THE STORY OF THE GALLUP INTER-TRIBAL INDIAN CEREMONIAL

GRATEFUL ACKNOWLEDGEMENT

The Photograph on this page, the Indian Reservation Map on pages 6-7 and color photographs on page 31, were reproduced by special courtesy and permission of K. C. Den Dooven, publisher of KC Publications of Las Vegas, Nevada. Our long time friend and past contributor specializes on books especially about the Southwest. Page for page, line for line and photo for photo we believe they are the "book find" for the subjects they cover. The three books which make up the Indian Series are classics in soft-bound covers. "Southwestern Indian Arts & Crafts," 32 pages, in its sixth printing sells for one Dollar. "Southwestern Indian Tribes," 72 pages, Two Dollars, and the fascinating "Southwestern Indian Ceremonials," 64 pages, also Two Dollars. The 9 x 12 inch books, with black and white and 4-color plates may be purchased singly or in sets at most Western book dealers and at most Indian Arts and Crafts Centers.These Southwestern Indians have much that we know we need. And they have one possession, the most distinguishing of all, which we have forgotten that we need. Rather, perhaps, we dare not hope to make it our own. That possession is a time sense different from ours, and happier. Once our white race had it too, and then the mechanized world took it away from us. Each of us has experienced that other and happier time sense in young childhood, and then we moved into the lockstep of clockwork time. We think, now, that any other time than linear, chronological time is an escapist dream. The Indians tell us otherwise, and their message and demonstration addresses itself to one of our deepest distresses and most forlorn yearnings.

Another Time Dimension Than Ours

We bow to clockwork time. We think we must yield to it our all body, conduct and soul. Strange vortex in the ocean of life, created by intellect and by the machine only yesterday in our racial history, and in hard contradiction with vital and spiritual instinct: such is clockwork time, necessary as a tool, deadly as a master.

But we think it is our master, and here the Indians will gainsay us. And clockwork time the event which in unmusical synchrony marches to the beat of the minutes, the hours, the onrushing and vanishing years of linear time sweeps us and inwardly impels us faster and faster on. And enough of clockwork time we never have never. And we abide so briefly, within that rush of linear time which subconsciously we experience as a kind of panic rout; and we are old, so soon, and we are done, and we hardly had time to live at all.

In solitary, mystical experience many of ourselves do enter another time dimension. But under the frown of clockwork time which claims the world, we place our experience out in an eternity beyond the years and beyond the stars. Not out there did the other time dimension originate, in racial history, but within the germ plasm and the organic rhythms and the social soul; nor is its reference only or mainly to the moveless eternity. It is life's instinct and environment, and human society's instinct and environment. To realize it or not realize it makes an enormous difference, even a decisive difference. The Indians realize it, and they can make us know.

INDIAN RESERVATIONS OF THE SOUTHWEST

The ologists. The "Indian" wars of the southwest were as recent then as World War II is to our generation.

Gallup was a frontier town of the times, isolated and remote. Its activity was centered around the enormous coal fields that lay in the area. Its leaders were a rough and ready breed typical of the "old west." And yet the brochures of the first Ceremonials called on the nation to get to know the true nature of the Indian before it was too late, inform themselves of the spiritual nature of their lives, and treasure their unique place in America.

This was the first time that Indian peoples of many tribes had been invited to present their dances publicly and there was not complete agreement that it was the right thing to do. But each year more tribes came, and the small audiences drawn from the area grew ever bigger as the word-of-mouth of the visitors reached out across the nation and even to foreign countries.

Most important, Indian people themselves came as spectators, many of them seeing for the first time the dances and crafts of other tribes. In those early days it became an annual gathering of great importance in Indian life, creating a greater inter-tribal awareness and developing friendships among Indian people of various tribes. Even then, it represented an informal but very real partnership between Indians and non-Indians, for without the voluntary participation of the Indian the event would not have been possible.

The growing involvement of Indian people has not been hypocritical tokenism or "balance" for effect which is so common today. It has developed naturally as more and more individual Indians have come to recognize the meaning of Ceremonial to their people, have understood the purposes of the annual event, and have offered their talents and insight in helping plan and stage the activity.

