Tag Archives: Navajo

Question: What is the difference between Artist and Artisan?

Are artisans also artists? This is a question that has been ruminating in my mind for a while now. It was triggered again recently when I attended the Weave a Real Peace  (WARP) conference in Colorado in mid-May 2024. When there, I listened to the keynote presentation by Lynda Teller Pete, a Navajo weaver from Two Grey Hills, Newcombe, New Mexico.  She is also a writer, and consultant, author of Spider Woman’s Children.  Lynda calls herself and her prolific sister Barbara Teller Ornelas artists. What is the difference and how do we explain it? It’s difficult, she says, almost a blended concept. She goes on to explain that We are artists because we are not into production work, and we don’t sell to middlemen. We sell direct to collectors.  Lynda, as the keeper of the family and community stories, says that the traditions of the culture are sacred and preserved in the rug designs. Artistry is a very colonial term. We live as a Navajo and as weavers we strive to be great artists. We see the resiliency of our ancestors.  Art and family are all one thing. I see the same thing In Oaxaca and throughout Mexico.

Teller Pete continues to discuss how some criticize them for offering workshops for non-Natives, claiming that she and her sister are encouraging cultural appropriation and giving away cultural secrets.  We also teach weaving to non-Navajos. How else will people know about the weaving? We are giving an insight into how difficult it is and how we have survived with our skills.  We aren’t training people to become weavers. This is an educational process. We have talked about the differences here at Oaxaca Cultural Navigator between cultural appropriation and cultural appreciation, and in this case, the circumstances fall under the category of cultural appreciation. The same holds true in the weaving community of Teotitlan del Valle, where some object to weavers teaching workshops to outsiders, claiming this gives away their culture and borders on cultural appropriation.  

Let’s get back to Artist v. Artisan. I asked Lynda about this directly at the conference, and her response was that the definitions between the two are blurred. I came home wanting to know more. So, I’ve thought about and researched this topic. In my view, art is an expression of personal creativity, and the artist is an innovator and originator, rooted in traditional practices and with outstanding skills, yet able to express self and the world in new ways using tradition as a steppingstone. An artist breaks boundaries and interprets the traditional, giving us something new and exciting. An artisan is a master crafts person who perfectly executes traditional processes, often keeping cultural continuity by replicating what has been done in the past.

Furthermore, artists use creative imagination and conscious skill to create, such as paintings, sculptures, music or writing. They prioritize self-expression and creativity.  Whereas artisans are skilled workers who practice a trade or handicraft, often making functional or decorative items. They value technical mastery and tradition. According to conservative interpretation, artisans can include bakers, silversmiths, jewelers, glassblowers, leather workers, potters, and weavers.

Artists create work driven by personal expression, creativity and aesthetic value. This work is often unique, one-of-a-kind, and may provoke thought, evoke emotions, or convey a message. Artisans focus on creating functional, practical, and often decorative objects using traditional methods and skills. Their work combines both artistic and technical skills, often resulting in handcrafted items like pottery, jewelry, furniture or textiles. It is said that artists are associated with fine arts, and artisans with craftsmanship. Artists sign their work and artisans often do not. 

The art and artisan world in Mexico is changing.  As Lynda Teller Pete explains, the boundaries between the two categories are blurred. The Chavez Santiago family of weavers, with whom I have lived for twenty years, are now all putting their initials into their woven rugs and textiles. They are innovating by creating new designs and revitalizing the use of natural dyes. Jewelry and alebrijes makers have signed their work for at least the last twenty years. Most of the artist-artisans I know are innovators – modifying their designs and products to appeal to a broader market, making clothing that is more breathable and lighter weight, taking elements of traditional pre-Hispanic designs and modifying them for a more contemporary appeal, incorporating non-traditional materials into their work like jute and other plant fibers, copper and other elements. Are they artists or artisans?

We would love to hear from you. What are your views of artist and artisan? Does artisan connote something lesser than artist? Is a weaver entitled to call her/himself an artist? Is a jewelry maker or potter an artist or artisan?

