| Dimensions | 11.25 × 3.75 × 2.25 in |
|---|---|
| Condition of Piece | Very good, intentional weathering |
| Signature | Kanteena Laguna, NM |
Michael Kanteena, lkla2l301: Black and white ladle with bird handle and geometric design
$750.00
A black-on-white ladle with a sculpted bird handle and decorated with a painted Mimbres turkey, bird footprints, checkerboard and geometric design
In stock
- Product Info
- About the Artist
- Home Village
- Cultural Source
- Design Source
- About the Shape
- About the Design
Brand
Kanteena, Michael
Michael Kanteena was born into Laguna Pueblo in 1959. He's said he's always had an interest in pottery, fueled by the potsherds he's found all over the Laguna landscape.
Michael graduated from Eastern New Mexico University with a BA in Fine Arts in 1981. Then he returned to Laguna and began recreating historic and prehistoric styles of pottery and decorating them with design motifs from the prehistoric Anasazi and Mimbres cultures. Many of his creations are almost indistinguishable from pottery made 500 or more years ago.
He says his inspiration comes from Mesa Verde, Chaco, Mimbres and other Ancestral Puebloan pottery. He merges the influences of past and present into his contemporary creations, thereby making his work very distinct from other pueblo potters. Michael also creates distinctive pottery inspired by katsina dolls and masks.
Michael's work is shown at the Maxwell Museum in Albuquerque and the Wheelwright Museum in Santa Fe. He has participated in shows like the Santa Fe Indian Market and the Heard Museum Guild Indian Fair and Market, earning ribbons in almost every show. The Heard has even honored him with the Wingspread Collector's Guide Award of Excellence and the prestigious Judge's Choice ribbon.
These days, after his studies of multiple ancient cultures, he may create a contemporary effigy based on a Toltec theme and decorate it with Chacoan designs, or a contemporary canteen with a bighorn ram effigy spout and the whole decorated with Mimbres designs.
Michael graduated from Eastern New Mexico University with a BA in Fine Arts in 1981. Then he returned to Laguna and began recreating historic and prehistoric styles of pottery and decorating them with design motifs from the prehistoric Anasazi and Mimbres cultures. Many of his creations are almost indistinguishable from pottery made 500 or more years ago.
He says his inspiration comes from Mesa Verde, Chaco, Mimbres and other Ancestral Puebloan pottery. He merges the influences of past and present into his contemporary creations, thereby making his work very distinct from other pueblo potters. Michael also creates distinctive pottery inspired by katsina dolls and masks.
Michael's work is shown at the Maxwell Museum in Albuquerque and the Wheelwright Museum in Santa Fe. He has participated in shows like the Santa Fe Indian Market and the Heard Museum Guild Indian Fair and Market, earning ribbons in almost every show. The Heard has even honored him with the Wingspread Collector's Guide Award of Excellence and the prestigious Judge's Choice ribbon.
These days, after his studies of multiple ancient cultures, he may create a contemporary effigy based on a Toltec theme and decorate it with Chacoan designs, or a contemporary canteen with a bighorn ram effigy spout and the whole decorated with Mimbres designs.
A Short History of Laguna Pueblo
After the Pueblo Revolt of 1680, many pueblo people were fearful of Spanish reprisals. Spanish militias returned in 1681, 1682, 1685 and again in 1689. That first return brought them as far north as Isleta and that pueblo was attacked, looted and burned. The second return saw troops marching up to Santa Ana and San Felipe, attacking, looting and burning both. In those years, when the Puebloans became aware of approaching Spanish forces they mostly scattered into the mountains and the Spanish found empty villages, easy to loot and easy to burn.
When Don Diego de Vargas marched north in 1692, he was intent on reconquering Nuevo Mexico and re-establishing a long-term Spanish presence there. As the conquistadors who accompanied him were on a "do-or-die" mission, the reconquest took on a tenor quite different from the previous missions...
At first de Vargas followed a path of reconciliation with the pueblos but that was soon replaced with an iron fist that brought on a second revolt in 1696. The pueblos didn't fare so well the second time around and a large number of Pueblo warriors were executed while their wives and children were forced into slavery. When word of de Vargas' actions got back to the King of Spain, he ordered de Vargas banned from the New World. However, most of the damage was already done.
Many modern historians say Laguna Pueblo was established between 1697 and 1699 by refugees seeking to avoid fighting with the Spanish. Many of those refugees had left the first pueblos approached by the Spanish in 1692. First they scattered to more remote places like Acoma, Zuni and Hopi, or to more Spanish-friendly Isleta. However, the pressure of those refugees strained the resources of the other pueblos and quickly forced the refugees to consider starting a new existence in a newly-formed pueblo. The area of Laguna had been settled several hundred years previously by some ancestors of today's tribe. Other ancestors arrived during the periods of great drought that brought the Ancestral Puebloans (Anasazi) down from the Four Corners area to the areas where we now find the Rio Grande Pueblos. Some of the land under Laguna control has also been found to contain archaeological resources dating as far back as 3,000 BCE.
