Hopi pottery<BR> The Hopi consist of the Hopi proper and descendants of Rio Grande pueblo people who took refuge with them after the Pueblo Revolt of 1680. The refugees settled on First Mesa in their own village of Hano and are often referred to as Hopi-Tewa. In the 1800s the Hopis produced pottery with crackled yellowish-white slips, after the example of the Zunis among whom many sojourned during a period of severe drought. Later they changed to unslipped wares which were polished with a stone. A peculiar characteristic of the clays the Hopi use for their pottery is the change in color during the firing: gray clay turns into yellow pottery, while yellow clay colors red in the firing process.<BR> <BR> In the 1880s trader Thomas Keam made it known that copies of vessels found at the prehistoric pueblo of Sikyatki was a marketable commodity, and soon Hopi potters from First Mesa, notably Hano, the hub of pottery production, produced similar wares, giving rise to "Sikyatki Revival" wares. Keam also urged the potters to make painted tiles. The Hopi-Tewa Nampeyo (186?-1942) became the most famous potter by far among her people and far beyond. In 1895-96 Jesse Walter Fewkes excavated the Sikyatki site on the Hopi reservation. It is not known whether he urged Nampeyo to copy the prehistoric low-shouldered jars and their designs or that Nampeyo was already doing that at the time, along with other potters. By 1901 her work was being purchased and retailed by the Fred Harvey Company in Albuquerque and by Indian trader J.L. Hubbell of Ganado (Howard and Pardue 1996:108-9). In 1903 she was an informant on potterymaking for George H. Pepper. When Fred Harvey's Hopi House opened at the South Rim of the Grand Canyon in 1905, Nampeyo was the major Native artist demonstrating her pottery-making, assisted by her daughter Annie. Similar demonstrations were held two years later. In the 1920s Ruth Bunzel interviewed Nampeyo several times for her study of Pueblo potters (Bunzel 1924). Nampeyo originated a dynastic lineage of potters (Dillingham 1994:14-15).<BR> <BR> However, many Hopi potters succumbed to the lower end of the tourist market and began to turn out cheap curios, including ashtrays, cadlesticks, coffeecups, salt-and-pepper shakers, etc. The 1920s were a decade of important change. Hopi-Tewa Tom Pavatea started a trading post at Polacca and included pottery among his merchandise. In that same decade Mary Russell Colton of the Museum of Northern Arizona was instrumental in furthering the quality of Hopi pottery by defining high standards of artisanship for an annual Hopi art show she began in Flagstaff. New pottery forms were produced after Euro-American examples, including vases and table lamps.<BR> <BR> The Nampeyo family is still prominent in Hopi pottery. Around 1960 Paqua Naha (Frog Woman) developed white-slipped pottery and the Naha-Navasie family has been producing notable whitewares (Walpi Polychrome) since then, daughter Joy Navasie employing the Frog Woman signature, and her daughter-in-law Helen Naga the feather design (Hayes and Blom 1996:72).<BR> <BR> Faced with an annual influx of tourists, especially during the summer months, the Hopi tribe resolved to control their impact by concentrating visitors as much as possible in one location that can satisfy their needs. In 1972 they opened the Hopi Cultural Center and Museum on Second Mesa. A motel and restaurant offering Native cuisine were added, and several shops in the complex provided an opportunity to buy Hopi and other Southwerstern Indian arts and crafts. The Tsakurshovi Shop sells "Don't Worry - Be Hopi" T-shirts and a fine selection of basketry and kachina dolls. McGee's Indian Art Gallery is situated in Keams Canyon and stores a whole range of Native American in all price ranges, including pottery from Hopi and other pueblos.<BR> Pieter Hovens; 2005<BR> <BR> Het traditionele rode aardewerk van Isleta is eenvoudig en zonder versiering. In 1880 vestigden zich mensen uit Laguna is het dorp en zij introduceerden wit-geslibd aardewerk met polychrome beschildering, een stijl die sindsdien domineert. Door de nabijheid van de grote stad Albuquerque en de transcontinentale spoorlijn, werden veel toeristische souvenirs van aardewerk gemaakt. Dat verkocht men op stations in de buurt, en aan de Fred Harvey Company die hotels, restaurants en souvenirwinkels langs de spoorlijn beheerde. Karakteristiek voor Isleta zijn de schoteltjes met een hengsel dat bestaat uit twee strengen ineengevlochten klei.<BR> <BR> Stedelingen en toeristen komen nu naar Isleta toe om Indiaans brood en gedroogd fruit gebak te kopen, evenals miniatuur aardewerk, vooral uiltjes en potjes. Veel hiervan wordt machinaal en fabrieksmatig geproduceerd en door de Indianen in hoeveelheden gekocht en beschilderd. Sommigen proberen de ambachtelijke traditie te behouden. De bekendste pottenbakkersfamilies zijn de Tellers, de Chiwiwis en de Jojolas. Stella Teller introduceerde opvallende pasteltinten om menselijke giguurtjes te beschilderen.<BR>