Almost to Our Winter Nest

A cold spell has brought some ominous weather to the area.

This was the weather the morning we left Bernalillo, on our way to Gallup, NM. If you remember in the last post I spoke of possible snow in the Albuquerque/Bernalillo area... let me show you what we missed from the night before.

This dusting of snow, about 1/2 to 1 inch, was our view on the drive to Gallup. Apparently it was a troublesome night for drivers on the road, I'm imagining visibility was poor, and the roads were icy. What makes me come to this conclusion... semi-tractor trailers rolled over on both sides of the road, in multiple locations. Our biggest concern was the wind... again.

What was spectacular on this drive were the mesas.

Its kind of tough to see, but there was one mesa after another, like they were stacked next to each other, with their beautiful colors of sand and rock. That light spot to the left in the photo is where the sun punched through the clouds.

After checking in, we began our oh so long drive to our site. The campground was fairly empty, with exception of the "livers", or better known as full time residents. We talked with one gentleman whose has been here for seven weeks, his diesel fuel pump went out on him, and is waiting repair parts.

As you might be able to see, the campground is pretty open, with a few trees. Our arrival did not warm up the weather, we were setting up in temperatures in the mid-thirties, and it didn't warm up much more.

This is how you ensure you have water on cold nights.

I learned this trick from a wise full time RV sage. The water hose is heated, meaning there is a wire running through the jacketing and plugged into electricity. To protect the faucet and other brass fittings a five gallon bucket and a shop utility light augment the warming process. Our nights were in the mid to upper 20s. The warmest night was our last night, we're talking shorts temperature... 35 degrees. It was a good thing we left when we did, the nighttime temperatures dropped into the teens.

So, what did we do while we were in Gallup, we drove the four miles into downtown Gallup, and visited the Cultural center.

The town is soooo large (ha ha) that the cultural center is located in the Amtrak station, along with a café, newly opened bakery, gift shop, and of course the passenger waiting area. 

The Cultural Center is the entire second floor of the building. The main reason we wanted to visit the center was its tribute to the Navajo Code Talkers of WWII, and this is where I will start.

It all started in February, 1942, when Phillip Johnston approached Lt. Col. James Jones, Signal Officer at Camp Elliot, in Los Angeles, about the utilization of the Navajo Indian language as a basis for military code.

March saw the recommendation for enlisting 200 Navajos as Communication Specialists. In April, the USMC authorized a "pilot project" of one platoon, which consisted of 29 Navajos.

After graduating in June, the Communication Specialists created the first code, consisting of 211 words, and 26 words for each alphabet letter (a word for each letter). By August, most of the Navajos were sent to Guadalcanal, and were only used in limited situations.

The man that suggested using the Navajo, and the language, now enlists as a Staff Sargent in the USMC in October, and is placed in charge of the Code Talker recruitment and training program.

Dec. 7, 1942, SSgt. Johnston receives his first class of trainees from boot camp. During this time more than 200 new words or terms were added to the code.

Nov. 1943 the 3rd Division Navajo Code Talkers saw action on the frontline in the battle of Bougsinville; 2nd Division saw action for the battle of Tarawa.

1944 was a busy time for the Code Talkers. The newly-formed 4th Division with there compliment of Code Talkers, invaded the Marshall Islands and captured Kwajalein Atoll. Later the 2nd and 4th Divisions captured Saipan. The 3rd Division was busy fighting a bloody battle on Guam; 1st Division landed on Peleieu, where the Code Talkers saw plenty of action. In September of 1944 saw the discharge of  Sgt. Phillip Johnston, after training over 400 Code Talkers.

The war got more intense in 1945 with the month long battle for Iwo Jima, the last amphibious assault, which took place on Okinawa. The Code Talkers served with great distinction, and after the Japanese surrendered, many of the Code Talkers served with the Occupation Forces in Japan and China.

The word displayed next to the animal is the word for that particular animal. The picture under each is what the Navajo word pertained to. (i.e. LO TSO, pronounced Lo So) is the word for whale, which referred to a ship.)