The prehistoric village of Pottery Mound is located just east of today's Laguna Pueblo boundary on Isleta land. Some archaeologists have said that Pottery Mound has more different shapes and forms of pottery and more designs on it than any other pottery center in the Rio Grande area. Pottery Mound was abandoned before the Spanish first arrived but archaeologists have followed the tracks left by Pottery Mound styles, shapes and designs to settlements in the Hopi mesas and the Four Corners area.
Life was relatively quiet at Laguna until the 1860s. That's when the US Government started looking for a southern route to run a railroad across America to the Pacific Coast. The first route chosen ran right across Laguna Pueblo, not far from the village itself. The Marmon brothers, Presbyterian missionaries who were also land surveyors, were sent to Laguna to proselytize and to work as surveyors. Both brothers married prominent women in the pueblo and come 1872, one of them was elected President of Laguna Pueblo. He immediately acted to destroy the remaining kivas on pueblo land. That forced a schism in the tribe and many of the fundamentalists (as in: traditional Lagunas) relocated downstream and built a pueblo with kivas at Mesita.
After more interference from the Christian government at Old Laguna, many of the Mesita folks packed up and headed for Sandia Pueblo. But they chose to travel via Isleta Pueblo and ended up stuck there: Isleta offered them refuge only if they guaranteed their clan ritual masks (and other accoutrements) would remain at Isleta forever. A few years later there were problems at Isleta and some of the Lagunas returned to Mesita while most of the others moved northeast on Isleta land and built a couple of smaller pueblos nearer to the mountains.
Over time, several villages were established in the area around Old Laguna and when the Lagunas were granted their own reservation, they were given about 500,000 acres of land. That made Laguna one of the largest of all pueblos in terms of land. However, today only about half the enrolled members of the tribe live at Laguna as many have been drawn to nearby Albuquerque in search of work.
In the 1950s uranium was discovered on Laguna land and after forcing negotiations with the tribal council, a huge open-pit mine was developed near Paguaté. That provided good-paying jobs for a few years but it also contaminated their water and land with radioactive pollutants. Cleanup happens at a snail's pace but is supposedly ongoing.
Today Laguna operates a number of commercial and industrial enterprises, including the Route 66 Casino and Resort along Interstate 40 on the west bank of the Rio Puerco.
For more info:
Laguna Pueblo at Wikipedia
Pueblo of Laguna official website
Discovering the Two-Spirit Artistry in the History of the Pueblo Pottery Revival, by Will Roscoe, © Feb. 2017
About the Mimbres Culture
The Mimbres culture existed in the Mimbres Valley of southern New Mexico from about 850 CE to about 1150 CE. They were a sub-culture of the greater Mogollon culture that extended from the west coast of Mexico east across the Sierra Madre Mountains, north to the San Andres Mountains and northwest along the Mogollon Rim to the vicinity of today's Springerville, AZ.
North of the Gila Mountains was the influence of the Great Houses of the Chaco culture. Through comparisons of imagery and the colors used, it has been conjectured that Chaco was a more male dominant society while Mimbres was more female dominant. Both areas were settled, built, flowered and abandoned on almost exactly the same time schedules. But at the time of abandonment, the folks of Chaco mostly moved north while those of the Mimbres valley mostly went south.
The Mimbres people were among the first cultures that evolved their own forms of imagery and means of telling stories through those images. The Classic Mimbres period was the height of their creativity, from about 1000 CE to about 1150 CE. Then things changed and migrations began in earnest. Many moved south and brought some of their art to Paquimé. Others pushed north and then west, around the Gila Mountains. By 1200 CE the vast majority of the people in the area of the Mimbres Valley had moved elsewhere.
Most Mimbres pottery was black-on-white. Around 1120 CE there was an influx of migrants from Hohokam and Salado areas to the west. That's about when the first black-on-red pottery appeared in the Mimbres villages. Some of the imagery we see today from many of the Northern and Middle Rio Grande pueblos had its origins in the Mimbres Valley.
Substantial depopulation of the area occurred shortly after 1150 CE but there were many small surviving populations scattered around. Over time, these melted into the surrounding cultures with many families moving north to Acoma, Zuni and Hopi while others moved south to Casas Grande and Paquimé.
The greater Mogollon culture spanned the countryside from the west coast of Mexico east across the Sierra Madre to Paquimé, then north through the Mimbres Valley to the edge of the White Sands and then northwest along the Mogollon Rim into east-central Arizona.