Notes: See shop.oaxacaculture.com for artist and artisan made clothing, rugs, home goods, jewelry from Mexico. We have a great selection of over 100 pieces! If you are coming to Oaxaca for Day of the Dead, come to our Day of the Dead photography workshop in Teotitlan del Valle with award-winning Luvia Lazo, and our October 30, folk art tour that includes hands-on experiences and lunch!

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Now, a health update from Norma: I’m almost eight weeks out from spinal fusion surgery at University of Colorado Anschutz Medical Center in Denver.  This is the reason you haven’t heard from me in a while.  As we say in Mexico, this surgery was heavy! Intense. Painful. I was on opioid pain medications for six weeks and managed to taper off completely in the seventh week. The incision is almost healed. It’s been a journey. I now have titanium in my back with a spacer between L4-L5 vertebrae, two rods and four screws.  I can walk without pain in my legs. Before surgery, I could barely take five steps without stopping. It’s still a work in process. I’m exercising and walking and intend to go to Japan for two weeks in early September. But I know I’ll have to take it easy. Right now, I’m building up to walking 6,000 steps a day.

New Etsy Shop: SouthwestRoadTrip

Aside from living in Oaxaca, most of you know that I live part of the year in Taos, New Mexico, where I am in love with all things Southwest. Apart from Oaxaca Cultural Navigator and Shop.Oaxacaculture.Com where we feature clothing, home goods, jewelry, gifts and more, I’ve decided to open a shop that focuses on handmade New Mexico and Arizona, mostly jewelry.

I’m also featuring a handmade black pot signed by famed potter Maria Martinez and decorated by her son Popovi Da. Maria is the most famous potter from San Ildefonso Pueblo, NM, who died in 1980.

Since I just finished the Southwest Road Trip with my sister and discovered so many artisans along the way that I couldn’t help supporting, this made perfect sense. The Etsy shop will be open through December 29 when I leave for Oaxaca for the winter.

https://southwestroadtrip.etsy.com

If you see something you want, you can either buy it directly from Etsy, or contact me and I will offer you a 10% discount if you buy directly from me without going through Etsy. Discount offer good through December 15, 2023.

A few pieces from the Etsy shop:

Southwest Road Trip: On The Floor of Canyon de Chelly

We have hopscotched through four states — New Mexico, Arizona, Utah, and Colorado since October 1, 2023. We left Canyon de Chelly (pronounced SHAY) and Chinle, Arizona, yesterday morning and are back in Gallup, NM, before going on to Chaco Canyon, NM, where we will see the annular solar eclipse on October 14 as it passes over us there. This location promises to give us the maximum view!

Mostly, for the last week, we have been in Navajo country, a vast area of 16 million acres that spans New Mexico and Arizona. Diné is the native language and this is what the people prefer to be called. I was compelled to do this road trip after reading the epic tale of conquest of the American West, Blood and Thunder by historian Hampton Sides.

He eloquently tells the story of the Diné people and their expulsion from their sacred homeland, Canyon de Chelly, by Kit Carson and the U.S. Cavalry in 1964. They employed a scorched earth policy by burning corn and wheat fields, killing churro sheep, and starving them out. They cut down 5,000 mature peach trees on the valley floor. The Diné forced Long Walk to desolate Fort Sumner in southeast New Mexico along the Pecos River near the Texas border, resulted in hundreds of deaths. It is told and retold today, a painful part of history.

In a sense, this trip has been about learning more deeply about Native Americans by visiting them on their ancestral lands, in their pueblos, appreciating their connection to the spiritual, and the beautiful weavings, pottery, baskets, and jewelry that they create. We have eaten Navajo tacos (fry bread topped with chile con carne, onions, tomatoes, and cheese, and attended the Northern Navajo Fair in Shiprock.

Most importantly, we spent a full day on the floor of Canyon de Chelly with a Diné guide exploring the cliff dwellings built by the Ancestral Puebloans and retracing the footsteps of great grandmothers and grandfathers who were forcibly expelled and then interned at Fort Sumner from 1864 to 1868.