Typical of recent years, there were Indians on the four major production committees in 1971 exhibit hall, evening dances, afternoon sports, and morning parades. In fact, nine of the ten members of the vital dances committee were Indians of various tribes and the same holds true for the 1972 exposition.

Indians presently serving on the board of directors include Marland Aitson, Kiowa, first Indian president of the association two years ago and presently board chairman; Ray Christensen, Navajo, Gallup businessman; Earnest Becenti, Navajo, prominent in tribal affairs and chairman of the county school board; Tom Lee, Navajo, State senator and arts and crafts dealer; Mrs. Anita Eicke, Apache-Santa Clara; Preston Keevama, Hopi living in San Juan Pueblo and former governor of that pueblo; Gordon Peywa, Zuni, director of that tribe's fish and game division; Tony Reyna, Taos, arts and crafts dealer; and myself.

The Indian speaks with many voices and I do not speak for all Indians. Nobody does. It is one of the confusing untruths of the times and is especially harmful to all Indians when only the abusive voices of militant activists among us reach the public ear. No member of any tribe speaks for all its members, let alone speaks for all Indians.

I can say with complete confidence that, in endorsing the Ceremonial, I can speak for the hundreds of Indian exhibitors, artists, and craftsmen who have benefitted from it. I can speak for the thousands of Indians who have willingly come here as leaders and members of dance groups to participate, for the scores of Indians who have served on its committees, and for the Indian members of its board of directors. I could even venture to speak for the hundreds of thousands of Indians over 50 years who have been spectators at its activities. If they had not thought it good, why else would they have come?

I can speak for many recognized and respected Indians with whom I have discussed the matter. These include Pablita Velarde, the noted. Santa Clara artist who has displayed her paintings for many Ceremonials, and her equally talented daughter, Helen Hardin, award-winning artist who sold her first canvas as a child at Ceremonial. I can speak for Al Momaday, Kiowa artist, who has spent his mature life teaching Indian children of many tribes, and his son Scott, a member of the faculty of University of California and a Pulitzer prize winner for one of his two books on an Indian theme. The names are many I can speak for Kenneth Begay and Ambrose Roanhorse, both famed Navajo silversmiths; for Maria Martinez, fabled potter of San Ildefonso who both exhibited her pottery and led dance groups to early Ceremonials; for Martin Vigil, former governor of Tesuque and chairman of the All-Pueblo Council, who danced at the very first Ceremonial. I can express the views of Joe Herrera, director of New Mexico's Commission on Indian affairs who first exhibited his art work and later judged; for Ned Hatathli, president of Navajo Community College who exhibited as director of Navajo Arts and Crafts Guild and has served as a weaving judge; for Gov. Robert Lewis of Zuni, who danced at Ceremonial as a youth and has spoken out for it on many occasions.

Long before the other fine exhibitions of Indian arts and crafts were begun, the Ceremonial was creating an interest in them and widening the market necessary to sustain them. The Ceremonial can take credit for much of the high regard in which these beautiful art forms are generally held. Name artists and craftsmen whose work is eagerly sought after can thank the Ceremonial for their first sales and encouragement. The awarding of Ceremonial ribbons has set the standard of quality for all to follow.

While its success in pioneering this national exposure of Indian art has encouraged others to enter the field and greatly increased the recognition that Indian artists have received, the Ceremonial still remains as the undisputed national Indian trade fair. Of all such exhibitions, it alone provides competition for every kind of Indian arts and crafts produced today.

During recent years, the Ceremonial association has also developed into the major informational source about the Indian for millions of people. It provides special mailings to several thousand schools and study groups. It has established a national mail order service for Indian books. It has its own publications on the Indian. It has an answering service for individual inquiries about all Indians. It has maintained a small Indian film service. It has arranged for demonstrations by craftsmen and dance groups at public events. It has spoken in behalf of the protection of genuine crafts before legislative assemblies.

