We speak Tribal Art in many languages

If you are reading this blog as is, you may find the following news unimportant.

On the other hand, if you know people who speak languages other than English, and who are interested in tribal art, you can tell them that Aboriginals' websites now have Google translation capability.

Our Zuni fetish carving site at ZuniLink.com , our Native-JewelryLink.com site featuring Native American jewelry, our website featuring Native American pottery, Native-PotteryLink.com, and our TribalWorks.com site, with African, Australian, Arctic and Navajo folk art items, no all have a Google gadget that allows the text of the entire site to be translated to several non-English languages: French, German, Italian, Portuguese, Spanish, Danish, Dutch, Russian and more, even Arabic.

Simply go to the home page, find the Google translation box and enter the language you would like to translate to. The page you are on will be translated to that language as will every other page on the site.

A warning, however - This is machine translation so that it doesn't deal with colloquial expression well. When your cursor passes over a translated phrase, a window will open offering the original English wording and will ask if there is a more accurate translation possible. Your response will go to Google, where it will add to their knowledge of languages.

Please give us a comment to let us know if you like this capability. Thank you.

Tribal Artery has joined AVCOSA

We have joined the Antique Vintage Collectibles Online Sellers Association. We believe in supporting others in our field.

Do we need a Culture Czar?

Posted by William and Susanne Waites of Native-JewelryLink, Native-PotteryLink, TribalWorks and ZuniLink, under Tribal Art

Culture Grrl Lee Rosenbaum, who blogs as the Culture Grrl and comments on the culture and arts scene, has posted a message expressing disfavor with the concept of a Federal Government culture czar. Frankly, we agree with her.

The government has no business "czar-ing" art and culture. If they can tell us what good art is, they can tell us what bad art is. We fervently believe that judgement is best made by the audience as individuals. Keep the politics out of it.

We've captured an opening paragraph Lee's blog. There is a link to continue at the end.

I've got nothing against better coordination among government programs involving the arts and humanities. Regular meetings of representatives from the relevant offices and agencies could foment creative synergies. Perhaps a White House official with advisory, not managerial, responsibilities could help facilitate this without inserting what we emphatically DON'T need---an extra layer of bureaucratic control over our nation's cultural activity.

Read more

Indian Arts & Crafts Association protects you and the artist

Posted under Tribal Art by William Ernest Waites, Aboriginals Gallery, Zunilink, Tribalworks, Native-JewelryLink and Native-PotteryLink

We have been members of the Indian Arts and Crafts Association for 19 years. We have proudly displayed the IACA logo proclaiming our membership, which requires us to sell only authentic Native American made art when we have identified it as such.

For those, who are not familiar with IACA, here is brief history, courtesy of the association itself.

HISTORY OF IACA

The Indian Arts and Crafts Association was established in 1974 in response to the growing problem of misrepresentation of American Indian arts and crafts in the marketplace. The original founders were American Indian artists and reputable businesses located primarily in the Southwest. Today, IACA is an international organization representing every link in American Indian arts - Native artists from the U.S. and Canada, along with consumers, retailers, wholesalers, museums, government agencies, suppliers and supporting members.

In the early 1970s, the American Indian arts and crafts industry was booming. And, as so often happens with successful businesses, unscrupulous dealers, knockoffs and imported goods appeared in the market to the detriment of the unsuspecting consumer and respectable artists, wholesalers and retailers. Legislation governing the industry and the labeling of authentic arts and crafts produced by Native Americans was weak or non-existent. Where it did exist within several of the States, it was rarely enforced.

Realizing that if these conditions were to continue, the buying public would soon lose confidence in the intrinsic value of American Indian products, these individuals did what people in similar circumstances have done since ancient times. Rather than face the issue privately, they banded together and founded the "Indian Arts and Crafts Association" and incorporated it under the laws of the State of New Mexico.

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When you are considering Native American art, please look for identification of your vendor as a member of the IACA. It is your best assurance that, if it says Native American Indian made, it is Native American Indian made.

Update: A tip of the Tribal Artery thank you hat to Native Art and BingoRage for link to this blog. Welcome Native Art and BingoRage readers.

African Tribal Art - The Story of Shango

Posted by William Waites, Aboriginals Gallery/TribalWorks under Tribal Art

A small boy hunches down on the earthen floor, his back against the wall of his family’s hut. His knees are tucked up under his chin. His arms hold them tight.

Each boom of thunder and each lightning crack sends a shudder through his body.

