Navajo Folk Art
Turkey
2 1/4" wide x 3 3/4" tall
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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.
" and a stranger appeared there who carried a small broom and was very inquisitive. He was the Turkey Youth; he seemed proud and would not speak to the people, and when they offered him food he wandered about all night as if in search of something. When Dawn came, he said to the people, "Why bother me? There is light in me." And he walked about very proudly and kept bowing to everyone. No one knew whence he came and he kept saying over and over again the same phrase, "Why bother me? There is light in me." The people rose up in the morning and ate, but he paid no attention to them and took four long steps toward the east and shook himself. As he did so four white grains of corn dropped from his body, and he picked them up again. He did the same to the south with yellow corn, to the west with blue corn, and to the north with grayish corn, and he ate all these kinds of corn for his breakfast, for his body was made of corn and on his head there was a Red Mirage Stone. All the hunters came home again, the Turkey with them, and the Roadrunner made friends with the Turkey. Dontso, the Messenger, told the Roadrunner that the Turkey was called "Body of the Various Kinds of Corn or Vegetation," and that he lived on an open space at Black Mountain. So Roadrunner called him by his corn names, and the Quail and Magpie also made friends with him. These are the very Holy Birds; their Eye Water is put in the present Hanelthnayhe Jish or Pouch and is used for stargazing.
Still the water continued to rise. As the Turkey was the last to enter the reed, he was at the bottom. When the waters rose high enough to wet the Turkey he began to gobble and the people knew that danger was near. Often did the waves wash the end of the Turkey's tail and it is for this reason that the tips of the turkey's tail feathers are, to this day, lighter in color than the rest of his plumage. Pg. 73
The next day all the crops were harvested with the help of the Yei'ii, who guessed that Turkey was responsible for the bountiful harvest. They asked Younger Brother if this were so. "It is true," he said. "He carries the white corn in his tail feathers and the blue corn about his neck. The yellow corn he hides in the small feathers above the tail and the mixed corn is on his wings. The squash he keeps under his right wing and the melons under his left wing. The tobacco is under his tail. The bean is kept in this little piece of flesh that stands on the top of his beak." Pg. 54
B says a turkey can kill an eagle. Once his father was up hunting in the mountains. He came into a clearing and saw a lot of turkeys running around in a circle and looking up sideways and hollering. He looked up but couldn't see anything. Finally he saw something falling down. It fell right in the circle of turkeys. He went over to see what it was and found a big eagle dead. He scared the turkeys away when he came up. Then he cut the eagle open to find out what was wrong, and right through the eagle's heart he found a turkey's beard. He thought maybe the turkeys shot the eagle. Pg. 215
The workers who herded the turkeys were warned not to kill a turkey or eat its flesh, as it would bring throat trouble and they would not be able to talk. To this day the Navajos refuse to eat the flesh of a turkey. Pg. XXII
Turkey
(taji') (H) is featured in the emergence of the people from the fourth to this
world. He was the last to take refuge in the reed, and when he gobbled it was
a sign to the people that he was in imminent danger of drowning. The waves washed
the end of his tail; consequently, today his tail feathers are marked with white.
To Turkey is accredited the gift of seed for domesticated plants, including
corn, although corn existed in the earliest conceivable world. In the Night
and Feather chants, Turkey is associated with the hero and theme of the whirling
log.
The boy
of the story, repudiated by his family, tried to make a conveyance out of a
log so he could journey by water. He did not succeed, but the gods came to his
aid. His niece had a pet turkey which the gods told him to take along. Later,
when he was all alone and nearly dying of homesickness, the turkey was his great
comfort. It dropped seeds of corn, pumpkin, watermelon, muskmelon, and, beans
from its wings, and taught him agriculture.
Through Turkey the association of game (hunting) and agriculture is emphasized,
for actually Turkey's owner exchanged his knowledge of agriculture with that
of the sorcerer, Deer Owner, and obtained the game animals for the Navaho.
Turkey is treated in the literature as whites treat a remarkable dog. He is
a pet who understands, remains faithful, comforts his master in hours of loneliness,
and eventually leaves him with precious knowledge. The hero of the Feather Chant
apotheosizes his pet in a beautiful lament.
Turkey made his master's long dangerous journey comfortable, covering him with
a wing at night to protect him from cold (Matthews 1897, pp. 164ff., 172, 181,
218, 38n; 1902, pp. 171ff., 186; Sapir-Hoijer, p.29).
