_Western Apache_—Arizona and New Mexico
Case No. 13:
At one time it was not difficult to identify _Apache_ Basketry by tribal
name, such as: _San Carlos_, _Chiricahua_, _Tonto_, and _Yavapai_. Today
it is not possible to identify baskets as belonging to a particular
_Apache_ tribe.
During the nineteenth century these southwest tribes waged continual
warfare with the Anglos and Spaniards who had settled in the area.
Attempts were made by the United States government to establish
treaties. However, newly written treaties were broken before the ink
dried! About 1880, the army rounded up all the Apaches of Arizona and
New Mexico and took them as prisoners to the _San Carlos Reservation_.
There they remained confined for several years. During this period of
confinement the basket weavers copied designs and weaving techniques
from one another.
When the tribes were released and allowed to return to their respective
reservations the “new” styles of basketry were continued. As a result of
this situation, today we find baskets woven by these tribes to be so
similar in appearance that definite tribal affiliation cannot be
determined. They are therefore classified only as _Western Apache_
baskets.
(See Plate 13a)
DATSOLALEE
1918
_Washoe_—Western Nevada
Case No. 3:
This basket was made by _Dabuda_ (Young Willow). She was later given the
nick-name of _Datsolalee_ (Broad in the Hips) and is best known by this
name since later in life she tipped the scales at 350 pounds.
On March 26, 1917, _Datsolalee_ started weaving this specimen which is
fifty-two inches in circumference and has more than 100,000 stitches
(more than thirty to the inch). Eleven months later, on February 16,
1918, she completed this basket which is her greatest masterpiece.
Although made for ceremonial use, the shape is that of a food bowl. The
white background is made of peeled twig from the Mountain Willow; the
black color is the root of a Bracken, or giant fern; the reddish-brown
is bark from the Nevada Redbud. To her the design meant: _We assemble to
discuss the happy lives of our ancestors._ Shortly after the completion
of this basket the weaver lost her eyesight. She died at the age of 95
in 1926.
In 1958 the U. S. Indian Arts and Crafts Board, Department of the
Interior, Washington, D.C., rated this basket as probably the finest
specimen of basketry ever produced.
During her lifetime, _Datsolalee_ made only forty-six large scale
baskets. During the summer months she could often be found at the resort
area of Lake Tahoe, California, weaving miniature basketry which she
sold to tourists for small sums. In 1914, Mrs. Henrietta K. Burton, from
the Bureau of Indian Affairs in Washington, D.C., visited the artist’s
home in Carson City, Nevada. Mrs. Burton made numerous photographs of
_Datsolalee_ and her baskets for use in federal publications which dealt
with Indian basketry. Since that time these photos have appeared in many
other basketry publications.
Due to the artist’s reputation and ability, as well as the artistry and
craftsmanship of this specimen it is valued at $2000. It is doubtful
such a basket could ever again be produced—no weaver today shows ability
such as that of _Datsolalee_. Her baskets are sought by collectors
throughout the world.
In 1914, G. A. Steiner, of Pittsburgh, Pennsylvania, purchased the
finest basket the artist had produced up to that time. It is forty-nine
inches in circumference and has more than eighty thousand stitches. It
was purchased for $1950, and added to the Carnegie Library Collection in
Pittsburgh (this was the highest price ever paid for a single Indian
basket).
Philbrook’s _Datsolalee_ basket has received international recognition.
It may be seen, in color, in _Indian Art in America_, by Frederick J.
Dockstader (New York Graphic Society, 1960) and in the magazine
_America_ (No. 67) which was distributed by the U. S. Information Agency
and printed in Russian.
(See Plate 17a)
UTILITARIAN—HISTORICAL
c. 1835
_Pennacook_—Northern Massachusetts
Case No. 4:
This basket is made of ash splints and is white on the interior. The
exterior is decorated with designs painted in native dyes using a
swabbing stick which has been pounded at one end to form a brush.
This earliest known type of painted-on decoration ceased about 1870. An
approximate dating for this specimen can be established from an April 2,
1835, copy of the _Boston Daily Courier_, which lines the basket lid.
(See Plate 2d)
UTILITARIAN—HISTORICAL
_Wampanoag_—Massachusetts
Case No. 4:
This very plain basket, constructed of brown ash splints, was
authenticated by the late Frank G. Speck, internationally known
University of Pennsylvania anthropologist, as being _Wampanoag_.
