Recommended: CELEBRATE MY HOPI CORN and CELEBRATE MY HOPI TOYS

My grandfather, Rex Sotero Calvert, was Hopi. We never called him grandpa or grandfather. We called him Thehtay, which is the Tewa word for grandfather (Tewa is our language at Nambe Pueblo). Calvert is the name he was given when he went to boarding school, at Santa Fe Indian School. Before that, he was Rex Sotero Sakiestewa. He was born in 1895 at Mishongnovi Village.

At SFIS, he met my grandmother, Emilia Martinez. She was from Ohkay Owingeh (San Juan Pueblo). They lived at Ohkay Owingeh and had six children: Delfino, Felix, Marcelino, Edward, Andrea, and Cecilia. To me, they were Uncle Del, Uncle Felix, Uncle Mars, and Aunt Cecilia. Edward--we call him Uncle John. He still lives there, at Ohkay Owingeh. Andrea--we call her mom.

When I talk with my mom, we sometimes talk about Thehtay. He lived with us at Nambe Pueblo when I was growing up. I remember him being out back, working the garden with a hoe... Suddenly he'd yell "The beans!" We'd have been playing in the garden as he worked, no doubt un-doing the work he'd been doing to irrigate that garden as we made little dams to divert the irrigation water! Remembering the beans, he'd throw down the hoe and run inside the house to add water to the pot of beans on the stove. When he was older, he'd sit in his wheelchair, softly singing Hopi songs to himself. I wish I'd listened to them, and that I'd learned some of them. What I do have are warm memories of him, of being with him, of his humor.

This morning as I read My Hopi Corn and My Hopi Toys, my thoughts, understandably, turned to Thehtay. Written by Anita Poleahla and illustrated by Emmett Navakuku, the two are board books from Salina Press.

Celebrate My Hopi Corn begins with a single corn kernel telling the reader that she has many sister kernels on an ear of corn, that they grow under a warm sun, and that as the days begin to shorten, the kernels take on different colors. Some are yellow, while others are blue or red or white. After they're harvested, the kernels are shelled off the cobs. For that, we're shown a Hopi girl in traditional clothes shelling the kernels off the cobs. Some kernels are ground into flour to make piki (a traditional food that is exquisite in form and flavor. In form it looks like a rolled up newspaper, with the paper itself being the piki, which is kind of like filo dough in its flakey texture). Some corn is used for dances, and, some is kept inside for the next planting season, when a Hopi man plants corn. That page, especially, made me think of Thehtay:

I don't have a memory of Thehtay planting seeds. My memory is of him in a button down shirt and jeans (nothing on his head; not wearing a belt or mocs as shown in the illustration) using a hoe to rid the garden of weeds.

As you see by the illustration, the text in Celebrate My Hopi Corn is in two languages: Hopi, and English. The illustrations are a blend of realistic depictions of people, and, Hopi images like the one of the sun, and later, one of rain clouds. The book ends with a double paged spread of corn maidens:

Corn. Community. Ceremony. Planting. All are important to who the Hopi people are. I really like this little book and wish I could share it with Thehtay. Poleahla and Navakuku's second book, Celebrate My Hopi Toys is a counting book of items used for play, but also for dance. I like it very much, too. Like Celebrate My Hopi Corn, it is bilingual and shows items specific to Hopi people. Poleahla has been working on language instruction for many years. These little books will, no doubt, be much loved by Hopi children, but they're terrific for any child. For children who aren't Hopi, they provide a window to Hopi culture. A window--I will also note--that is provided by insiders who know just what can be shared with everyone.

They are available from Salina Press.

Dear Teachers: Native masks are not art

Dear Teachers and Homeschooling Parents,

Many art project books for use in classrooms include a section on making Native masks. One example is Laurie Carlson's More Than Moccasins: A Kid's Activity Guide to Traditional North American Indian Life. It has instructions for making "Hopi masks." A search of the Internet will show you a great many kid art projects in which they make what they call Native masks.

However well-intentioned mask making activities may be, we all need to understand that it is inappropriate to make them.

Masks made by Native peoples are not art. They have a purpose within a religious context. They are used in religious contexts. Creating them and viewing them as art miseducates everyone and leads to cases like the following.

As I write (April 12, 2013), masks "katsina friends" (see note at end) originating with the Hopi Tribe are being auctioned in Paris as works of art. The tribe asked that the auction be delayed or stopped completely but the request was denied by a judge there.

The person who "owns" the masks katsina friends collected them here, in the United States. Who he acquired them from is unknown, but we--teachers and librarians--can provide students with information that can interrupt the cycle of misinformation that frames sacred Native artifacts as art rather than the religious items that they are. Native peoples, our religions, our artifacts and our traditional stories should receive the same respect that Christianity or other world religions do.

