The Shaman's Mirror
Page 35
on secrecy and explanation of meaning, 247;
on souls, 212;
on vision in yarn painting, 200;
on yarn paintings, 98, 130–131;
on yarns, 241
González Rĺos, Guadalupe:
life history of, 102, 111, 118
González Robles, Domingo:
critique of author’s research strategy, 4–5;
life history of, 102;
making offerings, 36;
paintings by, 81, 82;
as shaman’s patient, 30
González Sánchez, David, 115
Goulet, Jean-Guy, 11–12
gourd bowls:
imagery of, 74, 116, 121–122, 148;
as offerings, 37, 37, 41, 66–67;
shamanic power in, 214
Grandmother Growth. See Takutsi Nakawe
Guadalajara, Mexico, 7, 22, 92;
exhibition of yarn paintings in, 85;
and Huichol crafts, support of, 103–104;
as market for Huichol arts, 222
Guadalupe Ocotán (Xatsitsarie), 21
Haida people:
commercialization of sacred carving, 7
Hakatemi, 111
Halifax, Joan, 93
hallucinogens:
visions due to, 12, 165–166, 186, 191–193
Harner, Michael, 165
Hernández, Gonzálo:
on vision in yarn painting, 199–200, 200
Hewi (Pre-Huichol people):
problem of identity of, 79–80
Hindu religion:
and visionary experience, 55
Hi Xrapa, 25, 254n1(chap. 3)
Hopi people:
myths of, 20, 49;
offerings made by, 37, 54, 63;
visionary experience among, 15, 186–188
Hosteen Klah, 83
Hrdlička, Aleš:
research on petroglyphs, 79–80
Huejuquilla el Alto, Mexico, 21
Huichol people:
acculturation of, 5, 106–107;
agricultural practices of, 24;
cargo system of, 104–105;
communication systems of, 253n 4;
communities of, 21–23, 23, 27, 31;
craft marketing of, 24, 108–110, 236;
economy of, 24, 107–110, 140, 147, 233, 236;
education of, 103–107, 109, 143;
government of, 21, 33, 104;
health of, 124;
history of, 21–22, 107;
housing of, 39;
human rights of, 108;
location of, 21–24, 23;
marriages of, 91;
name of, 19;
origins of, 19–20;
population of, 21–22, 24;
transportation routes for art, 222;
urbanization of, 233, 236
Huichol language, 6, 19, 157;
dialects of, 259;
publication of, 259;
terms for soul, 202–204
Huichol religion:
cosmology, 25–29;
gods and goddesses, 27–29;
offerings, 36–45;
soul concepts, 204–213
human, human stick figure:
imagery in yarn paintings, 95, 125–127, 133, 163–164, 164
hunting, 26
Indian Arts and Crafts Act of 1990, 230
Indian Arts and Crafts Board, 86
Instituto Nacional de Bellas Artes (INBA), 118
Instituto Nacional Indigenista (INI), 5, 16;
promotion of Huichol art by, 101–2, 117–118, 224
Internet:
and Huichol art, effect on market for, 234–236;
marketing of Tepehuane art as Huichol, 229. See also eBay
Inuit (Eskimo) people:
cooperatives among, 234;
visionary experience among, 55
itari/itali (yarn painting, mat, altar), 37–39, 41–42. See also altars; boards; yarn paintings
iyari (heart, soul):
definitions of, 205–213;
source of designs, 193, 206;
spun into first thread, 38–39. See also souls
Jalisco, Government of:
and Huichol crafts, marketing of, 224
jewelry, 81, 82
Jĺvaro people:
visionary experience among, 165–166
Juchipila-Bolaños culture, 79–80
Kahlo, Frida. 85
kakauyari (ancestors, ancestral gods), 26, 29;
powers of, in yarn painting, 62
kawitero (wise elders), 31, 254n5(chap. 3)
kieri, 32;
colors of, 181;
deception by, 1;
identification of, 253n2;
imagery in yarn paintings, 92, 95;
offering of yarn painting to, 68. See also datura; Tree of the Wind
kupuri (life-energy):
