Lucy Leuppe McKelvey
DinehLucy Leuppe McKelvey was born into the Navajo Nation at Fort Defiance, Arizona, in April, 1946. She was raised by her grandparents: her grandfather was a traditional Navajo medicine man and her grandmother a traditional weaver. She never put her hands in clay until she was in college.
Lucy says she is essentially a self-taught potter but she picked up a lot of hints from watching her Hopi-Tewa neighbors who made pottery.
After graduating from High School, Lucy served her LDS missionary period with her own people. Then she attended Brigham Young University, graduating with a degree in Elementary Education and Indian Studies. She taught kindergarten through Junior High on the Navajo Nation for a few years, participating also as an artist-in-residence at the schools where she taught.
Over the years, Lucy has worked to elevate Navajo pottery into a fine art, producing large, polychrome pottery decorated with designs inspired by shards of ancient pottery she found around her grandmother's home, and designs from her people's ceremonial sand paintings, baskets and rugs, after making those designs her own, of course.
Sandpaintings are sacred to the Dineh. Making one into a permanent image and then putting it in a fire is the height of sacrelige to her people. Yeibichai are believed to be far too powerful for that. A way to avoid the problem is to alter the image and leave any Yeibichai pictured a way out. Lucy has said, "My grandfather, who was a medicine man, told me that it was okay to paint these designs as long as I did not exactly reproduce a sandpainting figure. That is why, while I take some inspiration from a sandpainting, I always change it and add something different."
A common theme in McKelvey pottery is "The Whirling Rainbow Goddesses of the Windway Ceremony." Lucy's grandfather was the last surviving member of that clan and when he passed on, those chants, designs and dances passed to her.
Lucy gathers her clays, pigments and other natural materials around Low Mountain in northeastern Arizona. Lucy has also taught her daughters Cecilia, Celeste and Celinda how to make pottery and they each have become renowned potters in their own right.
100 West San Francisco Street, Santa Fe, New Mexico 87501
(505) 986-1234 - www.andreafisherpottery.com - All Rights Reserved
Dineh
A view in Monument Valley
The Dineh refers to themselves as "Dineh" because the word means "the People" in their language. "Navajo" is a name that was given to them by the early Spanish. Historical and archaeological evidence points to the Dineh people entering the Southwest around 1400 CE. Their oral history still contains stories of that migration as the journey began in eastern Alaska and northwestern Canada centuries after their ancestors made the journey across the Bering Land Bridge from central Asia about 10,000 years ago. They were primarily hunter-gatherers until they came into contact with the Pueblo peoples and learned the basics of survival in this drier climate. Dineh oral history points to a long relationship between the Dineh and the Puebloans as they learned from and traded with each other.
When the Spanish first arrived, the Dineh occupied much of the area between the San Francisco Peaks (in Arizona), Hesperus Mountain and Blanca Peak (in Colorado) and Mount Taylor (in New Mexico). Spanish records indicate they traded bison meat, hides and stone to the Puebloans in exchange for maize and woven cotton goods. It was the Spanish who brought sheep to the New World and the Dineh took to sheep-herding quickly with sheep becoming a form of currency and sign of wealth.
When the Americans arrived in 1846, things began to change. The first fifteen years were marked by broken treaties and increasing raids and animosities on both sides. Finally, Brigadier General James H. Carleton ordered Colonel Kit Carson to round up the Dineh and transport them to Bosque Redondo in eastern New Mexico for internment. Carson succeeded only by engaging in a scorched earth campaign in which his troops swept through Dineh country killing anyone carrying a weapon and destroying any crops, livestock and dwellings they found. Facing starvation and death, the last band of Dineh surrendered at Canyon de Chelly.
Carson's campaign then led straight into "the Long Walk" to Bosque Redondo, a 300-mile trek during which at least 10% of the people died along the way. At Bosque Redondo they discovered the government had not allocated an adequate supply of water, livestock, provisions or firewood to support the 4,000-5,000 people interned there. The Army also did little to protect them from raids by other tribes or by Anglo citizens. The failure was such that the Federal government and the Dineh negotiated a treaty that allowed the people to return to a reservation that was only a shadow of their former territory little more than a couple years after they had left. However, succeeding years have seen additions to the reservation until today it is the largest Native American Reservation in the 48 contiguous states.
Large deposits of uranium were discovered on the Navajo Nation after World War II but the mining that followed ignored basic environmental protection for the workers, waterways and land. The Dineh have made claims of high rates of cancer and lung disease from the environmental contamination but the Federal government has yet to offer comprehensive compensation.
