Born at Acoma Pueblo in 1951, Rebecca Lucario is a member of the Yellow Corn Clan. She has been actively making pottery since 1965 and is recognized as the finest Acoma potter working today with her exquisite fine line eye dazzlers and Mimbres revival designs. Her pottery is thin and elegant, her designs perfectly executed.
Rebecca learned this art growing up with her sisters: Diane Lewis, Judy Lewis, Marilyn Ray and Carolyn Concho, and she's passing the tradition on to her children. She says the ancient pottery-making techniques were passed to her from her maternal grandmother, Delores S. Sanchez (1902-1991). "My grandmother let me play with the mud they used to plaster their adobe house," she recalls. "We made little animal figures and pinch pots with red clay. I still have two pots that I made at the age of eight. One is a flower plate, the other a vase with lines. She never let us play with her clay because clay is very sacred."
In Rebecca's process she fires her pieces twice, first in an electric kiln to test the clay, then outside in the traditional manner which she says gets much hotter than the kiln firing. Her designs are so fine she may spend up to 12 hours spread over several days just on the black design work for one of her pots. She says she doesn't measure or plot her designs with tools, she spaces the basic design elements purely by eye. She uses a yucca brush to paint her designs and signs her creations R. Lucario.
The most difficult pieces of pottery to make are plates (they tend to buckle, warp or crack while drying and when fired). Rebecca has been known to make plates up to 30 inches in diameter. She explains, "The secret to making plates is to not make them too thin or too thick. You also have to knead the clay well to get out all the air bubbles."
One of her amazing plates was featured on the cover of the 2002 catalog for the highly acclaimed Changing Hands: Art without Reservation touring exhibit organized by the Museum of Art & Design in New York City. She gasped when she learned that the Museum created a giant banner of her plate and unfurled it at the opening of the exhibit. "The recognition kind of snuck up on me," she said.
Since 1983 Rebecca has been a consistent ribbon winner at the annual SWAIA Santa Fe Indian Market with many 1st and 2nd Place ribbons in her collection. In 2019 she added a 1st Place ribbon from Santa Fe Indian Market for a traditional miniature pot.
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According to Acoma oral history, the sacred twins led their ancestors to "Ako," a magical mesa composed mostly of white rock, and instructed those ancestors to make that mesa their home. Acoma Pueblo is called "Sky City" because of its position atop the mesa. Acoma is located about 60 miles west of Albuquerque.
Acoma, Old Oraibi (at Hopi) and Taos all lay claim to being the oldest continuously inhabited community in the U.S. Those competing claims are hard to settle as each village can point to archaeological remnants close by to substantiate each village's claim. While the people of Acoma have an oral tradition that says they've been living in the same area for more than 2,000 years, archaeologists feel more that the present pueblo was established near the end of the major migrations of the 1300s. The location is essentially on the boundary between the Mimbres-Mogollon and Ancestral Puebloan cultures. Each of those cultures has had an impact on the styles and designs of Acoma pottery, especially since modern potters have been getting the inspiration for many of their designs from ancient pot shards they have found while walking on pueblo lands.
Francisco Vasquez de Coronado ascended the cliff to visit Acoma in 1540. He afterward wrote that he "repented having gone up to the place." But the Spanish came back later and kept coming back. In 1598 relations between the Spanish and the Acomas took a really bad turn with the arrival of Don Juan de Oñaté and the soldiers, settlers and Franciscan monks that accompanied him. After ascending to the mesa top, Oñaté decided to force the Acomas to swear loyalty to the King of Spain and to the Pope. When the Acomas realized what the Spanish meant by that, a group of Acoma warriors attacked a group of Spanish soldiers and killed 11 of them, including one of Oñaté's nephews. Don Juan de Oñaté retaliated by attacking the pueblo, burning most of it and killing more than 600 people. Another 500 people were imprisoned by the Spanish, males between the ages of 12 and 25 were sold into slavery and 24 men over the age of 25 had their right foot amputated. Many of the women over the age of 12 were also forced into slavery and were eventually parceled out among Catholic convents in Mexico City. Two Hopi men were also captured at Acoma and, after having one hand cut off, they were released and sent home to spread the word about Spain's resolve to subjugate the inhabitants of Nuevo Mexico.
When word of the massacre and the punishments meted out got back to King Philip in Spain, he banished Don Juan de Oñaté from Nuevo Mexico. Some Acomas had escaped that fateful Spanish attack and returned to the mesa top in 1599 to begin rebuilding. In 1620 a Royal Decree was issued which established civil offices in each pueblo and Acoma had its first governor appointed. By 1680, the situation between the pueblos and the Spanish had deteriorated again to the point where the Acomas were extremely willing participants in the 1680 Pueblo Revolt.
After the successful Pueblo Revolt the Spanish retreated back to Mexico. Refugees from other pueblos began to arrive at Acoma, fearing an eventual Spanish return and reprisals. That strained the resources of Acoma until the Spanish actually did return. The residents of the pueblo had to make a hard decision. Many of the refugees chose to try a peaceful solution: they quickly relocated to the ancient Laguna area and made peace with the Spanish as soon as they appeared in the region.
Over the next 200 years, Acoma suffered from breakouts of smallpox and other European diseases to which they had no immunity. At first they sided with the Spanish against nomadic raiders from the Ute, Apache and Comanche tribes. Then New Mexico changed hands, the railroads arrived and Acoma became dependent on goods brought in from the outside world.
For many years the villagers had been content on the mesa top. Now most live in villages on the valley floor where water, electricity and other necessities are easily available. While a few families still make their permanent home on the mesa top, the old pueblo is used almost exclusively for ceremonies and celebrations these days.
It's the dense, slate-like clay, that allows Acoma pottery to be thin, lightweight and durable. After they form a pot, they paint it with a white slip. Once dry, black and red design motifs are added using mineral and plant derived paints. Fine lines, geometrics, parrots and old Mimbres designs are common motifs. The traditional paintbrush is chewed from the yucca leaf. Historically, Acoma was known for large, thin-walled "ollas," jars used for storing food and water. With the arrival of the railroad and tourists in the 1880s, Acoma potters adapted the size, shapes and styles of their pots in order to appeal to the new buyers.
Acoma potters felt it was an inappropriate display of ego to sign a pot up into the mid-1960s. Then Lucy Lewis, Jessie Garcia and Marie Z. Chino started signing their pots. The 1960s is also a time when the primary Acoma white clay vein passed through a layer of widely distributed impurities, impurities that passed through the clay filtering process and showed up only during and after the firing. The problem was so bad it affected virtually every Acoma potter and every pot they made. Thankfully, by the late 1960s they had dug through that layer of clay and into a deeper layer that didn't have the problem.
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