Yes, Diné people still inhabit the canyon floor where they farm, tend apple orchards, raise horses and cattle. They are the descendants of the survivors. On the canyon rims, too, there are ranches and farms where Diné gave lived for generations.

What is remarkable here are the Ancestral Puebloan cliff dwellings, much more numerous than at Mesa Verde. We made the trip through Canyon de Chelly in a Jeep, across gullies and washes, through shifting sand, wind, over rocks and between old growth trees. I sat in the back seat and figured after this ride, I could easily ride a horse in Michoacan.

Our destination was the impressive Mummy Cave and White House. We saw some amazing petroglyphs, also created between 350 and 1300 AD. The Diné painted glyphs of Spanish conquistadores that came through in the 16th century using charcoal.

From the South Rim road, we saw Spider Rock, the birthplace of the Navajo Nation. From the canyon floor, we saw where the Diné climbed the narrow crevice to get to the top of Fortress Rock to escape, and hide from, the U.S. Cavalry.

The only way to explore the ancient archeological sites, caves, and petroglyphs is by going on a tour with a Diné guide. It was expensive, but it was well worth the experience. We both agreed that this was a highlight of our trip so far.

Southwest Road Trip: Monument Valley Monsters

According to Navajo legend, the red sandstone buttes of Monument Valley that stand 1,000 feet above the desert floor, trap long-defeated monsters that are part of the Navajo creation story. Monument Valley is a Navajo Tribal Park and almost everything here is Native owned and operated. We are here for three nights, spending the first night at Gouldings in Utah, and the second night at The View Hotel, just across the border in Arizona. On Wednesday, October 4, we took a 4 p.m. to dusk tour with Chris, our Navajo guide from The Three Sisters Navajo Guided Tours. The tour was spectacular and Chris gave us both a cultural and personal history of the region, making it extra special.

We are in an ancient sea bed of red sand rich in iron ore, outcroppings of juniper trees, grasses, sage, and yellow-blooming chamisa. Once, millions of years ago, the mesa was at the top of these monster spires, which give the landscape a other-worldly appearance. We could be on the surface of an unknown planet. If you want to read more about the geology, click here.

Anthropologists generally agree that the Navajo came to North America some 6,000 years ago from north Asia, moving from Canada south into the American southwest and Monument Valley about 500 years ago. To read about the Navajo creation story, click here.

Our tour, on a dirt and sandy trail, took us into the far reaches of the valley, where erosion, wind, shifts in the earth, create phantasmagorical sculptures on the 7,000+ foot high desert floor that is part of the Colorado Plateau. In the distance, we can see Bears’ Ears, the latest national monument to be created by the Obama administration. Chris tells us that under the 45th President, there was a move to sell off the lands to private mining interests that was then reversed by Joe Biden. Still, the region is in peril of mining development because of strong lobbying interests.

Monument Valley is an icon of the America west. In the 1930’s, Henry Goulding, who had established a trading post here in the 1920’s, needed a source of income during the Great Depression. He went to Hollywood and convinced director John Ford to film Stagecoach starring John Wayne in his breakthrough role. The film was released in 1939. Goulding constructed lodge rooms and dining facilities to host film crew and actors. The rest is tourism history!

On this trip we have heard a multitude of languages here: Italian, German, Dutch, Russian, Slavic languages, Korean, Japanese, Dine (a southern Athabaskan language) spoken by the Navajo or Dine people, Spanish, and English. Tourists are here from all over the world!

If you want to know more about the history of the Dine people, please read the epic book Blood and Thunder, by Hampton Sides, about the conquering of the American west and the key characters who waged war and appropriated the land, including Kit Carson.

We made a stop to visit a rug weaver who raises Churro sheep on the reservation, cards and spins the wool, and who was born in a hogan (pronounced Ho-Wahn) next to where she conducted her demonstration. She tells us that winters have changed — there may be one foot of snow when in recent years there was six feet or more during the winter. Now, it is just windy and bitterly cold from December through early March.