The time period from about 850 CE to about 1000 CE is classed the Late Basketmaker III period across the Southwest. The time period was characterized by the evolution of square and rectangular pithouses with plastered floors and walls. Ceremonial structures were generally dug deep into the ground. In the Mimbres Valley area, local forms of pottery have been classified as early Mimbres black-on-white (formerly Boldface Black-on-White), textured plainware and red-on-cream.
The Classic Mimbres phase (1000 CE to 1150 CE) was marked with the construction of larger buildings in clusters of communities around open plazas. Some constructions had up to 150 rooms. Most groupings of rooms included a ceremonial room, although smaller square or rectangular underground kivas with roof openings were also being used. Classic Mimbres settlements were located in areas with well-watered floodplains available, suitable for the growing of maize, squash and beans. The villages were limited in size by the ability of the local area to grow enough food to support the village.
Pottery produced in the Mimbres region is distinct in style and decoration. Early Mimbres black-on-white pottery was primarily decorated with bold geometric designs, although some early pieces show human and animal figures. Over time the rendering of figurative and geometric designs grew more refined, sophisticated and diverse, suggesting community prosperity and a rich ceremonial life. Classic Mimbres black-on-white pottery is also characterized by bold geometric shapes executed with refined brushwork and very fine linework. Designs may include figures of one or more humans, animals or other shapes, bounded by either geometric decorations or by simple rim bands. A common figure on a Mimbres pot is the turkey, others are the thunderbird, rabbit and various anthropomorphic, half-human figures. There are also a lot of different fish depicted, some are species found only in the Gulf of California (hundreds of miles away across the desert).
A lot of Mimbres bowls (with kill holes) have been found in archaeological excavations but most Mimbres pottery shows evidence it was actually used in day-to-day life and wasn't produced just for burial purposes.
There's a lot of speculation as to what happened to the Mimbres people as their countryside was rapidly depopulated after about 1150 CE. The people of Isleta, Acoma and Laguna find ancient Mimbres pot shards on their pueblo lands, indicating that pottery designs from the Mimbres River area migrated north. There are similar designs found on pot shards littering the ground around Casas Grandes and Paquimé near Mata Ortiz and Nuevo Casas Grandes in northern Mexico. Other than where they went, the only reasons offered for why they left involve at least small scale climate change. The usual comment is "drought" but drought could have been brought on by the eruption of a volcano on the other side of the planet, or a small change in the El Nino-La Nina schedule. Whatever it was that started the outflow of people, it began in the Mimbres River area and spread outward from there. Excavations in the eastern Mimbres region (nearer to Truth or Consequences, New Mexico) have shown that the people adapted to new circumstances and that adaptation itself moved them closer into alignment with surrounding villages and cultures. Eventually they just kind of merged into the background population.
The groups that moved south and built up Paquimé and Casas Grandes became powerful and wealthy over the next couple hundred years. Then they seem to have lost a war in the mid-1400s and the survivors were forced to migrate to the west, to a land a bit more hospitable for them at the time. It's also quite possible that they were defeated by volcanic eruptions on the other side of the planet: the 1100s, 1200s and 1300s were a time of migration in many parts of the world because of continuing bad weather events. The Little Ice Age that saw temperatures in the Northern Hemisphere drop as much as 2°C began in the early 1300s and lasted into the mid 1800s. NASA feels that this was mostly a result of large volumes of volcanic aerosols being pumped into the atmosphere at the time.
About Western Keresan Designs
Those who speak Western Keres have a plethora of traditional designs. A reason for that is the people of Acoma have been living and working in the same place for almost a thousand years. And they have been making and breaking pottery the whole time. The area of Laguna has been more or less populated for a similar amount of time and, when populated, the Lagunas moved around more than the Acomas.
Acoma and Laguna are located in the boundary area with Chaco Canyon influence to the north and Mimbres Valley influence to the south. Designs and techniques have been coming and going across the landscape for many years. Over time, broken potsherds covered with multiple designs have fallen to the ground everywhere, just waiting to be picked up by someone, have their designs revived and their constituents ground and mixed with fresh clay and be reborn as pots again.
In the 1950s, that started happening a lot, potsherds being picked up and their designs revived, that is. Many of those designs have since been traced back to artisans in the Mimbres Valley working pre-1150 CE. They had a unique perspective on the birds, animals, insects and people of their world, and used that perspective to draw and paint unique patterns. Many of those patterns are still being recreated on pottery across the Pueblo world, but especially at Acoma and Laguna. Central to the design palette are stories from the adventures of the Twin Warriors. While some Flower World iconography is also present in the Acoma design palette, there is extremely little from the kachina cults of the Hopi and Zuni.
