Red seed pot carved with spiral design and painted with golden micaceous slip
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Dominique Toya, Jemez, Red seed pot carved with spiral design and painted with golden micaceous slip
Artist: Dominique Toya
Pueblo: Jemez
Dimensions: 2 1/4 in H by 2 1/4 in Dia
Item Number: xxjed9232
Price: $ 525
Description: Red seed pot carved with spiral design and painted with golden micaceous slip
Condition: Excellent
Signature: Dominique Toya
Date Created: 2019
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Dominique Toya

Dominique Toya
Carved micaceous jar

Dominique Toya was born to Maxine Toya and Clarence Toya in 1971 at Jemez Pueblo. In those days she was known as Damian and she began creating pottery at about the age of five. She credits her mother Maxine for being the inspiration behind her interest in learning the traditional art. Her aunt, Laura Gachupin and grandmother, Marie G. Romero complete the roster of influential family potters in her life.

She gathers her clay and natural pigments from within the lands of Jemez Pueblo. Preparing the clay, she cleans and sifts and wets and mixes and dries, then hand coils, shapes, sands, and polishes before finally firing her pots.

Dominique says she was inspired to create her signature swirl melon pots by well-known Santa Clara potter Nancy Youngblood. She is aiming for nothing short of perfection, from the shape of her pots to the swirls that pour out of her openings. "The smaller the opening," she said, "the swirlier they get." The lines that circle a Dominique pot are perfectly spaced by taking an ice pick and scratching through the clay one line at a time, eventually covering the pot from top to bottom. "It's all done by eyeball," she said. "It's just a part of me."

Later she will sandpaper the grooves deep into the pot. Those deep groves are another signature, as is the sparkle in the final micaceous slip. She signs her pots as: "Dominique Toya, Jemez", followed by the corn symbol to denote her clan origin.

Her career shifted into high gear with an award in the pottery division at the 2000 Annual Heard Museum Guild Show. Then she was awarded Best of Class for Pottery at the 2009 SWAIA Santa Fe Indian Market. Then collaboration between Dominique and Jody Naranjo of Santa Clara Pueblo won the duo the Best of Show award at the 2010 Eiteljorg Museum of the American Indian in Indianapolis.

Career success, she believes, is rooted in her decision to become "Dominique" and to leave behind an outer self that didn't fit her. Born "Damian", Dominique was already a successful potter before she accepted herself as a woman. She has been undergoing hormone therapy for the past two years as she completes her transformation. "My personal changes, my hormone therapy: everything happened all at once," she says.

Today, Dominique tells us she still gets her inspiration from her mother, her grandmother and from good friends Nancy Youngblood and Jody Naranjo. Her favorite shape to work with is the water jar, preferably carved with deep swirls and slipped with micaceous clay. As a 5th generation Jemez Pueblo potter she says clay is her life and it has allowed her to relax and enjoy this amazing and fulfilling journey through life.


Jemez Pueblo

The nave at the ruins of the San Jose de las Jemez Mission
Ruins of San Jose de las Jemez Mission

As the drought in the Four Corners region deepened in the late 1200's, several clans of Towa-speaking people migrated southeastward to the Canyon de San Diego area in the southern Jemez mountains. Other clans of Towa-speaking people migrated southwest and settled in the Jeddito Wash area in northeastern Arizona, below Antelope Mesa and southeast of Hopi First Mesa. The migrations began around 1275 and were mostly complete by 1350.

Archaeologist Jesse Walter Fewkes argues that pot shards found in the vicinity of the ruin at Sikyátki (near the foot of Hopi First Mesa) speak to the strong influence of earlier Towa-speaking potters on what became "Sikyátki Polychrome" pottery (Sikyátki was a village at the foot of First Mesa, destroyed before the first Hopi contact with the Spanish in 1540). Fewkes maintained that Sikyátki Polychrome pottery is the finest ceramic ware ever made in prehistoric North America.

Francisco de Coronado and his men arrived in the Jemez Mountains of Nuevo Mexico in 1539. By then the Jemez people had built several large masonry villages among the canyons and on some high ridges in the area. Their population was estimated at about 30,000 and they were among the largest and most powerful tribes in Northern New Mexico. Some of their pueblos reached five stories high and contained as many as 3,000 rooms.

Because of the nature of the landscape they inhabited, farming was very hard. So the Jemez became traders, too, and their people traded goods all over the Southwest and northern Mexico.

The arrival of the Spanish was disastrous for the Jemez and they resisted the Spanish with all their might. That led to many atrocities against the tribe until they rose up in the Pueblo Revolt of 1680 and evicted the Spanish from northern New Mexico. With the Spanish gone, the Jemez destroyed much of what they had built on Jemez land. Then they concentrated on preparing themselves for the eventual return of the hated priests and the Spanish military.

The Spanish returned in 1692 and their efforts to retake northern New Mexico bogged down as the Jemez fought them doggedly for four years. In 1696 many Jemez came together, killed a Franciscan missionary and then fled to join their distant relatives in the Jeddito Wash area. They remained at Jeddito Wash for several years before returning to the Jemez Mountains. As a result of that long ago contact, there are still strong ties between the Jemez and their cousins on Navajo territory at Jeddito. On their return to the Jemez Mountains, the people built the pueblo they now live in (Walatowa: The Place) and made peace with the Spanish government.

