| Dimensions | 7.5 × 7.5 × 6 in |
|---|---|
| Condition of Piece | Very good, pitting and normal wear |
| Date Born | 1975 |
| Signature | Stella Shutiva Acoma, N. Mex. |
Stella Shutiva, rsac2k200: Bowl with applique snake
$995.00
A polychrome bowl with two painted snake appliques and a painted geometric design
In stock
Brand
Shutiva, Stella
Stella Shutiva (1939-1997) was the youngest of the daughters of Acoma Pueblo pottery matriarch Jessie Garcia. Her older sister was Anita Lowden and her sister-in-law was Sarah Garcia, a potter originally from Laguna Pueblo (Sarah moved to Acoma after she married Stella's brother, Chester).
Stella credited her mother, Jessie Garcia, with reviving corrugated pottery. In ancient times, corrugated pottery was useful in cooking because it distributed heat more evenly and the rough surface gave better handholds. Prehistoric potters made their corrugated wares by pinching each coil with their fingers as they were building the piece, one coil at a time. In modern times, each coil is left unsmoothed on the exterior, then textured all at once with a pointed tool before it is set aside to dry. To do this, the coils need to be made precisely, there's little room for error. Stella said, "I wondered if I could ever do it. If I just watch Mom, it's hard to learn my own way. So I had to do it myself. It took almost four years." She was once accused of using a cake decorator to do her texturing. After she died her husband, Ernest, gave her tools to their daughter, Jackie. Among them was an octagon-shaped carpenter's pencil that she used to shape her corrugations.
Stella made traditional polychrome and corrugated whiteware jars, wedding vases, bowls, plates, canteens, animal and human figures and white corrugated owls.
Stella was one of the artists chosen to participate in the One Space: Three Visions exhibition at the Albuquerque Museum in 1979. She also was a participant in the 1981 American Indian Art in the 1980s exhibition at the Native American Center for the Living Arts in Niagara Falls, NY.
Stella was an exhibitor at the Santa Fe Indian Market for more than 20 years, earning multiple ribbons in that time. She also participated in the Gallup InterTribal Ceremonials for almost 20 years, earning more ribbons for her pottery.
Stella passed her knowledge and skills on to her daughters, Jackie and Sandra Shutiva and to Sandra's husband, Wilfred Garcia.
Stella credited her mother, Jessie Garcia, with reviving corrugated pottery. In ancient times, corrugated pottery was useful in cooking because it distributed heat more evenly and the rough surface gave better handholds. Prehistoric potters made their corrugated wares by pinching each coil with their fingers as they were building the piece, one coil at a time. In modern times, each coil is left unsmoothed on the exterior, then textured all at once with a pointed tool before it is set aside to dry. To do this, the coils need to be made precisely, there's little room for error. Stella said, "I wondered if I could ever do it. If I just watch Mom, it's hard to learn my own way. So I had to do it myself. It took almost four years." She was once accused of using a cake decorator to do her texturing. After she died her husband, Ernest, gave her tools to their daughter, Jackie. Among them was an octagon-shaped carpenter's pencil that she used to shape her corrugations.
Stella made traditional polychrome and corrugated whiteware jars, wedding vases, bowls, plates, canteens, animal and human figures and white corrugated owls.
Stella was one of the artists chosen to participate in the One Space: Three Visions exhibition at the Albuquerque Museum in 1979. She also was a participant in the 1981 American Indian Art in the 1980s exhibition at the Native American Center for the Living Arts in Niagara Falls, NY.
Stella was an exhibitor at the Santa Fe Indian Market for more than 20 years, earning multiple ribbons in that time. She also participated in the Gallup InterTribal Ceremonials for almost 20 years, earning more ribbons for her pottery.
Stella passed her knowledge and skills on to her daughters, Jackie and Sandra Shutiva and to Sandra's husband, Wilfred Garcia.
A Short History of Acoma Pueblo
According to Acoma oral history, the sacred twins led their ancestors to "Ako." Ako turned out to be a magical mesa composed mostly of white rock. There the sacred twins instructed the ancestors to make that mesa their home. Acoma Pueblo is called "Sky City" because of its position atop the high mesa.
Acoma, Old Oraibi (at Hopi) and Taos all lay claim to being the oldest continuously inhabited community in the U.S. Those competing claims are hard to settle as each village can point to archaeological remnants close by to substantiate each village's claim. Acoma is located about 60 miles west of Albuquerque in a landscape littered with the ruins of ancient pueblos, many more than 1,000 years old.