The rain comes down in waves, pounding on the thatch of the roof and rolling off to the ground. As water saturates the ground, it washes away layers of surface dirt, exposing stones previously hidden.

The rain stops. The boy comes out from the safety of his hut and starts to gather up stones, many of which look like axe-heads.

“Look, Papa,” he cries in his native tongue, “Shango!”

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The reference is to Shango, the orisha (or god) of lightning and thunder. The axe-head stones, also known as celts, are symbolic of this important personage in Yoruba mythology.

According to legend, Shango was the fourth king of the Yoruba nation, Oyo. He had a whimsical and capricious nature. He was captivated by magic and careless in his use of his powers. He inadvertently cast down lightning strikes on his village, killing his wives, family and villagers. Overwhelmed with grief, he left the kingdom (some say he was banished) and killed himself.

When others in Oyo began to mock him after death, the kingdom encounterd a spate of severe and violent weather. This made his supporters angry. They elevated Shango to the status of god or orisha. In that capacity, as the god of thunder, lightning and fire, he continues to throw down axe-shaped stones symbolic of the way lightning chops through the sky.

When torrential rains reveal the stones that laid buried beneath the topsoil, the legend of Shango is reinforced.

Today, Yoruba is the most populous tribe in Africa, located primarily in Nigeria, where thousands of tribe members worship Shango. While the story that started this tale may never have happened, it is easy to imagine that, at some time in ancient Yoruba history, it did.

Shango devotees dance at annual ceremonies and other events with carved wood wands. Variants on the double-celt are apparent, often supported by a carved human figure, in an arrangement that suggests dominance over the figure. The most common figures are female, usually kneeling and offering one or both breasts as an act of supplication. These wands are called, “oshe shango”.

As Yoruba people migrated to the Western Hemisphere, mostly involuntarily on slave ships, they brought their religion of Shango with them. It is practiced in many variables today in South America and the Caribbean.

Similarly, there are variants among oshe Shango that are too numerous to mention. Some omit the celt. Some integrate the celt with the head of the figure.

This presentation of oshe Shango dance wands from my personal collection will include many of these variations. Click the Link below please

View more presentations or upload your own. (tags: african carving)

New African Art Site

Early on in our excursion in to African Tribal Art, we were encouraged by David Norden, a collector of unusual knowledge and experience.

In fact, we still post suggestions for collecting African Tribal Art at TribalWorks.com that were based largely on original thoughts by David.


He was the moderator of the African_Antiques group at Yahoo Groups, and now has a new blog and web site at African Art Club.

Some of the articles are in German. Even those are understandable. And the photos are in the universal language of photography.

We recommend a visit to the African Art Club to stay current about news in the field.

Not quite Tribal Art - but close enough for many.

Stepping a little outside the subject arena but still within the geography of Australia, we thought this little item might be of interest.

After all, some of the Aboriginal art we offer at TribalWorks.com, comes from the land down under.


It's being billed as "the best job in the world" - six months working as a "caretaker" on Hamilton Island in Australia's Great Barrier Reef.

The job comes with a pay packet of nearly £70,000 (US$100,000) and a rent-free three-bedroom villa, complete with pool.

In return, the successful applicant will be expected to spend the six-month contract exploring the idyllic surroundings, filing weekly blog, photo diary and video updates and conducting "ongoing media interviews".

Interested?

The first step in securing this role is to send a 60-second video application explaining why you are the ideal person for it.

For the full story, click this link:
http://news.bbc.co.uk/2/hi/uk_news/magazine/7824386.stm

A tip of the hat to dades-life.blogspot.com for this lead.

Skinner to hold Ethnographic Art Auction -1/24/09

(From William and Susanne Waites at Aboriginals: Art of the First Person, proprietors of web sites at TribalWorks, Native-PotteryLink, Native-JewelryLink and ZuniLink)

Skinner, Inc., A Boston auction gallery has scheduled an auction of American Indian and Ethnographic Art on Saturday Jan 24th at 10AM

Lots will include Pre-Columbian and African material, Native American items - including several lots of moccasins, items from the Northwest Coast, Katsina dolls, Navajo silver and several ollas.

