 |
V. Chemehuevi art and material culture "Mohavezation" of the Chemehuevis explains the similarity in dwellings and pottery of the two tribes as noted by Ten Kate. The Mohave type of summer house was even found as far north as the Moapa Paiutes. [11] His observation of the similarity in the pottery of the Quechans, Mohaves and Chemehuevis was as much the result of the Mohave trading their wares with neighbouring groups, as the Chemehuevis producing their own pottery and being substantially influenced by their neighbours' craftwork. [12] It was the women who made the pottery, a fact not mentioned by Ten Kate, who probably saw only finished vessels in Indian households. The Southern Paiutes, including the Chemehuevis, had their own pottery tradition which was less developed because of their semi-nomadism. Moreover, pottery making declined substantially soon after the arrival of white settlers and the introduction of western trade goods among most bands. [13] At the agency school on the Mohave Indian Reservation, Ten Kate acquired four small pottery busts of people, made by a Chemehuevi girl by the name of Topilla who showed artistic talent (RMV 362-205, 206, 207 and 208). It is not known whether the pottery classes in which these were made were part of the conventional art training in the school's regular curriculum, or whether these classes were organized because of the strong pottery tradition among the Mohaves, a tradition later adopted by the Chemehuevis. Topilla's name was carved in the base of one effigy, something probably encouraged by her teacher, but possibly suggested by Ten Kate. Small pottery effigies had been made for a long time among the Paiutes, and were used as children's toys. [14] Ten Kate collected four baskets which he listed as Chemehuevi. The study of Chemehuevi basketry has been neglected by anthropologists. Single observations on the craft are scattered throughout the literature, but do not provide a clear or coherent picture, let alone a complete one. Clara Lee Tanner [15] has provided the best study to date, based on an analysis of the large Birdie Brown collection at the Colorado River Indian Tribes Museum, as well as many items from other private collections and museums. One of the pieces collected by Ten Kate in 1883, and identified by him as Chemehuevi, fits well into the characterization of the Chemehuevi style of basketry as defined by Tanner. RMV 362-191 is a small jar, round and bulbous in shape. It is coiled clockwise, a peculiar characteristic of Chemehuevi basketry, as are the three willow rods constituting the foundation of the coils, which are wrapped with light-coloured willow (Salix). The Chemehuevis distinguished two species of willow, both of which were probably used for their basketry, and which they called sagah and kanavi. [16] The design, applied in three horizontal bands around the jar at the top, in the middle and on the bottom, is done in black devil's claw (Proboscidea altheaefolia). Each band shows a different pattern: triangles at the top; a white zigzag pattern results from two interlocking bands of black triangles around the middle; and a stepped block band surrounds the lower part of the jar. The top pattern is separated from the rim coil, and the final coil is finished in black, another characteristic of Chemehuevi basketry. [17] The other three Chemehuevi baskets collected by Ten Kate also fit the tribal craft as characterised by Tanner. All are coiled clockwise, using a three-rod foundation: a parching tray (RMV 362-118), a bowl with a faded pattern on the outside (RMV 362-119) and a large bowl with several block bands forming a checkered pattern (RMV 362-192). The Chemehuevis regarded designs on baskets as the personal property of weavers, and did not infringe this informal rule. Although some authors have stated that the Chemehuevis only made coiled baskets, others have qualified this statement. [18] Ten Kate saw twined conical burden baskets and winnowing trays still being produced in 1883. He was correct in assuming that the Chemehuevis traded their fine basketry with other Colorado River tribes.
The "traditional headcloth" of the Chemehuevis mentioned by Ten Kate was probably the cap made of soft animal skin. The white moccasins were made of deerskin [19], and Ten Kate purchased a pair of Chemehuevi boots made from that material (RMV 362-120), as well as a pair of moccasins (RMV 362-121). A Chemehuevi flute (RMV 362-122), probably made of elderberry wood, is also included in his collection. [20] Finally, a Chemehuevi war club (RMV 362-193) completes the small collection he brought back from the Chemehuevi and Southern Paiute territory. [21] The war club is of the "potato masher" type, made from hardwood, and consisting of a stick with a cylindrical head. It was the principal weapon of war for the Chemehuevis, and resembled Mohave war clubs. [22] The head of the Leiden club is painted yellow, with a zigzag pattern painted in red, and red points in the middle of the triangle. | |