Our guide Kris Chee, age 41, has only returned to Monument Valley, the original home of his family, a year ago. He had a yearning to return to his roots after working outside, telling us that there is little employment here other than tourism. His dad, who was in the US Army, was stationed in Fayetteville, North Carolina, for many years, and that is where he grew up. He returned here to finish high school and left again. Now, he drives a big Toyota Tacoma 8-cylinder truck that hauls a trailer to hold passengers intent on seeing the valley, explaining the lore as we make various stops to see buttes, climb sandhills, and oggle at ancient petroglyphs carved in rocks by Anasazi predecessors.

On our way back to the Visitor’s Center, we made a stop at Navajo Code Talkers point. The spot honors the young men who created an unbreakable code for communication during WWII based on the Dine language. This is an important part of our collective history to recognize the contributions of Native American culture.

Kris is intent on understanding and practicing native rituals and beliefs as he embraces traditional Navajo life. These are based on how to live in harmony with nature and other people. Something we can all learn to do better!

Tomorrow, Friday morning, we leave for Mesa Verde. To be continued!

Last Sale ‘Til Spring 2022: Oaxaca + Chiapas Textiles

This will be the last of my 2021 sales. I leave Taos, NM on my way back to Oaxaca on Decemberr 11. This sale features some outstanding pieces from Oaxaca and Chiapas, including blusas, ponchos, quechquemitls, ruanas, scarves and shawls. Please order and purchase by December 9 so I can get your pieces in the mail by December 10 (if not before)! There are 14 pieces — be sure to scroll down to see 4 BONUS pieces of jewelry from New Mexico I have included.

As I return to Oaxxaca, I’ll be writing about covid travel safety and precautions, protecting oneself from the new omicron variant, and other related issues. Meanwhile, I want to follow-up, too, on what I’ve been writing about how to visit Oaxaca with cultural sensitivity during covid. Tourism is so important to Mexico. It makes up most of the income of the informal economy (independent artisans). We don’t want to discourage safe tourism. We do want to discuss how to be a guest in indigenous villages where people are especially vulnerability. Only now is Mexico authorizing boosters for people over age 60. Vaccine access and administration is still a big issue. Most under age 30 are not vaccinated.

Related to this is a recent conversation I’ve had with Susan Coss of La Mezcalistas.My question is: How is mezcal changing the face of Oaxaca? We will be talking more about this, too. I’m still processing my experience being in Oaxaca during Day of the Dead.

So, if you want to bring a bit of Oaxaca and Chiapas home, consider making a purchase of these beautiful garments. Perfect holiday adornment — whether you celebrate quietly or with family and friends in an atmosphere of safety and respect. These make special, unforgettable gifts, too.

How to buymailto:norma.schafer@icloud.com Tell me the item you want by number. Send me your mailing address. I will send you a PayPal invoice (or use Zelle or Venmo if you prefer — just tell me in your email!) after you ID your choices. The invoice will include the cost of the garment + $12 mailing. If you want more than one piece, I’m happy to combine mailing. I’ll be mailing from Taos, NM. Next day to the post office guaranteed if you order and buy before December 9. On December 11, I’m in transit to return to Oaxaca.

