Hopi Jewelry

There is a pleasant tinkling of metals, frequently inter-spersed with soft-spoken Hopi conversation, as a small group of ex-service men moves about the classroom in the Hopi Indian High School at Oraibi, Arizona. The young veterans are the first enrollees in a silversmithing project organized under the G.I. Bill of Rights. Their instructor, Paul Saufkie, of the village of Shongopovi on Second Mesa, is an accom-plished silversmith, an artist at fashioning the beautiful articles of silver and turquoise so greatly prized by white people as well as the Indians of the Southwest.

Silversmithing has never been an active art among the Hopi people, for both historic and economic reasons. Silver jewelry was introduced into the villages by the Spanish con-quistadores shortly after their discoveries of the Rio Grande pueblos and the Hopi towns. The Spaniard was conqueror and enslaver, not the white Messiah that Hopi tradition prophesied would come to bring surcease to the tribe's desper-ate struggle for survival. It was not until 1680 that sufficient strength was organized to drive out the invaders. The pueblos were reconquered after twelve years, but the Spaniards were never able to reestablish themselves in the Hopi villages. Nevertheless, during their ascendancy over the Hopi people, bribery through gifts of silver jewelry became so common that the wearing of these adornments was regarded as public ad-mission of disloyalty to the village. It was not until about 1890 that prejudice had abated sufficiently for a few men to learn and practise the art of silversmithing.

The general scarcity of money among the Hopis has been THOMAS A. DONAHOE, in the photograph on the right, shows several choice Hopi necklaces created by members of the Hopi Silvercraft Guild. Dr. Harold S. Colton of the Museum of Northern Arizona for many years has en-couraged the revival of old Hopi arts and crafts, especially silversmithing, con-tending this form of art particularly adaptable to Hopi traditional design. The organization of the Hopi Guild, and instruction made possible by the G.I. Bill of Rights, has resulted in a new industry for the Hopi Indians. The design on this page is the Hopi Sun Shield, the trademark found on Hopi Guild jewelry.

Into their new jewelry creations the Hopi Indians have put their artistic beauty and their infinite patience for detail and perfection. Navajo jewelry has been accepted as the finest in creative Indian design but the Hopis are rivalling even the achievements of their neighbor tribe. With skilled supervision and using ancient Hopi designs that have been passed on for generations on basketry and pottery, the Hopi jewelry makers are turning outunique and distinctive work in beads, buttons, necklaces, bracelets and other articles of decorative personal adornment as well as silverware and table embellishments. When the Guild was first organized many of the designs were wrought in copper. As soon as the artists developed sufficient skill and creative ability silver became the specified medium to work with.

Hopi silversmiths, working by hand, produce exquisite designs in their jewelry.

Jewelry making by the Hopis will add a new industry and income to the tribe.

A retarding influence in the development of silversmithing on any considerable scale. To accumulate stocks of sheet metal and wire, and of crude turquoise, requires a considerable capital investment. The necessary capital was not available to the individual Hopi. In some of the pueblos, notably Zuñi, and in the large towns adjacent to the Navajo reservation, silver and turquoise are provided by the large trading houses to whom the smith sells the finished product. No trading post on the Hopi reservation follows this practise.

For many years Dr. Harold S. Colton and his staff at the Museum of Northern Arizona in Flagstaff have devoted much of their energies and funds to projects for encouraging the revival of the old Hopi arts and crafts. This interest and help has resulted in the development of many fine artisans among Hopi men and women and the production of baskets, pottery and textiles of outstanding quality. Dr. Colton has long contended that Hopi traditional design is especially adaptable to the processes of silvercrafting and of such outstanding beauty as to meet with approval of white people and Indians alike. Thoroughly acquainted with the Hopi talent for fine craftsmanship, he has consistently urged the adoption of silversmithing, with the development of purely Hopi designs, as a part of the tribal culture.

In the summer of 1946, Dr. Willard Beatty, Director of Education for the Indian Service, visited an exhibit of Hopi arts and crafts at Shongopovi. Here he conceived the idea of establishing a silvercraft school for Hopi veterans under the G.I. Bill of Rights. Fred Kabotie, noted Hopi artist, agreed to act as director of design along with his other duties as art instructor at Hopi High School. The project was further for-tunate in securing the services of Paul Saufkie as head craftsman. It was Mr. Saufkie who had worked singlehandedly with Dr. Colton in rendering early Hopi designs in silver before the school was organized.

