The Indian Trader Newspaper – Celebrating 50 Years! – October 2019 Issue by IBuildMagazines.com

50 Years And Still Going Strong!

Volume 50, Number 10 / October 2019

The Rock Creek Incident See Page 14

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Post Office Box 518 / Cottonwood, AZ 86326

The Mexican War

At The Halls of Montezuma

Blackfeet Artist Takes Top Prize at the

98th Santa Fe Indian Market See Page 8

Indian Trader Newspaper

$ 50 PER COPY

See Page 6

The Kachinas Are Coming See Page 10

Comanche Dance. Hopi Katsina Dance as performed in 2015. Art by Neil David Sr.

November 2015

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October 2019 THE INDIAN TRADER

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Monacan Tribe UnderFive Attack in Virginia �� The Richardsons: Generations of Navajo Traders ................................................55 Upcoming Events & Shows �� Upcoming Events & Shows ......................................................................................66 The Mexican War:on At The Halls of Montezuma Walking Rocks Land – Maybe When�� Hell Freezes Over! ......................................86 Blackfeet Artist TakesHighlight Top Prize atthe theAutumn 98th Santa2015 Fe Indian Market... �� Premiere Events Auction & Show Season ....................108

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The Rock Creek Incident... �� 14 Classifieds ..............................................................................................................18

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US Periodicals Postage. Paid at Cottonwood, AZ, ©1998 by THE INDIAN TRADER. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronically or mechanical, without the written permission from the publisher. Published monthly by Indian Trader, Cottonwood, Arizona 86326.

THE INDIAN TRADER October 2019

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October 2019 THE INDIAN TRADER

THE INDIAN TRADER October 2019

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Monacan Tribe Under Attack in Virginia Pumping Station Planned at Ancestral Capital and Ancient Gravesites By Tom Surface

The Monacan Nation of Virginia is fighting the James River Water Authority (JRWA) and local county governments over a planned water pumping station at Rassawek – the former capital and most historically significant site of the tribe. Rassawek, today known as Point of Forks on modern maps, has been inhabited for more than 5,000 years and was included on the initial map of Virginia made by Captain John Smith in 1612. The site is important to the JRWA for the same reason it was important to the Monacans: It sits at a strategic location at the confluence of the James and Rivanna rivers in central Virginia southeast of Charlottesville, VA. The Monacan Nation and its supporters staunchly oppose the pumping project because they believe it will obliterate the remains of the ancient Monacan capital and destroy ancient gravesites. The Monacans argue that other sites for the pump station were considered, but Point of Forks is the least expensive option. The project has been in the works since 2003 and has received push back from residents, and elected officials have expressed hesitation in the past. Marion Werkheiser, the tribe’s attorney in its fight against the project, says that the JRWA reached out to the Monacan Nation in 2017 and only after it had picked the site and purchased the land. “It seemed as if the tribe was being offered an essentially limited opportunity to salvage a few artifacts and any bones that might be uncovered from graves,” she noted. Additionally, Ms. Werkheiser said, the tribe initially did not want to take its opposition public for fear of alerting looters to Rassawek’s location. However, as plans for the pump station marched forward, they concluded

that it was better to fight publically and risk desecration by grave robbers than to lose the site entirely. The JRWA pumping project already has received two permits from state agencies and is awaiting two more permits from state and federal agencies. A variety of state and federal laws and regulations require such projects to pay attention to such matters as environmental protection and mitigation of loss at historic sites. But these are not its primary concerns at present. The tribe and its supporters are hoping that the importance of the site will cause the Army Corps of Engineers to deny a permit under terms of the National Historic Preservation Act. Tribe members and preservationists also have petitioned Virginia Gov. Ralph Northam to intervene, although this is not an issue that lies within the governor’s usual jurisdiction. “So much of the history and footprint of Virginia’s first peoples has been destroyed. It’s tragic that yet another site is targeted by bulldozers,” noted a recent article in The Daily Progress, Charlottesville’s daily paper. “In my opinion, no amount of proposed mitigation can balance the destructive effects on this historic and this sacred site,” said Jeffery Hantman, a professor of anthropology at the University of Virginia. The Monacan Indian Nation is the largest federally recognized sovereign tribe in Virginia with more than 2,000 members. The tribe has survived over four hundred years since the first settlers landed at Jamestown. The Monacan Nation remains one of the few American Indian nations that continue to live in their ancestral homeland and has made significant contributions to the history of Virginia.

