Thursday, November 30, 2017

Blue Solar Monkey/ Blue Cosmic Night - Overtone Peacock Moon of Radiance, Day 16





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Rebecca Adamson



Rebecca Adamson (born 1950) is an American Cherokee businessperson and advocate. She is former director, former president, and founder of First Nations Development Institute and the founder of First Peoples Worldwide.

Life

Born in Akron, Ohio, to a Swedish American father and a Cherokee mother, Adamson grew up in Akron and spent summers with her Cherokee grandmother in North Carolina, where she learned about the history and culture of her Cherokee people. She holds a master of science in economic development from the Southern New Hampshire University in Manchester, New Hampshire, where she teaches a graduate course on indigenous economics.

Her work led to the first microloan fund in the United States associated with a reservation, the first tribal investment model. This was a national movement for reservation land reform, and legislation on federal trust responsibility for Native Americans.

Adamson's international work created the Lumba Aboriginal Community Foundation in Australia. It enabled the Sans Tribe to secure its traditional homelands in Botswana, Namibia, and southern Africa. She launched a strategy (that includes Alcoa, Texaco, Rio Tinto, Merck, Ford, and Occidental) with investment criteria that protect the rights of indigenous peoples and has been adopted by a mutual fund, an index fund, and investment advisors.

She established a scholarship program for native persons at the Yale School of Organization and Management and at the Carlson School of Management at the University of Minnesota. She convinced the World Bank to create the First Global Indigenous Peoples' Facility Fund to make small building grants.

Adamson serves on the board of directors for the Calvert Social Investment Fund and the Calvert Small Cap Fund which are known for socially-responsible investing and co-founded a fund there. She is on the board and trustee for Tom's of Maine, Inc. She is on the boards of Corporation for Enterprise Development, The Bay Foundation, Josephine Bay Paul and C. Michael Paul Foundation, The Bridgespan Group, and First Voice International. She is a founding member of Native Americans in Philanthropy, Funders Who Fund Native Americans, and International Funders for Indigenous Peoples.

Ms. magazine named her one of their seven "Women of the Year" in 1997. She writes a monthly column for Indian Country Today newspaper.

Publications

"Can't Give It Away Fast Enough? Try This," Foundation News & Commentary, January/February 1998
"Adapting the Evaluation Process to the Organizational Culture," a chapter in Evaluation with Power, 1997

"The Native American Credit Market: Opportunity Knocks, but Relationships Stay," RMA's Journal of Lending & Credit Risk Management, Fall 1997*

*https://en.wikipedia.org/wiki/Rebecca_Adamson



CHUEN



Kin 191: Blue Solar Monkey

I pulse in order to play
Realizing illusion
I seal the process of magic
With the solar tone of intention
I am guided by the power of accomplishment.


The purpose of higher intelligence is to see to it that the Velatropa system becomes stabilized at a higher frequency.*



*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2108.







The Sacred Tzolk'in 






Muladhara Chakra (Seli Plasma)




Wednesday, November 29, 2017

White Galactic Dog/ White Crystal Wind - Overtone Peacock Moon of Radiance, Day 15





Ai 2010.jpg
Ai Ogawa


Ai Ogawa (October 21, 1947 – March 20, 2010), born as Florence Anthony, was an American poet and educator. She won the 1999 National Book Award for Poetry for Vice: New and Selected Poems. Ai is known for her mastery of the dramatic monologue as a poetic form, as well as for taking on dark, controversial topics in her work. About writing in the dramatic monologue form, she’s said: “I want to take the narrative ‘persona’ poem as far as I can, and I've never been one to do things in halves. All the way or nothing. I won't abandon that desire.”