The _Wampanoags_, now extinct, were a branch of the Massachusetts
_Algonquins_.
This specimen was made by a direct descendant of King _Massasoit_, the
Indian chief who met the Puritans at their Plymouth Rock landing in
1621. Massasoit was the father of King Phillip, for whom the King
Phillip’s Indian Wars of 1676, were named.
(See Plate 2c)
CEREMONIAL WINE BASKET
c. 1837
_Papago_—Arizona
Case No. 4:
Annually, in July when the fruit of the Saguaro Cactus is ripe, the
_Papagos_ hold their _Nahwehteete_ (wine drinking) ceremony. The purpose
of this ceremony is to offer a prayer of supplication to bring rain.
Wine, made from the Saguaro (called _Tizwin_) is passed around in this
basket and served from a gourd dipper.
Between dances the basket is used for storing the sacred ceremonial
paraphernalia used in the dance. The “Keeper of the Sacred Basket”
seldom ever parts with the basket. Therefore, not many can be found in
public or private collections.
(See Plate 17b)
MORTUARY
_Pomo_—Northern California
Case No. 3:
The _Pomo_ Indians are the only tribe known to have completely and fully
decorated baskets with feathers. These baskets were considered to be the
tribe’s highest artistic achievement. It was a great honor to the memory
of a deceased person when this type of basket, especially made for such
an occasion, was placed on his body at the cremation ceremony. It may be
said that the sacrifice of these baskets was the tribe’s most profound
means of showing respect at the time of cremation.
The custom of making and using these baskets no longer prevails. Few
people today know the art, and even fewer people are willing to devote
the nearly two years to make one feathered basket.
At the time this ceremony was active in the _Pomo_ culture, each family
had several such baskets in reserve. It must therefore be assumed that
the women of the tribe devoted a great deal of their time producing
these symbols to honor the dead.
It is interesting to compare cultures: The _Pomo_ Indian sacrificed a
work of art which took about two years to make—today’s Anglo society
calls the florist and orders a “ten dollar spray” of flowers. This
basket on the collector’s market is valued at about $300.
(See Plate 18c & 18d)
JUMPING DANCE
_Hoopa_—California
Case No. 4:
The “Jumping Dance Basket” receives its name from a ceremony in which
the participants perform with jumping dance motions. This ceremony is a
prayer of supplication for the return of the soil’s fertility. It is
held in the spring of the year on land that has ceased to bear crops.
Some people question these customs, and actually call them mere “Indian
superstitions.” It is revealing to note, however, that less than a
century ago Anglos believed that the childhood disease, rickets, could
be cured by splitting an ash tree at dawn, and passing the stricken
child head-first through the opening in the tree.
This set of three baskets, handed down from generation to generation,
was secured from a medicine man. The baskets were made prior to 1860 and
no one living today seems to know how to weave them. As a result, the
baskets are quite rare, and it is doubtful if another such set could be
obtained.
(See Plate 18a)
MOURNING BOWL
c. 1870
_Menominee_—Wisconsin
Case No. 4:
This rare, small birch bark pail is called a “Mourning Bowl.” It is used
during the _Feast of the Dead_, a sacred ceremony which is held one year
after burial to honor the deceased. During the Ceremony of the Mourning
Bowl, food is placed in the bowl and passed to the mourners. After the
ceremony, the basket containing food is giving a final blessing and is
placed on the grave of the deceased.
(See Plate 17d)
INITIATION CEREMONY
_Hopi_—Arizona
Case No. 4:
The _Soyal_ (Prayer Offering Ceremony) of the religious organization,
_Kwan Kwan Tu_ (One Horn Fraternity), is part of a boy’s initiation
ceremony at puberty. The ceremony is held mainly in the _Kiva_
(underground ceremonial chamber), from December through April. Here the
novice meets his godfather for the first time.
The design of the large plaque (at top of plate) represents a sand
painting which is executed on the floor before the _Kiva_ altar. The
novice wears only a breechcloth as his godfather instructs him to kneel
on the painting and rubs him with sacred corn meal, which has been
blessed by the _Cacique_ or religious leader. The significance of this
ritual is that the novice’s sins and evil thoughts are washed away. The
corn meal is then taken outside and cast to the winds, thus purifying
the boy. (Center of plate 20: basket bowl with corn meal.)
