YOURS SINCERELY

BASKETRY

body then gently taper to a slightly smaller and flat bottom. The second form has a constricted midsection. Jars run from ten to fifty inches in height. Designs occur all over the sides of these baskets, usually as encircling bands.

A few "curio" shapes have been developed as a result of contact with white people. These run to small sizes, and are commonly called "trinket" baskets. Generally none of these has the refinement of shape typical of the other baskets made for and used by the Apache himself.

A small round coil with fine and even sewing in cottonwood splints is featured in this Apache coiled basketry. Designs are woven in and are dominantly of black martynia. Occasionally a small bit of dark red will appear in the pattern. This color is provided by the inner bark of the root of yucca.

Designs are many and varied in Apache coiled basketry. The tray basket in particular, where the entire design can be seen at one time, invites the dynamic, moving patterns which the Apache expresses so capably. Starting from a black center, zigzag and diagonal lines sweep to the edge of the tray. There are less animated patterns, too, including an all-over network of small blocks, or a series of horizontal circles, or numerous small geometric or life forms distributed over the basket surface.

The more animated pattern is often restrained somewhat by the addition of small isolated figures. These may be simple crosses, diamonds, and other geometric figures or they may be highly conventionalized but pleasing treatments of humans or animals (the dog and horse are the most common). These static design elements may be placed in regular order between the parts of the larger design, or they may be haphazardly thrown in here and there.

Designs on the coiled jars are far less dynamic than those on trays. A small portion of a jar is seen at one time; hence this limitation of the area visible lends itself more naturally to quiet banded types of repeated patterning. The same small geometric designs and life forms appear over and over again between zigzag and plain line bands.

It is interesting to note that the all-over, dynamic, small element coiled basketry designs of the Western Apaches date largely from about 1890. Prior to this time their work was more like that of the present-day Jicarilla and Mescalero of New Mexico. Both of these Eastern Apache groups continue to produce far simpler designs. Single and simple stars and other geometric forms, large animal forms, and a limited number of elements on each individual basket are featured in the more typical Eastern Apache baskets. It is probable that the same was true of the pre-1890 Arizona Apache basket design.

As is true of designs in most other Indian basketry, symbolism in Apache work is practically non-existent. To some individual weaver a combination of certain elements may possibly suggest a myth or religious idea; the chances are against even this. Otherwise it is a matter of names attached to designs because of a resemblance between the object and the pattern. For example, a zigzag might be called lightning, or a stepped pattern be designated as clouds.

Coiled baskets are still used by the Apaches, particularly the tray form! Other varied and small shapes are produced for sale. Few coiled jars have been made in recent years.

If one visits an Apache camp today, he will see basketry very much in evidence in the every-day life of these people. Many women provide water bottles for their respective households. In fact, the water bottle or tus represents a rather important native industry. Some women specialize in the making of large bottles, some produce nothing but small ones, while still another weaver makes a tus with a specialized neck line. Most of these will be used by the immediate family or traded to other Apaches. A few of the water bottles will reach white buyers, either through a trading post or by more direct contact.

In the "good old days" before trading posts brought pots and pans of tin, enamel, and other materials to the Apache, the basket was his all-purpose utensil. In it he winnowed grain, parched grain, boiled his food. In it berries were mashed, stews were served. Or the family wash was done in the tray basket! Obviously these baskets were water-tight; many of them continue to be equally well woven today. Basketry stands a fair chance of survival among the Apaches as long as they continue to use it themselves. Also it bids fair to remain an art as long as it serves native purposes. Generally speaking, a native Indian craft is good or bad art in proportion to the amount of integration in native life it enjoys. And what has survived in modern Arizona Apache basketry is indeed representative of a high art a craft worthy of perpetuation.

YOURS SINCERELYTHE GRAND CANYONA RECOLLECTION

A group of Eagle Boy Scouts of Troup 71 of Abbeville, South Carolina recently made an eight thousand mile tour of the Southwest, traveling in a station wagon and spending their nights in the open in sleeping bags. This trip was largely inspired by the pictures and subject matter contained in ARIZONA HIGHWAYS of which I, a former resident of Arizona, am a regular subscriber. Having traveled extensively through the southwestern states, I was requested to route the boys through the most interesting sections. One of the places I designated was that wonder of wonders, that scenic masterpiece, the Grand Canyon of the Colorado. This recalled vividly to my mind my first visit to the Canyon.

Coming into view of it suddenly, without warning is a distinct shock. Time, place and even your own existence is forgotten. Forcibly impressed upon you is its utter unreality as you stand arrested in incredible amazement. I got the impression that a panoramic section of this earth had dropped a mile, and transplanted thereon was a part of some other planet.

There comes to you a sense of the infinitude of time: of time that always has been. Of time that always will be. Countless ages of the past formed it. An eternity of ages in the future will reshape it, each passing aeon adding to its magnificence.

A visit to this miracle of nature is morefar more than a sensuous view of an eye pleasing spectacle. It is an adventurous pilgrimage into the realm of the spiritual. Strong men, at their first view of the Canyon, have broken down, giving way to tears. Others stand in speechless wonder, in the face of this overwhelming evidence of a Master Architect, of an Artist Supreme who knows no limitation in the portrayal of beauty and grandeur to the ultimate.

As you stand and gaze, man's importance dwindles. His efforts, his achievements seem truly trivial. Religious creeds, doctrinal differences and denominational interpretations fade into futile obscurity. For, discovered or forever hidden in the maze of man's bewilderment, there is but one truth. Impressed upon you is the one big fact: that God is, and that God will remain, as His Autograph-written in relief across the face of the world-stretches in panorama before you in its majestic, awful splendor.

