19" x 21"
Inspired by the paintings of John Nieto, Elsie Holiday has created a stunning basket to showcase her weaving abilities. Using bold colors and historic imagery, Elsie has once again amazed us. Each time she stops by the trading post with her work we are astounded by the vast talent she has developed. There is no question she will be defined as one of the best Navajo basket weavers . . . ever.
Elsie Stone Holiday - Basketweaver: Considered one of the best of the best Navajo basket weavers, Elsie Stone Holiday married into the famed Douglas Mesa family of weavers. Weaving baskets has become almost an addiction for her. "When I go two or three days without weaving I get anxious to get started again," she says. She weaves 12 hours a day, 5 days a week. "Sometimes I think, 'How long can this last?'", she wistfully states, but for now she is content with her art, finding immense satisfaction in creating premier quality baskets.
Learning the art of basket weaving from the family that is famous for the Navajo basket renaissance is certainly an advantage for Elsie Stone Holiday, and she has added talent and dedication to that advantage, with remarkable results.
Elsie knew how to weave rugs before she married, so weaving baskets was fairly easy for her to master. She learned from such renowned artists as Sally and Lorraine Black, Rose Esplain, and her mother-in-law, Betty White Holiday. Then she simply made the art her own by using her natural intuitive creativity.
The mother of six children, Elsie has only been weaving for about eleven years, since her children became old enough to allow her the time. Now they watch her, and sometimes help with the non-weaving tasks connected to the work, learning as they do so.
Elsie gathers the sumac strips used for her weaving along waterways in Hanksville or Moab, Utah, and Farmington, New Mexico. She says the reeds grow well along irrigation ditches, and are most pliable in the spring and fall months. She gathers about a six-month supply and then takes them home and readies them for weaving by stripping off the bark and splitting the reeds. Then Elsie does something few other weavers care to do- she takes the split reed and pulls it through a hole in a can, to strip away any excess, making the strips uniform size. It is this, and her propensity for a uniform, tight weave, that makes Elsie's baskets premium quality. If she notices any irregularities, Elsie picks out her weaving and begins again. She truly cares about making her baskets as perfect as possible.
Elsie's technique is not her only fine point, she also has a wonderful imagination for new design ideas. Elsie is modest when praised for her work and eager for any suggestions. She has an enthusiastic desire to please those who buy her baskets.
Elsie's father is a practicing medicine man, but it is her mother-in-law who has helped her with her weaving by performing ceremonies for her. A crystal gazer, Betty knows much about traditional Navajo medicine. She sprinkled corn pollen on a spider web and placed it on Elsie's head, all the while saying a prayer. The spider web represents the weaving done by spider woman, an important personage in Navajo mythology. Elsie confirms the validity of the ceremony by proclaiming how much it has helped her in her weaving.
Weaving has been carried to a high degree of perfection by the Navaho. The art as it exists among them today is not an invention of their own, as nothing similar is found among any other tribe of the Athapascan stock. It is pretty safe to say that the Navaho learned the art of weaving from the Pueblos. Their own legends, however, account for it in their own way. The hanelnaeheke hani', or moving upward chant legend, records that the art of weaving was taught by the Spider Man and Spider Woman in the following manner. "The Spider Man drew some cotton (ndaka') from his side and instructed the Navaho to make a loom. The cotton-warp was made of spider-web (nashjei bitlol). The upper cross-pole was called yabitlol (sky or upper cord), the lower cross-pole ni'bitlol (earth or lower cord). The warp-sticks were made of shabitlol (sun rays), the upper strings, fastening the warp to the pole, of atsinltlish (lightning), the lower strings of shabitlajilchi (sun halo), the heald was a tsaghadindini isenil (rock crystal heald), the cord-heald stick was made of atsolaghal (sheet lightning), and was secured to the warp strands by means of nltsatlol billdestlo' (rain ray cords)." "The batten-stick was also made of shabitlajilchi (sun halo), while the beidzoi (comb) was of yolgai (white shell). Four spindles or distaffs were added to this, the disks of which were of cannel-coal, turquoise, abalone and white bead, respectively, and the spindle-sticks of atsinltlish (zigzag lightning), hajilgish (flash lightning), atsolaghal (sheet lightning), and nltsatlol (rain ray), respectively." "The dark, blue, yellow and white winds quickened the spindles (beedizi) according to their color, and enabled them to travel around the world."
