A New Deal for Navajo Weaving provides a detailed history of early to mid-twentieth-century Diné weaving projects by non-Natives who sought to improve the quality and marketability of Navajo weaving but in so doing failed to understand the cultural significance of weaving and its role in the lives of Diné women. By the 1920s the durability and market value of Diné weavings had declined dramatically. Indian welfare advocates established projects aimed at improving the materials and techniques. Private efforts served as models for federal programs instituted by New Deal administrators. Historian Jennifer McLerran details how federal officials developed programs such as the Southwest Range and Sheep Breeding Laboratory at Fort Wingate in New Mexico and the Navajo Arts and Crafts Guild. Other federal efforts included the publication of Native natural dye recipes; the publication of portfolios of weaving designs to guide artisans; and the education of consumers through the exhibition of weavings, aiding them in their purchases and cultivating an upscale market. McLerran details how government officials sought to use these programs to bring the Diné into the national economy; instead, these federal tactics were ineffective because they marginalized Navajo women and ignored the important role weaving plays in the resilience and endurance of wider Diné culture.

A New Deal for Navajo Weaving provides a detailed history of early to mid-twentieth-century Diné weaving projects by non-Natives who sought to improve the quality and marketability of Navajo weaving but in so doing failed to understand the cultural significance of weaving and its role in the lives of Diné women. By the 1920s the durability and market value of Diné weavings had declined dramatically. Indian welfare advocates established projects aimed at improving the materials and techniques. Private efforts served as models for federal programs instituted by New Deal administrators. Historian Jennifer McLerran details how federal officials developed programs such as the Southwest Range and Sheep Breeding Laboratory at Fort Wingate in New Mexico and the Navajo Arts and Crafts Guild. Other federal efforts included the publication of Native natural dye recipes; the publication of portfolios of weaving designs to guide artisans; and the education of consumers through the exhibition of weavings, aiding them in their purchases and cultivating an upscale market. McLerran details how government officials sought to use these programs to bring the Diné into the national economy; instead, these federal tactics were ineffective because they marginalized Navajo women and ignored the important role weaving plays in the resilience and endurance of wider Diné culture.

As the Great Depression touched every corner of America, the New Deal promoted indigenous arts and crafts as a means of bootstrapping Native American peoples. But New Deal administrators' romanticization of indigenous artists predisposed them to favor pre-industrial forms rather than art that responded to contemporary markets. In A New Deal for Native Art, Jennifer McLerran reveals how positioning the native artist as a pre-modern Other served the goals of New Deal programs—and how this sometimes worked at cross-purposes with promoting native self-sufficiency. She describes federal policies of the 1930s and early 1940s that sought to generate an upscale market for Native American arts and crafts. And by unraveling the complex ways in which commodification was negotiated and the roles that producers, consumers, and New Deal administrators played in that process, she sheds new light on native art’s commodity status and the artist’s position as colonial subject. In this first book to address the ways in which New Deal Indian policy specifically advanced commodification and colonization, McLerran reviews its multi-pronged effort to improve the market for Indian art through the Indian Arts and Crafts Board, arts and crafts cooperatives, murals, museum exhibits, and Civilian Conservation Corps projects. Presenting nationwide case studies that demonstrate transcultural dynamics of production and reception, she argues for viewing Indian art as a commodity, as part of the national economy, and as part of national political trends and reform efforts. McLerran marks the contributions of key individuals, from John Collier and Rene d’Harnoncourt to Navajo artist Gerald Nailor, whose mural in the Navajo Nation Council House conveyed distinctly different messages to outsiders and tribal members. Featuring dozens of illustrations, A New Deal for Native Art offers a new look at the complexities of folk art “revivals” as it opens a new window on the Indian New Deal.

Profiles a West Bengali caste specializing in producing painted narrative scrolls and performing songs to accompany their unrolling.

83 contemporary masterpieces in color, featuring many ceremonial Chant weaves. Full documentation.

The Dine have been a pastoral people for as long as they can remember; but when livestock reductions in the New Deal era forced many into the labor market, some scholars felt that Navajo culture would inevitably decline. Although they lost a great deal with the waning of their sheep-centered economy, Colleen O'Neill argues that Navajo culture persisted. O'Neill's book challenges the conventional notion that the introduction of market capitalism necessarily leads to the destruction of native cultural values. She shows instead that contact with new markets provided the Navajos with ways to diversify their household-based survival strategies. Through adapting to new kinds of work, Navajos actually participated in the "reworking of modernity" in their region, weaving an alternate, culturally specific history of capitalist development. O'Neill chronicles a history of Navajo labor that illuminates how cultural practices and values influenced what it meant to work for wages or to produce commodities for the marketplace. Through accounts of Navajo coal miners, weavers, and those who left the reservation in search of wage work, she explores the tension between making a living the Navajo way and "working elsewhere." Focusing on the period between the 1930s and the early 1970s-a time when Navajos saw a dramatic transformation of their economy—O'Neill shows that Navajo cultural values were flexible enough to accommodate economic change. She also examines the development of a Navajo working class after 1950, when corporate development of Navajo mineral resources created new sources of wage work and allowed former migrant workers to remain on the reservation. Focusing on the household rather than the workplace, O'Neill shows how the Navajo home serves as a site of cultural negotiation and a source for affirming identity. Her depiction of weaving particularly demonstrates the role of women as cultural arbitrators, providing mothers with cultural power that kept them at the center of what constituted "Navajo-ness." Ultimately, Working the Navajo Way offers a new way to think about Navajo history, shows the essential resilience of Navajo lifeways, and argues for a more dynamic understanding of Native American culture overall.

Navajo blankets, rugs, and tapestries are the best-known, most-admired, and most-collected textiles in North America. There are scores of books about Navajo weaving, but no other book like this one. For the first time, master Navajo weavers themselves share the deep, inside story of how these textiles are created, and how their creation resonates in Navajo culture. Want to weave a high-quality, Navajo-style rug? This book has detailed how-to instructions, meticulously illustrated by a Navajo artist, from warping the loom to important finishing touches. Want to understand the deeper meaning? You'll learn why the fixed parts of the loom are male, and the working parts are female. You'll learn how weaving relates to the earth, the sky, and the sacred directions. You'll learn how the Navajo people were given their weaving tradition (and it wasn't borrowed from the Pueblos!), and how important a weaver's attitude and spirit are to creating successful rugs. You'll learn what it means to live in hózhó, the Beauty Way. Family stories from seven generations of weavers lend charm and special insights. Characteristic Native American humor is not in short supply. Their contribution to cultural understanding and the preservation of their craft is priceless.