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The work of the seven photographers presented in this book demonstrates that pictures of Hopi Indians and their villages by Hopi photographers have a sensitivity and clarity of meaning that is based on mutual trust and understanding. There is a sense of dignity and grandeur in these vivid pictures which are accompanied by a history of the work of photographers on the Hopi reservation.
This extraordinary collection of photographs was made 80 years ago on the Hopi mesas of northern Arizona by Kate Thompson Cory, a woman out of step with her time. For unknown reasons, Cory was not only befriended by the normally xenophobic Hopi, and given a home in their villages, she was allowed something almost all outsiders have been denied: a look into the heart of Hopi life. The results of that trust are images of social and sacred events unlike anything seen through the eye of a camera. Cory's intimacy with the Hopi is apparent in each of these images. From her portraits, and scenes of daily life, to the exotic rituals that have fascinated visitors for centuries, she captured the Hopi Way, the profound spiritual and orderly community that allowed Hopi cultures to endure for a thousand years. That she could have achieved such a high technical quality is equally remarkable. She became an adept and dexterous photographer at a time when most Americans considered the medium a novelty. What has been achieved by bringing this collection to light is a record of unarguable historic and aesthetic importance- the capture of anthropological moments frozen in time, when change had not yet overwhelmed the enduring Hopi. -- from Back Cover.
Photographer and filmmaker Victor Masayesva, Jr., was raised in the Hopi village of Hotevilla and was educated at the Horace Mann School in New York, Princeton University, and the University of Arizona. His immersion in photographic experimentation embraces a projection of stories and symbols, natural objects, and locations both at Hopi and worldwide. His work has been exhibited internationally, and he is perhaps best known for his feature-length film Imagining Indians. For Masayesva, photography is a discipline that he approaches in a manner similar to the way that he was taught about himself and his clan identity. As he navigates his personal associations with Hopi subject matter in varied investigations of biology, ecology, humanity, history, planetary energy, places remembered, and musings on things broken and whole, he has created an extraordinary visual cosmography. In this compilation of his photographic journey, Masayesva presents some of the most important and vibrant images of that visual quest and reflects on them in provocative essays.
The work of the seven photographers presented in this book demonstrates that pictures of Hopi Indians and their villages by Hopi photographers have a sensitivity and clarity of meaning that is based on mutual trust and understanding. There is a sense of dignity and grandeur in these vivid pictures which are accompanied by a history of the work of photographers on the Hopi reservation.
169 illus., 137 color, 30 line drawings. Orig. $60.00.
In the summer of 1912 Hopi runner Louis Tewanima won silver in the 10,000-meter race at the Stockholm Olympics. In that same year Tewanima and another champion Hopi runner, Philip Zeyouma, were soundly defeated by two Hopi elders in a race hosted by members of the tribe. Long before Hopis won trophy cups or received acclaim in American newspapers, Hopi clan runners competed against each other on and below their mesas—and when they won footraces, they received rain. Hopi Runners provides a window into this venerable tradition at a time of great consequence for Hopi culture. The book places Hopi long-distance runners within the larger context of American sport and identity from the early 1880s to the 1930s, a time when Hopis competed simultaneously for their tribal communities, Indian schools, city athletic clubs, the nation, and themselves. Author Matthew Sakiestewa Gilbert brings a Hopi perspective to this history. His book calls attention to Hopi philosophies of running that connected the runners to their villages; at the same time it explores the internal and external forces that strengthened and strained these cultural ties when Hopis competed in US marathons. Between 1908 and 1936 Hopi marathon runners such as Tewanima, Zeyouma, Franklin Suhu, and Harry Chaca navigated among tribal dynamics, school loyalties, and a country that closely associated sport with US nationalism. The cultural identity of these runners, Sakiestewa Gilbert contends, challenged white American perceptions of modernity, and did so in a way that had national and international dimensions. This broad perspective linked Hopi runners to athletes from around the world—including runners from Japan, Ireland, and Mexico—and thus, Hopi Runners suggests, caused non-Natives to reevaluate their understandings of sport, nationhood, and the cultures of American Indian people.
The photographs in this collection retain the numbering system assigned them in the exhibition and are arranged in the order they appear in the book, followed by those not in the book.