Presumably, this legend accounts for the now vanishing tradition that weaving should be done with proper moderation. Overdone weaving (akeitlo) is ameliorated by a sacrifice offered to the spindle (beedizi). Its prayerstick (bik'et'an) consists of yucca, precious stones, bird and turkey feathers, tassels of grass (tlo'zol) and pollen, and forms part of the blessing rite (hozhoji). The hach'eyatqei, or ch'aeyatqei (prayer to the gods), is recited with the sacrifice. The custom withholding maidens from weaving before marriage, which was formerly observed, is also explained by the fear of overdoing weaving. Little or no attention, however, is paid to this tradition today. Pgs. 221, 223
For references to steps in weaving, coloring and dyeing of wool, setting up of loom, weaving, Implements, use of loom, designs and knitting refer to below Pgs. 223-256
Take, for instance, the famous art of Navajo weaving. If you ask a member of the tribe today when weaving was learned, she - for Navajo weavers are women - will tell you that they were taught by Spider Woman, "in the beginning." Yet the Navajo weaving technique, point for point, exactly duplicates that of the Pueblos, who have been weaving since A.D. 600. It is a complicated art, and Navajo girls today need years to learn it from a female relative, practicing every day. It is difficult to believe that the Navajos had worked out the loom, the spindle, and all the other equipment before this era of "learning by marriage." A blanket got in trade, a loom glimpsed on a visit to some pueblo would never have given them enough information. Then there is the problem of sex etiquette, for most Pueblo weavers today are men. Indian proprieties would surely forbid a Navajo woman to receive daily instruction from a strange man. But if she married him! It is possible to imagine the skilled weaver working in a Navajo home, trying to teach his sons who were still wedded to the life of hunting and fighting and, finally, imparting the art to his daughters. That this did not happen too early in Navajo history can be gathered from the fact that all known specimens of Navajo weaving are in wool. Therefore they were made after the Spaniards had come and after the Navajos had sheep. And sheep did not come to the Navajos in any quantity until after the Pueblo revolt. Pgs. 46-47
Even such everyday tasks as weaving must be done only in moderation. Many women will not weave more than about two hours at a stretch; in the old days unmarried girls were not allowed to weave for fear they would overdo, and there is a folk rite for curing the results of excess in this activity. Closely related is the fear of completely finishing anything: as a "spirit outlet," the weaver leaves a small slit between the threads. Pgs. 225-226
The Navajos believe in the Greek maxim "Nothing to excess " believing that overdoing a thing brings bad luck as an offense to the spirits. For the same reason nothing must be too perfect. A rug or basket design with a solid border must have a break in it or flaw to let the spirit of the maker, who has spent so much time and energy, escape. It is natural that things which bring one a livelihood should also have some restrictions. Many commercially minded weavers and other craftsmen have begun to ignore the taboos of their trades as being too restrictive. The large number of taboos relating to pottery making have been given credit for the decline of that craft, and none are listed here.
Don 't hit anyone with weaving tools - crack the tools.
They will be paralyzed in the future.
Don't spank your children with weaving tools.
They'll get sick.
Don't have a weaving comb with six points.
Your baby might have six fingers.
Don't go between the poles of the loom when a woman is weaving.
You won't grow - cause evil - won't get much for the rug.
Don't have the loom of the weaving stand too long.
It will tire and hurt you.
Don't eat or drink while you prepare the loom for the rug.
You'll get poor - won't get much for the rug.
Don't eat while you are weaving.
It will go slow - won't be any good.
Don't weave a Yei figure with one eye smaller or one leg shorter.
It will affect you that way in later life - affect your baby.
Don't leave a Yei figure in a rug unfinished.
The Yeis will get angry - bring bad luck.
This is interesting as a compromise taboo. Yeis are Holy People and as such are supposed to be represented only in the sandpaintings which are used and destroyed before sundown but never done in any permanent form. The famous hermaphroditic medicine man Hosteen Clah was one of the first to weave rug versions of the sandpaintings. In the Shiprock area Yei rugs and other pictorial tapestries became increasingly popular after WWII.
Don't be stubborn while weaving a rug.
It won't be worth much.
Don't throw weaving tools.
You 'II never finish the weaving.
Don't burn weaving tools.
The "Yeis" will get angry - bad luck.
Don't weave if you don't know a weaving song.
It won't be any good.
Don't leave tools in the loom when they are not in use.
You won't finish right away.
Don't weave when it is raining.
It will cause the loom to fall.
Don't stand by the loom when it is raining.
Lightning will strike you.
Don't pass things through the loom.
Anything you pass through will be lost -food, yarn, beads.
Don't bump into or move around a loom you are preparing for a rug.
It will be crooked - you won't be able to get it straight.
Don't leave carded wool too long.
When you start weaving it won't like it and you'll have trouble.
Don't make fun of your weaving.
It will get worse - you'll be poor.
Don't leave a loom outside.
It will collect bad things.
Don't cut off a loom once it is made.
You will have a short life.
Don't steal a rug - wool - weaving tools.
You'll never be lucky - always have bad luck.
Don't weave immoral things in a rug.
You'll be sterile.
Don't weave any taboo animal into a rug.
You will have all the bad luck associated with that animal.
Don 't hang rugs out in the sun.
The sun will take it as an insult.
Don't weave at all (boys).
It will affect the reproductive organs.
Don't weave on the north side of the hogan.
The rug won't be worth anything.
Don't drag your rugs on the ground.
Don't leave an unfinished rug outside at night.
It might be witched - you won't be able to finish it or sell it.
Don't put a rug over your horse's face.
It will go blind.
The principal occupation of the present-day Navajo is raising sheep, goats, and a few cattle. And yet four hundred years ago he had seen no sheep or horses. Under the treaty of 1886, each Navajo was given two sheep - about twelve thousand sheep altogether, since not more than sic thousand Navajos survived Bosque Redondo. Now a million sheep graze on the Navajo land. Since the introduction of sheep to this country by Coronado's men, Navajo women have been weaving rugs on crude hand looms - an art which was not entirely new to them, since they already wove with yucca and other vegetable fibers. Pg. 167
There is a saying that a rug is not good unless a weaver puts her "soul" in it. Like Changing Woman, the Holy Person whom the Navajo woman personifies, the weaver is an eternal creator who weaves both an individual product of her own mind and a more universal product from the mind of the tribe. Pgs. 10-11