Evelyn Cheromiah
1928-2013
Laguna
Evelyn Cheromiah was a potter from Laguna Pueblo who was instrumental in bringing back the Laguna pottery tradition. In the early part of the 1900s, the railroads offered the Laguna men well-paying jobs. Laguna women from those days didn't have to make pottery, they could afford to buy it from Acoma. In the 1950s a uranium mine opened on pueblo land with more good-paying jobs for Laguna men and women. Pottery making at Laguna saw even less interest.
Come the 1970s and Evelyn worked with Nancy Winslow, an Anglo woman from Albuquerque, to get a Federal grant to teach traditional pottery making on the pueblo. The first class in 1973 had 22 pueblo members enrolled, Evelyn's daughters among them. It was a four-month class that saw pottery making take hold again at Laguna. In 1974 Evelyn held another class with even more people in attendance. Then the funding ran out.
Evelyn went on to a career filled with ribbons earned at venues like the Santa Fe Indian Market, New Mexico State Fair, Gallup InterTribal Ceremonial and others. At the Santa Fe Indian Market in 1977 she earned the Maria-Popovi Award, a "Special Award for Encouraging a Pottery Renaissance," from the Southwest Association for Indian Arts.
Evelyn liked to make polychrome and Anasazi Revival and Mimbres Revival black-on-white jars, bowls and animal figures. Among her favorite designs were rain birds, kiva steps, terraced clouds, fine lines and surface corrugation.
The Heard Museum records indicate Evelyn was of mixed Laguna and Sioux heritage but they do not give her parent's names. Dr. Schaaf indicates her mother was Mariano Cheromiah of Laguna Pueblo but there's no mention of her father.
Some Awards won by Evelyn
- 2000 Santa Fe Indian Market, Classification II - Pottery, Division E - Traditional pottery, jars with painted designs on matte or semi-matte surface, Category 1205 - Jars: Third Place
- 1993 Santa Fe Indian Market, Classification II - Pottery, Division E - Traditional jars, Category 1302 - Jars: Third Place
- 1992 Santa Fe Indian Market, Classification II - Pottery, Division E - Traditional jars, Category 1302 - Jars: Third Place
- 1991 Santa Fe Indian Market, Classification II - Pottery, Division E - Traditional jars, Category 1302 - Jars: Second Place
- 1978 Heard Museum Guild Indian Arts & Crafts Exhibit, Classification VII - Pottery, Division A - Traditional: Honorable Mention. Awarded for artwork: Storage jar
100 West San Francisco Street, Santa Fe, New Mexico 87501
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Laguna Pueblo
After the Pueblo Revolt of 1680, many Puebloans were fearful of Spanish reprisals. Spanish militias returned in 1681 and again in 1689. That first return brought them as far north as Isleta and that pueblo was attacked, looted and burned. The second return saw troops marching up to Santa Ana and San Felipe, attacking, looting and burning both. In those years, when the Puebloans became aware of approaching Spanish forces they mostly scattered into the mountains and the Spanish found empty pueblos, easy to loot and easy to burn. When Don Diego de Vargas marched north in 1692, he was intent on reconquering Nuevo Mexico and re-establishing a long-term Spanish presence there. As the conquistadors who accompanied him were on a "do-or-die" mission, the reconquest took on a tenor quite different from the previous missions...
At first de Vargas followed a path of reconciliation with the pueblos but that was soon replaced with an iron fist that brought on a second revolt in 1696. The pueblos didn't fare so well the second time around and a large number of Pueblo warriors were executed while their wives and children were forced into slavery. When word of de Vargas actions got back to the King of Spain, he ordered de Vargas banned from the New World. However, most of the damage was already done.