Dr. Herbert M. Thomas Abbeville, S. C.

INDIAN JEWELRY

My hobby is jewelry. Indian jewelry has been particularly fascinating as to history and various patterns. Though I know you have run articles on this subject in the past, perhaps readers of long standing would enjoy a refresher and we later subscribers could get a "look see" at some of those exquisite Indian designs. At present our department stores and other markets are flooded with cheap imitations of the real thing, made of sheet silver and poor quality stones.

E. Baker 1260 Third Ave. S. E. Cedar Rapids, Iowa

The Navajo Arts & Crafts Guild at Window Rock whose efforts are directed to interest the Navajos in better products, secure fair prices for their rugs and jewelry. ARIZONA HIGHWAYS plans a Guild feature in the Spring.

THE COPPER CUP CAME HOME

Our son who returned from overseas (Maj.) duty in December got back to his beloved Southwest in January. He had never seen ARIZONA HIGHWAYS before and he just steeped his soul in Southwestern beauty as your magazine for the last two years presented it. He has Life, Fortune, Atlantic, Reader's Digest, etc., but he said while here "If I could have only two magazines, one would be Time and the other ARIZONA HIGHWAYS" And now I will tell you a little incident in his overseas service that you may find interesting, as we do.

He was with the 9th Armored which took the bridge at Remagen though his outfit was not present but about fifteen miles away at the time.

On that wild dash across Germany his group was billeted in the home of a German Major (they found his uniforms, etc., in the house) evidently an ace industrialist - very large expensively built and furnished house-in mediocre taste.

In an immense cabinet which filled the entire wall of one room back in a corner, a gleam of copper caught his eye (Hurley is home and Hurley makes copper you know). It was a miniature copper "loving cup"-two inches high with the seal of the State of Arizona 1912 Hayden-on it!

He brought it to the dinner table here one night and said "This is the sum total of the looting one soldier did in Europe and that wasn't looting that little copper cup just had to come back to the Southwest where it belonged!"

So he left it here in the copper country. Maybe you know someone who knows the occasion in which those little cups were used, and even where there are others.

Mrs. S. J. Hanks Hurley, New Mexico

WELCOME IN AUSTRALIA

It is with great pleasure that I write in appreciation and praise of your magazine. Through kindness of our friends Mr. and Mrs. Don LeMaster, late of Phoenix, we were the recipients of 12 copies for the year 1945. All the copies arrived in first class order and are being thoroughly enjoyed by us and our friends. Often I was tempted to cut out and frame some of the lovely pages, but that would have spoiled the rest of the book. Although we have views and natural colouring equal to any of yours, we have not yet captured it in such an attractive form, at such an attractive price. I congratulate you on a really interesting and colorful magazine.

Phyllis Peak Victor Street Holland Park Brisbane, Queensland, Australia

(These poems are taken from the manuscript of "The Path to the Blue Skies", a book of creative writing by Indian children. The material for this book is being collected and prepared by Dona VanHooser Corwin, Indian Service teacher at the San Carlos Indian School, San Carlos, Arizona.)

DESERT DUST

Home, to think, to watch, to feel, the desert dust.

Dust, the hard red sun dust, the soft yellow moon dust, and the white dust of stars.

Home, to watch the dust walk with the little winds, to see the dust run with the wild winds!

Patterns, wind patterns of dust on the world.

Patterns, of the hard red dust of war and death. the soft yellow dust of peace, and the white dust of hope.

Dust, in my hands, brown hands, Indian hands, Navajo hands.

The hard red dust of death covers me, but I feel the soft yellow dust of peace and the white star dust of hope is in my eyes, dark eyes, Indian eyes, Navajo eyes.

CURTIS AHКЕАН Navajo Junior (Curtis Ahkeah died in his nineteenth year, three months after "Desert Dust" was written. He was an artist of unusual promise.)

IN MEMORIAM

(Superintendent E. R. McCray of the San Carlos Indian Reservation.) He is gone, friend of the Apache.

He sailed away, on the deep, blue waters of the wide, wide, river.

The low notes of the soft green wind called him.

The song singing of the deep, blue waters put him to sleep.

I saw him, this friend of the Apache across the big, wide desk.

He said to me, "Do you like school, little Apache girl?"

My tongue stuck, and would not say, "Yes."

He smiled at me, and I heard him go home with the leaves sounding as he walked.

Now he is gone, friend of my people.

He sailed away, with a soft, green wind on the deep, blue waters of the wide, wide, river.

LUCILLE VICTOR Seventh Grade Age 12 years

"THE ROAD "2

The roads wander in aimless fashion through the limitless land of the Navajo. They are romantic ribbons that tie distant subagencies or lonely trading posts with the world outside and are the arteries of travel for the visitor who wishes to get away from the world outside. To keep you company over these roads are lonely Indian hogans, miles of scenery, and an occasional flock of sheep. The sheep have the right-of-way. In the land of "Don't-Hurry,"

the sheep, of all things, hurry the least. They'll take their own good time in crossing a road and it won't do any good trying to rush them. They are never unattended. If you watch carefully, someplace near the flock you'll see a couple of dogs and a boy or girl, generally shy and bashful, who have a genius for blending into the landscape. The road, the sheep and the sky are part of the picture called Navajo-land, all part and parcel of your journey into the lonely country.