The people of Acoma have an oral tradition that says they've been living in the same area for more than 2,000 years. Archaeologists feel more that the present pueblo was established near the end of the major migrations in the 1200 and 1300s. The location is essentially on the boundary between the Mogollon (Mimbres), Hohokam (Salado) and Anasazi (Ancestral Puebloan) cultures. Each of those cultures has had an impact on the styles and designs of Acoma pottery, especially since modern potters have been getting the inspiration for many of their designs from pot shards they have found while walking on pueblo lands.
Francisco Vasquez de Coronado ascended the cliff to visit Acoma in 1540. He afterward wrote that he "repented having gone up to the place." But the Spanish came back later and kept coming back.
Around 1598 relations between the Spanish and the Acomas took a nasty turn with the arrival of Don Juan de Oñaté and the soldiers, settlers and Franciscan monks that accompanied him. After making the arduous ascent to the mesa top, de Oñaté decided to force the Acomas to swear loyalty to the King of Spain and to the Pope. When the Acomas realized what the Spanish meant by that, a group of Acoma warriors attacked a group of Spanish soldiers and killed 11 of them, including one of de Oñaté's nephews.
De Oñaté retaliated by attacking the pueblo. His troops burned most of it and killed more than 600 people. Another 500 people were imprisoned by the Spanish. Males between the ages of 12 and 25 were sold into slavery. 24 men over the age of 25 had their right foot amputated. Many of the women over the age of 12 were also forced into slavery. Most were parceled out among Catholic convents in Mexico City.
Two Hopi men were also captured at Acoma. The Spanish cut one hand off of each and sent them home to spread the word about Spain's resolve to subjugate the inhabitants of Nuevo Mexico. Spanish monks did make the trip a few years later but Spanish military made hardly an appearance in Hopiland.
When word of the massacre (and the punishments meted out after) got back to King Philip in Spain, he banished Don Juan de Oñaté from Nuevo Mexico. Some Acomas had escaped that fateful Spanish attack and returned to the mesa top in 1599 to begin rebuilding.
In 1620 a Royal Decree was issued which established civil offices in each pueblo and Acoma got its first governor. That didn't help the people any as those appointed to the government positions were also those most on the take with the Spanish authorities. By 1680, the situation between all of the pueblos and the Spanish had deteriorated to the point where the Acomas were extremely willing participants in the 1680 Pueblo Revolt.
After the successful Pueblo Revolt pushed the Spanish back to Mexico, refugees from other pueblos began to arrive at Acoma. Most feared the eventual Spanish return and probable reprisals. That strained the resources of Acoma badly. Then the Spanish returned in force and residents of the pueblo had to make a hard decision. Many of the refugees chose to try a peaceful solution: they relocated north to the ancient Laguna area and made peace with the Spanish as soon as they reappeared in the region. Acoma held out against the Spanish for awhile but soon capitulated.
Over the next 200 years, Acoma suffered from breakouts of smallpox and other European diseases to which they had no immunity. At times they would side with the Spanish against nomadic raiders from the Ute, Apache and Comanche tribes. Eventually New Mexico changed hands. Then the railroads arrived and Acoma became dependent on goods made in the outside world.
For many years the villagers were content on the mesa. Now most live in villages on the valley floor where water, electricity and other necessities are easily available. A few families still make their permanent home on the mesa top. The old pueblo is used almost exclusively these days for ceremonial celebrations.
For more info:
Acoma Pueblo at Wikipedia
Pueblo of Acoma official website
Pueblos of the Rio Grande, Daniel Gibson, ISBN-13:978-1-887896-26-9, Rio Nuevo Publishers, © 2001
Acoma & Laguna Pottery, Rick Dillingham with Melinda Elliott, ISBN 0-933452-32-2, School of American Research Press, © 1992
Upper photo courtesy of Marshall Henrie, Creative Commons Attribution-Share Alike 3.0 Unported License
About Western Keresan Designs
Those of the Western Keres tradition have a plethora of traditional designs. A reason for that is they have occupied a region on the boundary between the Mogollon cultures to the south and the Ancestral Puebloan cultures to the north. And some of them have been living and working in the same place for a thousand years or more. They have also 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 have moved around more than the Acomas.
