We were delighted that Dominique, Maxine, and Mia Toya were able to visit this fall and spend a week making traditional Pueblo pottery with students in Thayer Zaeder’s ceramics classes. By our reckoning, this is the fifth year that the Toyas have visited PA. Each visit brings lots of excitement in Thayer’s classes, as well as raw materials from New Mexico, including hand-dug clay, polishing stones, micaceous slip, and fuel for the open air firing.
Dominique, Maxine, and Mia are talented artists and educators from the Pueblo of Jemez, also known as Walatowa. Dominique is known for her micaceous spiral vessels, Maxine makes beautiful hand painted figurines of owls and town criers, and Mia makes vessels adorned with butterflies on their lids. All of their pieces are made and fired using the traditional techniques of Pueblo pottery making and include their own distinctive innovations. Collectively they have won numerous distinctions and regularly show their pieces at the Santa Fe Indian Art Market and other juried venues. They also are terrific educators with a passion for sharing Pueblo pottery making.
The Peabody and PA have a long history with the Pueblo of Jemez. From 1915 through 1929 the Peabody sponsored Alfred V. Kidder’s excavations at Pecos Pueblo, one of the ancestral communities of Jemez. In the 1990s Peabody personnel were involved in repatriation of ancestors and funerary objects from Pecos and began the Pecos Pathways program, a forerunner of today’s Learning in the World programs.
We are very fortunate that several donors and members of the Peabody Advisory Committee have helped us acquire some of the Toyas’ stunning pieces and provide underwriting for their visits. We are so grateful for the time that the Toyas have dedicated to working with PA students and faculty!
The Peabody Institute is pleased to share our latest acquisition, a piece of pottery made by Dominique and Maxine Toya, Pueblo of Jemez. Dominique and her mom Maxine have had a long relationship with the Peabody, first visiting campus in 2014 to share their work in the world of Native American art. Since then they have visited campus in 2015, 2016, and 2017, and plan on returning in fall 2019 to conduct a week-long seminar with students in Thayer Zaeder’s studio pottery classes. We have been lucky to work with Mia Toya, Dominique’s sister, and friend Nancy Youngblood from Santa Clara Pueblo.
Dominique is a 5th generation potter, who combines traditional forms, materials, and methods with exciting innovations in decoration and design. We have two of Dominique’s melon swirl vessels with micaceous slip, courtesy of Marshall Cloyd (PA Class of 1958). Dominique has won numerous awards, including Best of Classification at the Heard Indian Market (2008); Best of Classification at the Gallup Inter-Tribal Ceremonial (2009), Best of Show at the Eiteljorg Indian market in Indianapolis in for a collaboration with Jody Naranjo (2010); and numerous distinctions at the Santa Fe Indian Market; Dominque is currently vice chair of the Southwestern Association for Indian Arts, host of the annual Santa Fe Indian Market. Maxine is a talented artist and educator as well, specializing in hand-painted figurines. She studied with Allan Houser at the Institute of American Indian Arts in Santa Fe.
Dominique and Maxine have recently begun to combine their talents, with Dominique contributing her beautiful vessels and Maxine painting them with human and animal figures. This piece, like all of their creations, is made from local New Mexican materials, hand decorated and polished, and open fired.
The Toya pottery collaboration is thanks to a generous gift from Barbara and Les Callahan (PA Class of 1968). Many thanks Barb and Les for this beautiful addition to our collection!
To the uninformed, the Peabody Institute of Archaeology is just a building on the Phillips Academy campus that houses old artifacts and sherds of pottery from long ago archaeological expeditions. They would be very mistaken! The Peabody provides incredible academic enrichment opportunities to the student body across all disciplines.
In a unique approach to education, the Peabody collections are used to demonstrate the practical applications of history, language, mathematics, science and sociology. This year celebrates the fifth year the Peabody has arranged for pottery artists from the Pueblo of Jemez to come to campus to work with students.
In collaboration with Thayer Zaeder’s ceramics classes the potters spent the week working with 48 students teaching the ancient techniques of transforming clay into pottery. I had the rare opportunity to not only observe these artists work with the students, but to actually work with them myself. Maxine, Dominique and Mia worked with students individually on both shape and decorative painting to create unique pieces of art.