To maintain the nation's outstanding Indian event in a small city that now has less than 15,000 population has not been easy. The original non-profit association supported pri-marily by local businessmen for its first 17 years was designated an agency of the State of New Mexico in 1939. This made it eligible to ask for an annual appropriation which lent it some stability. But the past 10 years of legislative hassles over a grant that has remained about the same since 1952 in the face of its constantly growing expenses have been a threat to its continued existence. Although technically a “State Agency,” the Ceremonial operates as the non-profit association it essentially is. No State Agency could enlist the dedication of its directors and committeemen, careful and imaginative administration, and the continued willingness of Indians to take part for their expenses to assure its success. To make ends meet, the association has raised more than a million dollars over its direct income in its 50 years.

PHOTOGRAPHS BY BARRY GOLDWATER

Of my increase And a Navajo's peace. - Michael John Beisch Now by a quirk of fate, the Ceremonial has been given an opportunity to realize the dream that has sustained it for the past half century. After this year's annual event in August, construction will start on an Interstate 40 route through Gallup. This will slice through its present grounds and require a relocation. Because it is evident that the days are numbered and the future bleak for an event whose income is derived mainly from four days of activities, the Ceremonial board has adopted a plan for a year-round cultural center near Gallup based on the same idea that lies behind the annual expositions.

A research study has concluded that such a center will be able to tell the full story of first man in the western hemispere in all his endless variety. It would present it in the truly inter-tribal sense that has marked the Ceremonial up to now. Where thousands now attend the four-day Ceremonials, millions of Americans would be introduced to the story of the Indian in our country. And the lesson would be taught just as it is now through exposure to those traits of “Indianism” that convey our message — our dances and our arts and crafts.

In addition, the center would allow a great expansion in the informational service the Ceremonial now attempts to provide. Efforts would be made to interest visitors in trips to Indian reservations and Indian events. Answers would be provided for the many questions people have. A major library and research division would be created. Workshops would be available for archaeological teams in the area. Seminars, lectures, special exhibitions of work by artists and craftsmen would be on display, Indian lore and Scout groups could learn the deeper meaning of their hobby.

Above all, it would be the major national center that proves American interest in its Indian heritage and becomes the nation's lasting tribute to a poorly understood part of its history. It would not replace but add to the many individual tribal efforts to express pride in their identity through museums and activity centers by acting as a central agency of information for all of them. It will guarantee for all times that no matter what the future brings, the true knowledge of the Indian will be preserved as a constant source of understanding for all Americans and of pride for the Indian people.

The Ceremonial recognizes that, to be successful, it must be the true expression of the Indian. This means that Indian people, as now, must contribute the essence of its content and increase participation in its management.

The employment it creates will be primarily for Indians doing what they know best as dancers, craftsmen, and teachers for an enthusiastic audience of their fellow-Americans. For this would be a living, vibrant experience that cannot be com-municated with endless arrays of glass-cased artifacts.

A complete Navajoland Map and illustrated brochure — a pocket size, four-color encyclopedia of the Navajo country is published by the Navajo Tribal Council, Parks and Recreation Department and is on sale at all Tribal Arts and Crafts Shops . . . price 50¢.

Laguna Shield Dancers MULLARKY STUDIO Gallup, N.M.

Zuni Poni Dance CHARLES ELKUS, JR.

Much hard work and uncertainty lies ahead if this dream is to be realized. A beautiful square mile of red rock canyons facing Interstate 40 close to Gallup has been acquired. A land study, master plan, and design motif have been completed. Before it can be furthered, however, sufficient funds must be secured to match those received by the Ceremonial as highway damages for loss of its present site. Early hopes that federal funding, for which it qualifies, could be had have been dashed. The strength of the Ceremonial organization for its 50 years has been its freedom from political affiliation and single tribal domination. But we have found this is a weakness in the game of federal funding. I feel there must be thousands of Americans who would be willing yes, anxious to contribute to this great endeavor. It should appeal to those who have come to value the beauty that Indian arts and crafts have brought into their lives, to those who wish to help the Indian reestablish his rightful and significant place in American history, to those with love of country who feel the American story will never be fully told without a clearer and more compassionate under-standing of the Indian, to those who believe that the Indian civilization still has much to give toward the enrichment of our national life, to those who feel that injustices of the past can best be atoned by an investment in Indian pride, by those who wish to assure that there will always be a safeguard to preserve forever the unique nature of our nation's heritage. Some day a living memorial to the Indian will be built, must be built. It is inconceivable that a proud nation such as ours will fail to pay proper respect to its early beginnings. But true Indianism is on the decline and each day that is lost can never be regained. The Ceremonial Association has shown an unmatched grasp of both its meaning and the method to communicate it. It is ready now to assume the task. Those who share its convictions are invited to add their suggestions, encouragement, and contributions so that the work may begin.