The young man who escorted us up to the museum, is the grandson of one the original Code Talkers.

The rest of the museum is dedicated to the region, town, and indigenous natives.

History lesson: The town is named after Davis L. Gallup, a paymaster for the Atlantic and Pacific Railroad, which later became part of the Burlington Northern Santa Fe Railroad. The town has also been called "The Gateway to native America" because it is the threshold to multiple indigenous cultures.

Here is an example of one the men that came from Gallup. This young man's name was Hiroshi "Hershey" Miyamura, a Japanese-American that lived in Gallup. In early 1944 he was drafted, and assigned to the Nisei 442nd Regimental Combat Team (became the most decorated American unit in WWII). He did not see overseas action due to age restriction for overseas duty... he was only 18 at the time.

After the war ended he enlisted in the Army Reserve, and in 1951 was called to serve in the Korean War. He arrived in Korea as a Corporal, in charge of a machine gun unit. This is where history was made. His unit was directed to defend a portion of a river, which was eventually overrun by the enemy. Cpl. Miyamura didn't let the enemy have the area without a fight. Ordering his men to retreat to a new position, he continued to provide fire support for his men, doing this twice. On his way to the American fallback position he sustained injuries from an enemy grenade, which flew shrapnel into his legs. While he thought he was heading to the fallback position, he fell into a ditch, became unconscious, then waking to a Chinese officer standing over him. He ended up in a prisoner-of-war camp for two years. You say, ya, so what made him special, go to the following:

https://www.cmohs.org/recipients/hiroshi-miyamura. 

He did not receive his Medal of Honor until 1953, the Army did not want the Chinese to know he was a Medal of Honor recipient, they would have killed him while a prisoner.

What are we lookin at now... the reason Atlantic and Pacific Railroad came to town... coal.

In 1850 Army Surveyors discovered coal in the area, and it was the reason why the railroad chose a route here. By 1880 there was coal production to support the railroad; by 1900 there were several mines in operation,  bringing European immigrants. The smoke stack in the background was built in 1920, beginning the era of electricity for the town of Gallup. By 1926 there were 21 working mines; the display is circ 1928.

Here is a look at some Native American artwork.

What you are looking at are kachina dolls. These are the work of a Zuni artist. This is a unique set of dolls, as there was an attempt to represent all known Zuni kachina dolls. The artist created them with the assistance of his grandfather, who was a ceremonialist, and from his own knowledge of the Kachina Cult. 

This collection consists of kachina dolls from the Navajo, Comanche, Kianakwe, Hopi, Sioux, and White Mountain Apache nations.

Because Carol is into beading, we have a tendency to admire other artists bead work, and here you go.

These are examples of evolution after the arrival of Europeans. In the ages before Europeans, beadwork was done primarily using shells, stones, quills, and bone, all patiently carved using non-metal tools. Only with evolution did the artwork become so ornate.

In other areas there examples of their weaving and sand painting. We will start with the art of sand painting. It wasn't, and still isn't like hopping into the truck and driving to an art supply store or Walmart. To get the colors the desired required some traveling, or trading with other Indian nations.

Most of their rock come from New Mexico, but can range all the way to Colorado and Idaho.

Please pardon the lights and glare, it was a sunny day the day we visited. Here is the result of multiple people making this creation.

 

The couple in the last sand painting is Father Sky and Mother Earth. 

Before we exited this side of the museum, we enjoyed some of their weaving work. Like the sand painting, their color sources come

from the earth. What you see is an ancient loom used to  make rugs, but there is little change in the looms used today. I am going to provide a photo of the exhibit displaying the natural materials used for their colors, hopefully you will be able to zoom in, and be amazed yourself.

Unfortunately I had to take the picture at an angle to remove most of the glaring reflection that would prevent seeing it, period.

This next rug began its life in 1930, as a wedding gift.

The rug was used in the home until 1938 when the family moved to California, and it was packed away. The husband passed in WWII, and his wife moved several times, but never unpacked the rug. Once the wife died, their daughter donated the rug to the Cultural Center.