In January, Skinner will be launching a new live bidding applet on skinnerinc.com. This applet will provide Skinner’s clients with a whole new bidding experience: the ability to bid live in real-time on the Skinner website from the convenience of home or work. For more information on all the ways to bid in a Skinner auction, or to register to be one of the first live bidders, log onto How to Buy & Sell at http://www.skinnerinc.com/buy-sell/skinner-live.php

The Santa Fe Indian Market is celebrating its 88th year in 2009

Who: The Southwest Association for Indian Arts (SWAIA) What: Annual Membership Meeting Where: Vanessie's Restaurant, 434 W. San Francisco St., Santa Fe, NM When: Tuesday, January 27, 6pm to 7:30 pm How Much: Free SANTA FE, NM)-Santa Fe is a town that embraces its traditions firmly, but isn't afraid to lead the tides of change, especially in the visual arts. The Southwest Association for Indian Arts (SWAIA) produces the Santa Fe Indian Market, which is Santa Fe's largest annual public event and the most prestigious Indian art market in the world. It attracts over 100,000 visitors each year, while showcasing established and emerging Native American artists. What may not be clear to the general public is the depth of involvement and unconditional support that SWAIA has for the Native arts and Santa Fe communities. Throughout its 88 year history, the Santa Fe Indian Market has been the central event in establishing the relevance of Native arts in the United States and the primary architect in shaping the cultural identity of Santa Fe. The Market is the voice and platform for Native artists to promote their art practice and the singularly most important cultural event in the United States that has provided autonomy and stability to the Native arts community. And although the Santa Fe Indian Market is rooted deeply in tradition, it is making bold leaps of reinvention to support native artists in all stages of their career. SWAIA is excited to begin another year of programs and events and invites the public to attend its Annual Membership Meeting. SWAIA's Executive Director Bruce Bernstein and Board Director Fran Mullin will outline this year's programs and initiatives including details about the Santa Fe Indian Market scheduled for August 22-23, 2009. A complete 2009 SWAIA schedule of events is available on our updated website www. swaia.org. The website features a new online application for prospective artist applicants. For more information on this and other SWAIA events please contact Marketing and Public Relations Associate Gabe Gomez at ggomez@swaia.org or (505) 983-5220 x 229 # # # The Southwestern Association for Indian Arts, a non-profit organization, is an advocate for Native American arts and cultures (particularly those in the Southwest). SWAIA creates economic and cultural opportunities for Native American artists by: producing and promoting the Santa Fe Indian Market as the finest Indian art event in the world, cultivating excellence and innovation across traditional and non-traditional art forms, and developing programs and events that support, promote, and honor Native artists year-round. SWAIA is located at 141 East Palace Avenue in Santa Fe, N.M.; telephone number 505-983-5220; www.swaia.org.

Antiques Roadshow announces 2009 schedule

Lot's of tribal art collectors are big fans of the Antiques Roadshow, which appears on PBS. The show frequently includes tribal art collectibles presented by people who attend the shows.

So, the announcement of where and when Antiques Roadshow will show up in 2009 should be of special interest to our readers.

June 6, 2009 - Atlantic City, New Jersey
June 27, 2009 - Raleigh, North Carolina
July 11, 2009 - Madison, Wisconsin
July 25, 2009 - Denver, Colorado
August 1, 2009 - Phoenix, Arizona
August 15, 2009 - San Jose, California

If you have an object of tribal art, or any antique or collectible, that you think may have some special value, you may want to make note of these dates.

Admission to Antiques Roadshow is free but tickets are required and they must be obtained in advance. More information about Antiques Roadshow and how to get tickets can be obtained at PBS.org or by phone at 1-888-762-3749. Tickets are distributed at random from all entries.

Evaluation of items, up to two per ticket holder, are rendered verbally by representatives of leading auction houses and other independent appraisers and dealers. Shows videotaped on the above dates will be aired on PBS in 2010.

This news is brought to you by Aboriginals: Art of the First Person with a hat tip to Antiques News. Aboriginals has web sites at TribalWorks, Native-PotteryLink, Native-JewelryLink and ZuniLink.

10 suggestions to protect your valuable tribal art collection

Unlike some other New Year’s resolutions, this one is definitely worth the time you will spend on it.

If you are a collector of tribal art, or any art,
do something to protect your collection.

With economic conditions getting worse, your collection is more at risk than at any other time.


So, is your collection secure? Do you have a security alarm system on your premises?
Do you have photographs and records of all your precious items? Did you save your receipts? Are your records and photographs in a safe and secure place?


The answers to most of these questions will suggest themselves.


The last one, however, warrants some additional discussion.


1. Get a digital camera. It does not have to be a fancy one. It just needs to have resolution to capture a clean, in-focus picture.