Instead of making "Hopi masks," educate students about them and their significance within Native cultures. And, encourage students to put their knowledge to use. They could, for example, write to Ms. Carlson or her publisher!

If you're wondering about art projects you can do, take a look at Arlene Hirschfelder and Yvonne Wakim Dennis's A Kid's Guide to Native American History: More than 50 Activities. The activities in it are ones that aren't religious or spiritual in nature.

Please share this letter with fellow teachers and parents, and let me know if you have any questions.

Thanks!
Debbie

Note (added at 2:21 PM on April 12, 2013): My use of the word "masks" to describe what is being auctioned in France is incorrect. "Masks" is the default word for them, but as described here, the correct English phrase for them is katsina friends. It means they are not items, but beings. Remarks by the auctioneer and New York collector during the auction are infuriating. See the news report: As protestors jeer, Hopi masks sell in Paris.

Update, Friday, April 12, 3:30 PM
Statement from Chairman Shingoitewa of the Hopi Tribe:

“We are deeply saddened and disheartened by this ruling in the French courts that allowed the auction to be held on Friday. It is sad to think that the French will allow the Hopi Tribe to suffer through the same cultural and religious thefts, denigrations and exploitations they experienced in the 1940s. Would there be outrage if Holocaust artifacts, Papal heirlooms or Quranic manuscripts were going up for sale on Friday to the highest bidder? I think so. Given the importance of these ceremonial objects to Hopi religion, you can understand why Hopis regard this – or any sale -- as sacrilege, and why we regard an auction not as homage but as a desecration to our religion. Our Tribal Council will now convene to determine the Hopi Tribe’s next steps in this shameful saga." 

Gerald Dawavendewa's THE BUTTERFLY DANCE

Many times on AICL and in lectures, I've said that I wish I'd had Cynthia Leitich Smith's Jingle Dancer back in the early 90s when my daughter danced for the first time. In Smith's book, we see a little girl getting ready to do the Jingle Dance for the first time. I have that same wish about Gerald Dawavendewa's The Butterfly Dance. 

My grandfather, Rex Calvert, was Hopi. He met my grandmother, Emilia Martinez of Ohkay Owingeh (formerly known as San Juan Pueblo), when they were students at Santa Fe Indian School. They were married in 1922. Their marriage aside, the Hopi people of Arizona and the Pueblo people of New Mexico are similar in significant spiritual and cultural ways. For both those reasons, when I look at the cover of Dawavendewa's book, several things catch my eye. I see myself and family in the characters Dawavendewa depicts, in their clothing and their actions.

On the first page of The Butterfly Dance, we read:

Today is a special day. I wake up extra early because this is the day of the Butterfly Dance.

My name is Sihumana, which means Flower Maiden. My aunt gave me that name in a special naming ceremony when I was just a baby. Now I am twelve years old, and today I will be part of the Butterfly Dance, helping to celebrate our family and bring gentle rains for the flowers and plants that will make everyone happy.

The illustration for that page shows a sleepy Sihumana. It reminds me of my daughter, Liz, waking up early on feast day, and of Hayle, my niece, too. Like Sihumana, they yawn (and yawned--Liz is no longer a child) as they'd come awake to get ready for the day of dance.

In a straightforward way, Dawavendewa tells his readers about the practical side of being Hopi. On dance day, you have to get up early. In the days prior to it, you have to go to the kiva for several nights and learn, relearn, or remember the dance and its song.

He also gives us a look at the oral tradition in action. By that, I mean the pages on which Sihumana's Kwa'a (grandfather) teaches her about the dance and its significance. He talks a bit about clans, too. And, the notes at the end of the book tell us that the Butterfly Dance is primarily a social dance. As such, it can be filmed or photographed. Here's a video of the dance:

Dawavendewa's notes provide readers with additional information about the Hopi people, and for that reason, teachers will find The Butterfly Dance especially useful in this era of the Common Core, in their efforts to add nonfiction titles to their teaching collections. An additional bit of info that makes his work intriguing is the note that one of his artworks, "Earthbundle" that was aboard the Endeavor in 1994. The gallery, South West South, has a print of it, and explanation:

This print is from an original Dawavendewa painting created on white buckskin that went aboard the Space Shuttle 'Endeavour' in 1994. In the center is the Sun - Taawa. Above the sun are the symbols of the Earth, the Fourth world to the Hopi, and below the moon. Radiating from the sun are markings representing the Milky Way. Within the stars are corn plants, a symbol of the four directions. All are encompassed by a rainbow- a symbol of life. Placed with the Earth Bundle was a Paaho, a prayer feather for the blessings and prayers for the Astronauts journey. 

Dawavendewa is enrolled at Hopi. Visit his website to learn more about him and his work, and get a copy of the book from the Smithsonian's National Museum of the American Indian.