The wicker basket (at bottom of plate 20) is used in carrying bean
sprouts and young corn during the “February Twelve Day” _Kiva_ ceremony.
The sprouts and corn, signifying new life for the initiated, are eaten
by him as he takes the numerous vows of faith.
The two small trays (on either side of the top-center tray) represent
the badges, which are given to the newly initiated boy.
(See Plate 20)
WEDDING BASKET
_Navajo_—Arizona
Case No. 4:
The origin of the _Navajo_ basket with the “Spider Woman’s Cross” design
dates back hundreds of years. It is no longer made. As a substitute for
their own basket during marriage ceremonies, the _Navajo_ people often
use a _Paiute_ basket of the type shown in the upper right of the case.
(See Plate 19b)
The Paiute basket is illustrated on Plate 19c.
WEDDING PLAQUE
_Hopi_—Arizona
Case No. 4:
This plaque is made of yucca. The green color is unbleached yucca, the
white is bleached yucca and the black color is yucca which has been dyed
by using black sunflower seeds.
The plaque is called _Kochaiinpi_ (White Meal Plaque), and is woven by a
prospective bride for use in the wedding procession. It is hung in the
newly married couple’s home afterwards, partly to commemorate the
occasion.
After the wedding the single-file procession proceeds to the new home
which has recently been built by the groom. This procession is led by
the bride’s mother who carries on her head a large pottery bowl filled
with baked beans. The bride follows next. With both hands she carries a
large basket tray stacked with the _piki_ bread (a thin wafer of
bread—almost like parchment) which she has made from blue corn meal
mixed with sweetened siovi ashes and cooked on a hot stone. Next in line
are four male relatives of the bridegroom, each holding a corner of a
blanket on which rests the “White Meal Plaque.” The plaque filled and
running over with the white meal which the bride had ground earlier.
Thus, the young couple start their life together with an ample quantity
of food.
The spiritual connotation of the basket is this: It is believed that at
the time of death an individual’s soul stands on the brink of the
_Maski_ (or after world; in this case literally the Grand Canyon). The
soul steps onto the “White Meal Plaque,” gently soars over the abyss,
and safely descends to the bottom. Thus the soul departs to the abiding
place of the dead and forever rests in peace.
(See Plate 19a)
WEDDING
c. 1937
_Pomo_—California
Case No. 4:
This coiled basket is covered with the feathers of about two hundred
quail. The feathers which protrude from the basket, are from the head of
the Valley Quail, or Gambel’s Quail. The dark blue feathers are taken
from different quails. The decorative disk-like beads are fashioned in
the following manner: the shells are broken into small pieces and then
drilled with a pump drill. They are then strung on a cord and the strand
is then rubbed on a wet sandstone until the beads are round and uniform
in size.
This type of basket was made by the bride’s mother and is considered to
be the finest example of basketry produced by _Pomo_ Indians. The
_Chimopika_ (Dowry Basket) is presented to the bridegroom, by the
weaver, at the wedding ceremony. Sweetmeats, such as cakes of sugar from
sugar sap trees, are placed in the basket and passed around to the
guests.
The married couple retains this sacred memento of the marriage ceremony
as long as they both live, but if either of the couple dies the basket
is sacrificed in the cremation ceremony.
This basket was used in ceremonies prior to about 1889. They are no
longer made or used. This basket was obtained in 1937 from an Indian
Agent who at that date stated he had seen only six baskets of this type
on the reservation since 1907.
(See Plate 18b)
CEREMONIAL—CARRYING
1905
_White Mountain Apache_—White River, Arizona
Case No. 4:
This splendid specimen is woven mainly of lemon bush. The white area is
yucca plant and the black area is “Devil’s Claw,” or Martyna.
This basket was made by a _White Mountain Apache_ for use in the “Coming
Out Dance.”
When an Indian Girl reaches the marriageable age, a “Coming Out Dance”
is given in her honor. The girl’s relatives and friends are invited to
attend this important traditional ceremony. Drummers provide music as
the girl and her sponsor (usually her aunt) dance on a rug or on the
skin of an animal such as the bear or buffalo. These ceremonial baskets
are placed for the guests to view—the more guests, the more baskets
required. Each basket is filled with a mixture of sweetmeats, fruits and
other foods and is placed on a slope in order to make the contents
plainly visible to the guests.