Glazing is not used in Pueblo pottery. Any glossy surfaces are achieved by polishing the area with smooth stones. The process is delicate and time consuming and if you mess up, as one student found out, the Potters would show you how to fix the problem – sand it all off and start again!
Dominique, Mia and their mother, Maxine Toya come from a multi-generational family tradition of Pueblo Potters. Each is known for their unique style, Dominique for her mellon designs, Mia for her signature butterfly designs and Maxine for her animals and figures. Their work is highly collectible and sought after. Nancy Youngblood, another prominent Pueblo potter, has joined them the last three years. These four ladies are the “Super Stars” in the Native American world of ceramic art.
Maxine Toya working on one of her famous owls.
Mia Toya talks about her butterfly swirl jar, in process.
Dominique Toya begins the spiral ribs on a miniature swirl pot.
Mia’s friend Ward Weppa helps sand the ribs on her butterfly swirl bowl.
Maxine Toya’s completed owl figurine–all the fine line painting is done with Maxine’s masterful hand-eye coordination!
Dominique Toya’s distinctive swirl vessels with micaceous slip, collection of the Robert S. Peabody Institute of Archaeology.
When speaking with the Potters, one theme stood out. They love bringing the ancient methods to this generation to instill a knowledge of their culture and heritage. They each spoke of how polite the Andover students were as well as the appreciation shown to them by each student for the opportunity to learn this ancient art form.
The culmination of each of their visits is the “firing.” They still use the ancient method of firing the pottery outdoors, which usually draws a large crowd. A huge bonfire is built to bake all the pieces the classes have created. The end result brings pride and a sense of accomplishment to both students and teachers alike.
*Guest contributor Barbara Callahan is Secretary of the Peabody Advisory Committee. She and her husband Les Callahan (Phillips Academy Class of 1968) provided the generous support for the Pueblo Potters program in 2017 and 2018.
This blog represents the tenth entry in a blog series – Peabody 25 – that will delve into the history of the Peabody Museum through objects in our collection. A new post will be out with each newsletter, so keep your eyes peeled of the Peabody 25 tag!
One fascinating document in the Peabody Museum archives is a 15-page, hand-written proposal drafted by Alfred V. Kidder and addressed to the Trustees of Phillips Academy, which outlines his plan for archaeological exploration of Pecos Pueblo in New Mexico.
Kidder’s proposal, dated February 9, 1915, represents a critical moment in the history of the Peabody and the broader history of American archaeology.
At the local level, Kidder’s proposal and ultimate investigation, was the result of a power struggle for the future of the Peabody, then known as the Phillips Academy Department of Archaeology. After less than a decade of operation, curator Warren K. Moorehead, and honorary director Charles Peabody, formulated a plan for a serious expansion of the department. Sharing space with a basement grill and student clubs, coupled with burgeoning artifact collections fueled their interest in an expansion. Moorehead also complained that the light and airy rooms left little space to mount exhibitions. He visited other museums, and envisioned a series of grand galleries. Architect Guy Lowell was contracted to revisit his original creation, a relatively modest 15,000 square foot building, and drafted plans that were submitted to Academy principal Alfred B. Stearns and the board. Stearns and the trustees, however, did not see the need for a larger archaeology museum and worked to derail the plan. Hotly opposed by Moorehead, a committee of experts was empaneled and charged with charting a new direction for the young institution. Marla Taylor, in her blog post, details some of the personalities involved and their ultimate recommendations. The focus, it seems, was to be on research, at the expense of teaching. Committee members Roland Dixon, a distinguished Harvard professor, and eminent Phillips Academy alumnus Hiram Bingham III, suggested that newly minted PhD Alfred V. Kidder was the perfect person to lead this research. Kidder had already considerable experience in the Southwest, including early work as a Harvard student with Edgar Lee Hewett, doyen of southwestern archaeology.