One of the first Ceremonial programs 50 years ago carried these words: “The American Indian should be given an opportunity to take his place in the development of our great civilization and, in bringing him closer to us through this Ceremonial, it is to be hoped that we will better understand his deep philosophy, history, religion and morals, his customs, arts and crafts. Every other nation has preserved its inheritance. Surely we should preserve that which is unquestionably the background of American art. But unless we stimulate and encourage our native Americans there is grave danger of losing to the world this priceless heritage of distinctive art.” More than 30 years later it was again restated in a Ceremonial brochure: “The Ceremonial subscribes to the simple thesis that there is beauty and meaning in the traditional way of life still extant today in his ritualistic religion, his crafts, and his general attitudes toward the problems of today and the unpredictability of tomorrow. It believes that these bring cultural and philosophical values to him as an individual as long as, in his wisdom, he wishes to retain them, and that he can contribute to his fellow-Americans a relaxation of the tendency to drive themselves to materialistic frenzies . . . As long as he has tribal pride in his identity and as long as there are sufficient numbers who wish to know at first hand more about the real American Indian, the Ceremonial will continue and grow as the distinctly important institution that it is.” With help, the Ceremonial is ready to carry these principles into the future.

"As an Indian, I feel that too much of the authentic cultural practices and beliefs have been lost they have died with our ancestors. I can see the diminishing in number of good artists and craftsmen. And I am bothered by the increased number of fake and imitation Indian arts. This is primarily my purpose in being involved in the Ceremonial and similar activities that is the preservation of the American Indian cultural arts. It should be recognized that most items identified to the American Indian and produced by the hand of the Indian once were either for domestic use or fitted into religious activities and each item was a useful product. Because of the evolution in adapting to a changing world and a changing culture, this is no longer true. Indian hand-made articles now have little use value but are viewed and treated as items of artistry and craftsmanship. There are very few Indians who can make a livelihood in the production of the native arts and crafts, therefore many Indians who have the ability to produce these items apply their skills only as a hobby. The encouragement of artisans to produce quality goods and teaching these skills to other Indians, especially the young would be a means of preserving these cultural arts. A very important item of consideration is that there be a good stable market for the products in order that one could make a living from these skills."

PHOTOGRAPHS BY CHARLES ELKUS, JR. EXCEPT THOSE CREDITED OTHERWISE The dates for the fifty-first Inter-Tribal Indian Ceremonial are August 10, 11, 12, 13, 1972. Although Gallup has numerous modern facilities for the traveling motorist, overflow crowds are anticipated. Other nearby cities within driving distance are Albuquerque and Grants in New Mexico and in Arizona, Holbrook and Winslow on U.S. Interstate 40.This will be the final four day event in the setting that it has had for a half century. If relocation plans are not achieved, it may be the very last that will ever be held. Information on this year's event may be obtained from the Ceremonial Association, Box 1029, Gallup, N.M. 87301.

World Champion performers will dance at the ceremonial. Adam Trujillo, upper left, is world renowned as leader of his Taos dance group. Pat Trujillo, lower right, is past world's champion hoop dancer. There are four generations of Trujillos fifteen in number in this distinguished group.