One of the more recent traditional Acoma designs is the parrot holding a twig with berries in its claws. Often there is a rainbow above or below the parrot. Parrots are not natural in New Mexico, they had to have been imported. Before about 1450 CE, there was a trade in parrots and macaws through Paquimé to regions in the north. The remains of macaws have been pretty common but the remains of green parrots have only been recovered from three pueblos: Cicuyé, Paquimé and Grasshopper Pueblo in Arizona. The ancient-most Acoma parrot design has a Mimbres/Mogollon heritage while the parrot most painted today looks more like it came from an Amish trader's box. And it likely did.
With the arrival of Spanish colonists in New Mexico, pueblo potters changed their pottery to meet the demands of a new market. Their shapes and designs changed with that. Everything changed again with the arrival of Amish traders with their enameled cookware in the 1850s. The "new" Acoma parrot was pictured on the boxes those pots came in. The parrot came into being around 1880 and has been in use so long now it is considered "traditional."
Pottery was always in production at Acoma but from about 1600 to about 1950, it was heavily influenced by colonial shapes and designs. Eventually, the potters were reduced to producing items for the tourist trade to make ends meet, and that didn't go over so well either. Their own interest in making pottery fell off. Lucy Lewis, Jessie Garcia and Marie Z. Chino started decorating their pieces with their new interpretations of ancient Mimbres, Tularosa and Cibola designs in the 1920s and interest, both outside and inside the pueblo, grew again from there.
Laguna was impacted more heavily by the newcomers. Two Methodist missionaries married women in the pueblo and one of them shortly had himself elected President of the Pueblo. One of the first things he did was order the destruction of all the kivas on Laguna Pueblo land. That caused a schism and many Lagunas relocated to Isleta for a number of years (some of them are still there).
The Southern branch of the Transcontinental Railroad ran across Laguna Pueblo, and offered jobs to many of the men. That essentially ended the making of pottery by most tribal members. Then uranium was discovered under pueblo lands and more men went to work mining for that. Only a couple families passed the traditional knowledge down, until it eventually reached Evelyn Cheromiah. Nancy Winslow, an Anglo woman from Albuquerque, helped Evelyn obtain a grant to teach pottery making on the pueblo and a small revival started from there. Laguna potters, too, work their designs from designs they find on potsherds they find lying on the ground around the old pueblos. Their designs are very much like those of Acoma, usually just with more white space and bolder lines.
About Utensils and Utilitarian Pottery
All pottery was purely utilitarian in the distant past. Dressing pottery up and decorating it is a relatively recent development. At the same time, the people of the pueblos have made (and still make) utensils and utilitarian pottery for more than 1500 years. Some modern potters have taken it upon themselves to recreate much of the ancient styles, shapes and designs, working with the same materials now as were used back then.
Hardly any of the modern Native American pottery will survive being used for cooking or serving food for long. The lone type of traditional pottery that would survive that is micaceous pottery, and not the surface-slipped kind but the full-body micaceous clay kind. There are still many people in northern New Mexico who say beans taste best when cooked in a micaceous clay pot. That requires a full body of micaceous clay.
In ancient days, though, they didn't have much choice with pots, pans and cooking or eating utensils. Utensils were made of wood, bone and fired clay. Cooking pots and serving bowls and platters were made of fired clay. Those that survived best were made of solid, high-density micacous clay. That kind of clay is possibly the hardest kind of clay for a traditional potter to work with: it is next to impossible to grind the clay into a fine powder because of the high concentration of mica.
About Geometric Designs
"Geometric design" is a catch-all term. Yes, we use it to denote some kind of geometric design but that can include everything from symbols, icons and designs from ancient rock art to lace and calico patterns imported by early European pioneers to geometric patterns from digital computer art. In some pueblos, the symbols and patterns denoting mountains, forest, wildlife, birds and other elements sometimes look more like computer art that has little-to-no resemblance to what we have been told they symbolize. Some are built-up layers of patterns, too, each with its own meaning.
"Checkerboard" is a geometric design but a simple black-and-white checkerboard can be interpreted as clouds or stars in the sky, a stormy night, falling rain or snow, corn in the field, kernels of corn on the cob and a host of other things. It all depends on the context it is used in, and it can have several meanings in that context at the same time. Depending on how the colored squares are filled in, various basket weave patterns can easily be made, too.
"Cuadrillos" is a term from Mata Ortiz. It denotes a checkerboard-like design using tiny squares filled in with paints to construct larger patterns.
"Kiva step" is a stepped geometric design pattern denoting a path into the spiritual dimension of the kiva. "Spiral mesa" is a similar pattern, although easily interpreted with other meanings, too. The Dineh have a similar "cloud terrace" pattern.
That said, "geometric designs" proliferated on Puebloan pottery after the Spanish, Mexican and American settlers arrived with their European-made (or influenced) fabrics and ceramics. The newcomers' dinner dishes and printed fabrics contributed much material to the pueblo potters design palette, so much and for so long that many of those imported designs and patterns are considered "traditional" now.