Because Acoma and Laguna are located in that boundary area between Chaco Canyon influence to the north and Mogollon-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 almost everywhere, just waiting to be picked up by someone, have their designs copied and revived, and their most basic constituents ground and mixed with fresh clay and to 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 before 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 Bowls
The bowl is a basic utilitarian shape, a round container more wide than deep with a rim that is easy to pour or sip from without spilling the contents. A jar, on the other hand, tends to be more tall and less wide with a smaller opening. That makes the jar better for cooking or storage than for eating from. Among the Ancestral Puebloans both shapes were among their most common forms of pottery.
Most folks ate their meals as a broth with beans, squash, corn, whatever else might be in season and whatever meat was available. The whole village (or maybe just the family) might cook in common in a large ceramic jar, then serve the people in their individual bowls.
Bowls were such a central part of life back then that the people of the Classic Mimbres society even buried their dead with their individual bowls placed over their faces, with a "kill hole" in the bottom to let the spirit escape. Those bowls were almost always decorated on the interior (mostly black-on-white, color came into use a couple generations before the collapse of their society and abandonment of the area). They were seldom decorated on the exterior.
It has been conjectured that when the great migrations of the 11th, 12th, 13th and 14th centuries were happening, old societal structures had to change and communal feasting grew as a means to meet, greet, mingle with and merge newly arrived immigrants into an already established village. That process called for larger cooking vessels, larger serving vessels and larger eating bowls. It also brought about a convergence of techniques, styles, decorations and design palettes as the people in each locality adapted. Or didn't: the people in the Gallina Highlands were notorious for their refusal to adapt and modernize for several hundred years. They even enforced a No Man's Land between their territory and that of the Great Houses of Chaco Canyon, killing any and all foreign intruders. Eventually, they seem to have merged with the Towa as those people migrated from the Four Corners area to the southern Jemez Mountains.
Traditional bowls lost that societal importance when mass-produced cookware and dishware appeared. But, like most other Native American pottery in the last 150 years, market forces caused them to morph into artwork.
Bowls also have other uses. The Zias and the Santo Domingos are known for their large dough bowls, serving bowls, hair-washing bowls and smaller chili bowls. Historically, these utilitarian bowls have been decorated on their exteriors. More recently, they've been getting decorated on the interior, too.
The bowl has also morphed into other forms, like Marilyn Ray's Friendship Bowls with children, puppies, birds, lizards and turtles playing on and in them. Or Betty Manygoats' bowls encrusted with appliqués of horned toads or Reynaldo Quezada's large, glossy black corrugated bowls with custom ceramic black stands.
When it comes to low-shouldered but wide circumference ceramic pieces (such as many Sikyátki-Revival and Hawikuh-Revival pieces are), are those jars or bowls? Conjecture is that the shape allows two hands to hold the piece securely by the solid body while tipping it up to sip or eat from the narrower opening. That narrower opening, though, is what makes it a jar. The decorations on it indicate that it is more likely a serving vessel than a cooking vessel.
This is where our hindsight gets fuzzy. In the days of Sikyátki, those potters used lignite coal to fire their pieces. That coal made a hotter fire than wood or manure (which wasn't available until the Spanish brought it). That hotter fire required different formulations of temper-to-clay and mineral paints. Those pieces were perhaps more solid and liquid resistant than most modern Hopi pottery is: many Sikyátki pieces survived intact after being slowly buried in the sand and exposed to the desert elements for hundreds of years. Many others were broken but were relatively easy to reassemble as their constituent pieces were found all in one spot and they survived the elements. Today's pottery, made the traditional way, wouldn't survive like that. But that ancient pottery might have been solid enough to be used for cooking purposes, back in the day.
Juana Garcia Family Tree - Acoma Pueblo
Disclaimer: This "family tree" is a best effort on our part to determine who the potters are in this family and arrange them in a generational order. The general information available is questionable so we have tried to show each of these diagrams to living members of each family to get their input and approval, too. This diagram is subject to change should we get better info.
- Juana Garcia (1890-1988)
- Jessie Garcia (1910s-1990s)
- Anita Garcia Lowden (1930s-1970s)
- Patricia Lowden (1960-)
- Chester Garcia & Sarah Garcia (Laguna)(1928-2015)
- Debbie Brown (1962-)
- Donna G. Chino (1950s-) & Darrell Chino (1959-)
- Goldie Hayah (1956-)
- Stella Shutiva (1939-1997) & Ernest Shutiva (1930s-)
- Jackie Shutiva [Histia][Montano] (1961-)
- Sandra Shutiva & Wilfred Garcia (1954-2017)
- Marcus Garcia & Virginia Garcia
- Shelly R. Garcia
- Lori Garcia
- Tina Garcia
- Anita Garcia Lowden (1930s-1970s)
