Agnes Peynetsa
Zuni
Agnes Peynetsa

It's a sad fact that in all the arts, everywhere in the word, a high percentage of talented young people drop out and do other things with their lives, and the people in Jennie Laate's classes at Zuni High were no exception. Jennie taught the making of pottery in mostly traditional ways - mostly traditional because the school had an electric kiln and she used it in her classes. So when the students left high school, they no longer had access to that kiln…

Breaking this rule, however, were her brother Anderson Peynetsa and her sister Priscilla. At first Agnes worked with and learned from Anderson, who built a body of work in the mid-1990s which established him as one of Zuni's premier potters. Priscilla also went on to become one of Zuni's finest and most recognized potters. Many of Anderson and Agnes's older, combined effort works are signed "A. A. Peynetsa". Early in her career, Agnes has also worked with Berdel Soseeah.

Agnes digs her own clay locally, grinds it, cleans it, and then forms the pot completely by hand. She also grinds her own slip for the decoration and makes her own paint. However, like most Acoma and Zuni potters, she uses the electric kiln. Defending the use of the electric kiln, the brilliant potter Noreen Simplicio stated in Milford Nahohai's and Elisa Phelp's Dialogues with Zuni Potters: "Over at [Santa Fe] Indian Market, when you try to enter your work, they'll downgrade it because it's fired in a kiln. I think it's good that they have that for people who are totally traditional, but they should have room for people that, like myself, are both traditional and contemporary."

Agnes is both traditional and contemporary in her pottery. According to Allen Hayes and John Blom's "Southwestern Pottery - Anasazi to Zuni": "All Peynetsa work is excellent: excellently decorated, excellently sculpted, often with a quiet sense of humor, never with an inflated sense of importance. "Where else can you see major, museum-quality pieces right alongside a refrigerator magnet, all done with the same loving care?"


100 West San Francisco Street, Santa Fe, New Mexico 87501
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Zuni Pueblo

A view of the Zuni Pueblo Welcome sign
Welcome sign at Zuni Pueblo

Archaeologists have dated some sites on the Zuni Reservation back to the Paleo-Indian Period, more than 4,500 years ago. During the Archaic Period (2,500 BC to 0 AD), the forebears of the Zuni were hunter-gatherers and just beginning to develop agriculture. The Basketmaker Period (0 AD to 700 AD) saw agriculture become more developed and the Zunis were making their first pottery. The Pueblo I Period (700 AD to 1100 AD) saw an expansion of the population and larger settlements were built in the Zuni River area along with the development of the first painted Zuni pottery.

The Pueblo III Period (from 1100 to 1300 AD) saw further population growth in the Zuni River area and a shift from small houses to larger, plaza-oriented villages. The Pueblo IV Period (1300 to 1500 AD) was the time of the great drought and migrations as many tribal groups abandoned the Four Corners area and moved to locations near the Rio Grande, Rio Puerco, Zuni River and Little Colorado River. The main Zuni Pueblo was founded during this time but there were several other large villages in the area, too.

In 1540 there was a major battle fought between the Zunis and the forces of Francisco Vasquez de Coronado. Coronado first approached the pueblo at the end of a four-day religious festival. The Zunis had spilled a line of corn meal across the ground before the entrance to the pueblo, meant to signify to the Spanish that they shouldn't cross the line yet. Coronado interpreted that line of corn meal as an act of war and immediately ordered his soldiers to attack.

Coronado was almost killed in the fighting but his soldiers did finally win the battle. As Coronado and his men brought horses and sheep with them, they were probably the first such livestock the Zunis had ever seen. The gold the Spaniards were looking for: it turned out to be Sikyatki Polychrome bowls and jars, yellow clay gifts from the Hopis to the Zunis.

The Zunis did equip Coronado with a guide from the eastern Plains, someone who'd somehow made his way as a lone traveler to Hawikku. That refugee was supposed to be a guide for Coronado and his men but he was instructed by the Zunis to take Coronado into the Plains and get him lost there. When Coronado finally realized that, more than a year later, he ordered the guide executed, then turned his men around and headed back to Zuni and Mexico.

When he passed by Zuni in 1542, he left three Mexican Indians behind with the tribe. They most likely informed the tribal leaders of the extent of the Spanish domain in Mexico and the power they exercised there.

Except for a couple passing exploratory expeditions, they were left alone until the 1620s. Then came the friars who oversaw the construction of a mission church at Hawikku in 1629. At first the Zunis were friendly with the priests but with the forced labor requirements and forced religious conversions, the priests wore that welcome out quickly. Relations had changed drastically for the worse by the time of the Pueblo Revolt of 1680. The Zunis killed the priests and burned the missions but they preserved the relics and icons the priests had brought from Spain.