SOLD. #12422.1. This is the most precious of what I’m offering today. If you are a collector, don’t pass this one by. An amazing Egyptian cotton back strap loom woven huipil/blusa from San Juan Cotzocon in Oaxaca’s Sierra Mixe. A special and rare piece from Remigio Mestas. A black and white masterpiece. Measures 29” wide x 25-1/2” long. Original price $750. Yours for $495.
SOLD. #12421.2. Called a ruana, this is an open front and sides poncho woven in Chiapas on the backstrap loom. 100% sturdy cotton adorned with sparkly silver threads — very festive and tasteful. Hand-twisted fringes. If you like, drape the front flaps over your shoulders and around your neck for warm and fashion drama. Measures 40” wide (each weft is 20” wide) x 26” long. $175.
#12421.2 Back view.
SOLD #12421.3. This is a French knot blouse from Francisca in Aguacatenango, Chiapas. I consider this a “second” because the bodice embroidery is not as dense as I like. So, I’m offering it at 50% less than the cost of the other blouses from her that I have listed before. Size M-L. Measures 26” wide arm pit to arm pit. Embroidered part is 13-1/2” wide. 28” long. $65.
SOLD #12421.4. Back strap loom woven scarf by Carmen Rion, Mexican designer who works with Chiapas artisans. Measures 21-1/2” wide x 90” long. Wrap it double around your neck for added warm! A graphic masterpiece in juicy lime and black. $125
SOLD. #12421.5 From the Amusgos weavers of Xochistlahuaca, Guerrero, a rare hand-spun scarf with homegrown native green, coyuche and white cotton — woven on the back strap loom. Wear it or hang it! 10-1/2” wide x 62” long. $75
SOLD #12421.6 Black and White blouse with crocheted neck trim woven on the back strap loom in Venustiano Carranza, Chiapas. Gauze weave. Perfect for hot summers or layer it over a Heatech long-sleeve T for winter comfort. Size M. Measures 23” wide x 24” long. $75
SOLD. #12421.7 Colorful scarf from Zinacantan, Chiapas. Fold it in a triangle and tie it at your neck. Guaranteed to perk up any outfit. 23” x 22”. Almost square! Handwoven on the backstrap loom. 100% cotton. $75
SOLD #12421.8 From Fabrica Sociale, a Chiapas cooperative, this poncho-blouse has all the fine detailing one would expect from a perfectly woven garment. The peach background shimmers because it is interwoven with contrasting pale yellow threads. The shoulders and side seams are closed with what is called a randa — very fine needlework. Measures 40” wide x 20” long. $85
#12421.9 Black, White and Red Neck Scarf hand-woven on the backstrap loom in Venustiano Carranza, Chiapas. Fold it in a triangle and tie it around your neck for pizzaz. Hand-tied tassles and fringes. Almost square. Measures 23” wide x 24” long. $75
#12421.10 A beautiful quechquemitl poncho in turquoise shimmering cloth from the studio of Remigio Mestas. 100% cotton. Drape and wear as a scarf, short poncho or general cover-up. Turn it so the points are in the front for an alternate look! Fashion for stripes going down back or across shoulders. Measures 36” wide x 22” long. $120
SOLD. BONUS: #12421.11 A pair of Santo Domingo Kewa Pueblo earrings with shell and precious stones inlaid on base of black jet. Dramatic. Mother of pearl, turquoise, jet, spiny oyster. Post backs. Made by famous artist Mary Tafoya who has been featured at the Santa Fe Folk Art Market and Indian Market, New Mexico. 3/4” wide at bottom. 2-1/2” long. $175
BONUS. #12421.12 Vintage pawn Navajo turquoise and silver cuff, likely from the 30’s or 40’s. Unmarked. Probably coin silver. Rare. 1-5/8” wide at widest part. Center stone measures 1” x 3/4”. This is a SIZE SMALL. Opening is 3/4” wide. Cuff on the inside measures 5” so the total is 5-3/4” I have seen similar in museum shops and Santa Fe galleries for $1,295. Yours for $650.
#12421.12. Side view. No chips or cracks. Excellent vintage condition.
#12421.12 Side view with stamp work and twisted metal bezel.
#12421.12 Inside view. Weighty but comfortable.
BONUS. #12421.13 Shell inlaid with jet, mother of pearl and turquoise. Measures 3” wide at widest point and 3-1/4” long. Chain not included. From Kewa Santo Domingo Pueblo, between Albuquerque and Santa Fe, New Mexico. $165
BONUS. #12421.14 Shell pendant with inlaid turquoise, mother of pearl, jet and sterling silver. By Kewa Santo Domingo Pueblo jewelry maker Warren Nieto. 1-1/2” wide x 2-1/2” long. Chain not included. $125