Hopi Runners

For young adults who visit your library looking for information about athletes or marathon runners, consider offering them an article from a journal....  Here's the opening sentences:

On the afternoon of April 20, 1912, fifteen-thousand people lined the streets of Los Angeles to witness 151 contestants compete in the Los Angeles Times Modified Marathon. Officials of the Times hosted the marathon to secure a Western candidate for the 1912 Olympic Games in Stockholm, Sweden, and news of the event attracted runners from across the nation. Two Hopi runners, Guy Maktima and Philip Zeyouma, from the Hopi Reservation in northeastern Arizona, stood beside the many athletes who gathered near the start line and waited for the sound of the pistol to begin the race.

Sound good? The author of the article, Matthew Sakiestewa Gilbert (he is Hopi), continues, saying that nobody took much notice of the Hopi runners. That changed halfway through the race:

When word spread among the thousands of spectators that the "Little Hopis" had broken away from the lead group, people rushed to the finish line and waited for the runners to make their final approach.

Want more? The article, "Hopi Footraces and American Marathons, 1912-1930" is in the March 2010 issue of American Quarterly.  I read about the article at Matt's blog, Beyond the Mesas. Here's an excerpt from there:

Not long after the school established its cross-country team, Zeyouma won the Los Angeles Times Modified Marathon in April 1912. His victory also gave him an opportunity to compete in the 1912 Olympic Games in Stockholm, Sweden.

Congratulations, Matt, on the article, AND on having YOUR photographs used on the journal's front and back cover!

Teacher, librarians, parents... if you want a copy of the article and don't have access to it, send me an email and I'll send it to you. Write to me at dreese dot nambe at gmail dot com. 

"I is for Indian Village"

Head on over to Matthew Sakiestewa Gilbert's blog, Beyond the Mesas, and read his entry on December 16, 2009: "I is for Indian Village" - Photographs and Hopi Protocols.

When you go to a National Park, there are signs all over the place that tell you not to take items you find on the ground. Some parks have pottery shards. It is against the law to take those, and the federal government can fine you for taking things.

Visitors to Nambe Pueblo cannot take photographs. As Matt's post says, visitors are not allowed to take photographs at Hopi, either.

Please follow instructions! Don't take photographs!

[And of course, don't objectify Indian people by using us as items in your alphabet activities.]

Hopi writer, Polingaysi Qoyawayma

Reading Beyond the Mesas this morning, I see that Matt (my friend and colleague in American Indian Studies here at Illinois) wrote about Polingaysi Qoyawayma. Her book, No Turning Back, is on my list of recommended books (see the text top right of this page that says "Click here to see a list of recommended books and resources). She was Hopi from Orayvi on Third Mesa, and, Matt says, she was the first Hopi teacher to teach Hopi children at a Hopi day school.

What I learned by reading Beyond the Mesas this morning is that Qoyawayma also wrote a book for younger children! I ordered it right away and look forward to reading it. The title of her children's book is The Sun Girl.

Reading what Matt says about it, I think it may be similar to one of my favorite picture books, Cynthia Leitich Smith's Jingle Dancer. Both are about a Native child learning a dance her people do. (Reminder: Native dance is not entertainment or performance. Pueblo dance in particular is a form of prayer.) Fortunately, Jingle Dancer is still in print. The Sun Girl, published in 1941, is not. I'll blog it when I get it. In the meantime, click on over to Remembering Polingaysi Qoyawayma at Beyond the Mesas and see what Matt says about her and her books.

Beyond the Mesas

On this day, November 27, 2009, most people are out shopping. It is the day after Thanksgiving, known as "Black Friday."

But did you know that today is also Native American Day? Yep, someone decided that the day after Thanksgiving would be designated as Native American Day. Along with that designation, there's words to the effect that teachers provide children with information about American Indians.

But oops! Wait! No school on Native American Day! I know some teachers and librarians provide students with instruction and books about American Indians during the month of November because the entire month is "Native American Month." I'd rather all the info about us not be delivered or confined to this month... And I'd certainly prefer that Native American Day be on some other day, when school is in session.

It does strike me as pretty ironic that Black Friday and Native American Day are on the same day. Rant over....

My real reason for writing today is to send you over to Beyond the Mesas. It is a new blog, hosted by my colleague in American Indian Studies, Matthew Sakiestewa Gilbert. Many times on American Indians in Children's Literature, I've written about boarding schools, children's books about boarding schools, and films about boarding schools. Today, I'm talking with you about Matt and his work. 

Matt has a DVD called Beyond the Mesas. His blog is about about boarding schools. If you have not ordered his DVD yet, there's a link to get it on his blog. So on this day, Native American Day 2009, I'm not out at a shopping mall or store spending money. I'm reading Matt's blog.

