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History of the Anasazi influence
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History Of Hopi Indian Potters
Contact zones were described in Mary Louise Pratt’s article "Arts of the Contact Zone" as being those points in time in which different cultural groups came together. Positive influences between the groups lead to knowledge and understanding, whereas negative influences lead to conflict and miscomprehension. The history of the Hopi Indians is intertwined with the various contact zones between the Hopi Indians and other cultural groups. It is this series of contact zone experiences that has shaped the development of Hopi pottery.
The history of Hopi pottery begins with the history of the Native American Hopi Indians and the many peoples that came into contact with their culture and traditions. The earliest pieces of Hopi pottery were made in A.D. 500. It is to this same point in time to which the history of the Hopi Indians can be chronologically traced. Believed to be part of the Pueblo Indians, the Hopi Indians are the surviving members of the Kayenta branch of the Anasazi. The Anasazi, in turn, are the prehistoric inhabitants of what is today the northern Southwest part of the United States (Bartlett 2). This descendant connection between the Hopi and the Anasazi Indians has led to the geographic connection of the two. The Hopi Indians are therefore the only Pueblo Indians to live in the state of Arizona. They occupy three mesas on their reservation, which is in close proximity to the Grand Canyon in the northern Southwest (Bassman 1).
Traced back to A.D. 500, the first pieces of Hopi pottery discovered were described as being gray with crude black decoration. The Anasazi influence soon followed for the pottery was then quickly redescribed as white pottery decorated in black...
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...ment in the quality of Hopi pottery. From the prehistoric times of the Anasazi crude designs to the Sikyatki revival of life-form designs, Hopi pottery has become economically feasible for the Hopi potter to spend time and effort into making each piece, for the pottery will bring success and wealth. Further research will perhaps give us a better understanding of the many ways Hopi pottery has been influenced by the contact zone between the Hopi Indians and other non-Native American groups.
Works Cited
Bartlett, Katherine. "A History of Hopi Pottery." Plateau-Flagstaff, Arizona 49 (1977): 2-13.
Bassman, Theda. Treasures of the Hopi. Flagstaff: Northland, 1997.
McGee, Ron. "McGee’s Indian Art Gallery: Hopi Kachinas, Jewelry, Pottery, Baskets." 1999. http://www.hopiart.com/about.htm
Pratt, Mary Louise. "Arts of the Contact Zone." Profession 91: 33-40.
One of the things I found was The clothes worn by the men included loincloths or short kilts which were made from a long rectangular piece of animal skin or cloth which was worn between the legs and tucked over a belt. The men started to wear cotton shirts and shorts, and a headband They wore moccasins made of soft leather. The type of clothes worn by the women of the Hopi tribe were cotton dresses called mantas which were fastened at a woman's right shoulder, leaving her left shoulder bare. Early women’s clothes included a dark blue woollen blanket that was fastened above the right shoulder and tied with a belt at the waist. When Hopi girls reach womanhood, their hair was dressed in two large whorls at the side of the head in a squash blossom.
Kathryn book Life in the Pueblo is based on excavations that she did at Lizard Man Village (Kamp, 1997). This was a small pueblo located in Arizona which is believed to be inhabited between 11th and 13th century. These ancient excavations were first carried out by United States Forest Service and were parts of Grinnell College field school (Kamp, 1997). The aim of the book was to describe Lizard Man Village and present excavation processes and analysis. Kamp 1997 offers archaeological interpretation of the site in relation to the past understandings. She bring out successfully three narratives. These narratives include ethnographic data in relationship to traditional accounts from Hopi (a place which is believed to be the first resident of Lizard Man) (Kamp, 1997). He also bring out clearly the issue of archaeology as well as fictional account basing it on both ethnography and archaeology.
The Tohono O’odham tribe has been weaving baskets for at least 2000 years. Although the reason for weaving has changed through the years the Tohono O’odham are still using the same weaving styles as their ancestors. Basket weaving for the Tohono O’odham has gone from an everyday essential to a prestigious art form. Basket weaving for the Tohono O’odham represents an active way of preserving their culture, valuing traditions, and creating bonding ties within the tribe; consequently weaving has transcended into an economic resource.
According to tribal legend, “when the life force of the universe first called into earth, the ancient forebears of the Quapaw people were adrift in the froth of the sea. In time, they say, the breath of the sky set them ashore on the glistening coast.” Tradition, as well as historical and archeological evidence says that these tribes of people were wandering the Ohio Valley well before the 15th century. The Quapaw Tribe of Indians, also known as the O-Gah-Pah, or several other translations of the word which in general terms means “downstream people” or the “ones from downstream”, along with their Dhegiha Sioux kinsmen (the Osage, Ponca, Kansa, and Omaha) attained a cultural level of excellence that was only surpassed by the tribes in central Mexico and Peru. The Quapaw Tribe of Indians, history, culture, values, strength, and perseverance have allowed them to stay united as a tribe and sets them apart from other Indian tribes, although they deserve a better fate (Baird “The Quapaw People” 2).
in the region began to develop prior to and upon the arrival of the “Paleo-Indian tribe, circa 7000 B.C. to 4500 B.C.”
The Arts of the Contact Zone by Mary Louise Pratt opened up a whole new concept for our class. The new term “contact zone” appeared and Pratt defined it as "social spaces where cultures meet, clash, and grapple with each other, often in contexts of highly asymmetrical relations of power, such as colonialism, slavery, or their aftermaths as they are lived out in many parts of the world today." The idea of the contact zone is intended in part to contrast with ideas of community that trigger much of the thinking about language, communication, and culture.
Mary Louise Pratt wrote the essay “Arts of the Contact Zone” with the purpose of explaining that society would benefit if people were exposed to and understood the concept of “contact zones”. She refers to contact zones as social spaces where cultures meet and clash with each other, usually with one culture being dominant over the other. A person living in a contact zone is exposed to two different cultures, two different languages, and as a result is presented with a struggle in each culture to maintain themselves. From being surrounded by several different cultures, people begin to integrate the concept of transculturation—a process in which subordinate cultures evolve by taking things from dominant, more advanced cultures, and make it their own. She also calls to attention the error of assuming that people in a community all speak the same language and all share the same motives and beliefs. Pratt insists that education and society must be reformed in such ways that introduce people to the principles of contact zones in order to gain mutual understanding of each other and acquire new wisdom. In order for this mutual understanding to be achieved, the subordinate cultures that exist need to be able to make their voices heard; this leads to the improvement of society as a whole.
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