After the ceremony the baskets are passed among the guests for the
contents to be enjoyed. They are then hung inside the house by the two
handles, until the next “Coming Out Dance.”
(See Plate 17c)
STORAGE
c. 1900
_Pima_—Arizona
Case No. 10:
This basket was used for storing mesquite beans after they had been
hulled. It is doubtful if this type of basket has been made since 1900.
(See Plate 8a)
For storage baskets of other tribes see:
Plate 6a: _Cherokee_
Plate 6d: _Ottawa_
Plate 7a: _Cherokee_
SEED CONTAINER
c. 300 A.D.
_Pueblo II_—Colorado
Case No. 4:
Evidence of the importance of basketry among the southwestern peoples of
the United States in the first few centuries of our era lies in the fact
that these peoples and their culture are referred to as the “Basket
Makers.”
This basket dates back to approximately 300 A.D., about 1600 years ago.
It was used as a seed container to store squash and pumpkin seeds until
the next planting season. It was found in the cliff dwellings of the San
Juan River basin near Mesa Verde, Colorado.
(See Plate 7b)
STORAGE
c. 1875
_Tonto Apache and
White Mountain Apache_—Southeast Arizona
Case No. 7:
This unusually large specimen is almost three feet tall. Since about
1914, very few, if any, as large as this have been made. An Indian woman
would have to devote three to four months to the weaving of a basket of
this size. Today she can purchase a gunny sack from the nearest trading
post for twenty five cents and store the same amount of grain with much
less effort.
This basket, valued at $750.00 on the collector’s market today, is a
splendid illustration of a dying art. The forthcoming Indian generation
will not be concerned with the making of baskets for daily use. The
beautiful weaving techniques and colorful designs will become a thing of
the past.
Also, in this show case, is a fine 1890 basket specimen; a _Tonto
Apache_ storage basket from the Verde River area below Flagstaff,
Arizona.
(See Plate 6c & 17c)
HOUSEHOLD
_Chitimacha_—Louisiana
Case No. 10:
The unusual decorative design of this basket is commonly referred to as
“alligator intestines.” This design motif has been used as far back as
history records, and serves as an excellent example of the weaver’s
skill.
(See Plate 15c)
For other examples of household baskets see:
Plate 15b: _Cherokee_, household farm basket
Plate 15d: _Hoopa_, tobacco basket
Plate 16a: _Yokut_, general household basket
Plate 16b: _Rappahannock_, household farm basket
Plate 16d: _Cherokee_, household farm basket
FOOD BOWL
_Hopi—Shongopovi_, 2nd Mesa—Arizona
Case No. 11:
This food bowl is one of the finest specimens of decorative symbolism
ever produced in _Hopi_ basketry.
The decorations represent the knobhead (or Mudhead) Clown _Kachina_
called _Koyemsi_, and the Crow Wing Mother (the mother of all
_Kachinas_). The four ears of corn, each in a different color, represent
the four seasons of the year.
Made by _Lula Joshongeva_, it received several awards at the 1956
Inter-Tribal Indian Ceremonials, in Gallup, New Mexico. Further honor
was bestowed the basket by a Navajo medicine man’s special blessing at a
“Blessing Ceremony.”
(See Plate 8b)
BERRY GATHERING
_Choctaw_—Mississippi
Case No. 4:
The basket with a tall handle was made in 1817, fourteen years after the
Louisiana Purchase. _The basket with a shorter handle is a contemporary
specimen._
The 1817 specimen is of considerable historical significance since it
was brought to Oklahoma sometime between 1838 and 1842, at the time the
Federal Government removed the Choctaw tribe from Mississippi to Indian
Territory (Oklahoma).
(See Plate 5b)
WATER BOTTLE
_Chiricahua_ and _Havasupai_—New Mexico and Arizona
Above door of entrance to Basket Gallery:
These woven specimens are covered with gum from the Pinon Pine and
subsequently baked over an open fire until they become as hard as
shellac. This coating makes the bottles watertight.
Several Arizona tribes prefer this type of water bottle to any they can
procure from the Anglo; they are, therefore, still used extensively in
this area.
(See Plates 2a & 2b)