Early life

Ai, who described herself as half 1/2 Japanese, 1/8 Choctaw-Chickasaw,1/4 Black,1/16 Irish, and Southern Cheyenne, and Comanche, was born in Albany, Texas in 1947, and she grew up in Tucson, Arizona. She was also raised in Los Angeles, Las Vegas, and San Francisco, with her mother and second stepfather, Sutton Haynes. In 1959, a couple of years after her mother's divorce from Hayes, they moved back to Tucson, Arizona where she completed high school and attended college at the University of Arizona, where she majored in English and Oriental Studies with a concentration in Japanese and a minor in Creative Writing, to which she would fully commit toward the end of her degree. Before starting college, one night during dinner with her mother and third stepfather, Ai learned her biological father was Japanese. Known as Florence Hayes throughout her childhood and undergrad years, it was not until graduate school, when Ai was going to switch her last name back to Anthony that her mother finally told her more details about her past, learning that she had an affair with a Japanese man, Michael Ogawa, after meeting him at a streetcar stop. Learning of the affair had led Ai's first stepfather, whose last name was "Anthony," to beat her mother until family intervened and she was taken to Texas, where her stepfather eventually followed after Ai's birth. Because her mother was still legally married to Anthony at the time, his last name was put on Ai's birth certificate.

The poverty Ai experienced during her childhood affected her and her writing. Ai credits her first writing experience to an assignment in her Catholic school English class to write a letter from the perspective of a martyr. Two years after that experience, she began actively writing at the age of 14. History had been one of her many interests since high school.

Career

From 1969 to 1971, Ai attended the University of California at Irvine's M.F.A program where she worked under the likes of Charles Wright and Donald Justice. She is the author of No Surrender, (2010), which was posthumously published after her death, Dread (W. W. Norton & Co., 2003); Vice (1999), which won the National Book Award; Greed (1993); Fate (1991); Sin (1986), which won an American Book Award from the Before Columbus Foundation; Killing Floor (1979), which was the 1978 Lamont Poetry Selection of the Academy of American Poets; and Cruelty (1973).

She also received awards from the Guggenheim Foundation, the National Endowment for the Arts, the Bunting Fellowship Program at Radcliffe College and from various universities. She was a visiting instructor at Binghamton University, State University of New York for the 1973-74 academic year. After winning the National Book Award for Vice she became a tenured professor and the vice president of the Native American Faculty and Staff Association at Oklahoma State University and lived in Stillwater, Oklahoma until her death.

Literary views

Ai had considered herself as "simply a writer" rather than a spokesperson for any particular group. About her own poetry in an interview with Lawrence Kearney and Michael Cuddihy in 1978, she emphasized that there are no “confessional” or autobiographical elements in her work. However, in an interview with Okla Elliott in 2003 after the publication of Dread, she stated that some of the poems and characters in that book are “fictionalized versions” of her family history and that her multi-racial background and interest in history has had a strong influence on her work in this particular collection.

While her work often contains sex, violence, and other controversial subjects, she told Kearney and Cuddihy during that 1978 interview that she did not view her use of them as gratuitous. About the poems in her first collection, Cruelty, she said: “I wanted people to see how they treated each other and themselves.” She noted that the difference between the poems in Cruelty and those in Killing Floor is that they deal with her character’s whole life rather than a single episode. She described her purpose for writing as “trying to integrate [her] life emotionally and spiritually.” 

About contemporary American poetry and her own risk-taking in her work she said: “Perhaps there's a fear of revealing too much emotion in American poetry, despite the go-ahead of a sort from confessional poetry. At any rate, I think that that is my goal—I mean I never want to say ‘I have plenty of heart,’ but I want to be able to say whatever I feel without fear or embarrassment.” 

Name change

In 1973, she legally changed her last name to Ogawa and her middle name to "Ai" (愛), which translates to "love" in Japanese, a pen name she had been using since 1969.

Death
Ai was checked into the hospital on March 17, 2010 for pneumonia. Three days later, Ai died on March 20, 2010 at age 62, in Stillwater, Oklahoma[16] from complications of stage 4 breast cancer.