Off we go to the other side of the museum where the exhibits are on temporary display, 'cause they rotate the artists, along with other items.

This is a Zuni storage jar that is dated somewhere between 1880 and 1920. The designs on the pottery are hand painted, with a very steady hand I might add.

This piece of art was obtained in 2000, through the Trail of Painted Ponies program. This pony is called Chase and Michaela (Children Casing Their Dreams). Michaela is leading Chase and all those dreams into the future. This work of represents the efforts of 28 artists.

This next piece of art is a functional piece.

Image finding the perfect cottonwood tree truck for the drum body, then stretching a piece of hide over it , letting it dry, then adding the design... you now have a piece of functioning artwork. In the day it all would have been accomplished without power tools.

The Native American talents did not just lie with making tools, weapons, and instruments, it also lends a big hand in making their ceremonial garments. Take a look.

Keep in mind that the colors and feathers came from Mother Earth. These dancers come from various Indian cultures.

One last pony before we leave the museum.

This painted pony is entitled, As Long As There is One. The artist tells stories through his painted ponies that are about a people rich in heritage and traditions. They are sometimes poignant, often angry, but are powerful and demand to be told. This artist's work can be seen throughout the United States.

We will be crossing the line in our next post... but you will have to wait and see why I say that.

Wagons Further West in New Mexico

 Our next stop is in a city park in Bernalillo, NM. 

Coronado Campground has pretty nice sites, the front row where we were is near the highway, but not that noisy, considering how close to the road. For those that enjoy a good beer once in awhile, it is a short walk (less than a 1/4 mile) to the Bosque brewery/eatery, and walking distance to the Coronado Historic Site.

After our rest day we took a walk to the Coronado Historic Site.

There is some controversy as to whether or not Coronado actually visited this area. Visit: https://www.nmhistoricsites.org/coronado.

These are the ruins visitors walk past on their way into the Visitor Center. This is a fee site. 

The ruins that visitors see today are re-creation of the original community. Somewhere around the 1200s northern New Mexico Indians began migrating to this area because of draught in their areas. The tribe in this area at the time were known as Pueblo Kuaua (pronounced like chihuahua, only the "chi" is "K"). 

I understood the word pueblo to mean a house, but in reality it means town, or community.

A nice job was done re-creating a community that was here in the 12th,13th, 14th, and possibly 15th centuries. It is estimated that the community/town/pueblo could have had as many as 1500 rooms in it. What had happened was the migration of other Indian tribes to the area because of draught in the old regions.

In the pueblo they had separate houses for preparing food for eating, and grinding meal. These rooms are not for the ""tall", at 5'10" I had to bend over, even in between the beams.

Here is a log entry from Pedro de Castaneda in 1540: "They keep the separate houses where they prepare the food for eating, and where they grind the meal, very clean. This is a separate room or closet, where they have a trough with three stones fixed in stiff clay. Three women go in here, each having a stone, with which one of them breaks the corn, the next grinds it, and the third grinds it again. They take off their shoes, do up their hair, shake their clothes, and cover their heads before they enter the door. A man sits at the door playing on a fife while they grind, moving the stones to the music and singing together. They grind a large quantity at one time, because they make all their bread of meal soaked in warm water, like wafers." 

The archeologists are still learning the techniques used to build the adobe buildings. You see, what I didn't tell you was that the original Pueblo of Kuaua was covered back up in the 30's because of how quick the structures were deteriorating.

The next adobe structure, or kiva, was built on top of the original foundation of another building.

This particular kiva would have been used ceremonially, and only men would have been allowed in. Access was up and down the ladders.

Visitors are allowed into the kiva because it is not used ceremonially... so watch your step. The paintings on the walls are re-creations of the original paintings found in discovered kiva. The paintings are exact to the originals, which means some of them are partial; they are partial because the originals were damaged by water. The paintings in the photos are complete.

