The Inheritor

Wandering into the rooms dedicated to the Pueblo world the class had "oooh'd" over the dazzling display of Kachina dolls. The lady had told them, "These dolls are the gift of Barry Goldwater and the Kachinas are extremely important to the Hopi Indians. Since men cannot control their environment, the Hopis pray to the spirits to bring rain for their crops. These dolls are made as teaching tools to enable the Hopi children to learn about the many Kachina spirits that the Hopis pray to." Even now, years later, he remembered how the other children had looked at him then. Being an Indian, they had discovered, was neat. He was always grateful to that docent for not quizzing him about the Hopi Kachinas.She must have taken in his angular face, his straight long nose, and recognized his classic Navajo features. His knowledge of the Hopi religion was limited. But when they got to the Navajo textile exhibit the docent had asked him if anyone in his family did weaving. He had proudly replied that his grandmother and his aunts wove beautiful rugs and had won many prizes. He was charmed with the upstairs rooms that illustrated pre-history, impressed by the ways that people had lived so many thousands of years ago. When he learned that Bruce Tomechi, an Indian, had painted the mural depicting early Indian life, he felt a thrill of pride.

When the 75 minute tour was over and the class filed back into the school bus, he had been sorry. It wasn't just the scent of the orange blossoms permeating the air, or the beautiful pictures hanging on the walls, it was the strong sense of self that he had felt at the museum. But at eight years he never could have identified these new emotions.

That spring his family had come to the annual Heard Museum Guild Indian Fair. When Judge Wilson, a former tribal judge, announced, "Welcome to our Heard Museum Indian Fair," he had experienced a rush of warmth. He had seen the groups of Zuni and Navajo, Apache and Sioux, Hopi and Central Plains Indian boys and men practicingfor the dances that would be performed that day. He had breathed the smokiness of ovens heating and caught wafts of that marvelous golden, heavy fragrance of fry bread already puffing in skillets. The museum grounds had been packed with Indian and Anglo families happy to share this crowded day.

The Inheritor continued

As he grew older each time he visited the museum he found himself flanked by people. Groups of women were learning about the Guild, school children listening to tours, and tourists talking about how they found the Heard enchanting as well as educational. No one ever wondered why he was there. They accepted that he belonged. Once, a few years later, he had eavesdropped on a lecture given to a group of elderly day-care center residents. The people had especially enjoyed the weaving exhibits since many of them had done some weaving. At the conclusion of the tour one lady pushed her walker up to the docent.

"We feel badly that we don't have a gift for you."

The docent's eyes filled with tears as she reassured them that no gifts were in order. "Sharing the riches of this museum with you is my joy," she explained. He had felt good watching that group's pleasure, as if he, himself, had contributed to the culture that they so enjoyed.

While he was in high school he got a job at the Heard helping after school. Through the years he began to understand then that the museum's director, Pat Houlihan, believed that the Heard has a unique opportunity to serve an Indian public. He saw that under the gentle director's dedication, the Heard would not become a cultural shrine but a living nonpolitical showcase helping to educate people about Indian arts and crafts. As he worked around the museum the Navajo boy came to understand, intellectually, what he had sensed intuitively. This was a museum where cultures were cherished, where through the continuing emphasis on both past and living art forms, anthropology is kept alive. The study of man, through the Heard's eyes, is a fascinating journey that bridges oceans, climbs ancient cliffs, and reaches out to the vast mesas and mountainous expanse of the Southwest.

He learned to recognize how the director involves his audience in the various exhibits, challenging visitors to compare Indian cultures, illustrating the evolution from raw materials to art, and even introducing art forms which are not visual. He saw both Houlihan and Jon Thomas Erickson, curator of collections, strive to make the museum experience as direct and meaningful as possible. He never tired of listening to the lectures and docent tours.

"Famous for its emphasis on the American Indian, the Heard is more than a collection of Indian arts and crafts," the smartly attired woman explained. "True, many of its bestknown exhibits deal with various aspects of Indian life. The Read Mullan Navajo textiles, the Fred Harvey Fine Arts Collection with its superb Navajo silver, the art collection which was donated by Dr. and Mrs. Oscar Thoeny, and the contemporary art and later African and Oceanic art which Edward Jacobson gave to this museum are justifiably acclaimed."