October 2019 THE INDIAN TRADER

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Due to possible website and show date changes, we urge you to verify dates before planning your trip. Thank you.

September 13–14 SMOKI MUSEUM NATIVE AMERICAN ART AUCTION R.B. BURNHAM AUCTIONEER Smoki Museum, Prescott, Arizona Info @ 928-445-1230 September 20–22 PRESCOTT POW WOW AT WATSON LAKE Watson Lake Park Info @ 928-445-1230 or 928-890-4373 September 28 FRIENDS OF HUBBELL NATIVE AMERICAN AUCTION R.B BURNHAM AUCTIONEER Gallup Community Services Bldg Gallup, New Mexico Info @ 505-922-1688 September 28-29 CHICKAHOMINY POW-WOW Chickahominy Fairgrounds Charles City, Virginia Info @ 804-557-3775 October 5 EITELJORG MUSEUM NAVAJO RUG AUCTION NATIVE ART AND JEWELRY SALE R.B BURNHAM AUCTIONEER 500 W. Washington St. Indianapolis, Indiana www.eiteljorg.org

October 12 WESTERN TRADING POST INDIAN ART AUCTION Casa Grande, Arizona Info @ 520-426-7702 November 2 PUEBLO GRANDE MUSEUM RUG AND INDIAN ART AUCTION R.B BURNHAM AUCTIONEER 4619 E. Washington Avenue Phoenix, Arizona www.pueblogrande.org November 7-8 NATIVE AMERICAN POW-WOW & CULTURE EXCHANGE Richmond, Virginia Info @ 252-532-0821 November 15–16 MAXWELL MUSEUM NAVAJO RUG AND ART AUCTION AND APPRAISAL CLINIC R.B BURNHAM AUCTIONEER Prairie Star Restaurant Bernalillo, New Mexico www.unm.edu/-maxwell November 16 WESTERN TRADING POST INDIAN ART AUCTION Casa Grande, Arizona Info @ 520-426-7702

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The Mexican War: At The Halls of Montezuma Chapultepec (Translation: “at the grasshopper hill”) rises 200 feet above the western edge of Mexico City. Its strategic importance was noted hundreds of years ago and was fortified by the Aztecs. Later a castle was built there, and the Mexican Academy took it over a few years before the Mexican War. In September 1847, advancing American troops, led by General Winfield Scott, had to pass Chapultepec to reach Mexico City. Five thousand Mexican troops stood ready at Chapultepec to stop them. The following excerpt is taken from the personal memoirs of future president Ulysses S. Grant, who was a second lieutenant at the time: During the night of the 11th, batteries were established which could play upon the fortifications of Chapultepec. The bombardment commenced early on the morning of the 12th, but there was no further engagement during this day than that of the artillery. General Scott assigned the capture of Chapultepec to General Pillow but did not leave the details to his judgement. Two assaulting columns, two hundred and fifty men each, composed of volunteers for the occasion, were formed. They were commanded by Captains McKinzie and Casey respectively. The assault was successful but bloody. (General) Worth’s command gradually advanced to the front. Later in the day, in reconnoitering, I found a church off to the south of the road, which looked to me as if the belfry would command the ground back of the garita San Cosme. I got an officer of the voltigeurs (sharp shooters), with a mountain howitzer and men to work it, to go with me. The road being in possession of the enemy, we had to take the field to the south to reach the church. This took us over several ditches breast deep in water and grown up with water plants. These ditches, however, were not over eight or ten feet in width. The howitzer was taken apart and carried by the men to its destination. When I knocked for admission a priest came to the door, who, while extremely polite, declined to admit us. With the little Spanish then at my command, I explained to him that he might save property by opening the door, and he certainly would save himself from becoming a prisoner, for a time at least; and besides, I intended to go in whether he consented or not. He began to see his duty in the same light that I did, and opened the door, though he did not look as if it gave him special pleasure to do so. The gun was carcontinued on page 17

