Navajo Silversmith - Allison Snowhawk Lee

Speaking of the silver and gold jewelry he hand crafts, Allison Lee's captivating voice is sincere when he says, "One time my uncle told me that everything we build comes from the earth, like the silver that comes from the earth, or the turquoise that comes from the earth. That is a lot of energy. You put it together and you put your heart and mind into a piece. Then sometimes a certain piece of jewelry- I believe- it is made for a certain person. I usually have a ring, or something, that stays with me for about two or three years, until the right person comes along. And then that person buys that piece. I believe that every piece of jewelry that I make is made for somebody out there- it's made for somebody special. Whoever might be having problems, or something like that. In essence, that energy helps that person get help, by wearing pieces that we make. That is the way I look at it."

Born in the heart of the Navajo homeland, in the spring of 1958, Allison Snowhawk Lee attended boarding school until 8th grade. Lee is the last name given to him by the boarding school because they couldn't pronounce, spell, or translate his Navajo name; Snowhawk is his grandmother's name.

Allison became involved in silversmithing in a high school art class, making his first simple jewelry pieces at age 12. When he was 14 years old his mother asked him to remove the last stone from an old turquoise brooch and make her a ring with it. Being able to combine old and new into something beautiful gave him a metaphysical sense of bridging generations, connecting him to his heritage and at the same time launching him into a viable vocation.

During his high school summers he worked at silver shops in Gallup, New Mexico. His first job included sweeping floors, but as he worked he became acquainted with the top silversmith, and learned his techniques. Each summer thereafter he found a job in different shops, and studied under various masters. Now he is the master who owns a shop that employs high school age apprentices.

When Allison graduated from high school in 1977 he won the "Most Artistic" award in his class of 160 students. That was just the beginning of his awards. Allison has won numerous honors in prestigious shows in seven different states. He is not only artistic, but very creative, and therein lies his greatest challenge. "A lot of people copy," he says, "and then pretty soon an original idea is being mass produced. I've got to keep ahead of them."

Allison makes many different kinds of jewelry: earrings, necklaces, rings, and bracelets; and is best known for his elaborate concho belts. "I really like making concho belts," he professes, "and coming up with different styles."

Allison uses either silver or, occasionally, 14 karat gold, and sets it with coral, turquoise, or other semi-precious stones. Hand fabricated, his work may be either stamped or contain bezel set stones. His favorite piece was a squash blossom necklace he made using tools he created.

Allison goes on the road two or three times a month, for two or three days at a time, to market his work or attend shows. He also does demonstrations and seminars at Grand Canyon and other places. When he is at work in his shop he may put in up to 16 hours a day. "I take breaks sometimes," he confesses, "Sometimes I get burned out. That's the time to just walk away from it. That's when it's time to go outdoors, just to kind of refresh my mind.

"I go hunting, I go hiking. What I really love to do is go to old Indian ruins and just look around, see what I can find. In a way I get ideas from the old, and then try to come up with something new. Then I get back into it. Everything just starts coming together once I start making something. It just comes together in my mind."

Allison is considered a success by all who are familiar with his work, but he has a different standard, set with his wife and three young sons in mind: "I think being successful is keeping everything balanced out between your family and your work. I think that's what being successful is, caring enough to spend time with your family, and not letting the work and the career overtake your life. I've seen a lot of people that have done that. I'm just glad that I've had people there to tell me the difference. Successful to me is just being happy and making sure my family is fed and clothed. That says it all, right there."

Navajo Rugs - Two Grey Hills Rugs

Two Grey Hills is located to the east of the Chuska Mountains and south of Shiprock, New Mexico. Navajo rugs from this area feature intricate designs woven with natural sheep wool in varying hues of brown, cream and grey anchored with black and white. The black is typically over dyed to make a more solid contrast with the other colors. Two Grey Hills rugs will typically have a single or double serrated design as the central focus within the weaving. Other design elements such as geometrics, stair steps, even occasionally, pictorial elements will take up the balance of the weaving. A dark border typically surrounds the interior design elements.

Two Grey Hills weavings are believed to have started around 1911. Encouraged by two local traders, George Bloomfield and Ed Davies, weavers were encouraged to continually improve the quality of their rugs. Eschewing the reds of Ganado and wild distortions of Germantown weavings, Two Grey Hills weavers preferred the natural shades they were able to create by blending the brown, black and white wool of their own flocks.

Encouraged to excel in their weaving technique, even today, Navajo rugs from this area tend to have a higher thread count per inch than weavings from other areas of the Navajo reservation. While a typical contemporary Navajo rug will average around 30 wefts to the linear inch, Two Grey Hills weavings average around 45. The acknowledged master of Two Grey Hills weavings, Daisy Taugelchee was known to create tapestries with up to 115 wefts per linear inch.

Navajo Basket Weaver - Mary Holiday Black

Considered primarily responsible for the preservation and renaissance of the art of Navajo basketry, Mary Holiday Black is a legend in her own time. Mary received the Utah Governor's 1995 Folk Art Award, and in September of 1996 a $10,000 National Heritage Fellowship Award from the National Endowment for the Arts, which was presented to her in Washington D.C. by First Lady Hillary Clinton.

The matriarch of a large and talented family of basket weavers, Mary Holiday Black has not only done much to preserve the tradition of Navajo basketry, she has revolutionized it with her daring creativity. Recognized by experts as the nation's preeminent Navajo basket weaver, Mary's pieces are highly valued collector's items, selling for as much as eight thousand dollars.

Mary's story has been written and rewritten, but it is a story worth the telling, for she has kept a centuries old art form from extinction. In 1960 it is estimated that there were only a dozen active basket makers on the Navajo reservation, most women having turned to the more profitable art of rug weaving. One of the basket weavers was Mary Black.

Taught to weave by her grandmother's relative when she was 11, Mary has spent over half a century creating baskets for sacred ceremonial purposes as well as the art world, sharing her knowledge with anyone willing to learn. Nine of Mary's eleven children have followed in her footsteps, becoming world class weavers in their own right.

"One of the reasons we want to keep basket making going among our people," Mary says, "is because they are important when a person gets healed, to bring rain, for weddings, the Fire Dance, the Seven-Day Ceremony."

Each ceremonial basket has a story. 'There are many basket stories," Mary says. "If we stop making the baskets, we lose the stories."

Each ceremonial basket also has an accompanying song. Mary knows the songs and other tribal lore because of her parents, Teddy and Betty Holiday, who were medicine people. Strict tribal taboos dictating how and when ceremonial baskets can be woven contribute to their scarcity. Mary has successfully challenged some of the taboos, arguing in favor of preserving cultural history through basketry.

Mary was also one of the first to consider weaving baskets with imaginative designs targeted toward the Indian art collector's market. Many of her baskets depict traditional beliefs, stories or legends; some inspired by Navajo sandpaintings.

Working daily, a basket may take up to four months to complete. Mary's hands often ache from the tedious strain of weaving as she keeps constant pressure on a basket's sides so they will curve upward when it's finished. 'These days my hands get tired, and I have to light a fire and pray for energy," she has said, 'They are not as quick as when I was a child."