With the active encouragement and help of Burton A. Ladd, Reservation Superintendent, and Dow Carnal, Reservation Principal, the project was soon under way. In February, 1947, thirteen veterans had enrolled and were receiving daily instruction. Many beautiful designs were developed, some for die-stamping, others for the unique overlay technique and still others for sand-casting. All designs were genuinely Hopi, stylized from the decorative patterns of old pottery and baskets. The intricate cutting, grinding and polishing was mastered by the eager students. Soon individual pieces were ready for exhibition at state fairs and annual ceremonials. An exceptionally high percentage of these won blue ribbons for excellence of design and craftsmanship.

Truly, something new and fine had been created. And just as truly way to artistic fulfillment as well as economic security had been provided for the students, whose class, now grown to nineteen, graduated on January 1, 1949. A group of fifteen new students immediately moved into the classroom.

Shortly after the first class completed the prescribed training period, its members organized the Hopi Silvercraft Guild. With the aid of the Indian Service a loan was secured from the government to purchase materials needed for silver work. The Guild buys the raw materials from wholesale houses and the individual craftsman pays for these after his articles are sold. To further the interests of the Guild and the silvercraft class, the Indian Service purchased a Quonset hut and the members of the Guild together with the class members erected the building on the High School grounds under the supervision of the construction department of the Hopi Indian Agency. This building furnishes a room for the instruction of the classes and also provides a workshop, complete with electric power, for those members who find it difficult to work at home.

Indian jewelry may be loosely classified as of three general types: Navajo, Zuñi or Pueblo and, now, Hopi. In general, Navajo pieces are set with large stones and the silver is worked less elaborately than is characteristic of Zuñi craftsmanship. Zuñi bracelets, for example, are usually mounted with rows of very small stones or with groups of small stones set in clusters to form geometric patterns. Earrings are of intricate design, often set with many tiny stones and embellished with silver dangles, while Navajo earrings are generally single pieces of polished turquoise, without silver mountings, or strings of turquoise discs, worn with the string laced through the pierced ear lobe. Hopi jewelry, employing turquoise as an accent rather than as the principal feature of the article, stresses design wrought in the silver.

Many of the finest examples of the silversmith's art are seen only on the reservations or in the cases of museums and private collectors. Such articles as ke-tohs (bow-guards) and bridle ornaments are rarely offered for sale to white people. Conchas of exquisite design and workmanship are made by many smiths, but are seldom to be found in the curio stores along the highways. However, small replicas of these beautiful belt ornaments have become standard merchandise in most western stores catering to travelers.

No story about Indian jewelry which fails to examine, at least briefly, the economic impacts of the craft and its products can be justified. Not only has the production and distribution of these articles of adornment become big business for some of the white traders, but their existence has brought important changes in the economic structure of reservation life, as well. During recent years the Indian Service has found it necessary to cut down the numbers of sheep, goats and horses that could be grazed on reservation land. Particularly among the Navajos, population has increased to a point where an economy on sheep can no longer sustain the people. This is true, in lesser degree, among the Pueblos and Hopis. The development of silversmithing as an extensively practised craft and the introduction of the finished products into the channels of trade can be an important factor in relieving a situation that is rapidly approaching the status of a regional calamity. However limited the ranks of the smiths may be, the product of their talents constitutes new wealth to replace some of that lost through the breakdown of the agricultural economy. A similar development of other crafts and craftsmen can contribute to the alleviation of conditions of undernourishment, dietary-deficiency, disease and squalor.

Now a word about buying Indian jewelry. Many pieces are exquisitely beautiful, real works of art. Many are out and out trash, not worth having. If you do not know Indian jewelry, it is suggested that you write or contact Chambers of Commerce at Flagstaff, Winslow, Holbrook, Tucson or Phoenix in Arizona or at Santa Fe, Gallup or Albuquerque in New Mexico, requesting a list of reputable dealers. These dealers, in turn, will gladly supply you with descriptive lists of articles that are available. They may be depended upon to offer you only authentic handcrafted pieces of superior quality. For information concerning available Hopi jewelry contact the Art Department, Hopi High School, Oraibi, Arizona. In some instances pieces will be made to your individual order. Should you wish to purchase from other sources, look for these indications of good quality. Good turquoise is hard and deep robin's egg blue in color. Beware of pale, lifeless stones which are usually chalky and soft. Stones have been boiled in paraffin or soaked in oil to deepen the color and give the appearance of good quality. The application of a little heat will reveal this deceptive practise. Hand-wrought silver is usually heavier than machine-stamped, and the design will be more carefully incised in the metal. Soldering should be neatly done and the article should show evidence of careful finishing.

Hopi Guild jewelry can always be distinguished from other Indian jewelry by the two trademarks which appear on its reverse. The mark common to all jewelry of the Guild is the Hopi Sun shield, backed by the Indian Art and Craft Board, Washington, D. C. Together with this the mark of the clan of the individual silversmith is also to be found there.