THE INDIAN TRADER October 2019

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October 2019 THE INDIAN TRADER

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Blackfeet Artist Takes Top Prize at the 98th Santa Fe Indian Market By Tom Surface

Jackie Bread Wins “Best of Show” for Her Beadwork & Quillwork

Jackie Bread (Blackfeet), 2019 Santa Fe Indian Market Best of Show Winner. (Courtesy SWAIA)

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Jackie Bread (Blackfeet Tribe), for the second time in her career, walked away with the prestigious “Best of Show” award at the 2019 Santa Fe Indian Market. Her creation entitled: “Amskapipikuni Culture Keeper,” is an intricately beaded 22” x 19.5” portrait of a woman on cotton cloth, made with beads and freshwater pearls. Her winning entry also fetched her the $10,000 prize underwritten by The Dobkin Family Foundation. According to Ms. Bread, it is a portrait of Cecile Shildt, who was her family’s heart and soul keeper of the resilient Blackfeet culture and wisdom. “When I heard that the theme for this year’s Indian Market was the strength of Indian Women, I was so happy. My piece is of my great, great aunt. She was a strong woman, and a very, very kind one. It made me extra proud to present this work,” Ms. Bread explained. The portrait she created was a very tedious undertaking. It is made up of thousands of tiny glass beads about the size of pinheads. “I worked on it all summer. I didn’t work on anything else,” Ms. Bread admitted. This is her second “Best of Show” win. Ms. Bread also took top honors at the 2013 Santa Fe Indian Market. Since 1922, the annual event is held during the third weekend of August. This year, more than 1,100 Native artists representing some 200 tribes from across the U.S. and Canada gathered in Santa Fe to sell their artwork and unique creations. The 2019 Indian Market attracted somewhere around 150,000 visitors to Santa Fe from all over the world and the week-

THE INDIAN TRADER October 2019

long event generated an estimated $165 million into local economies. Buyers, collectors and gallery owners come to Indian Market to take advantage of the opportunity to buy directly from the artists. The Market is supported and produced by the Southwestern Association for Indian Arts (SWAIA). This year’s Market was the 98th edition of what is known as the world’s largest and most prestigious juried Native arts show in the world and the largest cultural event in the southwest. Throughout its long history, the Santa Fe Indian Market has awarded Best of Show winners to the nation’s most exceptional artists in a variety of juried categories. This year, more than 40 judges, all experts in various mediums, spent all day August 15 reviewing and critiquing this year’s entries and determining the winners. The announcement of the Best of Show, Best of Class, and Special Award winners was made at the Best of Show Luncheon on Friday August 16.

Here is a listing of the 2019 Santa Fe Indian Market Best of Class winners: Class I: Jewelry – Sarah Aragon (Diné) Class II: Pottery – Russell Sanchez (San Ildefonso Pueblo) Class III: Painting, Drawing, Graphics & Photography – Marwin Begaye (Diné) Class IV: Wooden Pueblo Figurative Carving & Sculpture – Aaron Honyumptewa (Hopi) Class V: Sculpture – Troy Sice (Zuni) Class VI: Textiles – Venancio Aragon (Diné) Class VII: Diverse Arts – Dana Warrington (Menominee/Potawatomi) Class VIII: Beadwork & Quillwork – Jackie Bread (Blackfeet) Class IX: Youth (artists aged 17 and under) – Robert Begay (Diné) Class XI: Basketry – Jeremy Frey (Passamaquoddy) 2019 Special Award Winners: Bernard Ewell Innovation Award: Thomas Farris Editor’s Choice Native American Art Magazine: Marla Allison Western Art Collector Magazine Editor’s Choice Award: Randall Brokeshoulder Peter Dechert Award: Mavasta Honyouti Helen Naha Memorial Award for Hopi Pottery: Deborah Clashin IAIA Distinguished Alumni Award: Monty Little

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Fest Parade begins as the Katsinam emerge from the kiva.

