Total inner circumference including opening: 7"
Opening: 1 1/4"
To reinforce the ideal that the Bearer of the Sun has an arsenal of incredibly powerful weapons, Allison Snowhawk Lee has crafted a bracelet depicting a most dramatic lightning arrow. Only the most powerful deities harness the greatest forces of the natural world. Only Allison has this unique way of presenting the myth and legend of his people through metal art.
Allison Lee - Navajo Silversmith: Speaking of the silver and gold jewelry he hand crafts, Allison Lee's captivating voice is sincere when he says, "One time my uncle told me that everything we build comes from the earth, like the silver that comes from the earth, or the turquoise that comes from the earth. That is a lot of energy. You put it together and you put your heart and mind into a piece. Then sometimes a certain piece of jewelry- I believe- it is made for a certain person. I usually have a ring, or something, that stays with me for about two or three years, until the right person comes along. And then that person buys that piece. I believe that every piece of jewelry that I make is made for somebody out there- it's made for somebody special. Whoever might be having problems, or something like that. In essence, that energy helps that person get help, by wearing pieces that we make. That is the way I look at it."
Born in the heart of the Navajo homeland, in the spring of 1958, Allison Snowhawk Lee attended boarding school until 8th grade. Lee is the last name given to him by the boarding school because they couldn't pronounce, spell, or translate his Navajo name; Snowhawk is his grandmother's name.
Allison became involved in silversmithing in a high school art class, making his first simple jewelry pieces at age 12. When he was 14 years old his mother asked him to remove the last stone from an old turquoise brooch and make her a ring with it. Being able to combine old and new into something beautiful gave him a metaphysical sense of bridging generations, connecting him to his heritage and at the same time launching him into a viable vocation.
During his high school summers he worked at silver shops in Gallup, New Mexico. His first job included sweeping floors, but as he worked he became acquainted with the top silversmith, and learned his techniques. Each summer thereafter he found a job in different shops, and studied under various masters. Now he is the master who owns a shop that employs high school age apprentices.
When Allison graduated from high school in 1977 he won the "Most Artistic" award in his class of 160 students. That was just the beginning of his awards. Allison has won numerous honors in prestigious shows in seven different states. He is not only artistic, but very creative, and therein lies his greatest challenge. "A lot of people copy," he says, "and then pretty soon an original idea is being mass produced. I've got to keep ahead of them."
Allison makes many different kinds of jewelry: earrings, necklaces, rings, and bracelets; and is best known for his elaborate concho belts. "I really like making concho belts," he professes, "and coming up with different styles."
Allison uses either silver or, occasionally, 14 karat gold, and sets it with coral, turquoise, or other semi-precious stones. Hand fabricated, his work may be either stamped or contain bezel set stones. His favorite piece was a squash blossom necklace he made using tools he created.
Allison goes on the road two or three times a month, for two or three days at a time, to market his work or attend shows. He also does demonstrations and seminars at Grand Canyon and other places. When he is at work in his shop he may put in up to 16 hours a day. "I take breaks sometimes," he confesses, "Sometimes I get burned out. That's the time to just walk away from it. That's when it's time to go outdoors, just to kind of refresh my mind.
"I go hunting, I go hiking. What I really love to do is go to old Indian ruins and just look around, see what I can find. In a way I get ideas from the old, and then try to come up with something new. Then I get back into it. Everything just starts coming together once I start making something. It just comes together in my mind."
Allison is considered a success by all who are familiar with his work, but he has a different standard, set with his three sons in mind: "I think being successful is keeping everything balanced out between your family and your work. I think that's what being successful is, caring enough to spend time with your family, and not letting the work and the career overtake your life. I've seen a lot of people that have done that. I'm just glad that I've had people there to tell me the difference. Successful to me is just being happy and making sure my family is fed and clothed. That says it all, right there."
To the Navajo, flint is a sacred stone. Arrowheads are said to resemble the tips of the fiery bolt thrown by Thunder. Arrows equal lightning and some of the old warrior tales tell of mortals who wear flint armor and look like Gila Monster. In other legends, when Elder Brother sings flint songs, his voice jingles with the sound of blue flint, thunder flint, water flint, talking flint. Pg. 58
When a point is found, the person inhales the air around it four times and asks for protection from the spirit accompanying it. Although some believe that arrowheads are made by horned toads that blow on a rock and chip it into a form with its breath, ........... Pg. 108
To the reflected light, texture, hardness, and strength of flint is added the power of the sound produced when one flint comes in contact with another [ka j]. One of the ritualistic acts of the singer, repeated at intervals, is to rub his hands through flints lying in the ceremonial basket to make them rattle.
