Hopitu, the Hopi Tribe
The Hopi Tribe is a group of Native Americans of the southwestern United States. The word “Hopi” is derived from their native word “Hopitu” means “peaceful” or “wise”. Separated from other Pueblo tribes on the tops of the southern Black Mesa in Arizona, the Hopi have developed their own unique language. Much like other Pueblo tribes the Hopi raise corn as a fundamental source of food. It is clear that religion and formal activities have a very strong impact on the lives of these people and reflections of this influence can be seen in their art. The ceremonial dressed kachina dolls and the symbolism on their silver jewelry give an insight to their wonderful culture.
Hopi Reservation
The Hopi Reservation is situated in the mid-northern area of Arizona. This very distinct reservation is completely surrounded by the Navajo reservation. The population of the Hopi tribe is said to be around 7,000. The Hopi reservation is separated into three mesas. The first Mesa is located just west of Keams Canyon and east of Shongopovi. The Third Mesa is located 25 miles east of Tuba city. Finally the second rests in between the first mesa and the third mesa. The Hopi reservation has a total of nine villages. These nine villages stood strong during the arrival of the Spanish: Sikyatki, Koechaptevela, Kisakovi, Sichomovi, Mishongnovi, Shipaulovi, Shungopavi, Oraibi and Awatovi.
Hopi Kachina Dolls
A Hopi Tribe Kachina is a ornamental doll made from painted wood, feathers and other natural resources. The Hopi people often refer to Kachina Dolls as Kat’sinas or Qat’sinas and are found throughout the entire tribe. There are said to be between 300-400 types of Kachinas each with their own significant meaning. Although many tribes produce Kachina dolls, the Hopi appear to be the most famous and carry the highest value.
From the Library: Tryk, Santa Fe Indian Market (1993)
1993 primary source. Anything described as current here describes 1993, not today.
According to Tryk (1993, p. 105), Nampeyo and her husband Lesou of First Mesa became the most famous potters of their era, and Nampeyo, who had already been carrying on designs from ancestral pots, may also have been influenced by the designs she saw on prehistoric sherds. [1]
Writing in 1993, Tryk recorded of Nampeyo:
“Eventually she abandoned the white slip then being used on many of the vessels, and, like her remote ancestors, polished the base clay.”
— Tryk (1993), p. 105 [1]
From the Library: Bunzel, The Pueblo Potter (1929)
1929 primary source. Anything described as current here describes 1929, not today.
Bunzel (1929) called Nampeyo “the founder and leading spirit of the Hopi school of decoration” and recorded her rule for the water jar:
“The best arrangement for the water jar is four designs around the top, — two and two, like this (indicating on the floor the arrangement). The designs opposite each other should be alike.”
— Bunzel (1929), p. 41 [2]
For bowls, Nampeyo told Bunzel (1929):
“For the bowl I always use a one-line design. It must start from the ‘road line,’ and come back into it again.”
— Bunzel (1929), p. 42 [2]
Writing in 1929, Bunzel described the color of the Hopi ware of the mid-1920s:
“The Hopi potters do not use a white slip, but make their pots of a clay which fires to various shades of cream and yellow.”
— Bunzel (1929), p. 42 [2]
From the Library: Bahti, Southwestern Indian Arts & Crafts (rev. ed.) (1989)
1989 primary source. Anything described as current here describes 1989, not today.
Bahti (1989, p. 4) recorded that the Zuni smith Lanyade traded his jewelry among the Hopi and some years later taught the first Hopi silversmith, Sikyatala, "Yellow Light." [3]
On overlay, Bahti (1989) wrote:
“Overlay silverwork began to evolve as distinctively Hopi in the late 1930s as part of a project initiated by the Museum of Northern Arizona.”
— Bahti (1989), p. 4 [3]
He also noted (Bahti, 1989):
“Hopi overlay jewelry incorporates not only animal motifs but also designs adapted from Hopi basketry, pottery, and textiles.”
— Bahti (1989), p. 7 [3]
Sources
- Tryk, Sheila. Santa Fe Indian Market: Showcase of Native American Art. Photography by Mark Nohl; introduction by Allan Houser. Santa Fe, NM: Tierra Publications, in cooperation with SWAIA (Southwestern Association on Indian Affairs), 1993. Cited by printed page. Statements describe conditions as of 1993.
- Bunzel, Ruth L. The Pueblo Potter: A Study of Creative Imagination in Primitive Art. Columbia University Contributions to Anthropology, vol. VIII. New York: Columbia University Press, 1929. Public domain (U.S. publication before 1931). Cited by printed page. Statements describe conditions as of 1929.
- Bahti, Mark. Southwestern Indian Arts & Crafts. Revised edition, tenth printing. Las Vegas, Nevada: KC Publications, 1989 (first published 1983). Cited by printed page. Statements describe conditions as of 1989.
