Cloud People

Although Cloud People appear in the sandpaintings of several chants, they are especially featured in those of Navaho Windway. "A cloud painting of some kind is used in every Navaho Wind Chant which lasts five or more days" (New comb). There are ten reproductions in collections. In Black Mustache's myth the hero learned a sandpainting at Earth Charcoal, the place where the Wind had burned its young ones, which as described was almost identical to the radial composition collected by Mrs. Armer at Oraibi in 1924. This latter (or copies of it) is probably the most frequently published of any single sandpainting design. Mrs. Armer published it in color in 1925, calling it the sandpainting of the Pollen Boy (who appears on the central blue square, west of the black circle in its center; the earth with the dark hole where the serpents live) . To explain it she related a variant of the episode of Stolen by Snakes, in which Pollen Boy is the kidnapped child, Dragon Fly the monitor, and the grandfather rescues the boy. The same color plate was published by Berry in 1929, but incorrectly assigned to the Mountain Chant. This reproduction has been copied by Margaret Schevill Link (this is the one in M Coll.) and silk screen reproductions of it are being sold as separate plates. Another copy of it has been published in color as recently as 1960. A black and white reproduction has even appeared in the Boston Evening Transcript. Moreover, Mrs. Armer took two photographs of the Navahos making this sandpainting and these have appeared in her original article, in Berry's paper, in the reprints of the latter in El Palacio, and in two other stories about Mrs. Armer's work, in Discovery and in Travel. All this certainly gives this sandpainting a world's record for publication! The picture is one of the most elaborate sandpaintings for Navaho Windway, with sixteen Cloud People, four at each cardinal position; a bird on top of each quadrantal plant (yellow-headed blackbird on corn, bluebird on beans, goldfinch on squash, a red bird on tobacco); and black and white Dragon Flies guarding the eastern opening.

Equally elaborate ones in M and B Colls. are similar except that each Cloud Person has a single flint arrow point on its head, there are no birds, the eastern guardians are Big Flies, and the centers are large blue squares bearing sixteen Big Flies ("the blue land where the Big Flies live"-Newcomb; Fig. 47). Four other paintings have Cloud People with single heads but are linear compositions with only four people (Fig. 46 B). One of these collected by Wyman was called Mirage sandpainting by the informant. This has five segments in the body while all the others have four.

Many Heads. The other three paintings are linear with four Cloud People in each, having five (B Coll., Wyman) or six (H Coll.) body segments, three (B Coil., Wyman) or two (H Coll.) heads on the top segment, and two heads on each of the other segments (Fig. 46 C, D). These numerous heads represent the Wind People and their children riding on clouds (Wyman), or the masked faces of Sky People, Rain, Fog, Mist, and Hail, coming through the air wrapped in clouds, the carriages of the Sky Lands, to attend the Wind Chant (Newcomb).
 

 

 

THE NAVAJO CHURRO COLLECTION

"Today "The Navajo Churro Collection" is a premier collection of contemporary Navajo Weavings, which are exclusively commissioned by Dine Woven Generations of Weavers."

Dine Woven raises and processes their own Churro Sheep and sells weavings/textiles directly to you.

"This way the Artists get their complete works wages and doesn't profit the Trader." Roy Kady 4th Generation Weaver

 

 

 

Navajo-Churro Sheep

Background & History

 

      Diné philosophy, spirituality, and sheep are intertwined like wool in the strongest weaving.  Sheep symbolize the Good Life, living in harmony and balance on the land.  Before they acquired domesticated sheep on this continent, Diné held the Idea of Sheep in their collective memory for thousands of years.  While wild mountain sheep provided meat and the Diné gathered wool from the shedding places, the species of sheep in North America do not have a herd behavior that permits domestication.  As a result, the Diné asked their Holy People to send them a sheep that would live with them, that they could care for and would provide them with a sustainable living.

      In the early 1600s, Navajo acquisition of “la raza churra” sheep from the Spanish colonists inspired a radical lifestyle change  to pastoralism and expanded mobility.  In the high deserts and wooded mountains of Diné Bikéyah (Navajo Land) Diné pastoralists developed the Navajo-Churro breed, which thrived under the spiritual and pastoral care of their new companions and assumed a central role in the People's psychology, creativity, and religious life. 

      With songs, prayers, and techniques taught to them by Spider Woman and looms first built by Spider Man, traditional Navajo weaving evolved to utilize the special qualities of the glossy Navajo-Churro wool.  Unlike wool from modern commercial breeds, wool from primitive carpet-wool sheep such as Churro is low in lanolin, so it does not require valuable water for washing nor time-consuming carding.  It can be shorn, hand cleaned, then spun into tightly twisted yarn that readily absorbs indigo and native vegetal dyes, from which the Navajo artists create weavings famous for their creativity, luster, fine texture, and durability.  The wool can be easily felted for a variety of uses; the distinctive long-haired pelts are highly valued. 

      Carpet-wool sheep have two lengths of wool.  When shorn, the resulting fleece has very long fibers as well as an undercoat of shorter fibers.  Yarn spun from this type of wool is extremely strong and durable, making it excellent for the Navajo rugs and Spanish jerga.  (Wool fragments that have endured for thousands of years in the Middle East are from a related breed of sheep.)  As the Navajo managed their flocks for over 350 years, they evolved the Navajo-Churro genotype, a breed recognized by the American Sheep Industry. 

