Navajo Folk Art
"Plains Chief"
17 3/4" tall x 6 1/4" wide @base x 3 1/4" deep
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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.
Holy Man started to pursue. The buffalo moved on and he followed expecting to get within shooting range. They moved along the Little Colorado ( presumably across the mountains near Oraibi. Interpreters note ) across Black Mountain and toward Chinlee valley. Holy Man followed. At a point between Chinlee and Round Rock the buffalo stamped on the ground causing a spring of water to flow. They drank from it. They went on between the Lukachukai and Carrizo Mountains to a place called Red Water where they arrived at sunset. All the way, whenever Holy Man stopped to rest, the buffalo also stopped as if they were leading him on. At Red Water the buffalo waited and showed themselves to holy Man as Buffalo People. That night Black and Blue Buffalo, the males, gave White and Yellow Buffalo to Holy Man for his mates. They all remained there for the night. Apparently the Buffalo People had heard of Holy Man and these four had been sent to get him so that their prayers and paintings night be included in his powers. They had danced at the Fire Dance at Black Lava Rock, but had not had an opportunity to teach him anything.
The day after Holy Man had lain with the Buffalo women he was ill with fever. He was in a sweat and had a headache. This was because he had not observed the prescribed restriction to remain continent for four days after the ceremony. Toward dawn one of the buffalo lay down at the east, one at the west, another at the south and the fourth at the north. Wherever they had lain the warmth and perspiration of their bodies made herbs grow. With these they cured Holy Man of his illness, then took him to their home. As they approached he could see a large pointed white object with a black tip, a black pointed object with a white tip, a yellow pointed object tipped with blue, and a blue one tipped with yellow. These were the houses of the Buffalo People. The Buffalo explained that they had brought an Earth Person back with them, and that he had spent the night with the female buffalo. These women were really the wives of the Buffalo-who-never-dies, and their father was the chief of all the Buffalo People. The Buffalo-who-never-dies was the son of the head of the White Buffalo from the far east. The family was angry to hear that Holy Man had taken their women.
They brought food in four baskets, one of jet, one of whiteshell, one of turquoise and a yellow one of abalone. The baskets contained health-giving herbs sprinkled with pollen. After they had eaten, the head of all the Buffalo said, "Now you are in danger. But the people of the earth should know about our powers. What can you do? Can you protect yourself? Do you have any arrows? Holy Man said he had two, an eagle-feathered arrow and a yellow tail-feathered arrow. He then made two wands, the feathered wand of mountain mahogany and the red-feathered wand of oak. The Buffalo chief then asked him if he had any sacred soil from Taos (Jemez) Mountain, Mt. Taylor, San Francisco Peaks and La Plata Mountain. Since it is customary for a medicine man to have a small sack containing this soil, he could answer that he had. Then the Buffalo chief said, " You seem to know how to take care of yourself." While the chief was talking to him Holy Man could hear his mother-in-law speaking, although he had never seen her. Holy Man made four mountains using some of the soil from each sacred mountain, and named them. He started to arrange them in a row, but the Buffalo Chief said, " If you make them that way the Buffalo-who-never-dies will demolish them at a single charge." Then he arranged them in the four directions and finished before the sun set.
The night was longer than usual, so long that Holy Man called for the dawn. The sun finally appeared but instead of the usual white light, in the east there was a red glare which shone over Rushing Water. This red light indicated danger. Just after the sun rose Buffalo-who-never-dies charged in a mighty rush which took him across Rushing Water toward the house of the Buffalo Chief where he asked for Holy Man. When the Buffalo People saw him coming they all wailed and shouted, and Holy Man took his two wives to the top of Jemez Mountain. The angry Buffalo discovered them there and charged, rushing past the mountain in a half circle, and returning, rushed at it from the east demolishing that side. Holy Man and his wives stood on a sunbeam as he shot at the charging Buffalo with the eagle-feathered-arrow. The arrow went home but did not kill. The sunbeam carried the party to the mountain of the west, San Francisco Peaks. The Buffalo-who-never-dies charged and demolished the west side of the mountain, and Holy Man shot him with the feathered wand. The sunbeam carried the hunter to Mt. Taylor, the mountain of the south, where once more the Buffalo charged. This time he was shot with the yellow tail-feathered arrow. The sunbeam moved with its party to the the mountain of the north, La Plata. As the Buffalo-who-never-dies charged from the north, he rushed so hard that he missed La Plata Mountain, and Holy Man, hitting him with the red-feathered wand, finally killed him.
Since this animal embodied the life of all the Buffalo People, all buffalo died with him except the women Holy Man had taken for his wives. When he realized this, Holy Man sat down on a rock and bowed his head with remorse as his bow lay lifeless on his knees. The older Buffalo woman sat down on one side of him, put her arm around his shoulder and said, "Now what can we do? You killed all our relatives." On the other side the younger, embracing him, said, "Since you have so many powers, even power to kill, you must also have power to bring them back to life." He replied that he had. Then he told the women to turn their backs and not under any circumstances to turn their heads, for if they did so, his powers would fail. They obeyed and he went to his victim and pulled out the weapons, one by one the eagle-feathered arrow, the feathered wand, the yellow tail-feathered arrow and the red feathered wand. As he did so he rubbed dust from his own moccasins first on one side of the buffalo, then on the other, then on its head, and all the while he prayed. when Holy Man had finished the last prayer Buffalo-who never-dies came to life. He rose and said, "Your power is greater than mine. I give up and you may have the two women."
Holy Man told him how to bring the other buffalo to life saying that each in turn could restore the next one. They did this and all were restored save one, for one of the wives disobeyed and turned her head for just a moment. The Black Buffalo accounted for all their numbers, as did the White and the Blue Buffalo, but the Yellow Buffalo missed one and found him lying dead. Holy Man told them that there were four old Turkey Buzzards who could bring him to life. They made offerings of valuable skins and precious stones to the Turkey Buzzards, but they refused to help. Then Big Fly whispered that they should withdraw these offerings and give just a little carrion. They tried that and the Turkey Buzzards performed a ceremony which brought the Yellow Buffalo to life.
Buffalo ('ayani) (U) are interesting for historical as well as ritualistic reasons. Featured in myth, they are strange and therefore supernatural.
The episode of Holy Man overcoming the Buffalo in the Shooting Chant, though a subsidiary theme, is highly developed. The sandpaintings that recapitulate the encounters with Buffalo are among the most elaborate, and emphasis on such experiences is one of the main points of relationship between the Shooting and Flint chants.
Buffalo-who-never-dies is the chief and four others are named; one male is called Abalone Woman. Buffalo homes, described in myth and depicted in sandpainting, are tepees. Buffalo behave much like Plains Indians. They are said to know how to shoot their arrows along the blood vessels, making exceptionally bloody wounds (Names, Con. B; Reichard 1939, pp. 68ff., Fig. 9, PI. XXIII, XXIV; Newcomb-Reichard, PI. XXIII-XXVIII; Haile 1943a, pp.81, 187, 208).