She smiled at the group of men and women and continued, "Recently this museum was given a major collection of C. G. Wallace's Indian artifacts which included many major Zuni jewelry pieces. A wide-ranging collection covering Indian basketry from the Aleutians and the Northwest Coast to California and the Southwest was given by Miss Marion Plummer and Mr. and Mrs. Stanley W. Plummer. But in addition to these Indian collections, the Heard also showcases ethnic artifacts from throughout the world. We always emphasize beauty and skills of the past as we seek to reach out to the present." Her voice faded as the group followed her to the next room. He could easily picture the distinguished curator of anthropology, H. Thomas Cain, explaining that the Heard numbers nearly 75,000 items in its holdings. Cain would point out, "Traveling exhibits, rotating displays, special shows, and permanent exhibitions endeavor to deliver as much of the museum to the public as possible. In the early history of the Heard, as it is today, exhibition space was inadequate to say the least. Many fine collections are in storage and are seldom seen by the museum visitor. This is both good and bad. Good in that the items are there documented, catalogued, and safe in the best possible storage conditions. Bad in the sense of frustration the staff feels in not being able to exhibit the many fine collections languishing in the storage areas."

And he remembered Houlihan telling a reporter that while anthropology continues as a major facet in the museum's mission, the emphasis on arts and crafts has produced profound ramifications. The director had pointed out, "The Heard's emphasis on Indian crafts, sculpture, and painting began when Indian art was still in the trinket and curio category. This museum has played a pivotal role in the reputation of Indian arts and crafts. When Jim Parker, then curator of Indian art and education, and Dr. Rex Peterson started the first sculpture show in 1973, Indian sculpture was unknown. Now the market has outpaced the museum!"

He had learned first-hand that the director was not afraid to present the Indian as he can be found today. He remembered vividly a photographic exhibition by Al Abrams titled "Reservation Phoenix." It had created a stir of controversy in 1974. He appreciated that Houlihan dared to display fake Indian jewelry in the museum's exhibit as a warning to potential buyers. And The Heard Museum is 50 years old this year and recognized as having one of the top collections of Indian art in the world, complemented by collections of Kachinas, Navajo blankets and rugs, Indian jewelry, basketry, pottery and textiles. Jerry Jacka

The Inheritor continued

He took pleasure in the director's pride in contemporary Indian paintings. Once he had heard Houlihan tell a magazine writer, "I want the kids at St. Johns Indian Mission to see these are Indian paintings and there is not a teepee among them."

He knew, through his long association, of the director's future hopes for the Heard. "I would like to develop a larger research capacity, bigger collections, and attract even more community interest," he had heard Houlihan explain. He knew that the director wanted to involve other ethnic groups as well. "The Mexican-Americans in this town are culturally disenfranchised," Houlihan had observed. "I'd like to show more African materials and create more interest in the Chicano contemporary art exhibit. And of course we don't want to diminish the role of this museum as a storehouse of national treasures. We have the major Kachina collection in the world and one of the major Navajo weaving exhibits of blankets and rugs in the Southwest. Our fine collections of Indian jewelry, basketry, pottery, and textiles are complemented by our having one of the top collections of contemporary Indian art in the country."

But of all the comments one truly struck home with him. Houlihan had stated that the Heard has been compared to "Mother Church." "The museum is tied to a pioneer family that was very influential in developing the water and power resources in all of Arizona. And so the museum has an aura about it of legitimizing things," the director had emphasized. "If it is at the Heard, it must be all right."

"It must be all right," the Navajo-boy-turned-young-man said aloud to his reflection. Peering into the mirror he adjusted the necklace of his own design. Satisfied that his hair hung straight almost to his collar, he smoothed his shirt. For a moment he stared at himself

self-consciously. It seemed as if the years could not have galloped past so quickly. He was still that slightly-scared eight year old who first visited the Heard with his third grade class. He was yet that awkward sixteen year old, too nervous to go into the society-filled rooms where a major artist was holding court for a show. He had hung around outside, he remembered with a grin, trying to act casual. But he had watched the silver and turquoise studded men and women strolling through the building, sipping champagne, and admiring exquisite objects. He had watched while the big names in Indian art Charles Loloma, Fritz Sholder, and Alan Houser - had filled the place with their adoring fans.