Kidder’s proposal begins with a short description of Pecos Pueblo in New Mexico based on limited previous observations and Spanish descriptions and then moves to considerations of how to select a site for study. On page four he notes that “there are always two points of view: the scientific and the practical.” Regarding the first he provides an overview of Southwestern archaeology, noting the presence in the area of diverse, yet seemingly related cultures, and the need to order these chronologically. Here he makes a comparison to the Old World, noting that, “for example: the succession of the stone and metal ages in Europe,” as well as sequences in Minoan and Egyptian art, had already been worked out (page 6). Kidder goes on to say, “all these great discoveries, which have so profoundly influenced not only anthropological, but also general philosophical thought, have rested for their final proof on stratification.”
Stratification, of course, is the cornerstone of Kidder’s work in the Southwest. He goes on to mention the general lack of American sites with stratified or stacked layers, and a few recent exceptions, including his own observations in Utah and those of Nels Nelson in Galisteo, New Mexico. Specific to Pecos, Kidder says that this site promises a potentially longer occupation than other candidates in the Southwest; he elaborates in stating, “my reason for thinking so is that the Pecos ridge and its fan-shaped rubbish heads show fragments of seven distinct pottery types, one of which, the Black-and-white, is the oldest style at present recognized in the whole Plateau area (page 8).”
On page 10 Kidder turns to practical considerations. Proximity to the train station in Rowe, New Mexico, stores in the town of Pecos, and Santa Fe amenities are offered as major considerations. Kidder notes the costs of shipping materials in and out of more remote sites (Mesa Verde, $0.50 per hundred pounds to Navajo Mountain at $1.75). Procuring labor was also a consideration. Here Kidder notes that the American Indian residents of Santa Clara and San Ildefonso pueblos have experience in excavation and are careful workers. A consideration of possible rates follows.
Kidder spends the remaining pages, 12 through 15, on a plan of work. He notes the need to create a plan of the site and thoroughly inspect it, to begin training men who would become supervisors in subsequent years, and the initial expenditures on storage buildings, camera, and scientific equipment. Kidder also writes about the need to understand the ownership of the land and to enter into an agreement with the owners to avoid any future misunderstandings. The final page is dedicated to a budget for the first year’s work, and totaled $3,000. The figures, which include cost for tools, camera and darkroom supplies, a horse and wagon, expenses, and contingency funds, didn’t include Kidder’s salary.
Things moved pretty quickly. Kidder was offered a post as field director of the archaeological expedition, his proposed budget approved, and a salary of $2,000 was agreed upon on February 11, 1915. Kidder began his field session a few months later on May 15, and what was first approved as a three-year program was ultimately extended to 1929 when he joined the staff of the Carnegie Institution of Washington DC. After returning from the field, arrangements were made for Kidder to have space at Harvard, where we continued a close association for the rest of his career. Douglas Givens, in his excellent 1992 book Alfred Vincent Kidder and the Development of Americanist Archaeology notes that “although Nelson, Kroeber, Spier, and Kidder were each working with stratigraphy about the same time in the Southwest, it was Kidder who combined features of Nelson’s method with Kroeber and Spier’s work into a workable dating approach.” According to Givens, “Kidder was the first southwestern archaeologist to make use of the stratigraphic method on a large scale.” Kidder’s technique allowed him to investigate both chronology and broader cultural changes within the Pecos site.
Kidder built on the work of his first season at Pecos, ultimately employing a multidisciplinary approach that involved work in ethnography and physical anthropology to inform his archaeological observations. Much of the results of the project were published jointly by the Phillips Academy Department of Archaeology and the Yale University Press as the Papers of the Southwestern Expedition, including Kidder’s own 1924 Introduction to the Study of Southwestern Archaeology with a Preliminary Account of the Excavation at Pecos, which is still in print. Archaeologist Ben Rouse writes in the introduction to the 1962 edition that this was “the first detailed synthesis of the archaeology of any part of the New World and, as such, set the pattern for much subsequent work in other areas.”