As a semi-nomadic tribe, the Dineh never made much pottery, preferring to use baskets for most storage purposes. They did produce a small amount of pottery for ceremonial uses. Once they were settled on a reservation, pottery began to make more sense. From a beginning making simple wares for colonial estates they transformed their pottery into art. After 1950 Cow Springs brownware began to appear on the market. A trader named Bill Beaver was in Shonto back then, encouraging local potters to "make something different" and the market in the outside world responded positively to those different creations.
Rose Williams is considered the matriarch of modern Dineh pottery. She learned from Grace Barlow (her aunt) and passed her knowledge and experience on to her daughters and many others. Today, most Dineh pottery is heavy, thick-walled and coated with pine pitch (a sealer they also use on many of their baskets). Most Dineh pottery has little in the way of decoration but many pieces have a biyo' (a traditional decorative fillet) around the rim. Unlike Puebloan potters, Dineh potters do not grind up old pot sherds and use them for temper in creating new pottery. Their religion says those pot sherds are infused with the spirits of their ancestors and that forbids the reuse of the material. Similarly, Dineh religion limits Dineh potters to using primarily Dineh carpet designs in the decoration of their pots.
Dineh potters have also created a panoply of folk art, including unfired clay creations called "mud toys." Other Dineh potters, like Christine McHorse, have graduated into the mainstream of American Ceramic Art and easily compete among the finest ceramic artists on Earth.
100 West San Francisco Street, Santa Fe, New Mexico 87501
(505) 986-1234 - www.andreafisherpottery.com - All Rights Reserved
Lucy McKelvey, Dineh, Alargepolychromeweddingvasewithcloud-terrace-cutspoutsanddecoratedwithaYeibichaiandgeometricdesign
Dineh
$ SOLD
shnv4f595
A large polychrome wedding vase with cloud-terrace-cut spouts and decorated with a Yeibichai and geometric design
9.75 in L by 10.75 in W by 19.25 in H
Condition: Very good
Signature: Lucy Leuppe McKelvey
100 West San Francisco Street, Santa Fe, New Mexico 87501
(505) 986-1234 - www.andreafisherpottery.com - All Rights Reserved
The Story of
the Wedding Vase
as told by Teresita Naranjo of Santa Clara Pueblo
Helen Naha
Hopi
Wilma Baca Tosa
Jemez Pueblo
Margaret Tafoya
Santa Clara Pueblo
The Wedding Vase has been used for a long, long time in Indian Wedding Ceremonies.
After a period of courtship, when a boy and girl decide to get married, they cannot do so until certain customs have been observed. The boy must first call all his relatives together to tell them that he desires to be married to a certain girl. If the relatives agree, two or three of the oldest men are chosen to call on the parents of the girl. They pray according to Indian custom and the oldest man will tell the parents of the girl what their purpose is in visiting. The girl's parents never give a definite answer at this time, but just say that they will let the boy's family know their decision later.
About a week later, the girl calls a meeting of her relatives. The family then decides what answer should be given. If the answer is “no” that is the end of it. If the answer is “yes” then the oldest men in her family are delegated to go to the boy's home, and to give the answer, and to tell the boy on what day he can come to receive his bride-to-be. The boy must also notify all of his relatives on what day the girl will receive him, so that they will be able to have gifts for the girl.
Now the boy must find a Godmother and Godfather. The Godmother immediately starts making the wedding vase so that it will be finished by the time the girl is to be received. The Godmother also takes some of the stones which have been designated as holy and dips them into water, to make it holy water. It is with this holy water that the vase is filled on the day of the reception.
The reception day finally comes and the Godmother and Godfather lead the procession of the boy's relatives to the home of the girl. The groom is the last in line and must stand at the door of the bride's home until the gifts his relatives have brought have been opened and received by the bride.
The bride and groom now kneel in the middle of the room with the groom's relatives and the bride's parents praying all around them. The bride then gives her squash blossom necklace to the groom's oldest male relative, while the groom gives his necklace to the bride's oldest male relative. After each man has prayed, the groom's necklace is placed on the bride, and the bride's is likewise placed on the groom.
After the exchange of squash blossom necklaces and prayers, the Godmother places the wedding vase in front of the bride and groom. The bride drinks out of one side of the wedding vase and the groom drinks from the other. Then, the vase is passed to all in the room, with the women all drinking from the bride's side, and the men from the groom's.
After the ritual drinking of the holy water and the prayers, the bride's family feeds all the groom's relatives and a date is set for the church wedding. The wedding vase is now put aside until after the church wedding.
Once the church wedding ceremony has occurred, the wedding vase is filled with any drink the family may wish. Once again, all the family drinks in the traditional manner, with women drinking from one side, and men the other. Having served its ceremonial purpose, the wedding vase is given to the young newlyweds as a good luck piece.