Navajo Bear in Blanket Rattle - Marvin Jim & Grace Begay (#260)

Marvin Jim and Grace Begay

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.

Bear

Ponder well what you think of me.
I am he who killed monsters.
There are 6 sections of this chant, and 10 sections of the following:
Ponder well what you say of me.
Etc.........

They were told that the enemy had strongly fortified houses and that their spies were out at all times. So the bear chanted and told how he wished it would be when he went against the enemy. He was not to be seen. He was the mirage. He was the heat waves over the desert. He sang about 20 sections of the chant here. In the last two verses the Bear named only himself. He said that he would take the scalps, that he would carry the scalps. Then the Bear went forth and there settled a great cloud on the earth. The enemy could not see the Dine' and the others. The bear ran four times around the village, and he killed many enemies. Long ago when the Big Hail fell there were only three villages saved, and this village was one of them. And now the bear destroyed it. The sign or symbol of the knife is called A'cha whee tso. The people crossed. They had 75 chants 17 by the time they returned. When they neared their home the bear made a mark. This was the bear's mark, and they stepped over it. The bear was behind them. When the Dine' returned from fighting the enemy the bear seemed never to have finished fighting. Whenever he saw an object in the distance he went after it, determined to kill. Chief Ba'nee' said: "My pet, you can never be peaceful again I see. You came from the mountain call Black Mountain. You will join your people there." he spread out a buckskin, the hide of a deer not killed by any weapon. It is called do'gi gi. Then he spoke to the bear. "My pet, now sit on this." The bear sat on the buckskin. Ba'nee' tied five white beads in each of six different strings. He tied five beads on a string across the chest one way, and the same the other way. Then Ba'nn' took a turquoise, and giving it to the bear told him to put it in his mouth. The bear put the turquoise in his mouth and then laid it on the buckskin. This is called shash biza nas'tan. Then Ba'nee' gave the bear a white bead and told him to put it in his mouth. The bear put the bead in his mouth, and taking it out, placed it with the turquoise. Then he sprinkled corn pollen all over the bear, and Ba'nee' told him to shake the pollen off. The bear did this. The medicine from the bear, or other animals, is gotten in this way. Now men were to use this medicine against all sorts of diseases. It was to be for their protection. Here is the chant:

De yana he'a now it starts out He starts out on the straight pollen trail.
De yana he'a, He starts out for the top of the pollen foot prints.
De yana he'a, He starts out for the top of the pollen seed prints.
A Big Black Bear starts out. He is like the Most High Power Whose Ways
Now he starts out with the black pollen for his moccasins. Are Beautiful.
Now he starts out with the black pollen for his moccasins. With beauty before him,
Now he starts out with the black pollen for his leggings. With beauty behind him,
Now he starts out with the black pollen for his garment. With beauty above him,
Now he starts out with the black pollen for his headdress. With beauty below him,
He starts out for the Black Mountain plains. All around him is beautiful.
He starts out for the doorway of the two crossed spruce trees. His spirit is beautiful.

There are three sections of this chant: "Now he goes...." "Now he is gone...." Only one knowing all the chants can possess a bear fetish, among the Navajo people. Now after the first chant was sung the bear's hair lay down and was smooth. And after the chants were sung he went peacefully on his way.
17- Informant's note : These were the Bear Chants. The informant knew them. These chants are used today in the Navajo country in cases of "coughs" or similar illness. They are used against anything that bothers the people, whether enemies or disease. And it is told that every time the Bear chanted he gave the chant to the chief, and it became his. Pgs. 173,174,175

10. The Bear's Song (From the Shoe Game)
A foot,
A foot with toes,
A foot with toes came.
He came with a foot with toes.
Aging as he came with a foot with toes.
Another Bear's Song
He is one who has to do with the grass seeds.
He is one who has to do with the grass seeds.
Now put the ball in the moccasin.
Now put the ball in the moccasin.

Pg. 67

Now when the owl dropped the ball all the birds and animals chose whatever designs and colors they wished to wear in the future the crow and the bear had been asleep. When the crow heard what was happening, in a great hurry he dipped himself in charcoal and went off to his home. They slapped the bear and said: "Wake up. It is day." The bear jumped up and reached for his moccasins, and he made off just as fast as he could go to the mountains. But he had put his left moccasin on his right foot, and his right moccasin on his left foot, and that is why he has strangely shaped feet. Also, as he reached the mountain the first rays of the sun hit his fur, and that is why some of his descendants are brownish. Pg. 70

The Dine': Origin Myths of the Navajo Indians, 1956; Aileen O'Bryan.

Black Mountain: Actual mountain on the Navajo Reservation where bears are said to still inhabit the forests. This was their ancestral home, the place they were banished after giving The People coughing sickness. Pg. 190

The Gift of the Gila Monster, Navajo Ceremonial Tales; 1993, Gerald Hausman.

Esdza' shash nadle is the woman who subsequently changes into a bear. At'ed diyini, the holy girl previously referred to, and described as the mother of the bearers of the sun and the moon, is again introduced as jikhae naazili, the tingling maiden, or the maiden who makes noise. Her brothers, twelve in number, are great hunters. Eventually she marries the coyote, who in turn is slain by some of the neighbors. The coyote had taught her how she might change her form into that of a bear, and in this disguise she slays her brothers with the exception of the youngest who, at the inspiration of esdzanadle, slays her. The members of her body, which he scatters in the four directions, are changed into bears of various kinds. Pg. 360

The bear is assigned to the mountains. The origin of the various species is attributed to creation out of the several organs of mythical monsters, like shash nalkhai, the tracking bear, and esdza shash nadlehe, the woman transformed into a bear. Presumably this belief accounts for the reverence shown the bear, insomuch as the bear is ordinarily avoided. The regulations governing the meal of venison or bear are recorded elsewhere. Pg. 139

An Ethnologic Dictionary of the Navajo Language; 1910, The Franciscan Fathers.