2. Take a picture of every item in your collection. It’s best to shoot in light shade on an otherwise bright, sunny day. If you shoot with subject in bright sunlight, you may lose some of the detail that is important to identify an object.


3. Shoot multiple photos, from different angles, even flat art such as textiles and paintings. Digital images don’t cost anything. With many pictures of the same item from different angles, you have the best evidence of what is in your collection. Insurance companies are aware that adept computer users know how to fudge an image, or create one that wasn’t there. Multiple images can assure the insurance adjuster that you actually owned and photographed the item.


4. Take the chip from inside the camera to some place that can make photo images from it. Most pharmacies have a photo-processing desk and digital kiosk. Ask for a DVD or CD with your images on it. Even better, connect the camera chip to your computer and save .jpg images to put in a digital folder. There are several low cost or free photo management software programs that can convert and hold your images. Picasa is one of them.


5. Make sure that each picture is labeled with enough description. This will help you search for the picture later.


6. If you have access to a scanner, scan your receipts and transfer them as jpg images to your computer. Put those jpg images in a digital folder, identifying each for ease of searching and clear relationship to the item you purchased.


7. Buy an inexpensive thumb drive with 4 to 8 gigabytes of storage space (less than $30). Since computers are notoriously prone to crashes and file corruption, transfer the digital folders to the thumb drive. You also can “burn” the photo and document images to a CD or DVD. They are less convenient and more prone to damage than thumb drives, which capture files from your computer through a USB port.


8. Do this once every six months or every time you add or subtract from you collection. The beauty of thumb drives is that they are very easy to overwrite with updates. CDs and DVDs may require to burn a new disc each time you update.


9. Put the thumb drive or the CDs/DVDs in a place that is removed from your collection and your computer. A safe deposit box is a good choice.


You will now have back-up complete records of every item in your collection and the receipt for your purchase of it. If anything happens – a burglary or a fire – you will have proof of your loss and its value. If the items are stolen, you can post your photos to various stolen item directories. This can alert potential buyers, who might be approached by the thief, that the items are stolen.


10. Another word about insurance; buy it. Most homeowner policies do not cover
jewelry or high value collectibles and art objects adequately. There are companies, however, that specialize in that kind of coverage. Seek them out and get a quote to cover the value of your collection. One of them to check out is Collectibles Insurance Services, LLC. I am not recommending them because I have never had to file a claim with them. You will need to do your own research to determine if they are the right insurance company for you.


You have more than money invested in our collection. You have memories, expertise and hard work finding its contents.


Don’t leave your collection unprotected.


Happy New Year from William and Susanne Waites at ZuniLink, Native-JewelryLink, Native-PotteryLink and Tribalworks.

A Pilgrimage to Zuni

Natasha Shealy has a nicely written report in Sedona.biz about a trip she made to Zuni to see Santo Nino de Zuni.

We enjoyed reading it and thought you might also.

"Two hundred twenty miles northeast of Sedona along I-40 toward Albuquerque, on the western edge of New Mexico, lies the ancient and mystical town of Zuni."John, Olivia, and I set out in my diesel rig early one morning on our pilgrimage to Zuni from Cottonwood, Arizona. Our goal: to pay our respects to the statue of the patron saint, Santo Nino de Zuni."

Here's the link to the entire article.

http://www.sedona.biz/pilgrimage-to-zuni0109.htm

We are always happy to bring you stories and reports that we come across that may enrich your knowledge and understanding of tribal culture. For more information about Zuni, visit our web site at ZuniLink.

Top 13 Native American Art Events in early 2009

Native Trails: A Celebration of Native American Culture through song, dance, art and food. Scottsdale, (AZ) Civic Center Mall,

January 15 – April 11, 2009

www.scottsdalenativetrails.com

Heard Museum Guild Indian Fair and Market – Heard Museum, Phoenix (AZ),

March 7 – 8, 2009,

www.heardguild.org

Annual Navajo Weaving Show – Old Territorial Indian Arts, Scottsdale (AZ),

March 5-6-7, 2009,

480-945-5432

Native American Art Festival – Litchfield Park (AZ),

January 10-11, 2009

www.litchfield-park.org

Colorado Indian Market – Merchandise Mart, Denver (CO),

January 23-25, 2009

www.indianmarket.net

Texas Indian Market – Arlington Convention Center, Arlington (TX),

April 3-5, 2009,

www.indianmarket.net

World Championship Hoop Dance Contest – Heard Museum, Phoenix (AZ)