Selected works
Poetry collections

Cruelty, Perseus Books Group, 1973, ISBN 9780938410386
Killing Floor, Houghton Mifflin, 1979, ISBN 9780395275900
Sin, Houghton Mifflin, 1986, ISBN 9780395379073
Fate, Houghton Mifflin, 1991, ISBN 9780395556375
Greed, 1993
Vice: New and Selected Poems, Norton, 1999, ISBN 9780393047059 — winner of the National Book Award
Dread: Poems, W.W. Norton, 2003, ISBN 9780393041439
Why Can't I Leave You?
No Surrender. W. W. Norton & Company. 2010. ISBN 9780393078862.
The Collected Poems of Ai. W. W. Norton & Company. 2013. p. 448. ISBN 9780393089202.*




OC


Kin 190: White Galactic Dog


I harmonize in order to love
Modeling loyalty
I seal the process of heart
With the galactic tone of integrity
I am guided by the power of timelessness.



To be the cosmic human is to dwell in and be informed by the Absolute in all matters.*


*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.






The Sacred Tzolk'in 




Sahasrara Chakra (Dali Plasma)





Tuesday, November 28, 2017

Red Resonant Moon/ Red Spectral Dragon - Overtone Peacock Moon of Radiance, Day 14





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Louise Abeita



Louise Abeita Chewiwi (E-Yeh-Shure or Blue Corn) (September 9, 1926 – July 21, 2014), was a Puebloan writer, poet, and educator, who was an enrolled member of Isleta Pueblo.

Early life

Louise Abeita was born and raised at Isleta Pueblo, New Mexico. Her father, Diego Abeita, was active in tribal government. Her mother, Lottie Gunn Abeita, was from Laguna Pueblo.

I am a Pueblo Indian Girl

In order to showcase his daughter's poems, Diego brought together artists from Navajo, Apache and Pueblo communities to print a book based on them. This group formed the National Gallery of the American Indian (NGAI), and published Abeita's illustrated book. She was 13 years old at the time. I am a Pueblo Indian Girl (1939) has been described as the "first truly Indian book" by historians Gretchen Bataille and Laurie Lisa.

The book depicts the life of Abeita through prose and poetry. Themes throughout the book touch on Pueblo traditions, with illustrations by artists from NGAI complimenting her writing. This book is considered to be the first effort in the Pueblo community to document their own art and culture for non-Native viewers.

She appeared in the 1940 film short Fashion Horizons, showing her book to Hollywood starlets.*





MULUC



Kin 189: Red Resonant Moon


I channel in order to purify
Inspiring flow
I seal the process of universal water
With the resonant tone of attunement
I am guided by the power of birth
I am a galactic activation portal
Enter me.


When you finally realize that your mind is always living and moving through the noosphere, you will be surprised by the limited number of thought/forms which arise each day.*


*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.






The Sacred Tzolk'in 





Anahata Chakra (Silio Plasma)





11/27/17 Yellow Rhythmic Star/ Yellow Planetary Sun - Overtone Peacock Moon of Radiance, Day 13





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Awashonks (also spelled Awashunckes, Awashunkes or Awasoncks) was a sachem (chief) of the Sakonnet (also spelled Saconet) tribe in Rhode Island. She lived near the southern edge of the Plymouth Colony, not far from Narragansett Bay, near what is now Little Compton, Rhode Island. In the mid-seventeenth century, her lands were claimed by the English settlers of Plymouth Colony. While she had allied herself to the English to increase her power, ironically their victory eroded her standing among both the English and the Saconet. Awashonks is known for her special talent for negotiation and diplomacy, which helped include the Sakonnets among a tiny handful of natives who received amnesty from colonists.

Awashonks as sachem

Awashonks became sachem not by inheritance, but through quality of leadership. She was referred to as a Sunsqua, or female chief. During her tenure, she was challenged by both rivals within the Saconet as well as English colonists.

