It is nearly impossible to discuss Native American art without taking into consideration the effect that western culture has had on it.  Native American art, in its purest sense, is something that no longer exists.  In its place is an amalgamation of an art form that was once completely Native American and the values that western culture has placed on that art form.  This cultural phenomenon is what Mary Louise Pratt has termed the “Contact Zone” which is used to refer to the “social spaces where cultures meet, clash and grapple with each other, often in contexts of highly asymmetrical relations of power such as colonialism, slavery or other aftermaths as they are lived out in many parts of the world.” (Pratt 34) What Pratt is referring to is the situation that is created when two completely distinct cultures, that operate on totally different levels, attempt to interact.  Each culture brings with them certain values and traditions that the other may not entirely understand.  This predicament often leads to confusion, misunderstandings or sometimes worse. The meeting of western and Indian cultures created exactly this “Contact Zone” situation that Pratt defines.  The aftermaths of the situation have been both positive and negative and have simultaneously posed a threat to the art form while providing opportunities for the artists.
    Before contact with the western world, pottery making among the Hopi-Tewa Indians was a communal activity which served to strengthen social relations with tribal members not of the same family.  Pottery thus objectified valued social relations where sharing with individuals not of one’s matrilineage was both important and necessary for households to functions. (McChesney, 13)  As with most Native American tribes, the Hopi-Tewas strove to maintain a strong social network by dividing up the labor and working together to accomplish it.  Immediately the differences can be seen between the social structure of American Indian cultures as compared to that of westerners’ which value individuality over community.
    With the introduction of the railroad to the areas of northern Arizona where the Hopi-Tewas lived, entered new social challenges that threatened the Native Americans’ lifestyles.  In an attempt to operate in an American cash economy, many Native Americans began to make pottery to be sold in trading posts to collectors and tourists.  The consequences of this action, in direct relation to the “Contact Zone,” transformed Native American art into what we know it as today.  One could argue that the Native American potters were being forced to modify their traditions in order to adapt to the social and economic changes.  However, it must also be taken into consideration that these modifications allowed for the works of these peoples, and subsequently their thoughts and ideas, to be known to the general public.
    As the number of ethonographers and tourists to this area grew, so did the popularity and demand for the Indian artwork.  As a result, the Native Americans adjusted to this change by making a greater number of pots to be sold at trading posts and markets.  This became one of their sole means of economic support as they moved increasingly into a society that operates by the exchange of cash for goods and services. Many people believed that pottery has helped preserve the community by providing its members with a means to enter the American cash economy while staying at home, instead of traveling to urban centers for employment. (Bernstein 17)  The argument is that American Indians’ lives were bound to change in response to the cultural and economic advancements that were occurring.  Therefore, by creating a market for their products in the mainstream, they could operate within that mainstream meanwhile changing little of their day to day lives.
    Shortly after the period in which the selling of pots at trading posts and fairs became common, the artisans were encouraged to display their work in art shows.  In these shows their works were judged and given various awards to which much fame was attached.  The formation of Flagstaff’s Museum of Northern Arizona in 1928 was key in paving the way for American Indian artisans in the modern art world.  One of its founders, Mary-Russell Ferrell Colton, believed that “creating a reliable base of customers for the “high-quality” and (therefore) higher priced work would give the Hopi people a consistent source of income to help them improve their living situation. (Westheimer 35)  In addition to this, it was believed that this exhibition would provide a medium in which Hopi Indians could communicate their thoughts and traditions to the public by way of their art.  The goal of this project, and ones like it, was to help the Indian peoples maintain their unique culture as they adapted to inevitable change.
    In opposition to those who argue that this assimilation was positive, many believed that the introduction of American Indians into the global economy transformed the once sacred art of pottery making into a product of western culture whose only concern is consumer consumption.  Once the manufacturing of these artworks began, there was a shift in the demand from the traditional craft items to souvenirs and “curios.”  The Euro-American tourist was less concerned with the authenticity of the pottery and was “mainly concerned that the item look ‘Indian.’” (McKenna 29)  As a result of this trend, American Indian art became more impersonal and nonfunctional and the kitchy souvenirs began to take the place of the more intricate and labor intensive artwork.
    The art shows that were created to enhance the production of  Native American art also were said to have a negative effect on the American Indian community.  The art shows in which prizes were awarded created a sense of competition between the artisans which was a very foreign concept to traditional pottery making.  Tessie Naranjo, Native American potter and author, laments that “competition is a strong element in pottery making and was clearly encouraged by the Anglo organizations.” (Naranjo 48)  She explains that Native Americans were told that they could get more money for their pots if they made them better that other potters’ pots.  However, this idea of individual success was completely contradictory to the traditional thoughts of Native Americans who promoted the idea of community.
    Undeniably, there have been changes to American Indian pottery since the arrival of the Euro-Americans that are directly related to Pratt’s “Contact Zone.”  It is impossible to assess whether these changes were for the better of for the worse because both positive and negative effects can be seen.  There is no denying the fact that certain traditions have been lost, but it is important to recognize the new practices that have taken their place.  From this mixture of the two cultures comes an excellent opportunity for education.  Each culture has a great deal to share with the other. Perhaps one day the fusion of these two cultures will create an exciting new culture with its own traditions to offer the world.
 

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Burnstein, Bruce.  "Pueblo Potters, Museum Curators, and Santa Fe's Indian Market,"  Expedition 36 (1994):  14-23.

McKenna, Katherine L.  "Art, Business, and the American Road,"  Hopis, Tewas and the American Road, ed.  Willard Walker and Lydia L. Wyckoff (1983):  28-38.

Naranjo, Tessi.  "Pottery Making in a Changing World," Expedition 36 (1994):  44-50.

McChesney, Lea S.  "Producing 'Generations in Clay,'" Expedition 36 (1994):  5-13.

Pratt, Mary Louise.  "Arts of the Contact Zone," Profession 91 (1990):  33-40.

Westheimer, Duffie.  "The Annual MNA Indian Art Exhibitions:  Maintaining Traditions," Expedition 36 (1994):  33-43.