SILVER OVERLAY - A HOPI TRADITION

The fine overlay jewelry presently being made by the Hopi Indians surely represents an apex in silverwork and quite a number of Hopi men are producing it today. Some work independently, while others work through cooperative guilds. The "Hopi Arts and Crafts Silvercraft Cooperative Guild" which was organized by Fred Kabotie and the "Hopi Crafts," which is owned by Wayne Sekaquaptewa and managed by Glen Lucas, utilize the services of several fine Hopi silversmiths. Included in the long list of individual Hopi craftsmen are McBride Lomayestewa, Patric Lomawaima, Phillip Honanie, Victor Coochwytewa, Leroy Kewanyouma, Lawrence Saufkie, Bernard Dawahoya and many others.

Two of these men, Bernard Dawahoya and Lawrence Saufkie are typical of this "breed" of traditional craftsmen. Both began making jewelry at a very early age and have continued in this once-not so rewarding endeavor, to a point where their silverwork is in great demand. Both Lawrence and Bernard were raised among, and learned from, the "old timers" who pioneered what is now considered to be traditional Hopi overlay jewelry, and their workmanship reflects this heritage. Lawrence Saufkie tells of how he used to sneak into his father's workshop at Shongopovi and fashion crudely stamped copper trinkets, using (and sometimes misusing) his father's tools. At the age of twelve, Lawrence decided to expand his secret operation to include silverwork. Soon thereafter, his father, Paul Saufkie, Sr., discovered him melting precious silver with a torch and decided that the time had come to teach Lawrence the techniques of Hopi silverwork. Lawrence recalls that some of his earlier pieces, stamped copper buttons, were sold to his teacher at the Second Mesa Day School at a price of 50 cents for six buttons. Bernard Dawahoya learned silverwork from an uncle and several other relatives. His interest also began at a very early age, and by eight, he was experimenting with the manufacture of copper jewelry. Bernard recalls that many of his first pieces were sold or traded at Keams Canyon.

With the assistance of his wife, Griselda, Lawrence Saufkie fashions

Silver Overlay Hopi Tradition In Jewelry

With the assistance of his wife, Griselda, Lawrence Saufkie fashions jewelry at his home in Shongopovi. Together, they travel throughout the Southwest, demonstrating this art and entering their jewelry in various shows and museums. Saufkie's jewelry has won prize ribbons in Arizona, New Mexico and California. In addition, Lawrence has judged Indian jewelry shows in Arizona and New Mexico.

Bernard Dawahoya and his wife, Alice, now own and operate Dawa's Arts and Crafts in Shongopovi. Bernard, who has also won many ribbons for his jewelry, has expanded his one-man operation to a shop which now employs nine Hopi silversmiths. In addition to making and selling fine jewelry in his shop, he teaches those who are interested in learning the techniques of Hopi silverwork. This operation may be well on the way to becoming another successful guild.

Bernard and Lawrence both continue to live in the traditional Hopi lifestyle and are actively engaged in the many ceremonies and events that are a part of the Hopi way of life. Bernard is a member of the Snow Clan and uses his clan sign, the Hopi Snow Cloud symbol, as his hallmark. Lawrence, a member of the Bear Clan, uses the figure of a bear as his hallmark and has gained the nickname of "Little Bear." This traditional heritage is reflected in the jewelry fashioned by the two artists. They, as do most other Hopi silver workers, fashion their designs around many aspects of the traditional Hopi culture. Such forms as kachinas, clan signs and symbolic-geometric patterns appear on this jewelry. Often times, turquoise and coral are utilized to compliment the basic designs.

The owner of one of these fine works possesses a piece of art which can be traced back in time for centuries to ancient pueblo art forms. The manufacture of jewelry is not a recent innovation of the Hopi Indians. Jewelry making is an art which has been practiced for many centuries by the Hopi and other pueblo Indians of the Southwest. Through the use of bone, shell, turquoise, stone, wood, leather and even basketry, prehistoric jewelry took on many forms. It was not until the coming of the Spaniards, during the fifteen hundreds, that metal was used as jewelry and the introduction of silver brought about a new era of pueblo jewelry making. Originally, Hopi silversmithing was similar to that of the Navajo. Around 1938, due to encouragement - primarily by the Museum of Northern Arizona, the Hopi began to develop a style of their own. This was done by combining pottery designs with the overlay process. This type of jewelry is produced by "sweating" or soldering, two pieces of silver together. The top piece contains a design element which is meticulously cut out of silver. The bottom piece is oxidized and often textured to produce a contrasting background. Other stamping, engraving or stone setting is then done to finish the desired design. The near finished product is then carefully filed, buffed and polished to produce the fine finish so common to the Hopi overlay jewelry.

From the very beginning of its use, silver has been a precious commodity. This story told to Lawrence Saufkie by his grandfather many years ago, gives us some insight into the shortage of silver among the Hopi during the early nineteen hundreds. Silver was hard to obtain in those days and most of it was acquired by trading. The home of the Hopi was one of the most isolated in the Southwest and only trails and crudely made roads led to the villages. Sometimes when there was no silver available for the making of jewelry, the men would walk or ride horseback to Winslow where they would "acquire" silverware from a local restaurant. They would then go to the nearby railroad track, wait for an oncoming train and lay the items on the track. As the train passed, the silverware would be flattened, making it suitable for fashioning into jewelry.

Fortunately, our present-day Hopi jewelers do not have to rely on restaurants and railroad tracks for their materials. Indian jewelry now commands the admiration of all our society and equally as important, it commands a respectful price; one which enables the craftsman to use the finest of materials and workmanship in creating these truly magnificent works of art.