The Kachinas Are Coming By Ron Pecina and Isabella Pecina. Art by Neil David Sr.

The Pueblo people live along the Rio Grande Valley, the Zuni region to the southwest, and on the Hopi Mesas, the desolate extremes of Black Mesa, in Arizona. Without a written language, the history and traditions of the Pueblo people were passed to succeeding generations through oral recitations from clan elders and priests, and through the sacred dances and Katsina rituals. The first journals about the pueblo dwellers were written by Christian missionaries accompanying the intruding Spanish Conquistadors who entered the region in 1540. Unfortunately, these first observations of life of the people were biased in favor of Spanish Catholicism and European culture. Pueblo ceremonies, religious beliefs, and Katsina dances were looked on with disapproval as they contradicted Christian doctrine. In the last quarter of the nineteenth century, ethnologists Alexander Stephen, Jesse Fewkes, and Heinrich Voth became the first to carefully

document the religious ceremonies and Katsina dances of the Hopi Indians. However, a very limited pictorial account of these events was included. Since the opening decades of the twentieth century photographing the Katsinam and Katsina ceremonies has been forbidden. Paintings and drawings by Hopi artists, prominent among them Fred Kabotie, Raymond Naha, and Neil David Sr., document some of the rarely performed Katsina dances as well as some of the socially important outdoor celebrations of the Hopi. Katsinam, the plural of Katsina (although in general the public says Katsinas), are the Hopisâ€™ Spirit Beings and Messengers of the gods impersonated in performances. Since the Katsina dances are generally closed to outsiders, understanding of the Katsinam is gained primarily from books, paintings, and carvings of kachina dolls. Over 400 Katsinam have been identified; some appear on a regular basis each year, others possibly once

in a generation, while some are near forgotten. Traditionally, kachina dolls, or tithu, are given to the Hopi girls by the Katsinam during the celebrations. Examples of these carvings are seen in museums and are in demand by collectors and tourists. Kachina carvings have become a fine art form and have been a source of income for many Hopi artisans. Exhibits of Hopi arts in art galleries and art and crafts markets offer an excellent opportunity to acquaint us with and extend our understanding of the Katsinam and their role in traditional pueblo life. The Katsina season is rich with ceremonies and dances. It begins in December as winter approaches. Two major multiday celebrations are the Bean Dance, or Powamu, which takes place in late winter, and the Home Dance, or Niman, which closes the annual Katsinam visit to the Hopi in July. Following the Powamu, is the Drama of the Ogres, a disciplinary ritual focused

THE INDIAN TRADER October 2019

on the children. Then the colorful and more positive parade of Katsinam called the Fest Parade, a village-wide parade of a multitude of Katsinam takes place at the time of kiva Night Dances. FEST PARADE Following the Powamu and in preparation for the planting season, there are purification rituals held in the kivas. The kiva Night Dances are preceded by the Fest Parade where a large number and great variety of Hopi Katsinam parade throughout the villages. Katsinam emerge from the kiva (image on opposite page) and move towards the plaza where the visiting audience is gathered. The sounds of the approaching Katsinam echo through the narrow street from the far side of the plaza. Distant voices, hooting, and the sounds of dance rattles, turtle shells, and bells bring a spectator’s call: “the Katsinas are coming!” As the sounds grow louder, but before the Katsinam come in view, the young boys, still uninitiated in Katsina society, run home to hide. Having recently experienced a staged ceremony where the Ogre Katsinam declared that work and good behavior would protect the children from being taken away, it is no wonder that they would flee from a further encounter. The tranquil scene of the plaza rimmed with spectators changes when the Katsinam appear. They move in small groups throughout the plaza and then continue on their route through the village. Whipper Katsinam select audience members and give them several lashes with yucca fonds as a blessing. When the paraders complete their village circuit, they return to their kivas. After a rest period they will appear for another parade. Festivities continue with open-house feasts while the kivas are being prepared for the set of kiva Night Dances which will be presented by each kiva and performed throughout the night in all nine kivas.