Plymouth Colony

Awashonks was not pro-English until July 1671, when Plymouth leaders called her and other Indian leaders to a meeting and threatened to send an army to fight them if they refused to attend. Awashonks signed the “Articles of Agreement”, in which she agreed to surrender guns and Saconet who were accused of inciting trouble. The agreement was also signed by Totatomet and Somagaonet, witnessed by Tattacommett, Samponcut and Tamoueesam (alias, Jeffrey), on July 24, 1671. Not long after, in August, Awashonk's men signed a paper approving what she had done in accordance with the agreement; only 3 names are known: Totatomet, Tunuokum, Sausaman. On October 20, 1671 Governor Prince wrote to her, saying that he had received the list of names, and assuring her that the English would befriend her.

Awashonks made appearances in the Plymouth court system. In 1674 Mammanuah, a Saconet rival who may have been her son, accused Awashonks of assault. After he had tried to sell land to English settlers, Awashonks ordered men to tie him up and threaten him. The court ruled in Mammanuah’s favor, possibly to appease the English land buyers. However, the court, out of respect to Awashonks, reduced her fine to only 5 pounds rather than the 500 pounds that Mammanuah demanded.

King Philip's War

By 1675, the relationship between the English and the Wampanoag was more tense than ever.Metacomet (Sachem of the Wampanoag tribe, also known as King Philip) was trying to build a military coalition to go to war against the Plymouth settlers. Metacomet sent six men to visit Awashonks and convince her to side with him in the fight against the English. The men told her that if she did not, Metacomet would send his men to kill the colonists' cattle and burn their houses on her side of the river - making it appear as if one of her people had committed the crime. Awashonks sent for Benjamin Church; when he arrived, there were hundreds of people present and Awashonks was leading a ceremonial dance. Awashonks stopped to see Church, who told her that it was not true that Plymouth was preparing for war (as Metacomet's men had told her). Church advised Awashonks to go to the Governor of Plymouth and join with the English.  In part because of aid from leaders such as Awashonks, the English defeated Metacomet in King Philip's War.

Trials

In 1683 Awashonks was called before the Plymouth court, having been accused of helping to kill an infant born to her daughter, Betty. She and Betty convinced the court that the infant was stillborn, but Betty was found guilty of fornication. The court reprimanded Awashonks for having had a woman whipped for announcing that Betty was pregnant. This case exemplifies the important changes in native authority structures, as English leaders undermined the very native rulers they had helped to create.

Legacy


Awashonks appears in official records of New England more than any other native woman. A boulder was erected in Wilbur Wood, Little Compton, Rhode Island in the late nineteenth century, during a period of romantic interest in Awashonk's story. The engraving reads, "In memory of Awashonks Queen of Sogkonate & friend of the white man."*




LAMAT



Kin 188: Yellow Rhythmic Star


I organize in order to beautify
Balancing art
I seal the store of elegance
With the rhythmic tone of equality
I am guided by my own power doubled.


Once you learn to control your thoughts it is important to understand what is involved in the construction of the images of the world; our various senses create mental imagery.*


*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.








 The Sacred Tzolk'in





Manipura Chakra (Limi Plasma)





Sunday, November 26, 2017

Blue Overtone Hand/ Blue Solar Storm - Overtone Peacock Moon of Radiance, Day 12





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Betty Louise Bell




Betty Louise Bell was born on November 23, 1949. She is a scholar and fiction writer of Cherokee ancestry. Bell is a former director of the Native American Studies Program and former assistant professor of American culture, English, and Women's Studies at the University of Michigan. Her areas of scholarly interest include Native American literature, Women's Studies, nineteenth-century American literature, and creative writing. She earned her PhD in 1985 from Ohio State University.Her first novel Faces in the Moon was published in 1994 and received favorable reviews. In addition, Bell has published critical articles on Native American Literature that emphasize the political and personal aspects of Native American identity.