definitions of, 204–205, 209–210, 212–213;
depicted as colors, 96, 116–117, 204;
imagery in yarn paintings, 81–83, 82, 121;
peyote as source of, 196;
symbolized by cotton, 38. See also souls
Lang, Mark, 119–120, 256n3
Laughlin, Charles D., 218
lizards, 193
Loera Ochoa, Father Ernesto, 92, 94, 100
López Austin, Alfredo:
and Aztec concepts of soul, research on, 202–204
López de la Torre, Alejandro (Matsuwa):
life history of, 103–105
Los Angeles County Museum of Natural History, 93–94
Lumholtz, Carl:
and Alfonso Soto Soria, used by, 87;
on color, 159;
collections, 89, 111;
on nierika concept, 42–44, 56, 78, 84;
and petroglyphs, research on, 78–79;
and Takutsi, translation of, 254n3(chap. 3);
yarn painting, collection of, 68
maize (Zea mays):
and ceremony, used in, 54, 71;
domestication of, 19;
vision due to, 180
Malpaso culture, 80
mandalas, mandala nierika:
10, 46, 49, 116–117, 129, 192;
of Tibet, 218
Manzanilla González, Alfonso, 108
maps:
of Huichol region, 22
mara’akame. See shamans
Mata Torres, Ramón, 108
Maya people:
clothing of, 146;
cooperatives among, 234;
imagery of, 186;
myths of, 49;
soul concepts of, 201
Mazatec people:
visionary experience among, 189
Medina Silva, Ramón (Ürü Temai):
and Barbara Myerhoff, 11;
as innovator of yarn painting imagery, 90–103, 116–117, 120, 122;
life history of, 90–103, 114, 118, 255n1, 2(chap. 6);
myths told by, 55–56, 115–116;
publication on, 4, 108, 111, 194;
on secrecy and explanation of meaning, 247;
on shamanic balance, 156;
on soul concepts, 204–205;
visions of, 97, 192
medicine men. See shamans
medicine wheels:
colors and directions, 181, 183–184
Metropolitan Museum of Art (New York), 86
Mexican Revolution (1910–1920), 22, 85, 90, 114
Mexico City, D.F., 7, 21, 37;
and Huichol crafts, support for, 103–106;
as market for Huichol arts, 222
Mezquitic, Mexico, 21
Mimbres culture, 81
mirrors:
as nierika, 43, 46–49, 56;
as shaman’s tool, 30, 46–47;
used in yarn painting, 49, 87, 141
mixed media, 141–143, 230–233, 242. See also painting
Morrow, Dwight, 86
Museo de Cuatro Pueblos (Tepic), 234
Museo Nacional de Antropologĺa
(Mexico City), 37;
yarn paintings created for, 89, 255n1(chap. 5)
Museo Nacional de Artes e Industrias Populares (Mexico City):
and commercialization of yarn paintings, 88–90;
and exhibition of yarn paintings, 85, 87
Museum of Natural History (New York), 111
Museums of Fine Arts of San Francisco, 111
mushrooms:
as hallucinogens, 165, 189
Myerhoff, Barbara G., 4;
on balance, concept of, 156;
peyote vision of, 11;
research with Ramón Medina Silva, 92–97, 156
myths:
of animals, creation of, 38;
of corn, origin of, 26, 95;
of deer hunt and sacred colors, 51;
of Jimson-weed-man and colors, 50;
of journey of soul after death, 95;
of Kieri and Kauyumari, battle between, 1, 95;
of mountain of Picachos, origin of, 29;
of pilgrimage to Wirikuta, first, 29;
of sacred site of Tatei Nüariwama, 76;
as subject of yarn paintings, 94–95;
of sun and sacred colors, birth of, 55, 95, 96;
of yarn painting, first, 38
Nahmad Sittón, Salomón, 101, 108, 118
Nahua people, 31
Natani Tso, 54
Navajo people:
and ceremonial knowledge, degrees of, 189;
color use of, 149, 159;
and Huichol, imagery similar to, 81, 255n3(chap. 5);
myth of Spider Woman and Dreamer Boy, 83;
offerings made by, 63;
pollen, used by, 54;
sand paintings, powers in, 220;