February 7-8, 2009,

www.heard.org

Tribal & Textile Arts Show – Fort Mason Center, San Francisco (CA),

February 13-15, 2009

www.caskeylees.com

Sa’heh’wa’mish Days – Little Creek Casino Resort, Shelton (WA),

February 20-21, 2009,

www.little-creek.com

Marin Indian Art Show – Marin Civic Center, San Rafael (CA),

February 21-22, 2009,

www.krmartindale.com

Southwest Indian Art Fair – Arizona State Museum, University of Arizona,Tucson (AZ),

February 21-22, 2009,

www.statemuseum.arizona.edu

Native Treasures Indian Arts Festival – Santa Fe Convention Center, Santa Fe (NM),

May 23-24, 2009,

www.nativetreasuressantafe.org

Tulsa Indian Art Festival – SpiritBank Event Center, Tulsa (OK),

February 13, 14, 15, 2009,

918-749-6073

A Welcome Letter From Washington, D.C.

While the letter, from the Federal Trade Commission, U. S. Department of the Interior, was addressed to "Dear Sir or Madam," we considered the letter quite formal. We also considered it good news.

It announced that the FTC is working with Indian Arts and Crafts Board to enforce provisions of the Indian Arts and Crafts Act.

We received the letter because the FTC found our web sites – all four of them apparently – on the Internet. That’s good news.

The letter was to remind us – and others we presume – that items offered for sale as American Indian-made or Alaska Native-made must have been made in fact, by Native American Indians or Alaskan Natives.

The letter goes on to state, “…it is illegal to offer or display for sale, or sell any art or craft product in a manner that falsely suggests it is Indian produced , an Indian product or the product of a particular Indian tribe. Under the Act, Indian is defined as a member of a federally or officially State recognized Tribe, or as a formally certified non-member Indian artisan of the federally or officially State recognized Tribe of their descent.”

The Federal Trade Commission Act also prohibits “unfair or deceptive acts or practices in commerce.” Enforcement actions have been brought against “persons and businesses selling art works through false representations about artists, about authenticity of the works, or about the investment attributes of the art work.”

We applaud this newly aggressive approach to protecting buyers and discouraging fraudulent sellers. As dealers who always have refused to sell items that we cannot verify as Indian or Alaskan made without specifying that they are NOT Native-made, we are happy to see the Feds actively doing their duty.

An environment in which buyers and collectors can trust that the people who sell to them are telling the truth and promising the reality about art as an investment is good for everyone.

That being true, it is also true that frauds and charlatans will continue to try to cheat the law and their customers. It is up to all of us to call them out. If you purchase an item under what you consider to have been false premises, let the seller know. It may simply be a mistake. If it is, any legitimate dealer will refund your money, and relabel the item correctly.

If you see this behavior repeated, however, please contact the FTC so that the perpetrators may be prosecuted, and their fraudulent activities ended.

More information about the Indian Arts and Crafts Act can be obtained at www.IACB.DOI.gov. The website also has a down-loadable brochure guide, “How to Buy Genuine American Indian Arts and Crafts.”

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This message is brought to you by Aboriginals: Art of the First Person, with web sites at Native-JewelryLink, Native-PotteryLink, TribalWorks and ZuniLink, where you can trust that you are buying the real thing.

Vintage Seminole doll collection in Seminole basket

We have long carried Seminole dolls on our web site at TribalWorks.com. Slowly that collection has wound down to a handful. All are fewer than 20 years old.

Recently, a collection of smaller, hand-made Seminole dolls came into our possession. The source we acquired them from, John Isaacs of Albuquerque, was unable to be precise about the dates of origin, but he felt they were rather old. We agree. Probably done in the 1980s. While not antique, that's a respectable age for this kind of object.

Actually, we should say, "these kinds" of objects, since there are seven of them. They range in size from 3" high to 8" high. The bonus is that they came into our house in a Seminole sweetgrass basket, with doll's head attached to the lid.

We acquired the set, a sort of seven sisters of the swamp, for our personal collection. Since almost everything we offer to other collectors was originally purchased for our collection, it would not be out of character to offer this charming sisterhood to another buyer.