Other works

Faces in the Moon
A Red Girl's Reasoning: Native American Women Writers and the Twentieth Century
Reading Red: Feminism in Native America (Editor)
Norton Anthology of Native America Literatures (Coeditor)

References

Jump up ^ "Betty Louise Bell on Native American Authors". Retrieved 2012-11-09.
Jump up ^ Bataille, Gretchen M. and Laurie Lisa, Ed. Native American Women: A Biographical Dictionary. New York: Garland, 1993*




MANIK



Kin 187: Blue Overtone Hand


I empower in order to know
Commanding healing
i seal the store of accomplishment
With the overtone tone of radiance
I am guided by the power of vision.


The Noogenesis, the Great Cosmic Shift,  will be realized in a short time, and is dependent on the personal discovery of those capable of becoming cosmically aligned.*


*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.











 The Sacred Tzolk'in





Visshudha Chakra (Alpha Plasma)




Saturday, November 25, 2017

White Self-Existing World-Bridger/ White Galactic Mirror - Overtone Peacock Moon of Radiance, Day 11





My World Is Not Flat, Margaret Bagshaw, 2011.



Margarete Bagshaw (November 11, 1964 – March 19, 2015) was an American painter and potter. She was the daughter of artist Helen Hardin and grand daughter of artist Pablita Velarde. Together, they formed one of the few three generational female painting dynasties known. Their work is on permanent exhibit at the Golden Dawn Gallery in Santa Fe.

Bagshaw grew up in New Mexico and lived most of her life between Albuquerque and Santa Fe. She did not start to create her own artwork until 1990 at the age of 26.

In 2006, after settling her grandmother's estate, she moved to the U.S. Virgin Islands. Bagshaw lived in the Virgin Islands for almost three years. While in the Virgin Islands, she was a founding partner and co-builder of ISW Studios — a world-class recording and multi-media studio in St. Thomas, USVI. Bagshaw was responsible for all design elements of the studio project during construction, and was in charge of all administrative functions of all of the ISW divisions. From 2006 to 2008, Bagshaw continued to paint two-dimensional works that were shipped back to her gallery in New Mexico.

In 2009, Bagshaw decided to return to clay work – something she had not done since her school days – almost 25 years earlier. These clay pieces are flat tablets and three-dimensional works of clay – abstract, non-symmetrical bowls and vessels. These clay pieces were all incised with the intricate designs that Bagshaw is recognized for, and then after firing, painted with oil paint.

Throughout her 20-year career she was known for her use of color, composition and texture. Bagshaw was featured in many publications including: Southwest Art magazine, Native Peoples magazine, the New Mexico Magazine and recently both the Albuquerque Journal and ABQ Arts. She was one of the featured artists in the 2003 book — NDN Art: Contemporary Native American Art, The New Mexico Artist Series as well as the 1998 book — Pueblo Artists Portraits, by Toba Tucker.  In 2011 at the annual conference of the Folk Art Society in Santa Fe Bagshaw spoke about the tension between carrying on Native traditions and her impetus toward more modernist expression.

Bagshaw took part in over a dozen major museum exhibitions, including the Eiteljorge Museum Of American and Western Art in Indianapolis, Indiana, the Wheelwright Museum of the American Indian in Santa Fe, New Mexico, the Hamden Museum in Virginia, and numerous invitational shows with the Museum of Albuquerque, New Mexico. As the subject of a documentary film project, Bagshaw spoke at the dedication ceremony for the donation of "The White Collection" (featuring a number of Bagshaw's works), at the Lakeview Museum in Illinois in September 2008. In 2010, Bagshaw presented a one-woman show at the Smoki Museum in Prescott, Arizona. In 2011, Bagshaw was invited to be the keynote speaker for Women in History Month at the National Museum of Indian Arts, Smithsonian in Washington DC. In 2012, Bagshaw had a year-long solo show at the Museum of Indian Arts and Culture in Santa Fe, wrote her memoirs "Teaching My Spirit To Fly" as part of a 3 book set that included biographies of her mother - Helen Hardin, and her grandmother - Pablita Velarde, and painted 10 large paintings used as chapter paintings in her memoirs. For 2 years following the release of her memoirs, Bagshaw lectured across the county. In 2013. Bagshaw presented the largest solo museum show of her career at the Ellen Noel Museum in Odessa Texas. This show included 25 of her largest paintings and included a video created specifically for this show. The show title was "The Color of Oil." During the last 5 years of her life, Bagshaw painted 210 oil paintings - the largest was almost 7' tall by 10' long. These 210 paintings are all included in the 5 year retrospective book - "Woman Made of Fire."*