Pard Losee of Artesia, New Mexico, has been attending ceremonials for more than thirty years. Losee says, “It took me five years just to learn how to photograph the Indian to please him.” His photographs on these pages are but a few of the hundreds made available for our selection and show some aspects of rare and scarce Indian dress such as the superb Northern Cheyenne tie, p. 22 lower left, and the very rare quill-work jacket worn by Sioux Medicine Man, p. 22 lower right, done with porcupine quills which have been dyed and woven on buckskin. Indian adornments are not necessarily those made by the tribe of the wearer. For example the Sioux Dowager, below, wears Navajo bracelets and rings, Zuni squash blossom necklaces and pins, Apache beadwork and her favorite Pendleton blanket.

FROM PAPANTLA, VERA CRUZ MEXICO THE TOTONAC INDIAN FLYING VOLADOR TEAM.

The Totonacs of Papantla, Vera Cruz, have only four flyers and a musician, who is also the captain. The flyers are generally young, unmarried youths, who promise to fly for seven years in return for some favor already, or yet to be, received through the intercession of a saint. The boys are not supposed to have sweethearts, and thus to keep their thoughts pure and their bodies strong for their offering. Before flying they must observe a diet free from strong condiments and abstain from liquor and women. The volador in Papantla is performed every year during the fiesta of Corpus Christi, and each time a new pole is set up.

On the morning of Corpus Christi, the flyers, who are called tocotines, arrive on the plaza, dancing in single file, with their captain playing and dancing at their head. They wear red suits, short trousers and tight jackets; pointed hats with a bunch of feathers on top and ribbons hanging down behind; heavy black or brown shoes. First they dance in front of the main church entrance. From there they dance all the way to the pole, without breaking their line, marking figures to the rhythm of the music. At the pole, the musician dances away from his companions, who form couples, facing each other. Then they weave a dancing chain, one going to the right backwards, the other, left forwards, but always taking care not to turn their backs to the pole. Each movement is repeated three times and the entire dance, seven times around the pole. After this dance is finished, the flyers climb the pole one after another to their places on the frame, where they arrange the ropes for the flight. The captain climbs up last and sits on the tiny platform, facing east, with his feet placed so that the ropes pass over his insteps.

First the musician greets the east with his tune, which he repeats as he bends his body back until it forms an arc, playing all the time with greater intensity until he returns to a sitting posture. He then repeats the melody seven times. After that he renders the same homage to the west, north, and south. He then hands his cap to the flyer to whose right sits the one with another flute and drum, who rubs the cap on the instruments as a sign of approbation. When he has it on his head again, he stands up facing the east, and makes seven turns on the minute platform. As he turns, he marks synchronously with both feet in jumps about ten inches high the rhythm of the melody he is playing. Sometimes, while standing on one foot, he makes ballet steps with the other in the air as he marks his beautifully embroidered rhythm. In changing from one foot to the other, he often makes two turns instead of one, so that each cardinal point receives fourteen instead of seven turns. When the musician is again seated, he hands his flute to the same flyer, at his right, who receives it as if it were sacred, and expresses veneration for it by rubbing it against the frame and ropes as far as he is able to reach. After returning the flute, all prepare to fly. Upon hearing the first notes of the melody, they let their bodies fall gently backwards. The ropes begin to unwind; they twist their feet around them, and with heads down, arms extended, fly around the pole in circles.

The captain remains on top, playing. The other musician plays the same melody as he flies. When both have played the tune seven times, the flyers change positions, flexing their abdomens and leaning back. wards. They remain thus until the new tune is played seven times, after which they return to their former position. When only two revolutions are lacking to reach the ground, the flyers turn a somersault and land lightly on their feet. They do not free themselves from their ropes until their captain joins them. Then all take leave of the pole by dancing around it.

Unforgettable... The contrasting rhythms and the ever changing

Havasu Falls WAYNE DAVIS A most worthy achievement in silver medallion art.

The obverse (front) of the Havasupai Indian Tribe's Coin-Medal bears the date of mintage, 1971, and depicts the mule train descending the steep trail to the inner gorge of the Grand Canyon. The "Wigleeva Rocks," sandstone pinnacles sacred to the Tribe, serve as the background.

The reverse of the Havasupai Coin-Medal shows the famous Supai Falls and bears the inscription "Land of the blue-green water." "Pesasita" the Supai word for "Piece of Silver" is also inscribed.