Items in each painting represent significant items in mother nature. For example, a jagged white line represents lightning; dotted lines in motion to the ground represents rain. These reproductions were painted by a local Native American Indian.

These arenas would have been deeper, because they were used for various ceremonies.

When new tribes would arrive to a pueblo, they built new structures, adding to existing structures. Here is how Gasper Perez de Villagra logged it in 1610: "We visited a good many of these pueblos. They are well built with straight, well-squared walls. Their towns have no defined streets. Their houses are three, five, six, and even seven stories high, with many windows and terraces. The men spin and weave, the women cook, build houses, and keep them in good repair. They dress in garments of cotton cloth, and the women wear beautiful shawls of many colors. They are quiet, peaceful people of good appearance and excellent physique, alert and intelligent. They are not known to drink, a good omen indeed. We saw no maimed or deformed people among them. The men and women alike are excellent swimmers. They are also expert in the art of painting, and are good fishermen. They live in complete equality, neither exercising authority nor demanding obedience."

This is the reason the pueblo lived in this area... the Rio Grande. Back during their days it probably flowed more than it does today. Today people can walk across it in many areas.

While on our walk through the pueblo we came across an interesting plant.

This seed pod is known as "Devil's Claw". It is believed that there are medicinal uses, which include the reduction of arthritis, and inflammation. You can go on Amazon and buy plants, or tablets.

This is what the plant looks like in bloom, and when the seeds are harvested.

On the way back into the museum visitors can see a large group of birds running around:

These are the two types of quail that run around at the site. Gambel's Quail, with the club on his head, is the most commonly seen darting around the ground. The other is the Scaled Quail, or cottontop. We saw both on our walk. The photos are courtesy of Jack Ellis.

This is a short visit, but enjoyable. 

BREAK...BREAK

We continued our American Native Indian journey, the next day. We drove into Albuquerque to visit the Indian Pueblo Cultural Center (IPCC). Visit: https://indianpueblo.org.

Right up front... we were really intrigued with the skateboard decks exhibit.

The Indian culture realized they needed to walk been two cultural societies.

This artist used these five decks to tells a story, and is entitled Prayers of Restoration.

The above deck was created using multi-medium: spray paint, acrylic paint, gold foil, and turquoise arrow points.

Some of these decks were created by artists associated with a local New Mexico skateboard deck manufacturer. The decks are made from seven layers of Maple veneer, laminated in a concrete mold, they are under pressure for eight hours, then rest for a day.

The other mediums that can be used include printing, burning, and carving.

The next section we ventured to speaks of the sacred fetishes used in the Pueblo culture, particularly the Zuni Pueblo.

These fetishes guide hunters in harvesting game, protect individuals and communities, ensure abundance and fertility, and bring rain and bountiful crops. They also play an important role in healing ceremonies.

There are specific fetishes that pertain to the six directions: eagle represents the sky; mole represents the earth; mountain lion represents north; bear represents west; wolf represents east; badger represents south. 

Considered sacred objects, fetishes can be worn, carried, or kept in a special place.

Strolling on, we enter exhibits displaying the life of a pueblo resident, and a few stories passed down through time. One of those stories is of the Three Sisters. As the story goes: when these three sisters lived in a field, the taller sister provides shade for the two smaller sisters. Over the course of several weeks, a powerful old woman visits the field, taking away the smaller sisters until the tall sister was left sad and alone. At last, the old woman returned and brought the last sister  to her home, where the sisters experienced a joyful reunion. The old woman was named winter, and the three sisters were corn, beans, and squash. The three sisters sustain us, providing a balanced, nutritious meal when eaten together.

There are several interactive spots throughout the cultural center. One of the sit down spots allows the visitor to listen to greetings from various Pueblos in their native tongues. Another area lights up figurines used to tell cultural stories.

These are some of the artwork created by Pueblo artists. The small purple frog is Sugilite, and Mother of Pearl eyes (Zuni Pueblo); the turtle is with a shell lid (Hopi-Tewa Pueblo); large frog is Marble, Turquoise, Mother of Pearl, Coral, Heishi (Zuni Pueblo).

