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Rings and bracelets from the Glittering World exhibition of jewelry by Lee A. Yazzie (photos 1, 4, 5, and 8) and his son, Raymond C. Yazzie (photos 2, 3, 6, 7, 9, and 10). From top:

Black turquoise corn bracelet set with coral, opal, and gold

Gold and opal ring with coral, lapis lazuli, jade, and turquoise inlay

Coral cuff with opal, sugilite, lapis lazuli, and turquoise inlay

Gold and lapis lazuli bracelet

Coral corn bracelet

Gold, turquoise, and coral ring with sugilite and opal inlay

Silver, coral, and turquoise cuff with opal, lapis lazuli, and gold inlay

Turquoise and gold ring

Silver cuff inlaid with coral, lapis lazuli, turquoise, and gold

Turquoise Blessings bracelet

More corn-related posts here, here, here, here, here, here, and here.

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                                                “Navajo Jeweler”

A Navajo Jeweler sells his creations in front of a KFC in Tse Bonito, NM.

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Turquoise Bracelet, creator: Ondelacy [Navajo]

National Gem Collection, Smithsonian National Museum of Natural History

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Yazzie Family – Beadwork Artisans

The Yazzie Family comes from the Navajo Nation reservation in the community of Rough Rock Arizona. Emma Yazzie (mother) and Allison Yazzie (father) were introduced to the art of beading from their grandparents, who then later taught their 3 sons at a very young age. Lance Yazzie, Quanah Yazzie, and Almerson Yazzie inherited beading to later master the art to create what is now known today as Yazzie’s Beading Company.

Of the brothers, Quanah Yazzie, was the first to make the privately owned company go public after graduating with a Bachelor’s of Arts in Graphic Design from Arizona State University, then later enrolling to Dine College with the Navajo Cultural Arts Program. Utilizing skills inherited from the 2 programs, Yazzie plans on expanding the company into his graphic design company known as Star God Design Company that focuses on cost efficient design work for the Navajo Nation and its people. The Yazzie Family have been known for their quality authentic beadwork over the years, featuring artwork depicting Navajo modern and cultural teachings through symbolism within the Navajo culture.

Visit Yazzie’s Beading’s tumblr page - link below

http://yazziesbeading.tumblr.com/

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WORKSHOP - Creating Weaving Tools

First of all, this workshop was provided as a part of our other classes for the Navajo Cultural Arts Program. This workshop was held at Dine College and focused on the development of Navajo weaving tools. I chose this workshop because it provided so much more information into an emphasis I am currently in, which is weaving. It also provided a hands-on project for students to complete within the time frame. Our guest instructor goes by the name of Mark Descheny from Church Rock, New Mexico. Mark Descheny comes from a big family of weavers. He himself is not a weaver but he chooses to be connected to these practices in an entirely different way. He makes his living and surrounds his lifestyle around his creation of Navajo weaving tools.

This by far was the best workshop I attended in my life because of how little knowledge I had about weaving tools, their representations, and their stories. I gained a lot of knowledge and fortunately got the chance to design and make my personal weaving tools that I will cherish forever. Students all got an opportunity to make a weaving comb and a batten for a perfect start. One student however chose to go a different route and decided to tackle the task in making a spindle which requires a little more focus and work.

So, in more detail, the workshop started off with a brief introduction about Mr. Descheny’s background in weaving. He focused more in depth about the differences in weaving tools in today’s society and during our ancestor’s era. In response to this discussion, it was the most interesting part of the workshop so far because of how much knowledge we inherited more about how our ancestors weaved long ago. The discussion went into the comparison of looms, wool, tools, and every aspect of weaving. What amazes me today, is how we have everything easy with weaving. We have advanced knowledge into making rugs today. We have looms. We have modernized tools. Everything today has been revolutionized over the years and all this information does not compare at all to the older generation of weaving. For one example, I learned how our ancestors had no looms, and they would just find a tree branch to tie their looms up to weave. They wove in portable fashion as they herded their sheep to graze. They had access to a heavy object to anchor their loom to the ground. Then, with their rope, tie their loom to a tree branch to tighten the warps enough to weave. When the sheep were moving, they simply just untie, roll up the loom, and move on again. That is just amazing to me. It was simple but effective. This type of information is what I strive for and I was very deep into the discussions more than making weaving tools.

After all the discussions, we then went into our projects. I got to make 2 small weaving combs, both finishing tools for the last part of a rug you’re completing. I also got the chance to make a small batten, which is also as a finishing tool. Within this project, we also got comparison stories about how weaving tools are made today and back then. Completely different again considering the older era didn’t have advanced tools. Before, our ancestors used their environment, our Mother Earth to create these tools. They used the rocks, the trees, the rain, and basically whatever was connected to nature. It makes it that more special to be able to create using natural materials in your environment. In my experience, it was actually very easy using the tools provided for us. I made my weaving comb in less than an hour and I made my batten in 10 minutes. To see how easy it was only made me wonder how difficult it was for our ancestors. But, it makes me feel happy because that’s the lifestyle we honor the most today.

Overall, this was a very great workshop. I loved every component, down to the discussions and the projects. It was a very fortunate learning experience for myself because of how much information was packed in this workshop. I gained a lot and I am very thankful for Mark Descheny to travel a great distance to visit us. I’ve said it before and I will say it again, Cultural preservation is a high priority today and Mr. Descheny is on the right path to keeping tradition alive.

Pictured above: Weaving comb and batten made by Quanah O. Yazzie.

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Interview with Navajo Weaver

Older Navajo Weavers are generally more skilled and knowledgeable about Navajo weaving. Everything of their knowledge ranges from its emergence to the history of it to trade experience.  It’s incredibly amazing and interesting to see how much the art form has grown and evolved.

I chose to speak with a relative of mine who I had the most connection to growing up. I watched her weave, card and spin wool, and saw how she chose to have her life revolve around it. I chose to interview my grandmother who is currently over her 70s. Her name is Louise Littleben, from Round Rock Arizona within the Navajo Nation. Her passion for weaving only continues to guide her through hardship that is financially. Her responses only reflect her motivation and dedication to continue weaving.

I started off my interview with basic questions, starting with her introductions leading to a discussion beginning with the emergences of the art of weaving. She says,

“Weaving is a sacred art. It is built with everything from Nature. Most of all, from everything that water is connected to with lightning and rain of male and female. Everything within the loom to the rug is built in accordance of the laws set forth by our creators. It is with this art form we are connected to certain deities such as Spider Woman and Changing Woman. We practice weaving to heal ourselves mentally, physically, spiritually, and emotionally to keep our selves balance in a holistic manner. It is in this way we find happiness and joy to live stronger healthier lives.”

Hearing this in the Navajo language is actually quite more emotionally powerful that only gives us hope to learn our culture in the Navajo way to understand how much more knowledge there is to preserve ourselves and the culture. We must listen and visit our elders as time continues to click. We must begin the process for culture preservation.

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Nacuzarie turquoise beads Dime beads Nickel beads Quarter beads Leather spacers Juniper seed beads Silver bead spacers (oxidized) 49 strand .018 wire 34 inches

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Charley Hueros (Blond Charley), Navajo silversmith, working Photographer: Charles E. Lord Date: 1915 - 1930? Negative Number 148177

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Navajo rug from Ganado, Arizona.  Artist unknown; ca. 1910.  Now in the Honolulu Museum of Art.