texts on art of, 243;
visionary experience among, 15;
weaving and sacred sand paintings, commercialization of, 7
Nayarit, Government of:
and Huichol crafts, marketing of, 100, 224;
and Huichol urbanization, policy on, 233
Negrĺn Fetter, Juan, 4, 110–111, 117–121
Neukame, 126
nierika (face, mirror, yarn painting):
imagery in yarn paintings, 116–117, 121, 133;
meaning of, 42;
objects classed as, 42–45, 55–56;
offering attached to prayer arrow, 36, 48, 70, 72;
as tool for vision, 45–49
Obregón, Álvaro (President of Mexico), 85
Ortiz Monasterio family, 255n2(chap. 5)
Otata, 25
Our Elder Brother Deer. See Tamatsi Kauyumari
Our Grandfather Fire. See Tatewari
Our Mother the Pacific Ocean. See Tatei Haramara
Our Young Mother Eagle. See Tatei Werika Uimari
owls:
imagery in yarn paintings, 130–131, 131
painting (in various media), 242
Paiute people:
offerings made by, 37;
visionary experience among, 15
Palafox Vargas, Miguel, 101, 118
Pantone colors, 151–153, 172–174, 172
Papago people, 79;
visionary experience among, 15, 186–187
Paritsika:
imagery in yarn paintings, 70, 72;
sacred site of, 71
Pérez Robles, Cresencio:
life history of, 102, 118;
paintings by, 143;
publication on, 111, 258n2(chap. 15)
Pérez Robles, Tacho, 31;
life history of, 102
pesticides:
poisoning of Huichol by, 124
petroglyphs:
of Fremont culture, 82;
as nierika, 43, 56;
and yarn painting imagery, 74–84
peyote (Lophophora williamsii):
artist’s views on, 195–196, 199;
author’s vision, 9;
flower and sacred colors, 51;
gathering of, 2, 29;
good spirit of, 1;
and iyari, 205–206;
Ramón Medina Silva’s vision, 97;
as source of sacred colors, 180;
visions, due to, 34, 146–147, 166, 191–193, 193
peyote hunt. See Wirikuta, pilgrimage to
pilgrims, pilgrimages:
27–28, 32, 33;
making yarn painting, on completion, 72–73. See also Wirikuta, pilgrimage to
Pima people, 79
Plan HUICOT, 108–110
Plan Lerma, 108–109
pollen:
visionary experience of, 9, 51–55
pollen path, 54
prayer arrows, 36–37, 37, 48;
as offerings, 66, 71–72, 148;
shared by Puebloans, 81
Prem Das (Paul C. Adams), 45–46, 93, 114
Protestant evangelical church, 130
Puebloan people:
and ceremonial weaving, commercialization of, 7;
and Huichol, imagery similar to, 81;
offerings used by, 83
Puerto Vallarta, Mexico, 3, 7, 21;
as market for Huichol art, 221–224
rain, rain mothers, 26–28;
offerings for, 64
realism, in art, 125–127, 129–130
Renterĺa de la Cruz, Maximino, 119
Reunar, 96, 158, 200
rock art. See petroglyphs
Reichard, Gladys, 54
Rĺo Lerma. See Santiago River
Rĺos, don José (Matsuwa), 74, 93, 114–115, 256n4(chap. 6)
Rĺos, Inés, 90
Rĺos family:
history of, 90–91
Rĺos Martĺnez, Juan, 111, 119
Rĺo Wirrarika, 21
Rivera, Diego, 85
Rivera Lemus, Modesto, 115;
paintings by, 203, 238;
on vision as source of images, 196;
on yarns, 160–161
Rosa Medrano, doña Andrea, 74
Rubĺn de la Borbolla, Daniel, 87
sacred colors:
description of, by Eligio Carrillo, 17, 59, 165–185;
emitted by deities, 61, 61–62, 65, 97;
and fuerte-bajito aesthetic system, 178–180, 189–190;
painted on person, 14, 49–52, 55–57;
used on clothes, 16
sacred places, sacred sites, 2, 22–23, 25–26, 28–29, 32;
and bowls, imagery in, 74, 121–122;
offerings left at, 57–60, 71;
on Santiago River, 36;
as source of colors, 59, 65, 165–166, 176, 178–179, 181–184;