Black and brown bears wee numerous among the mountain cliffs, where they wintered in deep caves and wandered the slopes in summer to live on berries, fat tree grubs, acorns, and pinon nuts. The Navajos regarded them with almost as much respect as they gave their human neighbors, killing them only when necessary to save a life or to protect their flocks. Under no conditions would a Navajo eat a bite of bear meat. On young Navajo remarked, "I wouldn't eat bear meat. I might be chewing on the spirit of one of my ancestors." The bear is a totemic animal often mentioned in myth and legend; many chants and sand paintings are given in his honor.

Hosteen Klah, Navajo Medicine Man and Sand Painter; 1964, Franc Johnson Newcomb.

Bear (cac) (U) and Big-snake-man are a pair often found together, belief about them being very mixed. In all versions of the visit of The Twins to Sun, Bear, Big Snake, Thunder, and Wind were the guardians of Sun's house; they are stereotyped for houses of other supernaturals as well. Bear and Big Snake, doubtless sent by Sun, were guardians of Changing Woman's first sordid home on the earth. In sandpaintings they seem to be animals, yet at Changing Woman's home act like persons, feeding the children sacred food. The bear and snake were also pets given the people by Changing Woman for protection on their travels (Reichard, Shooting Chant ms.; Goddard, pp.168, 171, 175-8; Matthews 1897, pp.149, 151, 153, 155).
The Navaho have what amounts almost to a phobia about bears, so that, despite the mythological references as elements of good, they are to be reckoned with primarily as evils.
Bear is a major power of the Mountain Chant, which includes much bear lore because bears live in the mountains. Many chants have a shock or trance rite. The bear is a being that may bring on the shock and, in the Shooting Chant, the patient is restored on a painting that includes bear tracks and Big Snake. An impersonator of Bear may be the restoring force (Haile 1938b, pp. 157, 175; Reichard 1939, p.66, PI. XXI; cp. Haile 1943a, p. 15).
When Secondborn was lost, Bear, who was familiar with all places in the mountains, was chosen to search for him.
After doing much good by protecting people from their enemies, Bear started to cause coughs, fever, and bad luck. The leader of the Navaho performed a ceremony over him and Bear allied himself with evil. He, with his relatives, was assigned to walk at Black Mountain, where there have since been many bears (Reichard, Shooting Chant ms.; Goddard, p. 178).
The details given above seem to refer largely to bears and snakes as a class. They may be personified, however, and Bear Man and Big-snake-man form a pair that appears now and then.

When Monster Slayer was conducting his war party against Taos, two very old men, trembling with weakness and choking with coughing, came into the party's camp. The leader urged them to leave because they represented 'nothing useful,' but they kept coming back. On the last night they said they did not intend to participate in the fight but would like to watch it. After the raid was over, the warriors looked for the scalps of the most desirable victims but could not find them. Upon the second examination, they were found in the ragged bundles of the two old men. Later Monster Slayer, the rest of the warriors, and the old men had an archery contest with the captives, two Taos maidens, as stakes. The old men took their places, trembling and uncertain, but at each try they scored a bull's-eye. Monster Slayer merely looked at them, and did not give them the girls. The two old men turned out to be Bear Man and Big-snake-man.
When the warriors and other people were occupied with ceremony, the two nieces of Corn Man, on whose behalf the raid had been conducted, wound in and out among the dancers, circling around them. When the girls had finished their dance, they moved away from the crowd and went to the water. As they were going back to the dance they were attracted by an arresting sound, a sweet smell, and a light. On a little ridge not far from the dance place they found a campfire in a brush shelter. There lay two handsome men, back to back. Bear was dressed in velvet with pile as thick as plush, Big-snake-man in an embroidered fabric. The girls slept with the strangers, who gave them ceremonial properties as payment. Bear Man gave his girl a life feather; Big Snake's gift was the pulp of the iris.
When the girls woke in the morning, the men were still asleep. The first snored with his mouth wide open. His projecting teeth were old and overlapping, and phlegm was strung like spider webs in his mouth. The man on the other side was also disgusting. His nose was drawn back and mucus bubbled from the corners of his mouth. Both men had reached extreme old age. As the girls ran off, Bear growled and Big Snake rattled.
At sunrise the people stopped dancing and bethought themselves of the girls, whom at
first they could not find. Then the leader (presumably Monster Slayer) told the men to cut willow twigs and whip the girls to death. The two old men watched from the top of the hill. When the scourge hit the first girl, it gave out a futile sound as if mush were being slapped (tcog) and, when the second girl was hit, there was a sound like mud slopping (tlic). The victims were standing on the life feather and iris pulp the old men had given them, and the blows were lost in clouds and water. The girls disappeared into the sky, whither they were tracked by Bear and Big Snake. The Mountain Chant originated in the trail taken by Bear, the Beauty Chant in the trail taken by Big-snake-man (Haile 1938b, pp.157, 175).

Navajo Religion, Vol II; Gladys A. Reichard, 1950