Encyclopedia of North American Indians -

Encyclopedia of North American Indians

Nampeyo

(1859?-1942)

Tewa-Hopi potter

Nampeyo was born in Hano (Tewa Village), First Mesa, on the Hopi Reservation in Arizona. Her mother was Qotca-ka-o, of the Corn clan at Hano, and her father was Qots-vema, a Hopi farmer from Walpi, another First Mesa village. Her paternal grandmother named her Tcu-mana ("Snake Girl") because her father belonged to the Snake clan; however, because she lived at Hano, her Tewa name, Num-pa-yu ("Snake That Does Not Bite"), was more commonly used. Hano was founded in 1696 by Tewa refugees who had fled west from the Rio Grande following the Pueblo Revolt. They maintained their language, Tewa, in their new home.

Although not much is known about Nampeyo's early life, there is no question that she spent considerable time at Walpi with her Hopi grandmother, a potter who encouraged Nampeyo to learn her craft. Nampeyo's initial vessels were miniatures; however, she quickly learned pottery making, and by the time she was a young woman she was considered one of the finest potters at First Mesa. Hano women at this time produced only undecorated utility wares. In contrast, Walpi potters produced "crackle ware," pottery that was first thickly slipped (a clay solution is added to the exterior of the pot, providing a smooth finish) and then painted in the "decadent" Hopi style, incorporating a number of Zuni and possibly Rio Grande Tewa designs. A natural artist, Nampeyo showed exceptional skill in shaping, designing, and decorating her pottery. She also began finishing and/or decorating all of the vessels shaped by her grandmother.

After August 31, 1875, when Thomas Keam established Keam's Canyon Trading Post twelve miles east of First Mesa, nonnative goods formerly rare in the area became available in exchange for Hopi handicrafts. Not surprisingly, Nampeyo found a ready market for her pottery at Keam's. Encouraged by the trader and the income she could derive from the trade, Nampeyo worked to improve upon the already fine quality of her work. In the 1870s, a member of the Hayden Survey party (which was lodged and fed by Nampeyo's brother, "Captain Tom," a village chief, for whom she kept house) described Nampeyo as a gracious hostess with considerable poise, possessing exceptional natural beauty. Her beauty reportedly doomed her first marriage, to Kwi-vo-ya, in 1879: apparently fearing that her beauty would cause another man to steal her away, Kwi-vo-ya did not move to Nampeyo's home following their marriage, as was the tribal custom. In 1881 Nampeyo married Lesso, from Walpi; this union lasted and produced five children.

Lesso became interested in Nampeyo's pottery and soon began assisting her. By 1890 most of her more exceptional vessels were being produced in the Walpi "crackle ware" style. But, more importantly, she had started producing a few vessels with the yellow surface color and designs derived from prehistoric Sikyatki pottery. Art historians posit that this Sikyatki revival occurred in 1895 during the excavation of Sikyatki, a Pueblo IV ruin. J. W. Fewkes, the archaeologist in charge, noted Nampeyo and Lesso busily copying designs from mortuary vessels on all sorts of paper, including soda-cracker wrappers. It is because Fewkes "allowed" this copying that he is usually credited with the Sikyatki revival. However, other scholars suggest dates earlier than 1895 for this movement, and in fact the use of Sikyatki designs quite likely predated Fewkes's excavations.

The revival of the Sikyatki style produced a renaissance in Hopi ceramics. Perhaps copying at first, Nampeyo gradually developed complete freedom in design and mastery of the Sikyatki style. She experimented with various clays until the yellow firing clay was located, and she learned to duplicate the traditional paints, surface characteristics, and graceful shapes. Walter Hough, who accompanied Fewkes, obtained several early revival pieces in 1896 for the Smithsonian Institution.

Other First Mesa potters became jealous because of the material benefits accruing to Nampeyo. To combat this development, she instructed a number of interested women in the "new" techniques she had perfected. Her students were then able to raise their economic level as well. Nevertheless, Nampeyo continued to surpass all others in creative ability and mastery of the Sikyatki style. Lesso continued his search for Sikyatki potsherds and vessels with different designs at many ruins. These materials added to Nampeyo's knowledge of the style, and her skill continued to grow until her work had a flowing quality characterized by the use of open space.

As her talent increased, Nampeyo's fame spread. Although she was unable to communicate in English, Nampeyo was asked to demonstrate her ceramic techniques and to pose for numerous photographs. Later the Santa Fe Railroad and the Fred Harvey Company used her image as the symbol of Hopi culture in advertisements for the Southwest. Additionally, Nampeyo and her family demonstrated ceramics for the Fred Harvey Company twice at Hopi House, Grand Canyon (1905, 1907), and once in Chicago at the Chicago Land Show (1910). Thus Nampeyo herself became an "attraction" and was labeled "the greatest maker of Indian pottery alive." Her husband was often billed as a "famous Indian dancer."

By 1910, Nampeyo's international reputation was drawing untold numbers of people to her home to view her at work and to make purchases. Soon Nampeyo was unable to keep up with increased demands for her pottery. She began to make smaller vessels, which took less time, and to commission family members to paint them.

The tourist demand for her work did not decrease until World War I brought about a decline in domestic travel. By the time the war ended Nampeyo had aged and her sight was failing. When Ruth Bunzel interviewed Nampeyo in 1924-25, she thought the Hopi potter was totally blind. Nampeyo's daughters, however, have stated that their mother never completely lost her sight. In any case, Nampeyo's poor eyesight meant that she could no longer decorate vessels, although she continued to form them. Initially Lesso, who had mastered his wife's style, painted her vessels. When Lesso died in 1932, their daughter Fannie did the painting. Many believe that Fannie was joined in this effort by her sisters, Annie and Nellie, who also were adept at copying their mother's decorative style.

Nampeyo's final years were spent under her children's care. She became quite childlike and often sat on the bed in her room, playing with various objects. She particularly enjoyed interacting with her grandchildren, each of whom had been encouraged to make pottery. They (including Rachel, Daisy, Elva, and Leah), like their mothers, became noted potters. Nampeyo herself continued to shape vessels almost until the day of her death, July 20, 1942.

During her lifetime, Nampeyo gained an international reputation by creating a renaissance in Hopi pottery. In spite of her fame, however, Hopis continued to view her as a typical resident of First Mesa. She participated in traditional ceremonial activities, food exchanges, and work parties. As an artist and potter, and one who taught her art to numerous other women, Nampeyo made an immeasurable contribution to her people, one that continues to be appreciated and admired.





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