Over the years he had haunted the Heard during the 10 days of the Museum Guild show when the established and unknown artists from all over North America entered their best arts and crafts in the Heard Indian Arts and Crafts Exhibit. He had scrutinized the prize-winning pieces, studied all the entries, and tried to learn craftsmanship and design.

Now it was finally his turn. He had polished his techniques in the use of silver, dared new combinations of stones and design, and tonight he would take the leap with a preview of his own one-man show. For him the Heard was not only the culmination of a dream but a beginning. Having shown at the Heard, he knew, was a real feather every bit as meaningful as the feathers that his ancestors had used as status statements.

The young artist gave himself a last critical glance. Tonight his grandmother and mother and father were coming to share his glory. He picked up the keys to his car, tossed them quickly into the air and caught them deftly. "If only that small boy leaning against the wall 15 years ago could have known what was in store for him."

He closed the door and began to run quickly.

Editor's note: During the past 50 years the Heard Museum has touched the lives of many visitors, enriched the experiences of countless volunteers, and altered the course of the careers of many artists who have been associated with this museum. In the future it will continue to do what it does so well: offering the tourist and resident alike some of the best of man's ethnic past and the choicest of his creative present.

Today, in the Heard's golden year, the staff and board and guild can look forward to eventual physical expansion. As in the past long-range goals emphasize keeping the Heard vital in spirit and physically in harmony.

The professional staff is superbly supported by the museum's Board of Trustees which probably represents the most influential group of residents in the state. As was the case when Mrs. Maie Bartlett Heard first dedicated the museum, leading citizens continue to step forward to advise and assist. The guild, today, numbers more than 500 members and through these volunteers the Fall Arts and Crafts Exhibit, the annual Spring Indian Fair, and lectures, tours, and study sessions are open to the public. In addition, guild members staff the gift shop, assist in the library, and work as curitorial aides.

The museum, located at 22 E. Monte Vista Road, Phoenix, is open Monday through Saturday 10:00 a.m. to 5:00 p.m. and Sunday, 1:00 p.m. to 5:00 p.m. Suggested donation: $1.00 for adults, and 50c for children.

The Museum, a non-profit organization, exists entirely through private donations. Personal membership begins at $15 for individual and senior citizens, and $25 for families. Other categories include sponsor, $50; donor, $100; patron, $250; and benefactor, $1000 and up. Corporate membership begins at $250. Memberships are for one year and date from the month of application. Dues are deductable from federal and state income tax to the full extent allowed by law.

Bookshelf

by Mary Lu Moore

Inquiries about any of these titles should be directed to the book publisher, not ARIZONA HIGHWAYS.

The Solar Cookery Book; Everything Under the Sun. By Beth and Dan Halacy. Peace Press, 3828 Willat Ave., Culver City, CA 90230. 1978. 108 р. $6.95, paper.

Gourmet cooking on a solar cooker? You bet your buns! Everything from sourdough blueberry muffins through baked red snapper to coconut pecan squares. The authors have sophisticated a relatively old invention for emergencies or roughing it. These solar devotees advocate that solar cooking is for everyone. Scientifically, they go into the principles of solar energy and its geography more widespread than one would think. The Halacy's methodically list materials for two types of uncomplicated but efficient cookers: a hot plate and an oven. Simple black and white diagrams, photographs and explanations instruct even the most unhandy person how to construct a cooker.

With a few timely suggestions regarding solar cookery in general, Beth and Dan plunge in with both simple and complex recipes for breads, vegetables, legumes and grains, casseroles, poultry, meat and desserts. They don't leave you in the lurch for a moment, listing companies which sell solar equipment and suggesting additional reading. Solar chocolate cake, anyone?

Women Poets of the West: An Anthology, 1850-1950. Introduction by Ann Stanford. Ahsahta Press, University Bookstore, Boise State University, 1910 University Drive, Boise, Idaho 83725. 1978. 92 p. $4.95, paper.