CIMI



Kin 186: White Self-Existing World-Bridger


I define in order to equalize
Measuring opportunity
I seal the store of death
With the self-existing tone of form
I am guided by the power of spirit.


The solar system is a galactic thought molecule and the planets are its electronic thought units.*


*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.







The Sacred Tzolk'in 




Svadhistana Chakra (Kali Plasma)





11/24/17 Red Electric Serpent/ Red Resonant Earth - Overtone Peacock Moon of Radiance, Day 10





Image result for Marilou Awiakta
Marilou Awiakta



Marilou Awiakta (born January 24, 1936, Knoxville, Tennessee) is an Eastern Band Cherokee author. She is renowned for writing several books that blend stories, essays and poetry.

Biography and career[edit]
Marilou Awiakta is the seventh generation of her family to grow up in Appalachia, mostly in East Tennessee. Since 1730, her Cherokee and Scots-Irish family has lived as a "designated family" in the mountainous area of the state.

She graduated from the University of Tennessee in 1958 receiving a B.A. magna cum laude, in both English and French. She worked as a civilian liaison officer and translator for the U.S. Air Force at Laon-Couvron Air Base, France from 1964-1967.

She worked in the Arts-In-Schools program in Memphis, Tennessee, and formed poetry workshops in the Women's Prison. She was co-founder of the Far Away Cherokee Association which is now the Native American Intertribal Association. She lives in Memphis, with her husband, Paul Thompson. They have three children.

In July 2014, her work was featured in www.recoursaupoeme.fr

Awards

Jesse Hill Ford Award for Poetry, 1972
Person of Quality Award, National Organization for Women, 1983
United States Information Agency, Abiding Appalachia and Rising Fawn & The Fire Mystery chosen for Global Tour of American Writers, 1986
Woman of Vision Award, Memphis Women of Achievement, 1988
Distinguished Tennessee Writer Award, 1989 
Outstanding Contributions to Appalachian Literature, Appalachian Writers' Association, 1991
Audio version of Selu: Seeking the Corn-Mother's Wisdom, with music by Joy Harjo, nominated for a Grammy Award, 1995
Honorary Doctorate in Humane Letters, Albion College, Albion, Michigan, 1999
Award for Service to American Indian Peoples, American Indian Symposium, Northeastern University, Oklahoma, 1999
Award for Educational Service to Appalachia, Carson-Newman College, 1999
Appalachian Heritage Writer's Award, Shepherd College, 2000 
Excerpt from Selu engraved in the River Wall at Nashville's Bicentennial Capitol Mall
Poem "Motheroot" from Abiding Appalachia selected to be inlaid in the walkway of Fine Arts Mall, UC Riverside

Books

Abiding Appalachia: Where Mountain and Atom Meet. Memphis: Saint Luke's Press, 1978. Rpt. Bell Buckle, TN: Iris Press, 1995. 71 pp. Rpt. 2006 Pocahontas Press, 65 pp. $14.95 illustrated with Afterword by Parks Lanier, Jr. Now available from Aleex Thompson Conner, Marketing Dimensions, 1528 Britling Drive, Knoxville, TN 37922, telephone 865-691-6083. Poetry that weaves together Cherokee history, the legend of Little Deer, memories of growing up in Oak Ridge (where the atom was split in the 1940s), and thoughts on family, society, and the land.