The companion book, The Supai People, is written by Henry F. Dobyns and Robert C. Euler, of Prescott College, anthropologists.

CONCEIVED IN BEAUTY-EXECUTED WITH DIGNITY BY LIL RHODES

Medallic art, a popular artform with mankind since the Classic Age, experienced a Renaissance with a flavor uniquely American. First American with the issuance in early 1971, of a dollar sized pure silver Coin-Medal honoring the Sovereign Nation of the Havasupai Indian Tribe. The official sanction of the Havasupai Tribe was given before the minting and issuance of the Coin-Medal, and Tribal profits from this unusual source of added income, without binding stipulations, go to the Tribe's general fund for education and progress of the Tribe. What was originally meant to be a "one-time venture" has been expanded and enhanced by the requests and suggestions of history buffs and serious Collectors. (It is estimated there are some eight million Coin Collectors in the United States alone.) The Coin-Medals and companion Books, issued by Indian Tribal Series, will encompass 38 representative Indian Tribes of this country.

Next, Griffin came up with, "Why doesn't the Tribe issue a medallion which could be sold? This might have a great appeal to coin collectors and history buffs. The investment would be moderate and would provide an income for the Tribe."

The more Griffin thought of the possibilities, the more enthusiastic he became. Babbitt agreed the idea was novel, but would it be acceptable to the Havasupais? Only a meeting with the Tribal Council would answer that question.

Just a few days later, Babbitt, John Griffin and Griffin's wife, Loretta, were astride sure-footed steeds following the path that snakes and hairpins its eight mile way down to the floor of the Grand Canyon. There, in an inner gorge created by a tributary of the Colorado River, John and Loretta Griffin had their first view of "the land of the blue-green waters"!

"Consider questions carefully," a sage once remarked, "for your answer may have far reaching effects."

No one would agree more heartily with that statement than John Griffin of Phoenix. His experience in just such a situation resulted in their visiting the smallest Indian Nation in this coun-try and traveling thousands of air miles in pursuit of research information. It also hurtled them into the field of Medallic Art and publishing. This led to the establishment of Indian Tribal Series, on East Indian School Road, in Phoenix just a stone's throw from the Phoenix Indian School.

There, with the official sanction of the participating Tribal Councils pure silver Coin-Medals are issued with companion books commemorating the Sovereign Indian Nations. Four CoinMedals and books were issued in 1971, honoring the Havasupai, Hopi, Apache and Sioux Indian Tribes. In 1972, the Paiute CoinMedal has been issued, and scheduled next are the Navajo, Crow, Osage, and at year's end, the Papago. Thirty-eight Indian Tribes will comprise the Indian Tribal Series, an idea conceived one Winter day in 1970, in Flagstaff, Arizona.

It was there that John Griffin, a business man, coin collector and former building contractor was having lunch with friends. Joe Babbitt, attorney for the Havasupai Indian Tribe was men-tioning that his clients were seeking a source of revenue for their people. Babbitt then turned to Griffin and asked, "How could the Havasupais raise money? Do you have any ideas?"

Caught "offguard" Griffin's first responses were not unusual. "Why don't they put on a rodeo or have a barbeque?"

Babbitt, familiar with the three methods of access to the Tribe's reservation, the Bright Angel Trail, the rugged Peach Springs route, or helicopter, countered with another question.

"Have you ever been to the Havasupai Reservation?

No, Griffin hadn't. "I didn't even know how to pronounce Havasupai then." Griffin now admits with a smile.

The Apache Coin-Medal and book was issued during 1971, which marks the 100th anniversary of the White Mountain Indian Reservation. Tribal officials placed the book and Coin-Medal bearing the serial number 1971 in a time capsule placed on the reservation which is to be re-opened in 100 years. The capsule was "dedicated to the preservation for America of symbols of the heritage and progress of the tribe."

The obverse of the Apache Coin-Medal shows an Apache Scout astride his mount. A scenic Arizona view serves as the background, and the inscription "Sovereign Nation of the Apache Tribe" appears also.

