ACOMA RITA MALIE RED CORN CLAN FINE LINE CROW BIRD SPIRIT PUEBLO INDIAN POTTERY

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R. MALIE

POTTERY BOWL

ACOMA PUEBLO POTTERY

NATIVE AMERICAN INDIAN ARTS & CRAFTS

FINE LINE DESIGN DEPICTS (3) THREE BIRDS UNDERSIDE

A CROW OR RAVEN

MEASURES ABOUT 7" ROUND BY 4" HIGH

LIGHT SURFACE WEAR. NO CHIPS NO CRACKS

SPOONED / INCISED EDGES

GREAT DETAILS

https://www.youtube.com/watch?v=SXNEWgO6sD0&ab_channel=CHRISHOBSON

(ABOVE VIDEO AT NORMAL SPEED)

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FYI

19th and 20th century

During the nineteenth century, the Acoma people, while trying to uphold traditional life, also adopted aspects of the once-rejected Spanish culture and religion. By the 1880s, railroads brought the pueblos out of isolation. In the 1920s, the All Indian Pueblo Council gathered for the first time in more than 300 years. Responding to congressional interest in appropriating Pueblo lands, the U.S. Congress passed the Pueblo Lands Act in 1924. Despite successes in retaining their land, the twentieth century proved difficult for the survival of cultural traditions for the Acoma. Protestant missionaries and schools came into the area and the Bureau of Indian Affairs forced Acoma children into boarding schools. By 1922, most children from the community were in boarding schools.

Present day

Today, about 300 two- and three-story adobe buildings reside on the mesa, with exterior ladders used to access the upper levels where residents live. Access to the mesa is by a road blasted into the rock face during the 1950s. Approximately 30 or so people live permanently on the mesa, with the population increasing on the weekends as family members come to visit and tourists, some 55,000 annually, visit for the day.

Acoma Pueblo has no electricity, running water, or sewage disposal. A reservation surrounds the mesa, totaling 600 square miles (1,600 km2). Tribal members live both on the reservation and outside it. contemporary Acoma culture remains relatively closed, however. According to the 2000 United States census, 4,989 people identify themselves as Acoma.

Many Acoma people disapprove of Juan de Oñate being called New Mexico's founder. In 1998, after a statue was erected as a tribute to Oñate at the Oñate Monument Center in Alcalde, someone cut off the bronze right foot of his statue with a chainsaw.

Arts

At Acoma, pottery remains one of the most notable artforms. Men created weavings and silver jewelry, as well.

Acoma pottery dates back to more than 1,000 years ago. Dense local clay, dug up at a nearby site, is essential to Acoma pottery. The clay is dried and strengthened by the addition of pulverized pottery shards. The pieces then are shaped, painted, and fired. Geometric patterns, thunderbirds, and rainbows are traditional designs, which are applied with the spike of a yucca. Upon completion, a potter would lightly strike the side of the pot, and hold it to their ear. If the pot does not ring, then the pot will crack during firing. If this was found, the piece would be destroyed and ground into shards for future use.

Prior to the coming of Europeans, the peoples of both the North and South American continents had a wide variety of pottery traditions. However, there is no evidence that a Native American potter ever invented the potter's wheel. Because of this, all known Pre-Columbian American pottery was made entirely by hand, using a number of traditional techniques. These include sculptural modeling, press molding, coiling, and paddling. Functional pottery objects were produced by many cultures, as were figurines, masks, and ritual items.

Pottery techniques

The procedure for creating coil pottery favored in the Eastern United States was more focused on preparing clay than in the West. The women would spend hours on end mixing the clay they had gathered with crushed seashells, sand, plant materials and other temper until they had precisely the right consistency; then wedging it to remove the air bubbles that could easily make it blow up during firing. They would then pound out a flat circle of clay to serve as a base. While the potter was building the coils up, she was also deliberate to take the time to blend them together. Once they were blended nicely, there was no trace of the ropes of clay so carefully entwined to form the pot, no deviation in the thickness of the walls, and therefore no weaknesses. As a finishing touch, the pot was struck with a cord-wrapped stick to compact it and give it its final shape. American Indians have never used enclosed kilns, so the pot was put in a shallow pit dug into the earth along with other unfired pottery, covered with wood and brush, and lit on fire where it would harden and heat to temperatures of 1400 degrees or more. For a finishing touch, the surface of the pot would be rubbed vigorously with special stones, leaving the surface smooth and polished.

Southwestern cultures

Ancestoral Pueblo Cultures: including Anasazi, Mimbres Valley, Jornada Mogollon, Hohokam, Casas Grandes, Fremont.

Historic Pueblo cultures: including Santa Clara Pueblo, Taos Pueblo, Hopi, San Ildefonso Pueblo, Acoma Pueblo and the Zuni. Noted individuals involved in Pueblo pottery include Nampeyo of the Hopi, and Maria and Julian Martinez of San Ildefonso Pueblo. In the early 1900s Maria Martinez and her husband Julian rediscovered how to make the the traditional Black-on Black pottery for which San Ildefonso Pueblo would soon become famous.

Other historic cultures including the Apache and the Navajo (who refer to themselves as the Dine).

(VIDEO & PICTURES 15 & 16 FOR DISPLAY ONLY)

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