We have priced the set at $325. But ask us about it if you are interested. We might have some wiggle room in there.

~~~~~~~~~~~~~~

All the best of the holiday season to you and all those you love, from William Ernest Waites, Susanne Waites and our web site friends at ZuniLink, Native-JewelryLink and Native-PotteryLink.

May peace descend on your home and family with each setting sun.

New Wilson Romero Cochiti carved Nativity Set

How fitting is this for the season?

We just received a newly carved Nativity set from Cochiti Pueblo carver, Wilson Romero.

We have carried Wilson's Nativity Sets and other carvings for years.

He and his wife, Annette, are two of our favorite artists. We are regular visitors to their home on Cochiti Pueblo, where they are very gracious hosts.

This new set is some of his best work.12 pieces are included: Mary, Joseph, Jesus in the crib, three wise men, a buffalo, horse, bear, ram, camel and mountain lion.

We have just posted it to the web site at $660. If you purchase it this Christmas season and mention seeing it on the blog, you can put in your home for just $550 plus shipping (and tax, if you are a Florida resident) a $110 saving.

Thank you for your support this year. We wish you a Merry Christmas and Happy, prosperous New Year.

William and Susanne Waites, proprietors, ZuniLink.com.

Honoring All Warriors - Renninger's Mt Dora

Thundering Spirit Powwow has been scheduled for February 27, 28 and March 1, 2009 at Renninger's Twin Markets in Mt. Dora, Florida. If you have never been to Renninger's and Mt. Dora, that is a trip in itself. But this Powwow looks to be real winner. For more information, visit thundering-spirit.tripod.com .

We'll be there too. Look for us. William and Susanne Waites, TribalWorks.com

Cape Coral Florida Native American Art Gathering

As collectors and dealers in Native American material culture (ZuniLink, Native-JewelryLink and Native-PotteryLink ), if Sue and I know of a Native American Indian exhibit within 50 miles of me, I will attend. This was the first time for an event in Cape Coral, Florida, last weekend. As a first time event, it was modestly impressive and successful.

The crowd grew over the course of the day - this was day one of a two-day booking. By the time I left , a couple hundred people had come by.

There were perhaps 20 booths by Native American artists. One of them hosted Rex A. Begaye, a Navajo (Dine) native. Begaye was one of, if not the primary, organizer of this show.

The roped off dance area, where Grand Entry of the artists took place accompanied by the songs and drum of a Native American group, was MC'd by Ric Bird.

The Grand Entry was followed by Native American fancy dancers.













One of the highlights was an encampment of a family of Cree Indians from Saskatchewan, Canada.


The woman explained the dances by her children while the father drummed and sang dance songs. The setting included a traditional lodge or tipi. The mother explained that the tipi is assembled by the woman at each new encampment and is her property, as is all of the tipi's contents.

Trapped furs and bead work, some of it quite intricate, were on display, The woman was very proud of her work, her family (8 children) and her heritage. Her explanations of life as a Plains Indian were enlightening. It's a beautiful thing and a shame more youngsters were not there to learn about this interesting subject.

This show now has closed. But the organizers say they will be back next year. They also have a show planned for Sarasota, FL after the first of the year. It's worth a little research to find it and place a hold on the day.

Eiteljorg Museum Acquires Multi-Million-Dollar Art Collection

Indianapolis - December 15, 2008

The Eiteljorg Museum of American Indians and Western Art has announced the gift of the Helen Cox Kersting Collection of Southwestern Cultural Arts, a multi-million-dollar collection of nearly 800 objects, including the best of Southwestern pottery, jewelry and other objects. The collection will be the basis of a forthcoming book and an exhibition in 2010.

“It is difficult to overstate the significance of this collection to the field of Native American art and specifically to the Eiteljorg Museum. The Helen Cox Kersting Collection is profoundly important to both,” says John Vanausdall, president and CEO, Eiteljorg Museum. “This stunning group of objects will expand the breadth and depth of the Eiteljorg’s holdings of Southwest materials to a dramatic degree and will enrich the museum visitor’s experience for generations to come. We are grateful for Helen’s generosity, and her trust in the Eiteljorg Museum to be the steward of her life’s work and passion.”

Helen Cox Kersting and her collection:

Helen Kersting is a native of Belleville, Illinois and a graduate of the Millikin University School of Music (Decatur, Illinois) and attended the Juilliard School of Music (New York City) debuting with the New York Philharmonic Orchestra conducted by Leonard Bernstein. A mezzo soprano, she went to the Cologne, Germany Opera on a four-year contract, met and married Dr. Hans Joachim Kersting and resided in Cologne until her husband’s death in 1999.