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and second dancers. To his right, the Comanche leader wears his full war continued from page 11 bonnet. Three Koshari circle the dance group sprinkling them with sacred collection of his body of work ever assembled for public viewing. corn meal. They help coordinate the dance and remind all present—the This show continues to grow every year and is one of the celebration is to think rain throughout this festive occasion. top national antique events of its kind. Due to its Southwest location, the show traditionally has a unique American flavor SCALP DANCE leaning heavily on ceremonies early American artsand & continue crafts, Native Hopi outdoor abound along with the anAmerican, western fine art and ethnographic art, but with some nual cycle of the appearance of the Katsinam. One celebration (image on 200 dealers in attendance, it also offered items for everyone – top of page 13), which is not a Katsina ceremony, is the Scalp Dance. The from firstwas time buyer tointhe veteran buyer and serious Scalp the Dance performed many the of the pueblos. Warriors returncollectors. Even the very famous decorators and interior ing from battle carried trophies of scalps and sang of their bravery and designers the show, seeking just to of create conquests.attend Waiting and thankful forthe theright safetouch return the war parties, the “perfect” southwest or native motif for their clients. their women greeted the warriors with celebrations. Scalp dances held at This year, as in the past, the show also drew representatives some pueblos were part of the initiation into a war society. Women carried from many of the major international and domestic clothing the scalps in the victory dance, and then served as custodians of the scalps and jewelry designers and their buyers. Cowboys & Indians had throughout the year. something for everybody. By the end of the the show’s nineteenth scalpcustomers taking organizations had Proceeds from generalcentury admission this ceased to function, scalp taking was abolished, and the ceremony has taken year supported the show’s additional beneficiaries, VSA Arts of New on a different meaning in the dramatization of the battles and victory celMexico, University of New Mexico’s Popejoy Hall SchoolTime ebration returning Museum’s warriors. Magic On the First Mesa, the Scalp Series and of Thethe Albuquerque BusHopis’ Program. Dance is a celebration performed as a memorial to Hopi/Tewa warriors who have fought to defend their people. continued on page 14 continued on page 13

COMANCHE DANCE As the weather warms, the Katsina dances are held outdoors in the plaza. Sponsors of a dance select the Katsinam that will dance. Among the variety of dances which may be performed are those honoring one of the Hopis’ neighboring tribes. The Hopis assume the role and perform as a group of Comanche, Supai, Navajo, Zuni, or one of the Eastern Pueblo tribes. In the Comanche Dance, (image on page 12) the performers carry traditional warrior paraphernalia. Their headdresses include feathers of the Red-tailed Hawk, and they carry woven replicas of war shields in their left hand. Directing the dancers, the Katsina Father is between the first

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October 2019 THE INDIAN TRADER

Comanche Dance. Hopi Katsina Dance as performed in 2015.

THE INDIAN TRADER October 2019

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Hopi Scalp Dance as performed in 2017.

continued from page 11

According to the danceâ€™s origins, in Hopi legends, a child was abducted during one of the many Ute Indian raids on First Mesa. A retaliatory war party was formed and recovered the child, as well as the scalps of the Ute chief and his wife. Spider Woman warned the Hopi that the Utes would try to recapture the child. This caused more battles which the Hopi won. The Scalp Dance appeared as a victory celebration, although modern ceremonies have taken on added meaning. Today, the dance centers on unmasked couples made up of Hopi matrons (rather than the maidens who usually appear in the social dances) and their victorious male relatives. The songs sung during the dance focus on the unification of the peaceful Hopi and the Tewa people who joined together at Walpi and assisted in fighting Ute, Comanche, and Navajo raiders. Typically, two couples will dance. Each dance has 3 songs with 5 phases in each song; a dance may last up to 25 minutes. The celebration may continue into a second day since as many as thirty groups or more may dance. In this article we have selected a festive parade of Katsinam, a Katsina dance, and a sacred warrior ritual to give a visual-image sampling of the numerous and striking Hopi ceremonies. Many have been documented in exacting detail in the journals of the ethnologist who studied the Hopi culture in the late nineteenth century, but only a fraction of these studies included drawings or photographs. Since many of the Hopi ceremonies are closed to outsiders and taking photographs has not been allowed in over a century, paintings provide the only visual record we have in support of the narratives. Production and performance of Hopi celebrations has relied on the creative talents of the performers and producers supported with information from Hopi elders to preserve the traditional ceremony with its intended messages. Most importantâ€”for the Hopis, the Katsina ceremonies, sacred rituals, and social festivities are a vital unifying force in keeping alive the Hopi way of life. References: Pecina, R. and Pecina, B. Hopi Kachinas, History, Legends, and Art; Schiffer Publishing Titiev, M. Old Oraibi; University of New Mexico Press Wright, B. Kachinas, A Hopi Artistâ€™s Documentary; Northland Press