The tribe built a village near their fortress at Dowa Yalanne and prepared to defend their people and way of life against the Spanish army. When Don Diego de Vargas arrived with troops in 1692, he attacked the fortress twice and failed. Then he negotiated with the Zuni war chief and was allowed to ascend to the top of Dowa Yalanne. He found many relics from the destroyed missions there. With that knowledge, he arranged a peace between the Spanish and the tribe. Between 1693 and 1700 the tribe consolidated all their small villages into what is now the Pueblo of Zuni.

The railroads arrived in New Mexico in the 1880s and right behind them came the first Anglo traders. Over the next 50 years Zuni pottery turned more and more to what the traders wanted. With the push into mass production, the quality fell off. The end result was the value of Zuni pottery fell way off and the potters tired of what they were doing. Pottery making dropped off in the 1940s until only ceremonial vessels were being made. Catalina Zunie was teaching pottery making at the Zuni Day School through this time period but the Zuni pottery revival didn't really begin until Daisy Hooee began teaching pottery making at Zuni High School in the 1960s and 1970s.

An accomplished Hopi-Tewa potter with an excellent pedigree, Daisy applied herself to learning about Zuni pottery and became a consummate Zuni potter. She retired from teaching at the high school in 1974. Jennie Laate, an Acoma woman who married into Zuni and learned the Zuni way from Daisy Hooee, took over teaching the classes. Many of today's well known Zuni potters thank Jennie Laate for her teaching and inspiration. She taught until 1990 when she turned the classes over to her student, Noreen Simplicio. Noreen taught the classes for 2 years, then Gabriel Paloma took over.

Josephine Nahohai brought traditional Zuni pottery designs back into the community in the 1980s. Les Namingha has also recently been using more traditional Zuni shapes and designs in his Zuni revival pottery. Today, because so many Zuni potters learned their craft at Zuni High School, they mostly also use electric kilns for firing their works. Other than that, they all use the same traditional methods of gathering and processing the clay, making their pottery and painting their designs, traditional processes that are practiced in virtually the same way in all the pueblos.

Zuni Pueblo location map
For more info:
at Wikipedia
official website
Photo courtesy of Ken Lund, Creative Commons Attribution-Share Alike License 2.0 Generic


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

 

Polychromejarwithadeerwithheartline,medallion,andgeometricdesign, Click or tap to see a larger version
See a larger version


Agnes Peynetsa, Zuni, Polychromejarwithadeerwithheartline,medallion,andgeometricdesign
Agnes Peynetsa
Zuni
$ 625
ppzu3c030
Polychrome jar with a deer with heart line, medallion, and geometric design
8.5 in L by 8.5 in W by 8 in H
Condition: Very good, has rubbing on bottom and pitting and adhesive residue on sides
Signature: A.P. Zuni


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

Zuni Teaching Tree

Disclaimer: This "teaching tree" is a best effort on our part to determine who the potters are in this group and arrange them in a generational order.

The pottery tradition at Zuni almost died out until Daisy Hooee (granddaughter of Nampeyo of Hano, Hopi-Tewa) took on the job of teaching pottery at Zuni High School in 1960. She was recruited for the job by Catalina Zunie, a Zuni potter who had spent several years just trying to get pottery on the school curriculum. Daisy also spent a year working with Catalina to become a consummate Zuni potter herself before she started teaching.

There have been several teachers at Zuni High since then and for some students, learning from their parents (who were former Zuni High students) has helped to strengthen the tradition. This diagram is subject to change should we get better info.

    Daisy Hooee Nampeyo taught 1960-1974
    • Shirley Benn
    Jennie Laate taught 1974-1990
    • Carlos Laate
    • Gabriel Paloma
    • Agnes Peynetsa
    • Anderson Peynetsa & Avelia Peynetsa
      • Anderson Jamie Peynetsa
      • Dominic Laweka
    • Priscilla Peynetsa & Daryl Westika
      • Gaylon Westika
    • Paula Quam
    • Brian Tsethlikai and Yvonne Nashboo
Noreen Simplicio - learned from Jennie Laate, taught 1990-1992
Gabriel Paloma - learned from Jennie Laate, took over class from Noreen Simplicio in 1992

Some of the above info is drawn from Southern Pueblo Pottery, 2000 Artist Biographies, by Gregory Schaaf, © 2002, Center for Indigenous Arts & Studies

Other info is derived from personal contacts with family members and through interminable searches of the Internet and cross-examination of the data found.

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