Kersting is a devoted collector of the best of Southwestern pottery, jewelry, weavings, baskets and other Native American objects. She began collecting as a child, on travels to the American West with her parents. Throughout her life, she has developed knowledge and a strong sense of connoisseurship

The Kersting jewelry collection of over 300 items includes belts, boxes, rings, bracelets, necklaces, pins, earrings, bolo ties, hair pins and cufflinks. There are pieces older than the use of artist signatures or hallmarks whose origins are still being researched. Zuni examples by master artists Leo Poblano, Leekya, John Gordon Leak and Dan Simplicio are notable. Many of these examples came originally from the historical collection of trader C. G. Wallace. Among the great jewelers represented in the collection are Charles Loloma, Carl Clark, Vernon Haskie, Denise Wallace, and many others. Elegant silver and turquoise examples abound and there are many high art pieces in silver and gold with opal, coral, diamonds, and other materials.

Kersting has been very focused in the creation of her pottery collection of nearly 400 items. A number of prehistoric coiled jars came from her parent’s acquisitions of the 1920s and 1930s, along with quite a few baskets. Historic period San Ildefonso, Santa Clara, Zuni, Zia, Santo Domingo, Cochiti and Maricopa pieces ad significantly to the Eiteljorg collection. While the Eiteljorg has a few pots by Maria Martinez of San Ildefonso, the Kersting collection includes an expansive grouping of Maria’s work in different forms and colors, several with her potter son Popovi Da. Kersting has systematically collected the work of extended families of potters and the list of major pieces reads like a blue book of Southwestern potters. Included are Sarafina, Nampeyo of Hano, Paqua Najo, Gloria Kahe, Les Namingha, Rainy Naja, Dora TsePe, Mary Cain, Margaret Tafoya, Tammy Garcia, Autumn Borts, Daisy Hooey Nampeyo, Steve Lucas, Sharon Naranjo Garcia, Joy Navasie, Jacob Koopee, Helen Cordero, Virgil and Inez Ortiz, Desideria, Tonita Roybal, Susan Folwell, Grace Medicine Flower, Nathan Youngblood, Nancy Youngblood, Roxanne Swentzell, Rondina Huma, Tony Da, Jody Naranjo, Carmelita and Carlos Dunlap and many others.

Kersting, who currently lives in Arizona, says, “I have pursued my search for the final custodianship of my cherished Native American collection for a couple of years. The objects always meant very much to my late husband and me. I’d like to tell you of the extraordinary generosity of my German engineer, in whose memory I gift this collection, of his willingness to fly to the US almost every vacation, of spending large sums of money for the acquisition of things originally outside his European and even technical sphere. It is no wonder this intimacy of collecting-devotion earns a special future where it can demonstrate it character and content and be a learning tool of Native Art history for years to come. Simply, I felt and feel all of my hopes could be fulfilled by the Eiteljorg with its vigorous ‘young museum’ mentality.”

The acquisition of the Kersting collection represents a watershed moment as the Eiteljorg Museum celebrates its 20th anniversary in 2009 and looks toward the future.

Says James Nottage, Eiteljorg Museum vice president and chief curatorial officer, “What makes the Kersting collection so valuable and unique is “that it demonstrates both tradition and innovation in Southwestern native arts by providing important examples from multiple generations of individual families of artists. Through their magnificent work we gain better understanding of how their tribal cultures have survived and thrived.”

President John Vanausdall adds, “With acquisition of the Kersting Collection, the museum will devote more energy to collecting and interpreting traditional contemporary arts of Native North America. Through artist in residence programs and our annual Indian Market and Festival, we are bringing living traditions to the museum. As a result of Helen Kersting’s generosity, we can present objects that bear testimony to on-going and developing traditions.”

The Eiteljorg Museum of American Indians and Western Art seeks to inspire an appreciation and understanding of the art, history and cultures of the American West and the indigenous peoples of North America. The museum, which opened in 1989, is located in Downtown Indianapolis’ White River State Park. For general information about the museum and to learn more about exhibits and events, call (317) 636-WEST (9378) or visit www.eiteljorg.org.

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Brought to you by Aboriginals: Art of the First Person, and websites at ZuniLink, Native-JewelryLink, and Native-PotteryLink.

How and why Native American Nativity Sets have a place in the home and the heart.

(All the Nativity Sets featured in this article are offered at 10% discount until Christmas Day. The reduction will be removed from the listed price at the time your order is processed.)

Despite the increasing secularization of the Christmas holidays, from xmas trees to frosty snowmen to solstice promotions, one event remains at the core of Christmas celebrations.

Without the birth of the Christ child, there would be no Christmas. There could easily be a Festivus and Winter Carnivals. But would they have the deep spiritual connection with adherents that Christmas does. It’s doubtful. I find it hard to get excited about the first day of winter. How about you?