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October 2019 THE INDIAN TRADER

The Rock Creek Incident The legend of James Butler “Wild Bill” Hickok truly began with his gunfight against David Colbert McCanles at Rock Creek station, Nebraska. McCanles, the original owner of the property, was involved in a longstanding feud with the firm of Russell, Majors & Waddell. McCanles claimed the company was using his property without full reimbursement. On July 12, 1861, McCanles arrived at the station with several men to demand full payment. The company supervisor, Horace Wellman, was away, but Wellman’s wife, Hickok and others were inside the small building. McCanles walked through the door and threatened Hickok, demanding that he step out from behind a curtain or he would come in after him. Hickok told him that if he tried it, there would be “one less son of a bitch in the world.” McCanles tore back the curtain and Wild Bill put a bullet in his chest. McCanles staggered out, told his son to run, and fell dead. Above: In the ensuing fight, Hickok wounded James Woods, who was finished off David C. by Mrs. Wellman when she hacked him to death with a hoe. Hickok also wound- McCanles, alleged leader of the ed another man who was then killed by another employee. McCanles Gang, Wild Bill was officially cleared of the murder of McCanles, and the incident in 1860 was largely forgotten until 1867, when George W. Nichols penned a sensational “interview” with Hickok for Harper’s magazine. Titled “Wild Bill,” the article Right: James Butler was a fantastic blend of pulp fiction with a smattering of truth, in which the Hickok dreaded McCanles “gang” grew to 10 members and tried to hang a local preacher circa 1860s before launching its ill-advised attack on Hickok.

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THE INDIAN TRADER October 2019

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continued from page 6 ried to the belfry and put together. We were not more than two or three hundred yards from San Cosme. The shots from our little gun dropped in upon the enemy and created confusion. Why they did not send out a small party and capture us, I do not know. We had no infantry or other defenses besides our one gun. The effect of this gun upon the troops about the gate of the city was so marked that General Worth saw it from his position. He was so pleased that he sent a staff officer, Lieutenant Pemberton…to bring me to him. He expressed his gratification at the services the howitzer in the church steeple was doing, saying that every shot was effective, and ordered a captain of voltigeurs to report to me with another howitzer to be placed along with the one already rendering so much service. I could not tell the General that there was not room enough in the steeple for another gun, because he probably would have looked upon such a statement as a contradiction from a second lieutenant. I took the captain with me but did not use the gun. After two days of hard fighting, the Americans took Chapultepec, and then discovered that Mexico City itself had few defenses. The quick thinking of Ulysses Grant captured the attention of several superior officers, including Robert E. Lee, and earned him a promotion to captain. The capture of Mexico City effectively ended the Mexican War. Despite pressure from his Cabinet to advance and conquer all of Mexico, President James Polk decided the political risks weren’t worth the possible gain. The United States paid Mexico $15 million for the 525,000 acres that now include parts of Arizona, California, western Colorado, Nevada, New Mexico, Texas and Utah. Page 20

Joke of the Day Jose Jimenez is questioning Steve Allen and says, “I understand you own a ranch.” “Yes, the name of my ranch is the Bar Nine Circle Z Rocking O Flying W Lazy O Crazy Two Happy Seven Bar 17 Parallelogram Four Octagon Nine Trapezoid Six Ranch.” “Well, do you have many cattle?” “No, not many survive the branding.” August 2015

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