Rising Fawn and the Fire Mystery: A Child's Christmas in Memphis, 1833. Memphis: Saint Luke's Press, 1983
.
Selu: Seeking the Corn-Mother’s Wisdom. Golden, CO: Fulcrum, 1993. A blend of story, essay, and poetry. Cherokee legends and images from the double weave of Cherokee baskets point us toward preserving a nurturing relationship between humanity and Mother Earth, by instilling appreciation for the earth and applying Native American philosophies to modern problems.

Analysis

Awiakta's poetry is analyzed at length in Our Fire Survives the Storm by Daniel Heath Justice (Cherokee Nation).*




CHICCHAN



Kin 185: Red Electric Serpent


I activate in order to survive
Bonding instinct
I seal the store of life force
With the electric tone of service
I am guided by the power of universal water
I am a polar kin
I establish the red galactic spectrum.


Practice being inside a crystal; while your physical body sits in meditation, your mind, consciousness and soul experience the world inside the crystal.*


*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.









The Sacred Tzolk'in




Ajna Chakra (Gamma Plasma)




Thursday, November 23, 2017

Yellow Lunar Seed/ Yellow Rhythmic Warrior - Overtone Peacock Moon of Radiance, Day 9





A seed jar made by Nampeyo approximately 1905.



Nampeyo (1859 –1942) was a Hopi-Tewa potter who lived on the Hopi Reservation in Arizona. Her Tewa name was also spelled Num-pa-yu, meaning "snake that does not bite".

She used ancient techniques for making and firing pottery and used designs from "Old Hopi" pottery and sherds found at 15th-century Sikyátki ruins on First Mesa. Her artwork is in collections in the United States and Europe, including many museums like the National Museum of American Art, Museum of Northern Arizona, and the Peabody Museum of Archaeology and Ethnology at Harvard University.

A world record for Southwest American Indian pottery was declared at Bonhams Auction House in San Francisco on December 6, 2010, when one of Nampeyo's art works, a decorated ceramic pot, sold for $350,000.

Early life

Nampeyo was born on First Mesa in the village of Hano, also known as Tewa Village which is primarily made up of descendants of the Tewa people from Northern New Mexico who fled west to Hopi lands about 1702 for protection from the Spanish after the Pueblo Revolt of 1680. Her mother, White Corn was Tewa; her father Quootsva, from nearby Walpi, was a member of the Snake clan. According to tradition, Nampeyo was born into her mother's Tewa Corn clan. She had three older brothers, Tom Polacca, Kano, and Patuntupi, also known as Squash; Her brothers were born from about 1849 to 1858.

William Henry Jackson first photographed her in 1875 and she was reputedly one of the most photographed ceramic artists in the Southwest during the 1870's.

About 1878 or 1881, Nampeyo married her second husband, Lesou, a member of the Cedarwood clan at Walpi. Their first daughter, Annie, was born in 1884; William Lesso, was born about 1893; Nellie was born in 1896; Wesley in 1899; and Fannie was born in 1900.

Artwork

Hopi people make ceramics painted with beautiful designs, and Nampeyo was eventually considered one of the finest Hopi potters. Nampeyo learned pottery making through the efforts of her paternal grandmother. In the 1870s, she made a steady income by selling her work at a local trading post operated by Thomas Keam. By 1881 she was already known for her works of "old Hopi" pottery of Walpi.

She became increasingly interested in ancient pottery form and design, recognizing them as superior to Hopi pottery produced at the time. Her second husband, Lesou (or Lesso) was reputedly employed by the archaeologist J. Walter Fewkes at the excavation of the prehistoric ruin of Sikyátki on the First Mesa of the Hano Pueblo in the 1890s. Lesou helped Nampeyo find potsherds with ancient designs which they copied onto paper and were later integrated into Nampeyo's pottery. However, she began making copies of protohistoric pottery from the 15th through 17th centuries from ancient village sites, such as Sikyátki, which was explored before Fewkes and Thomas Varker Keam. Nampeyo developed her own style based on the traditional designs, known as Hopi Revival pottery[ from old Hopi designs and Sikyátki pottery. This is why researchers refer to her style as Sikyatki Revival after the proto-historic site.