Hot off Ahsahta ("Rocky Mountain Bighorn Sheep" in Mandan Indian language) Press is another outstanding addition to Western American poetry. Dr. Thomas Trusky's biographical sketches and lists of other publications by and about these poets indicate the importance of each as an individual in the early West. Represented are a prominent Mormon pioneer (Eliza Snow), poets laureate of California (Ina Coolbrith) and Colorado (Nellie Miller), an Arizona Territorial Historian, rancher and editor (Sharlot Hall), California conservationist and regionalist Hildegarde Flanner, three well known writers identified with New Mexico (Mary Austin, Alice Corbin and Peggy Pond Church), two Washington State pen women (Ella Higginson and Genevieve Taggard), lyricist Hazel Hall from Oregon, novelist Peggy Curry of Wyoming and poets Janet Lewis of California and Gwendolyn Haste of Montana.

The powerful influence of western landscapes is evident - almost tangible - in this vivid poetry. Drouth, isolation, seasons, daily activities, places and local inhabitants, both human and animal, are themes emphasized by these early and later pioneers, who lived from the eastern foothills of the Rockies to California and from the border of Canada to that of Mexico. In her introduction Californian Ann Stanford, a poet, writer and teacher in her own right, describes the varying themes and styles and relates them to the poets' lives and backgrounds.

Worthy of attention are two other Western regional poets published by Ahsahta Press. The Selected Poems of Norman Macleod contains verses so varied in subject that one wishes to learn more about the man himself. In Peggy Pond Church: New & Selected Poems, her "Ultimatum to Man" and "Comment on a Troubled Era" are as startlingly true today as they were at the dawn of the nuclear age, and will remain as true tomorrow as they are today. Ahsahta Press is filling a definite need for publication of substantive contemporary regional poetry. Through their handsome publications we can reach out to sense and touch the West.

1,001 Tips for the Great Outdoors. By Walt Leonard. Contemporary Books, Inc., 180 N. Michigan Ave., Chicago, Ill. 60601. 1978. 250 р. $5.95, paper.

Arizonan Walt Leonard has gathered all sorts of helpful hints for those who are new to camping as well as for experienced hikers and campers who want to try something different. He leaves little to chance, as he provides information

on where to go and all the preparations for getting there. Supplies, clothing and equipment and their maintenance are well detailed. In case of unforeseen events, Leonard gives hints for improvising safety and survival gear. Selection of camp sites and cooking areas and trail and waterway guidance are not overlooked. To complete tips for a well planned outdoor experience, the author includes cooking ideas, projects to do in camp and how to maintain good health and appearance. This is a mighty handy guide to have for your next outing.

Oak Creek Canyon and the Red Rock Country of Arizona; A Natural History and Trail Guide. By Stewart W. Aitchison. Stillwater Canyon Press, P. O. Box 1557, Flagstaff, Arizona 86001. 1978. 142 р. $5.95, paper.

The title aptly describes this sturdy pocket guide, first in a series for. northern Arizona's plateau country. An avid backpacker, Aitchison is field biologist for the Museum of Northern Arizona and has written both scientific and technical articles on natural history. From a very brief sketch of pre-history and history of the region he proceeds to more information on climate and geology and advances to detailed floral and faunal data. After each chapter he wisely lists general and technical reading suggestions. For those intent on camping and backpacking in the Red Rock country, the author includes "Rules of the Road" and road logs with important features at each tenth of a mile. He calls attention to fauna and flora (even poison ivy), geologic formations and historical points of interest. Meticulously, he notes foot trails with name, number correlated with an accompanying pocket map, trailhead elevation and location, length and related Forest Service and Geological Survey maps. A checklist follows with scientific and popular names for the wide variety of plants and animals which abound.

Throughout this manual are black and white photographs and illustrations which aid in familiarization with terrain, flora and fauna. Most technical terms are explained, though a short glossary might have been helpful to the uninitiated. A helpful index directs one quickly to numerous topics. Serious trekkers will need to avail themselves in advance of detailed Geological Survey and Forest Service maps to take along. However, even those who are driving or casually hiking can glean much from this guide by reading as they travel.

Indian baskets great and small from ancient cultures to modern-day collector's specials are on display each day at the Heard Museum in Phoenix.

Yours Sincerely COLORFUL CALENDAR

Editor: The calendar for 1979 just arrived. Simply beautiful! The pictures from last year's calendar now adorn the walls of my office. They provoke many a comment and many sighs!