Some of the Jemez people had been making a type of plainware pottery (simple, undecorated, utilitarian) when they were still in the Four Corners area, while others had developed a distinctive type of black-on-white pottery. In moving to the Jemez Mountains, they brought their knowledge and techniques with them but had to adapt to the different materials available to work with. Over time, the Jemez got better in their agricultural practices and began trading agricultural goods to the people of Zia Pueblo in return for pottery. By the mid-1700's, the Jemez were producing almost no pottery.

East of what is now Santa Fe is where the ruins of Pecos Pueblo are found. Pecos Pueblo was a large pueblo housing up to 2,000 people at its height. The people of Pecos and the Galisteo Basin were the only other speakers of the Towa language in New Mexico and when that area fell on increasingly hard times (Apache and Comanche raids, European diseases, drought), Pecos was finally abandoned in 1838 when the last 17 residents moved to Jemez. The Governor of Jemez welcomed them and allowed them to retain many of their Pecos tribal offices (governorship and all). Members of former Pecos families still return to the site of Pecos Pueblo every year to perform religious ceremonies in honor of their ancestors.

When general American interest in Puebloan pottery started to take off in the 1960's, the people of Jemez sought to recover that lost heritage. Today, the practice of traditional pottery-making is very much alive and well among the Jemez.

The focus of Jemez pottery today has turned to the making of storytellers, an art form that now accounts for more than half of their pottery production. Storytellers are usually grandparent figures with the figures of children attached to their bodies. The grandparents are pictured orally passing tribal songs and histories to their descendants. While this visual representation was first created at Cochiti Pueblo (a site in close geographical proximity to Jemez Pueblo) in the early 1960's by Helen Cordero, it speaks to the relationship between grandparents and grandchildren of every culture.

The pottery vessels made at Jemez Pueblo today are no longer black-on-white. Instead, the potters have adopted many colors, styles and techniques from other pueblos to the point where Jemez potters no longer have one distinct style of their own beyond that which stems naturally from the materials they themselves acquire from their surroundings: it doesn't matter what the shape or design is, the clay says uniquely "Jemez."

Location of Jemez Pueblo

For more info:
at Wikipedia
official website
at the Catholic Encyclopedia
Pueblos of the Rio Grande, Daniel Gibson, ISBN-13:978-1-887896-26-0, Rio Nuevo Publishers, 2001
Prehistoric Hopi Pottery Designs, Jesse Walter Fewkes, ISBN-0-486-22959-9, Dover Publications, Inc., 1973
Upper left photo is courtesy of Sarah Stierch, Creative Commons Attribution-Share Alike 2.0 Unported License

100 West San Francisco Street, Santa Fe, New Mexico 87501
(505) 986-1234
All Rights Reserved

Seed Pots

Pueblos: Acoma, Hopi, Isleta, Jemez, Laguna, San Felipe, San Ildefonso, San Juan, Santa Clara
Seed pot jar

Sandra Victorino
Acoma Pueblo
Micaceous black Hopi seed pot

Preston Duwyenie
Santa Clara Pueblo seed pot

Camilio Tafoya
Santa Clara Pueblo

It was a matter of survival to the ancient Native American people that seeds be stored properly until the next planting season. Small, hollow pots were made to ensure that the precious seeds would be kept safe from moisture, light and rodents. After seeds were put into the pot, the small hole in the pot was plugged. The following spring the plug was removed and the seeds were shaken from the pot directly onto the planting area.

Today, seed pots are no longer necessary due to readily available seeds from commercial suppliers. However, seed pots continue to be made as beautiful, decorative works of art. The sizes and shapes of seed pots have evolved and vary greatly, depending on the vision of Clay Mother as seen through the artist. The decorations vary, too, from simple white seed pots with raised relief to multi-colored painted, raised relief and sgraffito designs, sometimes with inlaid gemstones and silver lids.

Seed pot with sgraffito design and silver lid

Debra Duwyenie
Santa Clara Pueblo
Jemez Pueblo seed pot

Dominique Toya
Jemez Pueblo
Acoma Pueblo seed pot

Lucy Lewis
Acoma Pueblo

100 West San Francisco Street, Santa Fe, New Mexico 87501
(505) 986-1234
All Rights Reserved


Persingula Gachupin Family Tree

Disclaimer: This "family tree" is a best effort on our part to determine who the potters are in this family and arrange them in a generational order. The general information available is questionable so we have tried to show each of these diagrams to living members of each family to get their input and approval, too. This diagram is subject to change should we get better info.

  • Persingula M. Gachupin (ca. 1910-1994) & Joe R. Gachupin
    Their descendants who became potters:
    • Marie G. Romero (b. 1927)
      Her descendants who became potters:
      • Laura Gachupin (b. 1954)
        Her descendants who became potters:
        • Benina Foley (b. 1982)
        • Gordon Foley (b. 1975)
      • Maxine Toya (b. 1948)
        Her descendants who became potters:
        • Dominique Toya (b. 1971 )
        • Mariam Toya (b. 1974)
    • Leonora G. Fragua (b. 1938)
      Her descendants who became potters:
      • Matthew Fragua (b. 1963)
      • Virginia Ponca Fragua (b. 1961)
      • Bertha Gachupin (b. 1954)

100 West San Francisco Street, Santa Fe, New Mexico 87501
(505) 986-1234
All Rights Reserved