Tribal Protocols Regarding Research

There's been some conversation on YALSA regarding accuracy/authenticity in representation of American Indians.

In a reply to the conversation, I wrote about "freedom of expression" in the context of sovereign nation status and tribal protocols for research.

There was a time when researchers could go to a reservation and conduct research, do interviews, take photographs, etc. Due to appropriation, misrepresentation, and disrespect, tribes have become very careful, very guarded.

Increasingly, tribes are saying 'no' to use of Native culture by outsiders, and, to researchers.

Increasingly, institutions are recognizing and responding to tribes assertion of control over cultural and intellectual property. Museums are returning Native artifacts to tribes from which they were taken by archeologists, anthropologists, and, speaking bluntly, opportunists who dug up Native graves, removed artifacts, and sold them. Use of photographs is under tighter control, too.

In Arizona, one of the state institutions that has photographs of Hopi dances has stopped releasing them to the public. On their internet pages, you can learn that the photos exist, but there is no 'thumbnail' of the image. You can go to the institution and view them, but you cannot reproduce them.

In the past, Native people have been studied and, the study is used for the benefit of the scholar, with no benefit to the tribe itself. In recent years, tribes are writing protocols for researchers who wish to go out there and study this or that aspect of the tribe.

No longer is it acceptable to just go to a reservation and do research. Tribes are controlling access. Researchers know this, but, perhaps, writers do not, and so they do not seek permission to do research and write a children's book.

Click here to go to the Hopi Tribal Council's page on protocol. Do read it, and consider its application for writers of children's books.




UPDATE, 9:38, January 5, 2007:

On their page "Intellectual Property Rights" is this:

In this information age, we are concerned with protecting our own ideas. These ideas may be in speeches, music composition, computer programs, television, and other media. Our nation’s courtrooms are filled with cases in which someone allegedly breached that intellectual property right.
Through the decades the intellectual property rights of Hopi have been violated for the benefit of many other, non-Hopi people that has proven to be detrimental. Expropriation comes in many forms. For example, numerous stories told to strangers have been published in books without the storytellers' permission. After non-Hopis saw ceremonial dances, tape recorded copies of music were sold to outside sources. Clothing items of ceremonial dancers have been photographed without the dancers’ permission and sold. Choreography from ceremonial dances has been copied and performed in non-sacred settings. Even the pictures of the ceremonies have been included in books without written permission. Designs from skilled Hopi potters have been duplicated by non-Hopis. Katsinas dolls have also been duplicated from Hopi dancers seen at Hopi. Although the Hopi believe the ceremonies are intended for the benefit of all people, they also believe benefits only result when ceremonies are properly performed and protected.
All of these actions are breaches of Hopi intellectual property rights, used by non-Hopi for personal and commercial benefit without Hopi permission.
Through these thefts, sacred rituals have been exposed to others out of context and without Hopi permission. Some of this information has reached individuals for whom it was not intended (e.g., Hopi youth, members of other clans, or non-Hopi).
Please be mindful of the personal ethics involved in and laws surrounding this issue.

Update: Feb 3, 2013

I am still trying to retrace my steps to find the state institution with no thumbnails. I do want to add one more resource to the ones I provided above. This, too, is Hopi, and its an agreement between Hopi Nation and the Museum of Northern Arizona. 

Eugene Sekaquaptewa's COYOTE AND THE WINNOWING BIRDS

Some time back, I discussed Beverly Blacksheep's board books that include English and Dine (Navajo) language. Today, I draw your attention to Eugene Sekaquaptewa's Coyote and the Winnowing Birds: A Traditional Hopi Tale.

The story is presented in English, but also in the Hopi language. And the illustrators are twenty-two children of the Hotevilla-Bacavi Community School at Hopi.

It is based on a story told by Eugene Sekaquaptewa, translated and edited by Emory Sekaquaptewa and Barbara Pepper.

In addition to the inclusion of Hopi language, note the style of telling the story itself. The first page reads:

Yaw Orayve yeesiwa.
Everyone was living at Oraibi.

One line of text, providing basic information in a straightforward way. There is no "many moons ago" or "in the days of the ancient ones" in this book. There is no romantic, waxing prose found in too many retellings of Native stories.

From my read of the story, the straightforward text communicates that the Hopi people are a people of the present day. Not vanished, or exotic. Any child picking up this book will recognize the art as something he or she could have produced. It is child art. But it is child art done by Hopi children, which communicates (as does the text) that Hopi children are part of the present day.

Designed for children at the school, the book includes information about the Hopi alphabet, a Hopi to English Glossary, and an English to Hopi Glossary. Still, any child will enjoy Coyote and the Winnowing Birds, and the other book in the series, Coyote and Little Turtle. They will go a long way in countering the misperception that Native peoples no longer exist.