The Evolution of Native Californian Art

By Kristen Hoy

SBS 304

California Native Societies

Professor Dr. Rebecca Bales

California State University Monterey Bay

5/20/16

Introduction

California has been continuously inhabited for thousands of years, during which time hundreds of cultures, families, and over 60 languages flourished[footnoteRef:1] . Each expressed cultural importance through artwork, yet unique to California is the utility of Native art. Native Californian art conveys spiritual beliefs, artistic representations and continuation of values. By reviewing art and documents from the past it is evident that Native California culture has not disappeared, but has adapted and evolved to the modern world. Though the history of California is not always fair and just to its Native people, by reviewing how they used art and continue to use art as an expression of culture it is possible to examine their past. [1: Penney, David W. North American Indian Art. London: Thames & Hudson, 2004.127-140.Though this book spans the entirety of North America, and therefore covers dozens of cultures, I focused on the sixth chapter which examines the Far West. Even within this relatively limited geographic area, there are mentions of several cultures including the Chumash, Yurok, Klamath, Miwok and Yokuts. The art exhibited includes geoglyphs in southern California, pictographs, and baskets. The importance and use for each object and type of art is explained. Perhaps the most interesting and relevant to my topic, is the evolution of basketry. In the chapter photographs of several baskets are shown, each from a different time period and made for a different purpose. This highly respected and difficult art form has outlasted colonialism and oppression. Though seemingly ordinary the importance of basketry has helped natives hold on to their cultural identity.

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To fully comprehend the importance of art, it must be traced back to the beginning works. Rock art, basketry and contemporary pieces will be the primary focus of this paper. By examining each type of art individually, and comparing it to other works before and after, the process of evolution is visible. Along with looking at the types and methods of art, it is also important to review how the attitudes of Americans have also evolved in regards to Native art.

Current Literature

Much has been written about specific Native cultures within California, and scholars focus greatly on art as an expression of culture. Travis Hudson and Kathleen Conti, authors for the Journal of California and Great Basin Anthology, wrote their article The Aquatic Motif in Chumash Rock Art about the reoccurring motif that is visible throughout Chumash country[footnoteRef:2]. Similar in style, is the book The Esselen Indians of the Big Sur Country by Gary Breschini and Trudy Haversat. Both works attempt to encompass large sections of specific cultures in hope to understand artistic representations. None of the above mentioned authors are Native Americans, however the scholarship and delicacy to the subject is evident in these works. Breschini holds a several degrees, including a Ph.D., with focuses in the prehistory of California. Haversat holds an M.A., and has 30 years experience in central California[footnoteRef:3]. Both authors collected photographs of the art, interviews with living tribes members and oral histories to create a clear and representative picture of the Esselen people. [2: Hudson, Travis, and Kathleen Conti. 1981. The "Aquatic Motif" in Chumash Rock Art. Journal of California and Great Basin Anthropology. 3, no. 2: 224-231This article in the Journal of California and Great Basin Anthropology, examines the image known as the aquatic motif, that is present over 29 times in 19 different locations spanning the California coast. These works of art are attributed to the Chumash people; however, because there is no explanation of the motif in oral traditions, anthropologists use narratives from other tribes to make hypothesis on the meaning of the images. The dating of a pipe with the aquatic motif to the late 18th century was a revelation for anthropologists, as relatively recent dating suggests that traditional Chumash artistic themes may have survived into the later Mission period. This paper gave a unique insight into the modern examination of native art. It is evident that a great interest in traditional Native art is emerging, and how much is still unknown. In relation to the history and evolution of Native art, this paper and the explanation of the different forms of the aquatic motif, provides great evidence for cohesive traditions amongst natives. ] [3: Breschini, Gary S., and Trudy Haversat. The Esselen Indians of the Big Sur Country: The Land and the People. Salinas, CA: Coyote Press, 2004.For the purpose of my research, the greatest amount of focus is paid to the baskets made by the Esselen, and their early rock paintings. However, this book is an incredibly in depth look at a relatively unresearched culture. Within in are dozens of photographs of natural landscapes in which the Esselen lived, personal testimonies of modern Natives, as well as historic documents. The book covers the traditional practices of natives, such as burning, basketry, rock paintings. This book is a particularly useful addition to my research as the Esselen are native to Monterey county, and therefore their history is forever intertwined with the history of the area. ]

The traditional, third person examination of cultures by art historians in seen in David Penneys book North American Indian Art, published through Thames & Hudson. The book is a complete telling of the original art forms of North American, spanning the entire United States through Canada[footnoteRef:4]. Penney divides cultures into nine groups, of which Native Californians belong to the Far West. Dr. Penney describes art forms from petroglyphs to basketry with scholarly and straightforward declarations. The reasons for the arts existence and how is was made is illustrated, as well as his scholarly interpretation of the piece. Of all the sources, the organization of this book made clearest the facts about individual pieces, as well as the historic background surrounding the art. The structure of L. Frank and Kim Hogelands book First Families: A Photographic History if California Indians, follows the same guidelines in which cultures of divided based on geography. California is divided into seven sections, with each section detailing individual societies through art, and tribal histories[footnoteRef:5]. However, there is a difference between the historical approaches of the books. Penneys work follows of the evolution of art forms, while Frank and Hogelands centers on tribe members lives. [4: Penney, David W. North American Indian Art. London: Thames & Hudson, 2004.127-140.] [5: Frank, L., and Kim Hogeland. First Families: A Photographic History of California Indians. Berkeley, CA: Heyday Books, 2007. 186, 197. ]

The works by Frank LaPena and Lucio Ramirez with Philip Hammack, center on the contemporary art of Natives and the continuation of native culture. LaPenas article Contemporary Northern California Native American Art concentrates on eight artists from the modern age. Each artists life history is briefly described, as well as their tribal affiliations and the inspirations behind their artwork[footnoteRef:6]. The resulting short biographies give light to the idea that Native people still exist and are still in touch with their ancestral roots. Unlike most other sources, which are directed towards historians or art experts, Ramirez and Hammocks work, Surviving Colonization and the Quest for Healing: Narrative and Resilience Among California Indian Tribal leaders, is directed towards an anthological audience. Two tribal leaders from federally unrecognized tribes were interviewed concerning how they view their communitys history, and how they continue to fight for their future. The fact that neither tribe is recognized is important as it means that they must remain connected to their culture without government aid, such as claiming traditional land or tax exemptions, or the acknowledgement by other Indians[footnoteRef:7]. The interviews with the men show that oral histories and stories played a major part in their upbringing and continue to aid in the continuation of their culture. [6: LaPena, Frank. 1992. Contemporary Northern California Native American Art. California History. 71, no. 3: 386- 401. Author LaPenas mission for this article was to present modern, Native art to the general population, and provide insight into the interests and inspirations of Native artists. Eight artists are examined, both genders are represented, as are several different age groups and tribal affiliations. By doing so LaPena creates a group identity, in which each artist is individually represented, yet significant connections between artists are evident. This article provided individual statements and representations that are crucial to understanding the modern Native mindset. Each artist draws upon the history of their people, as well as different traditions such as poetry, dance and singing. This last aspect of the article, the connection to other art forms, is particularly useful in my examination of the evolution of Native art. ] [7: Ramirez, Lucio, and Phillip Hammock. 2014. Surviving Colonization and the Quest for Healing: Narrative and Resilience Among California Indian Tribal Leaders. Transcultural Psychiatry. 51, no. 1: 112-133.Unlike the other articles, this piece was written through a psychological lens. Through extensive interviews with two Native community leaders, researchers Ramirez and Hammock, hope the examine the role historic trauma plays in the lives of Natives, and method