Keam hired First Mesa potters to make reproductions of the works. Nampeyo was particularly skilled. Her pottery became a success and was collected throughout the United States and in Europe.

When I first began to paint, I used to go to the ancient village and pick up pieces of pottery and copy the designs. That is how I learned to paint. But now, I just close my eyes and see designs and I paint them.

Kate Cory, an artist and photographer who lived among the Hopi from 1905 to 1912 at Oraibi and Walpi, wrote that Nampeyo used sheep bones in the fire, which are believed to have made the fire hot or made the pottery whiter, and smoothed the fired pots with a plant with a red blossom. Both techniques are ancient Tewa pottery practices.

Nampeyo and her husband traveled to Chicago in 1898 to exhibit her pottery. Between 1905 and 1907, she produced and sold pottery out of a pueblo-like structure called Hopi House, a tourist attraction (combination of museum, curio shop, theatre, and living space for Native American dancers and artists) at the Grand Canyon lodge, operated by the Fred Harvey Company. She exhibited in 1910 at the Chicago United States Land and Irrigation Exposition.

One of her famous patterns, the migration pattern, represented the migration of the Hopi people, with feather and bird-claw motifs. An example is a 1930's vase in the collection of the Smithsonian Institution's National Museum of the American Indian in Washington, D.C. Her work is distinguished by the shapes of the pottery and the designs. She made wide, low, rounded, shaped pottery and, in later years, tall jars.

Nampeyo's photograph was often used on travel brochures for the American southwest.

Nampeyo began to lose her sight due to trachoma about the turn of the 20th-century. From 1925 until her death she made pottery by touch and they were then painted by her husband, daughters or other family members.

In 2010, one of her artworks, a pot with a bulbous form with Hopi Kachina figures with "stylized faces" wearing "flamboyant black and burnt-umber headdresses" painted on "four sides of the pot"—sold for $350,000. Previous owners included Carter Harrison Jr. who was mayor of Chicago from 1911–1915, and Chicago's Cliff Dwellers art club, who received the work from Harrison in the 1930's.

Death and legacy

She died in 1942 at the home of his son Wesley and her daughter-in-law, Cecilia.

She was a symbol of the Hopi people and was a leader in the revival of ancient pottery. She inspired dozens of family members over several generations to make pottery, including daughters Fannie Nampeyo and Annie Healing. A 2014 exhibit at the Museum of Northern Arizona presents the works of four generations of artists descended from Nampeyo.

Public collections

Hopi-Tewa jar made by Nampeyo, early 1900s, Heard Museum.
Arizona State Museum, University of Arizona
Denver Art Museum, Colorado
Kansas City Museum, Kansas City, MO
Koshare Indian Museum, La Junta, CA
Millicent Rogers Museum, Taos, NM
Museum of Northern Arizona, Flagstaff, AZ
National Museum of the American Indian, Smithsonian Institution, Washington, DC
Peabody Museum of Archaeology and Ethnology, Harvard University, Cambridge, MA
Union Station, Kansas City, MO
Museum of Indian Arts and Culture/Laboratory of Anthropology, Santa Fe, NM*




KAN



Kin 184: Yellow Lunar Seed



I polarize in order to target
Stabilizing awareness
I seal the input of flowering
With the lunar tone of challenge
I am guided by the power of intelligence
I am a galactic activation portal
Enter me.


The distinction that keeps most people from realizing their potential is that we live in a state of mental oppression and intimidation.*


*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.








The Sacred Tzolk'in 






Muladhara Chakra (Seli Plasma)