Sara Ann Reynolds Rockford, IL

GIFT CALENDAR

Editor: I want to share with you the comments I received from the recipient of one of the Arizona Highways calendars I recently gave as a gift.

"... my complete fascination with it has already occupied many hours. Its physical characteristics of large type in colors to blend with each scene is a pleasing change . I am greatly indebted to you for a gift that I shall use with much pleasure..."

Mrs. E. W. Barber Lake City, MN

PERSONAL CALENDAR

Editor: We received our 1979 Arizona Highways Calendar today and sure like the dates of the new moon, full moon, etc. we enjoy planning our planting and going on fishing trips during the full moon.

Mrs. Very E. Seeley Escondido, CA

It's true. The Arizona Highways Calendar for 1979 is more than just a new set of numbers! While the format remains basically the same, we have added a few more pictures of colorful Arizona, selected a type that is just a little more readable, and rearranged some of the features so as to make this year's calendar beautiful to look at and convenient to use. The Editor

DID YOU SEE-?

Editor: On page 47 (of November '78) I see about 8 faces etched in the stone wall facing the falls... Is this just a coin-

cidence or was it really carved? Wonder if anyone else noticed these things?

Joann Lukacs Phoenix, AZ

Editor: We are really enjoying your November "Special Grand Canyon Edition." I have always been artistically inclined and it seems that everywhere I look I am seeing faces hidden in scenery. Your November issue is no exception. Did anyone on your staff detect the three bears hidden in the scenery next to the waterfall in the beautiful picture on page 47? . . . Now, if we wish to stretch it a bit, follow that trickle of water down from the bear see that startled eye, (an outline of the nose), an alarmed expression on the mouth, a tuft of hair over an ear to the left? Could this be Goldilocks?

Galen E. Davis Topanga, CA

No. No one on our staff noticed the hidden figures in J.D. Berman's beautiful picture, nor did any of the people who worked on color separations or printing. But it appears that 500,000 subscribers did! - the Editor

LEARNING THE GOOD LIFE

Dear Editor: About a year ago, when I decided to attend a college in the west, I came across Arizona Highways in the high school library. In hopes that the magazine would help me get a "feel" for this part of the country some 2500 miles from home I began reading the publication. Ever since that fortunate glance I haven't missed a single issue of your magazine, and I sometimes find myself buying duplicates in order to frame pictures without ruining the first copy. Thank you for helping me ease into the life-

Sharing styles and surroundings of my new home with such pleasure.

Lydia Osborne Salt Lake City, UT via Fairfield, ME

Let us simply say, the pleasure which we gladly share with you is ours. The Editor

35mm COLOR SLIDES

This issue: 35 mm slides in 2" mounts, 1 to 15 slides, 40 each, 16 to 49 slides, 35¢ each, 50 or more, 3 for $1.00. Allow three weeks for delivery. Address: Slide Department, Arizona Highways, 2039 West Lewis Avenue, Phoenix, Arizona 85009.

(Back cover) Bright yellow brittlebrush decorates the desert south of Quartzsite, Kofa Mountains background.

David Muench

I certify that the statements made by me above are correct and complete MARVIN BECK, Director of Publications

Arizona Highways Proudly Presents... The New Look In Indian Jewelry

After more than a year of preparation, Arizona Highways is proud to announce that the April, 1979 magazine will be a Special Collectors Edition on the New Look In Indian Jewelry. It is a unique single edition. Over $1 million worth of jewelry was gathered and photographed before making final selections for this issue. The traditional silver, turquoise and coral has been expanded to include ironwood, ivory, malachite, lapis lazuli, diamonds and lavish amounts of gold. Arizona Highways' famous full-color photography will be expanded to better show the visual

drama of today's Indian jewelry. This special April issue will sell for $1.25, but you may order copies in advance at $1 each. The deadline for this price savings is February 1, 1979. This will be a limited edition! Subscribers will receive their usual copy in the mail, but if you want extra copies for yourself or to give to friends, you must ORDER NOW! (Minimum of 5 copies per extra order.) Absolute deadline for orders is February 1, 1979.

• More full-color pages
• A collector's classic

Collector's EditionThe New Look in Indian Jewelry

• Order directly from Arizona Highways, 2039 W. Lewis Ave., Phoenix, AZ 85009