his balance, he came out
of the car and followed the woman back up the steps.
At this point I became the nervous one. I have had dealings with determined
Navajo women before, and could see a difficult situation fast approaching.
This was to be my first meeting with Grace Begay, and, as it turned out,
a quite pleasant one at that. Grace simply wanted to know why I wasn't
interested in Marvin's work. As Marvin stood quietly by, a
nervous smile on his face, I explained the problem to Grace.
As I became acquainted with Grace my anxiety disappeared. I learned that
she was very pleasant, and also learned that she was most interested in
knowing why Marvin's talent was not appreciated. I asked her if Marvin
had mentioned why we were not buying his work. Marvin's nervous grin deepened,
and Grace said that she had been told that we were just not interested.
Marvin gave a nervous laugh and said, "Well you weren't. "I
told them that I thought Marvin was a very talented carver, and that he
should explore his own culture for inspiration. As we talked Marvin and
Grace began to understand the problem. We talked about the rich and varied
culture of the Navajo, and the possibilities to be explored within it.
As we talked a light began to appear in his eyes; an idea had emerged.
They said, "We'll be back," and hurried off.
About five days later, Marvin and Grace brought in a very unusual carving.
It was a carving of a bear, wrapped in a Navajo blanket and standing upright
in a dignified manner. The sculpture was roughly made and quickly sculpted,
but the idea was truly exciting. Grace told the story of how the Navajo
believed that men and animals had once worked together to bring about
a better world. This was shortly after their emergence from the lower
worlds. Much good had come from this cooperation; a situation of peace
and harmony was accomplished, and man and animal prospered. The cooperation
did not last, however. Bickering, jealousy, misunderstanding and miscommunication
ensued. The earth surface people caused the animals to throw off their
garments, go down on all fours and forever go their own way. What Marvin
and Grace had depicted was a representation of this prior time; a symbol
of relationships destroyed and opportunities lost. The possibilities flowing
from this carving were inspiring.
Craig, Steve and I were excited about the possibilities of such a creative
idea, so we had many discussions with Marvin and Grace about the theme,
and how to best present it. Marvin was truly inspired by this new work,
and continued to improve his animal creations.
All the while Grace stood quietly by, supporting Marvin. Then one day
as we were talking about how nice the painting on the carvings was, we
learned that Grace was doing the finish work. Marvin proudly proclaimed
that Grace was an artist in her own right. Not only was she providing
support for Marvin, she was also helping with the creative process. A
team effort was even better, their work was, and is now beautifully created.
We believe these two artists have come up with a new and exciting idea
based on traditional Navajo culture. It took the persistence and determination
of Grace to break down the barriers between a hard headed trader and an
artist in a rut. Marvin now has a much more relaxed smile on his face.
Other Navajo carvers have noticed and commented on Marvin and Grace's
innovative work. It will be interesting to see how their work influences
Navajo carving, and what new creations it inspires. Marvin and Grace may
ultimately be viewed as break through artists; responsible for a very
important new movement in Navajo wood carving.
Don't bother baby hawks or eagles. You'll get a rash or sores on your body. Pg. 82
Eagles
('atsa) (P, H), expert and powerful fliers, are believed to derive from Cliff
Monster.
Scavenger of the Bead Chant placed in an eagle's nest by hostile pueblo people,
refused to deliver the eaglets to them. He lived with the Eagles for some time,
learning about their home and their customs. When the old Eagles came home at
night, they took off their downy garments, which opened down the front, revealing
human forms in white suits which were never removed.
Eagle feathers were of great value to the Navaho in their ceremonies, but the
Eagles of this story shook skin diseases, sores, irritations, and itching on
their enemies.
The bald eagle is held to be the 'first' or ' chief.' In the story of the Eagle
Chant, Monster Slayer, learning the details of eagle catching, did not make
the chant symbol until he was able, by repeating his experiments, to catch a
bald eagle.
Hill's account of eagle catching should be compared with the stories of the
Eagle and Bead chants; each record has much to contribute to the others (Reichard,
Shooting Chant ms.; 1939, pp. 26-36; Haile 1938b, p.121; Matthews 1897, pp.
195-208; Newcomb 1940b, pp.50-97).