To protect The Twins against Crow, the messenger of the monsters, First Man constructed a spiral arrangement of flints which reached the sky. With every light breeze the grind of the flints [kaj] could be heard, and approach to The Twins was impossible.
Flints, as well as persons, must know when to withhold their power - a symbol of negation.
As infants The Twins were a source of great concern. Upon the advice of Rock Crystal and Talking God, they were put on a mirage stone under which flint arrowpoints were arranged, one in each of the four directions. Because of the flints, even though they did not speak, the monsters became aware of unfavorable conditions. Had the flints produced a sound, there would have been no hope for the survival of human beings.
Flint is of ceremonial importance for several reasons: it reflects light, and when flints are struck together, they make a frightening sound. Flint armor must be thought of as consisting of free pieces that rattle as the wearer moves. Serrated flint has more facets than plain flint, from which light is reflected.
Changing Woman for a long time resisted moving to her new home in the west. At length impersonators of her sons dressed themselves in black, blue, yellow, and serrated flint. As she saw them approaching, she was terrified by the light of their armor. The leader spoke loudly to her and as he spoke his companions stamped the earth, making the flints rattle, scaring her even more. Their attack, undertaken reluctantly as a last resort, finally frightened her into compliance.
When Bat prepared to take the offering to Black God for the restoration of Rainboy, he dressed himself completely in flint. At the ends of his wings were zigzag lightenings, which, with the light of pre-dawn, deprived those beholding him of their courage.
Appearing before the lesser evils - Hunger, Craving-for-meat, Poverty, and Sleep - Monster Slayer looked at them with disgust and they, in their turn, stared at him, for his flint raiment always struck terror into people.
Arrow, evil (de'zla') designates the weapon that enters a person's body and harms him, leaving bad after-effects even after he has ostensibly got rid of a disease; it may be removed by sweating and emetic.
Arrows are described for the Flint Chant bundle corresponding to those of the Shooting Chant, but in the Flint they are not used with the bow; both arrows and bow should be taken out of the Shooting Chant bundle if it is to be substituted for that of the Flint Chant. The arrow is a part of the Life branch of the Female Shooting Chant.
Today small arrows are shot into the carcass of a coyote which has been shot or trapped to be traded with singers of Evil chants (Reichard, Shooting Chant ms.; Endurance Chant ms.; 1944d, pp.51, 57; Sapir-Hoijer, p.95; Wyman l936a, p. 637; Kluckhohn-Wyman, p. 24; Haile l943a, pp.14, 58, 105).
Arrow poison includes so much that is ritualistic that it is difficult to determine which part, if any, is drug and which is ritualistic. According to Hill, arrow poison was of three kinds: (1) black paint with rattlesnake blood or the stings of insects; (2) a rattlesnake killed on a rock, the juice of a roasted yucca leaf, and soot of Yucca baccata; (3) soot of lightning-struck wood mixed with yucca-leaf juice. The bundle attached to the quiver gave the arrows (and possibly the bows) added power.
Wyman's formula is: deer blood, Phacelia cremulata, and Rhus toxicodendron (presumably reduced to soot), combined with the soot from lightning-struck wood. Presumably formulas for arrow poison differed as much as those for emetic and other mixtures (Hill 1936, p.10; Wyman-Harris, p.70).
Arrows (ka") as supernatural weapons are constantly emphasized, as is to be expected, in the Shooting Chant, which has for its theme 'things that move in a swift, squirming fashion'; it is a chant in which lightning, snakes, and arrows are closely identified. "The arrow made for The Twins is the symbol of the Shooting Chant.... This chant is the story of the contest with the Arrow People," explains the chanter. Although these are statements made about the Male Shooting Chant Holy, the arrows are chant symbols of the Evil form also, for the list of bundle items shows that the 'arrows' belong to both; they may differ slightly in appearance, but their significance is the same.
The myth and sandpaintings show the concept of the Arrow People and their power. After each night's performance the temporary arrows of the Big Star Chant are laid over the door of the ceremonial lodge, where they remain until morning.
It is believed that lightning will not strike a person who carries an arrow.
When The Twins were mere babies, their mother had a prevision of the earth as it should exist after man had gained control. Talking God gave the children an arrow to protect them as they played. They saw messengers of the monsters in every direction. After they decided to go to their father, they returned the arrow to Talking God. They went as far as Spider Woman's house with the direct protection of Talking God and from her they got two bows and arrows which were henceforth to protect them; these weapons are represented in the bundle.
In the story of the War Ceremony, First Man made The Twins a bow of cedar and arrows with owl feathers, but after the children had described the monster's messengers, he took back the toy arrows and gave them carefully made ones with lightning on the shaft.