This would be a clay polychrome turkey, made by one of the artists of the Tesuque Pueblo. The work done on this bird is fantastic. We will take a closer look at the paint job later.

Take a close look and figure out what you are looking at. If you have given up, I will tell you this... its a blanket. Ok, who can figure out what it is made of? If you guessed woven turkey feathers, congratulations. This was the second time we saw a blanket made with turkey feathers.

I said we would talk about the paint job on the turkey... so here we

go. These are Yucca brushes. The spines of the Yucca is stripped down to the desired size they are looking for to paint their project. The black paint is made from Rocky Mountain Beeweed plant. This plant has many different names, and in this region might have been called Navajo Spinach.

It is an annual flowering plant that attracts all kinds of insects, especially bees, which do their job pollenating other plants.

The Native Indians are a proud people, and sometimes others from a different continent can cause problems. This became apparent in the late 1600s.

This gentleman's name is Po'pay, of the Tewa Pueblo, and was a spiritual leader. Po'pay was not a fighter, but a hunter and tended his gardens, responsible for ensuring the ceremonial calendar was followed, was a medicine man, and was concerned with protecting his family and community.

He was not a rebel against the Spaniards, but concerned with the survival of the Pueblo culture. He feared that the Spaniards were suppressing the Pueblo Indians centuries-old religion and beliefs. 

Po'pay lead the Pueblo Revolt, an anti-colonial movement to remove Spanish colonies in what was known as the Upper Rio Grande Valley. Before the revolt, he, alongside dozens of indigenous leaders were convicted of practicing "sorcery". After his release, he relocated to Taos and planned the successful 1680 assault on the colonial administration, located at Santa Fe. Pueblo runners carrying knotted deerskins to local communities announced the date of the attack. The assault actually started a day earlier because of the deaths of some of the indigenous Natives. The uprising lasted ten days, and did drive out the colonials, who were forced to move hundreds of miles south to El Paso del Norte.

Lets take another look at this sculpture of Po'pay. In the artist's rendition, Po'pay holds in his hands items that will determine the future existence of the Pueblo People. In his right hand he holds the knotted cord that determined the beginning of the revolt; in his left hand is the bear fetish, which symbolizes the center of the Pueblo world and the Pueblo religion. The drum symbolizes the songs and ceremonies of the Pueblo culture. The medicine bags around his neck are filled with the necessary elements for his commitment to his medicine society of which he belongs. He worn a loincloth and moccasins representing Pueblo fashion; his haircut is traditional Pueblo, hanging loosely, symbolizing rain. He wears an eagle tail, down tied, on top of his head, connecting his soul and prayers to the Creator. The broken crucifix represents the break from the oppressors and forced religion, that was forced upon the Pueblo People. The sculptor is from the Jemez Pueblo.

Before we leave the cultural center, I offer this poem from Simon J. Ortiz:

After we walked out of the exhibition area we stopped at a couple of the local vendors. I watched the artist carve a  ceramic figurine... and bought it.  The ceramic is a single firing, keeping the piece soft

enough for the artist to carve on. The black coloration is from horse hair during the firing. The design is all free hand. I had to come back and pick it up after he finished putting the protective coating, so we went to lunch at the center's restaurant. 

We didn't really try anything too outside the box, just ribeye with cheese enchiladas. Our choice of drinks is what really created the excitement... root beer from a local manufacturer, Zia. The root beer was made with the usual, plus anise, yucca rot, licorice, clove, mint, and Madagascar bourbon vanilla. 

After lunch we returned to the local vendors to pickup my purchase, and Carol took a look at the jewelry vendors wares, purchasing a necklace. The pendant piece is amethyst and

sterling silver.

Of course we hit their store too... and bought a couple of sand art squares depicting Father Sky and Mother Earth.

Before we left the Albuquerque area there was a threat of snow the last night... the temperatures dipped into the mid-twenties, and the wind was a blowin'. See you down the road.