as staircase or ladder, 156–158;
of uxa, 52, 53;
and yarn paintings, imagery in, 67–74, 74–81, 121–122, 184
sacrifice, 26–27, 32;
of bull, 28, 180;
imagery in yarn paintings, 125–126, 126;
as offering, 72
San Andrés (Tateikie), 21, 75;
color combining in, 148;
offerings in, 36;
sacred site near, 75;
secrecy and explanation of meaning of yarn paintings, 248;
Semana Santa in, 254n2(chap. 3)
San Blas, Mexico, 2, 21, 28;
location of sacred site, 68
San Diego Museum of Man, 102, 114
Sandoval, Augustĺn, 104
San José Museum of Art, 119
San Luis Potosĺ, 28. See also Wirikuta
San Sebastián (Wautüa), 21, 88, 91
Santa Catarina (Tuapurie), 21, 39, 68, 71;
color use in, 148, 181;
first schools in, 103–104;
occupied by Tepecano, 80;
sacred site near, 76
Santiago Ixcuintla, Mexico, 21, 123
Santiago River (Rĺo Grande de Santiago, Rĺo Lerma), 21–22, 36;
development of, 109
santos, 27, 130, 254n2(chap. 3)
Schaefer, Stacy B., 65, 111
scorpions:
imagery in yarn paintings, 70, 72
Semana Santa, 27, 254n2(chap. 3)
shaft-tomb culture, 92, 257n1
shamans (mara’akame), shamanism:
author’s training as, 2;
and ceremonies, 12, 32–34, 155–156;
dreams and visions of, 12, 33–34;
as healers, 17, 27, 30, 31, 32–34, 115, 131, 154, 155, 204–205;
imagery in yarn paintings, 133;
as intermediaries with gods, 73;
legitimacy of, 13, 34–35;
powers of, 214, 217–220, 238;
secrecy among, 247–248;
selection and training of, 32, 105, 199, 208–209;
terms for, 31;
variation in abilities of, 17, 115, 189–190;
visionary abilities of, 14, 45–47, 56, 74–78, 95–97, 115, 161–164, 165–190;
as yarn painters, 5–6, 9
shaman’s baskets, 30, 41, 53
shaman’s plumes, 25, 28, 30, 31;
imagery in yarn paintings, 133;
as offerings, 71–72
Shipibo people:
visionary experience among, 169, 182
Sierra Madre Occidental, 20, 21;
development of, 109–110
Silverio Evangelista, Miguel, 150
singer, singing, 31;
songs and sacred colors, 167–169, 179, 183, 186–187
slash and burn (swidden) horticulture. See Huichol people:
agricultural practices
snakes, serpents, 26, 69;
imagery in Navajo sand painting, 255n3(chap. 5);
imagery in yarn paintings, 67–71, 81, 89;
at sacred site, 75, 80;
as source of designs, 193;
visionary meaning of, 187
Soto Soria, Alfonso, 86, 108;
collection of yarn paintings, 255n1(chap. 5);
on commercial yarn painting, origins of, 85, 87–90, 100, 141
souls, soul concepts, 38–39;
imagery in yarn paintings, 194;
and making of art, 201–213. See also kupuri; iyari
Spanish conquest, 27
spinning:
of first thread, 38;
respun yarns, 139
staircases, 156–158
stone disks. See god disks
sun, Sun Father. See Tayau, Tau
symbols, symbolism:
and face paintings, used in, 43, 44;
and offerings, used in, 36, 38–41, 95;
of sacred colors, 175–178, 190;
and yarn paintings, used in, 94–100
synesthesia, 59, 167–169
Taisan, Pablo (Yauxali), 111, 119
Takutsi Nakawe (Grandmother Growth), 25–27;
imagery in yarn paintings, 70, 71–72, 127, 128;
sacred site of, 71;
spins first thread, 38–39;
translation of, 254n3(chap. 3)
Tamatsi Kauyumari (Our Elder Brother Deer), 26–27, 47, 49, 98;
creates first yarn painting, 38, 41;
imagery in yarn paintings, 33, 45, 61, 176–177, 177;
sacred power of, 60–61
Tamayo, Rufino, 85
Ta Selieta, 25
Tatei Haramara (Our Mother the Pacific Ocean), 2, 25, 28, 158
Tatei Ituli Iwiekame (Our Mother Flower Skirt), 81, 82