Main Types of Pueblo Cotton Textiles, Leaflets Nos. 92 and 93

Weavers have supplied other Pueblos with many of their woven articles and the Hopi are now the leaders, if not the only ones, in the field of Pueblo weav-ing. A 1931 report published by the Denver Art Museum entitled "Hopi Indian Weaving," estimated that there were about 200 Hopi weavers at that time. Today, I would estimate that there are fewer than 25 weavers actively engaged in this art.

In the land of the Hopi, the men do the weaving and this tradition has undoubtedly been carried on for centuries. Early historic and prehistoric weaving produced a wide gamut of textiles, many of which were for everyday wearing and warming purposes. The availability of modern clothing has eliminated the need for weaving these more functional items and, for the most part, weaving now centers around the production of ceremonial wearing apparel. One can examine Hopi Kachina dolls or paint-ings of Kachinas to obtain an excellent idea of the items presently woven by the Hopi. Most of the garments worn by Hopi Kachinas are hand woven. The recently published book entitled "Kachinas, a Hopi Artist's Documen-tary," written by Barton Wright and published by Northland Press, Flagstaff with the Heard Museum in Phoenix, Arizona, beautifully portrays some 255 Kachinas, the majority of which are wearing Hopi weaving.

Hopi weaving is used for other cere-monies, including weddings. Shawls and mantas are often worn as an item of fashion by the Hopi women. Occa-sionally, blankets and rugs are still woven; however, these are usually made for the collector's market.

Hopi weaving is considerably more complicated than that of the Navajo and many types of weave are employed. Among these types are: the Plain Weave-Basket, used in the manufacture of large white cotton wedding shawls and robes, kilts and sashes; the Plain Weave-Blanket, often used in the manu-facture of woolen warming and wearing blankets; the Diagonal Twill, a weave used in women's dark woolen blanket dresses (mantas), women's shawls, men's kilts, breech cloths and white ceremonial sashes; the Herring Bone or V-shaped Twill, used most often in com-bination with other weaves for blankets and other articles; the Diamond Weave, used in the border of women's dark woolen blanket dresses (when not em-broidered), the borders of white shawls, the ends of men's breech cloths and black and white plaid Hopi blankets; and the Floated Warp Weave, used for women's woolen belts, men's woolen garters and woolen headbands. The Embroidery Weave (sometimes called brocading) is a rather unusual form of weaving and for the most part is practiced only by the Hopi. It is utilized to produce the brilliantly colored patterns at the ends of men's ceremonial sashes and breech cloths. The Braided Sash, also called the rain sash or Hopi wedding sash, although actually braiding and perhaps not true weaving, is another form of Hopi textile art. This is most commonly noted in the broad and heavy white Hopi wedding sashes. True Embroidery is also used to add the bright colors on various kilts, sashes and robes. This is a style of embroidery common only to the Pueblo Indians. In modern times, Hopi women do much of the embroidering; however, many of the men still retain this art also.

HOPI WEAVING

Text and photographs by Jerry D. Jacka The common colors used in Hopi weaving are red, green, blue, yellow, black, brown and white. Although most of the colors presently used are in the form of commercially dyed yarns, vegetables and minerals were originally used to produce these colors. In some cases, these raw materials (especially vegetable) are still used to produce dyes and Kaolin clay from local sources is still used as a powder to give the white materials a very "snow white" effect.

Normally three different types of loom are used: the Waist Loom (a Tubular Loom), Upright Tubular Loom and the Blanket Loom. The Blanket Loom and the Upright Tubular Loom are similar to that of Navajo Looms.

Hopi men generally do their weaving in the houses or in their kivas (special rooms or chambers used for ceremonial purposes). Many old houses and kivas had permanent fixtures to accommodate looms; however, most looms are now built in a portable fashion. In other instances, looms have been known to be located in areas near and under rock ledges close to the villages. These areas are designed as special weaving areas where the men gather to manufacture these beautiful ceremonial garments.

A few remaining weavers on the reservation produce sashes, robes, kilts, belts, blankets and other articles which reach the open commercial market. Their first and foremost responsibility is to produce materials needed for the various Hopi ceremonies and the few remaining surplus items are sold through various outlets in the Southwest. One can often find a small selection of very fine weaving at arts and crafts shows sponsored by museums such as those of the Museum of Northern Arizona in Flagstaff and the Heard Museum in Phoenix. Other outlets include trading posts located on or near the Hopi reservation and Indian arts and crafts retail stores in the Southwest. One can also attempt to acquire woven items directly from the source the weaver; however, weavers often have a backlog of orders and once an article is completed it is usually sold immediately. In any event, the person who is lucky enough to acquire articles woven by the Hopi is fortunate in that he possesses textile art which can be traced back through centuries in the Southwest. Unlike weaving produced for show or decoration, these Hopi items have been and continue to be produced as functional items of the traditional Hopi life style.

SOURCES OF INFORMATION: United States Department of Interior, Bureau of Indian Affairs 1. Pueblo Crafts Ruth Underhill, Ph.D., 1944 Denver Art Museum 2. Hopi Indian Weaving, Leaflet No. 18-Richard G. Conn, 1931 (4th printing 1957) 3. Main Types of Pueblo Cotton Textiles, Leaflets Nos. 92 and 93 Frederic Douglas, 1940 4. Main Types of Pueblo Woolen Textiles, Leaflets Nos. 94 and 95 Frederic H. Douglas (Second printing 1955) 5. Southwestern Weaving Materials, Leaflet No. 116 Frederic H. Douglas, 1953 (Second printing 1957) The Heard Museum 6. Kachinas, a Hopi Artist's Documentary Barton Wright, 1973