Santa Clara pottery<BR> The Native name for Santa Clara is Kha-Po and means "Valley of the Roses". The pottery produced in the nineteenth century was indistinctive and included black- and redwares, as well as micaceous vessels. The polychrome containers used during ceremonial occasions came from San Ildefonso.<BR> <BR> A new era for pottery production began when the Denver & Rio Grande Railroad connected neighbouring Espanola to Santa Fe in 1880. Soon Santa Clara craftswomen were turning out black tableware, including coffee and teapots and cups, cream pitchers and sugar bowls, and vases, all with handles, an uncommon feature on tradional pottery. Hispanic and American households probably were the main clients for such wares if fired at a high temperature. For the tourist market candlesticks, ashtrays and miniature animals and mocassins were produced, as well as tableware fired at a low temperature and apt to disintegrate rapidly when in use (Hayes and Blom 1996:130).<BR> <BR> During the 1930s redwares made a comeback and were decorated first with geometric, later also with naturalistic motifs, executed in cream, shades of orange and blue gray, often outlined in white.<BR> <BR> The pueblo has long been known for its innovative pottery. The carving of designs into the wet clay was developed at an early date at Santa Clara, resulting in carved red- and black-wares with thick walls. Margaret Tafoya (b. 1904) has been a leading potter over many decades, inspiring new generations, and was bestowed the honorary title of "matriarch of Santa Clara potters". In the post-war era she still produced very large vessels, contrary to the trend towards size reduction. She produced a dynasty of potters among children and grandchildren, including the Roller (Toni et.al.) and Youngblood (Nancy, Nathan et.al.) families most of whom consistently use traditional methods of gathering and preparing clay, and firing technique (see Schaaf 2000:137 for genealogy).<BR> <BR> Other Santa Clara pottery dynasties include the Chavarria-Naranjo and Gutierrez-Baca-Tafoya families (Dillingham 1994:146-239). Avanyu (rainbow serpent) and bearpaw designs are characteristic of carved pottery from Santa Clara. Severa Tafoya (1890-1973) probably made the first mellon-shaped bowl that has now become a classic Santa Clara pot.<BR> <BR> A post-war development was the fine carving of designs, often referred to as etching, into fired pottery, a technique known as "sgraffito", of which Joseph Lonewolf (b. 1932) became the unchallenged master. He is a nephew of Margaret Tafoya and his children and other young Santa Clarans follow into his footsteps (Dillingham 1994:184-5,205). Jody/Susan? Folwell (b. 1942) learned the pottery craft from her mother Rose Naranjo, and pioneered new colors, techniques and motifs. She uses her pictorial pottery style, including multiple designs, as a means of social and criticism, thus adding a new dimension to the art of Pueblo pottery (Schaaf 2000:26-7).<BR> <BR> A more recent innovator is Roxanne Swentzel (b. 1962), a granddaughter of Rose Naranjo. Her pottery has turned into sculpture, representing real people and clown figures, single and in groups, engaged in their own world or addressing the spectator.<BR> <BR> A major attraction at Santa Clara is the prehistoric pueblo of Puye, and the associated cliffdwellings, designated a National Historic Landmark. During the summer season, guided tours are available, and the Puye Cafe and Gift Shop, also offering Santa Clara pottery, is open on weekdays. Public celebrations are held on the feast days of Saint Anthony in June and Saint Clare in August, and include Comanche, Harvest and Corn dances.<BR> Pieter Hovens; 2005<BR> <BR> SANTA CLARA. De Indiaanse naam voor Santa Clara is "Kha-Po" en betekent "Dal van de Rozen". Het 19e eeuwse aardewerk was onopvallend, zowel zwart als rood, als micahoudend. Tijdens ceremonies werden polychroom vaatwerk gebruikt dat men in San Ildefonso kocht.<BR> <BR> In 1880 werd de spoorweg aangelegd en kwamen pottenbaksters in direct contact met de westerse markt. Veel serviesgoed en andere huishoudelijke artikelen werden geproduceerd: koffie- en theepotten, kopjes en schoteltjes, melkkannetjes en suikerpotjes, borden en kommen, en bloemenvazen. Voor de toeristen werden goedkope souvenirs gemaakt, vooral miniatuur dieren en mocassins, asbakken en kandelaars.<BR> <BR> Tijdens de crisisjaren leefde het roodbakkend aardewerk weer op dat eerst met geometrische, later ook met naturalistische motieven werd beschilderd. De gebruikte kleuren daarvoor waren creme, oranjetinten en blauwgrijs. Motieven werden vaak van witte omlijning voorzien.<BR> <BR> Santa Clara aardewerk is steeds gekenmerkt door innovatie. Begin deze eeuw werd het dikwandige en nog natte aardewerk voorzien van ingekerfde decoraties in bas-relief. Populaire motieven waren en zijn de "avanyu" (regenboogslang) en de afdruk van de berenpoot. Margaret Tafoya (geb. 1904) was een der meest vooraanstaande pottenbaksters die generaties heeft beïnvloed. Ook na de oorlog bleef zij grote potten maken, in weerwil van de trend naar steeds kleiner vaatwerk en miniaturisering. Veel van haar kinderen en kleinkinderen hebben haar traditie voortgezet waardoor een Tafoya-dynastie is ontstaan van Tafoyas, Rollers en Youngbloods. Severa Tafoya (1890-1973) maakte waarschijnlijk de eerste pot in de vorm van de nu immens populaire en in allerlei variaties voorkomende watermeloen.<BR> <BR> Na de oorlog werd de "scraffito" techniek ontwikkeld waarbij gekerfd wordt in het oppervlak de gebakken pot, waarmee de gekerfde figuren pregnant naar voren komen doordat de oppervlaktekleur van de pot en de kleur van het inwendige materiaal sterk contrasteren. De meester van deze techniek is Joseph Lonewolf (geb. 1932). Hij is een neef van Margaret Tafoya. Zijn voorbeeld wordt nagevolgd door zijn kinderen en andere pottenbakkers in Santa Clara.<BR> <BR> <BR>