He then set up a complicated arrangement of arrows. Arrowpoints placed at each of the cardinal directions were arranged in a spiral that reached toward the sky. Every time a slight breeze blew, a terrifying grinding sound was heard and approach was impossible. It repelled Buzzard's arrows, fletched with his own feathers, and when he was dying, the arrows were directed to restore Buzzard; arrows are now held in the hand during prayer.
An Oraibi warrior feathered an arrow with Cliff Monster's feathers and tried in vain to shoot it over a Navaho war party. Had he succeeded, the Oraibi would have won.
Association of arrows with the magic conveyances-zigzag and flash lightning, sunray, and rainbow-is well established both in myth and ritual.
Monster Slayer killed Big Monster and Tracking Bear with the zigzag lightning.
The People, preparing for war against the Taos people, were instructed to mark their arrows with lightning symbols.
When The Twins had conquered all the man-eating monsters, they wrapped the lightning, sunray, and rainbow arrows, the flint clubs, and armor in a rainbow and returned them to Sun, keeping one sunray as a means of travel. Sun gave them substitutes of mountain mahogany on which the lightning symbols were drawn-the substitutes have the same power as the original supernatural weapons (see also Flint; Reichard, Shooting Chant ms.; 1939, PI. XI-XIII; Newcomb-Reichard, PI. XXXV; Haile 1938b, pp. 95-7, 111, 127, 139, 151; 1943a, p.273; Hill 1936, p. 5).
Arrow-crossing is a mythical episode. I am not sure that any ritualistic act represents it, although it is likely that the crossed quill feathers in the headbands of The Twin impersonators of the Overshooting rite may stand for it.
When two powers meet, each shows his strength by sticking arrows into his body, one from each side of the chest, and pulling them out at the opposite side. The opponent counter-demonstrates by pushing one arrow through his mouth and extracting it from his anus, and by repeating the act from anus to mouth.
Cicada and a water bird had such a contest to get possession of one of the worlds, usually this one.
Holy Man was nearly bested in an arrow-crossing encounter with White Weasel.
In the Mountain Chant myth, the father directed his son to shoot into a deer pluck hung on a mountain mahogany tree and draw the arrow clear through the pluck. He then told the boy that hereafter he need only shoot into such a tree without the pluck and he would be successful in the hunt.
The sorcerer called White Hair of the Eagle Chant myth demonstrated his evil power to Monster Slayer by crossing arrows in his body.
The Winds crossed inside the body of Holy Man of the Flint Chant to aid in his restoration (Goddard, p. 131; Matthews 1887, p.391; 1897, p.76; Stephen 1930, pp. 92, 102; Wheelwright 1942, p.51; Newcomb 1940b, p.64; Haile 1943a, p.68; ep. Reichard 1944d, pp.117, 121, 132).
Arrow-swallowing is a rite representative of some mythological episode enacted in the fire Dance. Possibly it is related to arrow-crossing, but it is not explained as a part of the Shooting Chant in any form or myth I have encountered (Matthews 1887, p.409; Reichard 1944d, pp.117, 119, 127; Shooting Chant ms.).
Flint (be'c) armor was impervious to lightning arrows unless they were accompanied by other supernatural weapons. When Sun gave his children the arrows, clubs, and other weapons, he clothed them in flint.
Flint has power because of its hardness, the sound of the pieces rattling against one another, and the flashes of light from its facets, flashes that represent lightning and predawn in the Hail Chant myth. In the Flint Chant, Flint stands for the restoration of bones and strength.
Flint originated when the monsters' hides disintegrated. From Big Monster, for example, flints 'leaked away' after he was attacked.
Flint exploded when heated; Sun tried to kill The Twins by heating agate stones for the sweathouse fire. Flint was a threat when, in the Flint Chant, it was said, "Winter Thunder may make you walk on flints."
Sun's piston was of flint; sound, light, color, and hardness exerted squeezing power.
Flint was Horned Toad's protection against lightning; turtle shell could be substituted for flint-thick scales of any kind are doubtless associated with it (Reichard 1939, Pl. XVII-XIX; 1944d, pp. 38-9; Shooting Chant ms.; Newcomb-Reichard, Pl. XV-XVII; Haile 1938b, pp. 31-2, 111; 1943a, pp. 2, 14, 25, 29, 40, 116, 305, 27n; Stephen 1930, p. 91).
Flint arrow points (be'sis togi), numerous in the exorcistic ceremonies, seem to be considered separately from their function as part of an arrow; that is, they are knives rather than penetrating weapons. The discussion of sound, light, and color has brought out three ways in which their symbolism is worded and they, like arrows and armor, frighten.
Flint arrowpoints are required to cut vegetation and may be an offering to the plant cut; their role in cutting knots in the plant garment rite is release (Cutting; Kluckhohn-Wyman, pp. 34-5; Hill 1938, pp. 96-7).