Whether you accept this premise or not, you can understand that for the faithful the power of Christmas emanates from the magic and majesty of the babe’s appearance in a humble manger that night.

Little wonder then that the Nativity scene has become such an enduring and beloved symbol of Christmas. How did it all begin? Legend has it that St. Francis conceived the idea of a manger scene to honor the birth of Christ.

Of course, depictions in art of the event go back before the 1200s, when St Francis is said to have first created a nativity scene with animals and people. That was the supposed beginning of a tableau tradition that reached out across the seas, over the centuries and among cultures to appear in Christmas celebrations around the world.

Nativities became integral parts of family celebrations and, indeed, in some ways, part of the family. Manger scenes have different names in different cultures. Creche (France), Crib (England), Krippe (Germany), Presepio (Italy), Belem (Portugal), Szopka (Poland) and Nacimento (Spanish) are among the words used to describe Nativity scenes.

The latter term migrated with the Spanish Catholic missionaries into the American Southwest in the 18^th Century, where Native Americans adopting Christian beliefs picked it up. It was used alternatively with the English language word, “Nativity”, to refer to displays representing and recreating the event and place of Jesus’ birth.

This, in turn, evolved into miniature Nativity sets created by Native American artists. They feature Mary, Joseph and Jesus in the company of beasts, shepherds, wise men and, occasional angels,. These usually are formed in pottery. They take on the style and artistic tradition of the potter’s tribal background.

Andrew Rodriquez of Laguna does typically abstract presentations.

Margaret Mirabel and Juanita Martinez of Taos
do more realistic figures.

Santa Clara potters, such as Paul & Dorothy
Gutierrez, Rose Brown, Maxine Naranjo,
adhere to their distinctive clays and slips
of their pueblo.

Annette Romero of Cochiti has her own
unique style.

The potters of Jemez; Sabaquie,
Marie Toya, Trujillo and the Fraguas,
create Nativity sets in the common
coloration and clay for which
their pueblo is known.

The Fraguas, Jay, Linda and Felicia,
step out even further, creating Nativity
sets around creatures such as bears and mice.

This is not an act of disrespect, although it may reflect the mixed reverence that Native Americans have in regard to Christianity. It is, more likely, a blending of Native beliefs in nature and a Native sense of humor about the superhuman character of Nativity stories.

In any event, they are unique smile-makers representing an event that is all about joy.

In addition to pottery sets, Native American carvers are creating Nativities from carved materials.

Wilson Romero of Cochiti creates
rough cut Nativity figures from
stone and rocks found on the
ground of his pueblo.

Zuni, Troy Sice, carves Nativity figures
from antler.

Many traditions surround Nativity set displays. Some owners add pieces as the Christmas season progresses, timing the additions to the legendary Christmas calendar. Others reserve Christmas Eve for placing the babe in the scene. Families have been known to collect Nativity sets piece by piece over a number of years. The buyer of a Native American Nativity set, however, gets the entire set in one purchase.

There are protocols associated with the display according to some experts. The typical set has a minimum of five pieces. Included are Mary, Joseph, Jesus and two more animals. The wise men make another three pieces. There can be one or more shepherds in addition to or in the place of the wise men. Sometimes the babe and cradle are one piece. Sometimes they are separate pieces. We have owned and sold Nativity sets with as many as 17 pieces, made up mostly of secondary figures, such as animals.

Positioning the members of the set generally starts with the Christ Child as the centerpiece. Closest to him is Mary, his mother. Joseph is usually placed close to the babe but on the other side from Mary. According to one source, Joseph may also be placed away from Jesus, looking in the opposite direction, representing the aspect of doubt in Christian faith. Secondary figures, such as wise men (kings) and shepherds, should be placed in concentric circles behind the Holy Family, with the shepherds closest because they were on the scene before the arrival of the Wise Men. Animals should be placed near the babe, reflecting the humbleness of his birth. Angels, if included, are usually placed above or behind he Holy Family.

Most of all, the Nativity Set is a personal celebration of the birth of Christ and a reflection of the faith and artistic appreciation of the owners. Display it in your home as you see fit.

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The author, William ErnestWaites, thanks and acknowledges the following articles, which were used in researching this subject; NativitySets.com; UMC.org; Geocities.com; Wikipedia.com; FamilyChristmasOnline.com.

Please note that the links above connect to enlarged presentations of Nativity Sets by those artists.