Many modern historians say Laguna Pueblo was established between 1697 and 1699 by refugees seeking to avoid fighting with the Spanish. Many of those refugees had left the first pueblos approached by the Spanish in 1692. They had first scattered to more remote places like Acoma, Zuni and Hopi, or to more Spanish-friendly Isleta. However, the pressure of those refugees strained the resources of the other pueblos and quickly forced the refugees to consider starting a new existence in a newly-formed pueblo. The area of Laguna had been settled several hundred years previously by ancestors of today's tribe but had been abandoned during the periods of great drought that had brought the Ancestral Puebloans (Anasazi) down from the Four Corners area to the areas where we now find the Rio Grande Pueblos. Some of the land under Laguna control has also been found to contain archaeological resources dating as far back as 3,000 BC. The prehistoric village of Pottery Mound is located just east of today's Laguna Pueblo boundary. Pottery Mound was abandoned long before the Spanish first arrived but archaeologists have followed the tracks left by Pottery Mound styles, shapes and designs to settlements in the Hopi mesas and the Four Corners area.
Over time, several villages were established in the area around Old Laguna and when the Lagunas were granted their own reservation, they were given about 500,000 acres of land, making Laguna one of the largest of all pueblos in terms of land. However, only about half the enrolled members of the tribe live at Laguna as many have been drawn to nearby Albuquerque in search of work.
Laguna and Acoma share the same language (Western Keresan), similar pottery styles and similar religious beliefs. However, pottery making almost died out at Laguna after the railroads arrived in New Mexico in 1880 and laid a primary east-west trackbed directly in front of the Laguna main pueblo. During that time period many Lagunas went to work on railroad construction crews and many of the traditional Laguna arts and crafts died out. Potterymaking never completely stopped at Laguna but by 1960 it was almost gone. Then in 1973 and again in 1974 Nancy Winslow taught two four-month arts and crafts classes at the pueblo. Among the 22 pueblo members in the first class were Evelyn Cheromiah and her daughters. Rick Dillingham quoted Evelyn Cheromiah as saying that after "looking at my mother's pottery-making tools, I got the urge of going back to making pottery." That was the beginning of today's renaissance in Laguna pottery.
Because of their geographic proximity, Laguna and Acoma clays are very similar. In some instances, it's very hard to determine if a particular pot is from Acoma or from Laguna. Laguna potters are more likely to temper their white clay with sand than with ground up pot shards like the Acomas do. Laguna geometric designs also tend to be bolder than Acoma designs while Laguna potters use Mimbres designs much more sparingly than do Acoma potters.
100 West San Francisco Street, Santa Fe, New Mexico 87501
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Evelyn Cheromiah Family and Teaching Tree
Disclaimer: This "family tree" is a best effort on our part to determine who the potters are in this group and arrange them in a generational order. The general information available is questionable so we have tried to show each of these diagrams to living members of each family to get their input and approval, too. This diagram is subject to change should we get better info.
Evelyn worked with Nancy Winslow, an Anglo woman from Albuquerque, to set up what became the 1973 Laguna Arts and Crafts Project. At that time, only Evelyn and a couple potters in the village of Mesita were still making Laguna pottery. Those women were teaching their daughters, too, but it was clearly a dying art. Evelyn and Nancy secured enough funding for Evelyn to teach two 4-month sessions of pottery making classes. Both groups were filled to overflowing.
- Josephita Cheromiah
- Elton Cheromiah (1975- )
- Lee Ann Cheromiah (1954- )
- Brooke Cheromiah
- Mary W Cheromiah Victorino (c. 1950s- )
- Wendy Cheromiah Kowemy
- Wendell Kowemy (1972- )
- Calvin Analla Sr. & Velma Analla
- Calvin Analla Jr. (1958- )
- Elsie Chereposy
- Marie Kasero
- Robert Kasero Sr. & Paula Estevan (Acoma)
- Mabel Poncho (c. 1920s- )
- Sue Tapia (1945- ) & Tom Tapia (1946-2015, San Juan)
- Matt Valencia
- Patrick Valencia
- Sue Tapia (1945- ) & Tom Tapia (1946-2015, San Juan)
- Bertha Riley (Evelyn's niece) & Stuart Riley Sr. (Navajo)
- Stuart Riley Jr.
Some of the above info is drawn from Southern Pueblo Pottery, 2000 Artist Biographies, by Gregory Schaaf, © 2002, Center for Indigenous Arts & Studies. Other info is derived from personal contacts with family members and through interminable searches of the Internet and cross-examination of the data found.
(505) 986-1234 - www.andreafisherpottery.com - All Rights Reserved