      The Churro can usually be shorn twice a year, rather than the conventional practice of annual shearing.  The wool comes in natural colors, including apricot, grey, black, brown, beige, and white, which are highly-prized by hand-spinners.  Genetically resistant to many sheep diseases, Churros can withstand austere conditions and have excellently flavored meat. 

      A series of federal government actions led to the almost total eradication of the Churro, disrupting the chain connecting Navajo culture, weaving, traditional lifestyle, and self-sufficiency.  In the early to  mid-1900s, market forces, ignorance, and misguided attempts to "improve" Navajo wool, depressed the economic value of Navajo-Churro sheep and led to their almost complete disappearance from their homeland. 

      At the same time, traditional summer grazing lands in the mountains were appropriated by the U.S. government and a system of allotments was instituted which disrupted the traditional way of family land management.  The lack of access to appropriate grazing lands and their nutritious plants caused a number of problems, including inferior quality wool, lower lambing rates, poor meat production, and, most tragically, devastation of the already fragile lands of the Navajo Nation. 

      During the 1930s, Navajos were forced by the United States to radically reduce their herds - the wellspring of their Good Life.  Government agents went from hogan to hogan, shooting a specified percentage of the sheep in front of their horrified owners, who love their sheep and regard them as family members.  First to be shot were the Churro, because the agents thought this hardy breed was "scruffy and unfit."  Today, elders tearfully recall that time and can describe in detail each sheep that was killed and the exact location of the massacre. 

      In the late 1930s and ‘40s, federal agricultural agents discouraged raising the Churro and, under the auspices of the Fort Wingate program, encouraged cross-breeding with other fine wool genotypes.  Unfortunately, the fine wool Merino and Rambouillet breeds require more resources such as grass and water, and more herd management.  Their shorter wool fibers break easily when hand spun using traditional Navajo methods and do not take the native, natural dyes very well.  Navajo weavers became discouraged with trying to process this new wool by traditional means, and many began buying commercially produced and dyed yarns. 

      At the same time the Navajo-Churro were being destroyed, the government instituted a range management system that was antithetical to the Navajo's traditional system.  This federal system has led to degradation and loss of most valuable and lush rangeland on the Navajo Nation.  Navajo shepherds and livestock producers are now struggling with how to return to their traditional land management techniques.

      While beautiful weavings have been created with commercial yarns, their use has contributed to breaking the traditional tie between sheep, wool, land, and weaving.  Weavings made with commercial yarns are not as durable, and the texture and quality are not the same as those created with Navajo-Churro wool.  Among today’s informed collectors, weavings from Churro wool command premium prices.

      Sheep are owned primarily by women, and fiber arts are often a woman’s occupation.  The men support the infrastructure and interface with outside economic factors.  Young people are involved in traditional life through herding, carding, spinning, and other activities related to sheep and fiber arts.  As a result, women, children, and family stability have been negatively effected by displacement of the Navajo-Churro breed. 

      In addition, Churro meat is very lean in comparison to the meat of other contemporary breeds.  The disappearance of the Churro has adversely affected the Navajos’ health, as well as economic opportunities for specialized niche markets for meat and wool. 

      By the 1970s, only about 450 of the old type Navajo-Churro existed on the entire Navajo Nation, and only a few specimens were preserved in other locations.  The conventional wisdom of the time was “the breed is not useful - let it die out,” an attitude often directed towards the traditional cultures, themselves. 

      In the mid-1970s, animal scientist Dr. Lyle McNeal recognized the genetic and cultural significance of the Navajo-Churro.  In 1977, Dr. and Mrs. McNeal founded the Navajo Sheep Project, which currently maintains a breeding flock of 300 ewes and rams in Wyoming. The project has placed many breeding stock with Navajo families and helped form the nucleus of Ganados del Valle/Tierra Wools flocks in Los Ojos.  In September 2002, NSP will begin deploying this prime breeding stock to Navajo pastoralists for flock improvement and sustainable economic development.  

      The Navajo-Churro Sheep Association was founded 20 years ago to maintain a breed registry and ensure quality.  Today, there are several thousand sheep of this breed from throughout the United States registered with the association.

      Diné be’ iinį, Inc. (The Navajo Lifeway) was founded by Navajos in 1991 to represent and assist Navajo Nation sheep and goat producers.  DBI organizes year-round educational programs, presents the annual Sheep is Life Celebration, and provides services to:  1) increase recognition of the importance of sheep to cultures and lifeways; 2) improve the quality of sheep and wool resources on the Navajo Nation; 3) improve marketing of Navajo wool and lamb products; 4) educate the public and regulatory agencies about the importance of sheep to the lifeways of native and traditional peoples; and 5) promote economic development that is culturally relevant and technologically appropriate in some of the most rural communities in our nation.



The Navajo Churro Collection weavings are available for purchase or can be custom ordered.

"May  Walk In beauty .”

Roy Kady

Master Dine’ Male Weaver

 

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