The reverse side depicts the "Gan" Dancer, the official symbol of the Tribe, and PESH-CLI-KYII (Precious metal), and bears the date, 1971.

The companion book, "The Apache People" was written by Dr. Henry F. Dobyns, Professor of Anthropology at Prescott College in Prescott, Arizona.

The trip down convinced Griffin "the barbeque and rodeo bit as a fund raising event was out of the question."

The beauty of the travertine pools of water spilling over lavish fringes of emerald green water cress; the vermillion cliffs that changed in hue and intensity as the Supai sun moved along in the blue, blue sky, and the breathless grandeur of the waterfalls below Havasupai Village made lasting impressions on John and Loretta Griffin. Later, Loretta, endowed with an inborn sense of color and design, was to translate these impressions into her design for the Havasupai Coin-Medal.

The Griffins met the people of the Havasupai nation, beautiful, friendly, majestic and proud. Some 200 of them live on the land, part of it under cultivation in crops meticulously chosen to produce well in the short growing season, in the bottom of Cataract Canyon of the vast Grand Canyon.

Attorney Joe Babbitt introduced Griffin to the Tribal Council. John Griffin presented his idea. Result? The Council's consensus was that the idea was excellent, one that was acceptable to the Tribe and that they could sanction. There was one drawback. The Tribe was not in a position to make the investment.

In this moment the "far reaching effects" of Griffin's answer to Babbitt's question became evident. This was the fork in the road. Griffin could drop the entire idea, or he could investigate further and invest.

He chose not to quit!

The second leg of Griffin's journey was a flight to Sydney, Ohio, to the headquarters of Coin World, a periodical for Coin Collectors. John studied documents and records the management made available to him. Coin-Medals featuring Indians, several of them, had been issued before, but none were sanctioned or approved by the Tribes they represented. Nor, as far as could be determined, did the Tribes realize any financial benefit from such issues. Encouraging information for Griffin, it allowed him to take the next step.

At Franklin Center, Pennsylvania, the home of the famed Franklin Mint, Griffin discovered they had a project on Indian Coin-Medals in process. Upon learning that Griffin had the approval of the Havasupai Tribe for striking a Coin-Medal, the mint people put aside their development to work with the Havasupai issue.

Another Flagstaff resident, an Indian and history buff, served as a catalytic agent. Paul Weaver, publisher and owner of the Northland Press, recommended that Griffin see Drs. Robert C. Euler and Henry F. Dobyns, anthropologists on the faculty of Prescott College in Prescott, Arizona. Euler and Dobyns had both the qualifications and experience to write the monograph on the Havasupai Tribe. But would they agree to submit their material to the Havasupai Tribal Council to make certain their story was told not as the "White Eyes" have written the Indian's history, but as the Indians knew it to be? One meeting with Euler and Dobyns and Griffin knew they were the authors for the book!

The book, "The Supai People," printed at Northland Press, made its debut with the Coin-Medal of the Sovereign Nation of the Havasupai Tribe issued in March of 1971 four months after that eventful luncheon in Flagstaff.

The Coin-Medals are of pure silver.

"Why silver?", Griffin was asked.

The Sioux warrior, resplendent in his full ceremonial dress of the Plains Indian, astride his war pony appears on the obverse side of the Sioux Coin-Medal. "Sovereign Nation of the Sioux" and the date, "1971" are inscribed on the perimeter.

The reverse side of the Coin-Medal displays all the symbols of tradition of the Sioux Indians the tomahawks, the quiver, prayer feathers and the peace pipe. It is inscribed with the words, "Rosebud Sioux" and "Maza-Ska" which means "precious metal."

It was not until Griffin was on the plane heading home to Arizona that he began to have some misgivings.

"Here we had an agreement with the Havasupai and their sanction, and we had an agreement with the mint to strike the Coin-Medals, but actually how many people KNEW of the Hava-supai Indian Tribe or their history?" Griffin certainly hadn't until Joe Babbitt introduced him to the Havasupai people. How could this information be made available? And the idea of a companion book on the Tribe's history was born.

Next move? Find the right person or persons qualified to write the story of the Havasupais!