Kidder’s Pecos project cast a long shadow on the Peabody Museum. Kidder’s rigorous program of scientific research was continued by Douglas Byers and Frederick Johnson, museum personnel from the 1930s through the late 1960s. Like Kidder, Byers and Johnson employed a multidisciplinary approach to studies of culture history, often working closely with scientists in other disciplines. Together they developed a Pecos exhibition in conjunction with artist Stuart Travis, including a diorama of the site that is still popular today. They also traded Pecos collections with other institutions, acquiring archaeological and ethnographic specimens from sites in Labrador to Upper Paleolithic France. Archaeologist Richard “Scotty” MacNeish, ultimately director of the Peabody in the 1970s and early 1980s, had known and admired Kidder for some time, and collaborated with Byers and Johnson on major multidisciplinary undertakings in Mexico and Peru. There’s another side to Kidder’s Pecos project as well. Kidder’s excavations targeted those slope deposits described in his research proposal, where he also expected to find human burials. Matthew Liebmann and Christopher Toya note in their foreword to the 2010 volume Pecos Pueblo Revisited: The Biological and Social Context, that Kidder had excavated the remains of 1,922 people during his dig, not to mention an astonishing number of funerary and sacred objects. These people and their belongings were repatriated to the Pueblo of Jemez, descendants of Pecos, in 1999 and reburied at Pecos National Historical Park. Consultation with the Pueblo of Jemez by the Robert S. Peabody Museum of Archaeology and the Harvard Peabody Museum of Archaeology and Ethnology led to long lasting collaboration, including the Pecos Pathways exchange program for high school students.
Please join us for a special evening with award-winning Pueblo potters Dominique Toya, Maxine Toya, Nancy Youngblood, and Joseph Youngblood Lugo.
Learn about contemporary Pueblo pottery making with these gifted artists while they visit Andover to work with Thayer Zaeder’s studio pottery classes. Dominique and Nancy have collaborated to create pieces that meld their unique approaches to traditional pottery construction, bringing together swirl melon bowls, glistening micaceous slips, carved designs, and blackware firing techniques. Maxine makes delightful figurines that draw on deep Pueblo traditions. Joseph Youngblood Lugo continues the Santa Clara tradition of carved blackware pottery, adding contemporary themes and motifs. These artists are passionate about their work and will share how they have melded traditional and innovative materials and methods to create contemporary works of art.
7-9pm, Wednesday, May 25, 2016
Hors d’oeuvres, beer, and wine
$20.00 per person
Please RSVP – contact Crystal McGuire – Office of Alumni Engagement at firstname.lastname@example.org or 978-749-4282
The Peabody Museum has begun the collaborative process of reexamining our relationship with the Pueblo of Jemez. The Peabody’s involvement with the Jemez dates back 100 years—to the period from 1915 through 1929 when Alfred V. Kidder and his colleagues conducted excavations and ethnographic studies of the Pecos and Jemez pueblos. Consultations under the Native American Graves Protection and Repatriation Act (NAGPRA) in the 1990s rekindled the relationship and launched the Pecos Pathways expeditionary learning program at Phillips Academy. Pecos Pathways has been the centerpiece of the Andover-Jemez relationship since 1998, but we’ve seen a host of other collaborative efforts since then, including the recent visits by potters Dominique and Maxine Toya and their friends.
Dominique Toya works with PA students in Mr. S. Thayer Zaeder’s ceramics class.
The goal of this critical assessment is to ensure that the partnership is maintained in a coherent and consistent manner, despite the changing needs and desires of the partners through time. We want to focus on sustaining and growing the relationship and enhancing its impact through the exchange of knowledge, resources, and individuals from each community. Initially we are working with the Education Department at Jemez, but we will expand the conversations to include other members of the tribe, such as those in the Department of Natural Resources who oversee all tribal archaeological work.
We recently began conversations with Janice Tosa, research associate and student program outreach manager for Jemez Pueblo, and Leander Loretto, student outreach coordinator for Jemez Pueblo, about how we might modify and expand our joint educational offering. A main focus in the conversations has been on creating programming that supports and advances our learning objectives in a more tangible manner, while also being sustainable. Looking at unique and creative ways in which adult members of each community can be engaged and utilized is another area that we are exploring.
We look forward to working with our friends at Jemez Pueblo on this exciting project!
Above Clockwise: Janice Tosa shows off her love of the Boston Red Sox’s; Leander Loretto screens for artifacts on the Mashentucket Pequot Reservation; A Pecos Pathways group prepares to hike up San Diego Mesa.