Woven Holy People - Yei be Chei and Sandpainting Weaving Exhibit

NIZHONI RANCH GALLERY

Presents

WOVEN HOLY PEOPLE
February 28, 2016 – May 28, 2016

Steve and I are very Thank you
to all
WOVEN pleased to be able to present Medicine Men
this body of work by the Navajo
HOLY people. Historically and today, for their skills, memories and endurance,
who have contributed to the rich history
PEOPLE the Navajo weavings are an of the Navajo, keeping Navajo traditions,
expression of the Navajo way images, and ceremonies alive.
of life and a demonstration of
their culture. Preserving the images of the Sacred Thank you to all of the Navajo weavers
Sand Paintings, Yeis, and Yei Be Chei (Yeibichai); known and unknown for giving us the rich
has been a mission of many before us. textile imagery, some of which we have the
(ie. Hasteen Clah, Mary Wheelwright, and honor of sharing herein.
the Newcombs)
We are privileged to have had Memory aides from Miguelito Medicine
the opportunity to handle and share these Man from Ganado were used for the two
weavings. The imagery and symbolism sandpaintings by Helene Nez in this catalog.
contained within the over 60 Navajo textiles Blue Corn People and Arrow People, pg 22-23.
presented is beautiful, interesting, and
provocative. Some of the symbolism is not At one time, long ago, a large number of
known or interpreted as some of the pieces chants existed, with many smaller ceremonies.
are over 100 years old. And yet these weavings Today comparatively few remain. Consequently,
can take us on a trip to a previous time where as time goes on, many sandpaintings as well
our imaginations recreate a communion with as ceremonies fall into disuse and are lost
the gods, harmony, chaos, and all things known or forgotten.
and unknown in the universe.
Miguelito Navajo Medicne Man,
Gail Getzwiller *Gladys A Richard, Navajo Medicine Man

Sandpaintings. - 1977

Sam Tilden and White Hat
with Mountainway sketches.

*Navajo Religion and Culture:
Selected Views, Papers in Honor of
Leland E. Wyman, Brugge & Frisbie,

Editors, Museum of New Mexico.
Papers in Anthropology,
#17 – 1982

© copyright 2016 Steve & Gail Getzwiller – Design by Great Scott Design – Tucson Arizona

PAGE 1

NAVAJO YEI
(HOLY PEOPLE)





NAVAJO The Navajo Sandpainting The Navajo way of life is based on an oral NAVAJO
SANDPAINTING Weaving is ranked among the tradition in which stories, lessons and values YEI BE CHEI
Navajo’s best known and best loved are passed down from generation to generation. (Yeibichai)
WEAVINGS art forms. The original Navajo dry The Creation story of the Navajo Emergence as
painting is traditionally performed “The People or Dine” is as sacred as the Bible
for religious or medicinal purposes to the Navajo. One theme reoccurs often and in
almost all writings, that is central to the Navajo,

attainment and maintenance of harmony and

beauty, called hozho. The Yei Be Chei dancers are the human

and is an integral part of the Yei Be impersonators who perform the ceremonies.

Chei Ceremonies, which can last up to 9 days. The sand paint- Harmony and beauty are always challenged The Yei Be Chei weavings present the dancers as

ings and ceremonies are designed to summon supernatural by the chaos of life. To attain harmony does not they dance, perform, and enact the ceremony of

forces… they represent the Navajo’s religious world and are necessarily mean the destruction of chaos and the Yeis.

customarily part of ceremonies to heal and restore a patient disorder but rather describes the balance between

that is out of balance. the two. The Navajo concept is perceived as an Ceremonies are performed to either attract

idea that is generated within and is shared with or exorcise effects to The People. The Yeis

The Navajo Sandpainting Textile is an art form that owes others. Therefore beauty is created or expressed perform specific dances and rituals, as directed
its existence to Weaver, Artist, and Medicine Man Hasteen Klah
(1867-1937) rather than observed and safeguarded. by the Medicine Man, during the ceremony for

the desired end.

This Navajo saying expresses the Navajo

Until the 1930’s the idea of a Navajo putting a sand paint- ideal of harmony and beauty: During ceremony, a team will be composed
ing in a rug was thought to bring them bad luck. However,
Mary Wheelwright supported and encouraged Hosteen Klah to shil hozho with me there is beauty of fourteen dancers: the leader Yeibichai - the
weave a sand painting design into a blanket to have a perma- shii hozho in me there is beauty Talking God, six male dancers, six women
nent documentation for future Navajo weavers and medicine shaa hozho from me beauty radiates dancers, and finally, the Water Sprinkler - the
people. Hasteen Klah went on to produce many blankets, God of Precipitated Waters. On the final night,
drawings and paintings of various ceremonial designs. After
awhile, other weavers, seeing that nothing bad happened to In the Navajo Creation Story, there exists teams of dancers appear in public in what is
Klah, also started to weave the Sandpainting designs. numerous persona identified as Holy People or referred to as the Yeibichai Dance until just
Yeibichai who exemplify the concepts of hozho. before dawn. The ceremony ends with the
Mary Cabot Wheelwright who founded the Museum of Yet these same Holy People also have the chanting of the “Bluebird Song” which celebrates
Navajo Ceremonial Art in 1937, was permitted to record many potential to create their dynamic opposites as the happiness and the peace that the bluebird
of Klah’s songs and erected the museum to preserve his medi- seen in such qualities as chaos, foolishness and symbolizes.
cine knowledge and his sacred objects.
ugliness. This duality of beauty and harmony The Yeibichai weavings are highly
co-existing with chaos and disorder is indeed the individual, therefore, different elements may
central theme of the traditional Navajo culture be found in them.
and of weaving as well.
Hasteen Klah knew 5 Chant Ways (ceremonies and their
sandpaintings) and 3 of them died with him. A man sensitive Male Yeis have round heads and Female
to time and tradition did what he could in his lifetime to Although the blankets and textiles were not Yeis have square heads. Other elements included
preserve them. originally woven with any ceremonial content, may be: gourds, ruffs of spruce around the neck,
the reference to, and infusion of the Holy People fox pelts, moccasins, woven garters or sashes,
are abundant. Images of birds, feathers, stars arrows, corn, clouds, stars, and more.
and pollen all refer to the Stories of Emergence

and those to whom the Navajo refer to as the

Holy People or the Yei. These elements can be

found in woven form pre-1900.

PAGE 2 PAGE 3

YEI BE CHEI

GUARDIAN SNAKE SANDPAINTING PICTORIAL Male & Female Yeis dancing while holding a blanket- rainbow bars floating all around them
(i.e. surrounded by good luck and prosperity). All handcarded, handspun, and hand dyed native wool.
Likely woven in the Nazlini area. Pink, green & brown are natural dyes. The design elements are
HISTORIC highly spiritual with Snake Guards, the Black Yei (Big Snake Man) and White Yei (Big Snake Size 80” x 46” (2.03M x 1.164M) Circa 1920
Woman). All handcarded, handspun, and hand dyed native wool.

Size : 66” x 39” (1.67M x .99M) Circa 1900

DRAGONFLY YEI SANDPAINTING WEAVING NIGHTWAY SANDPAINTING VARIANT

Dragon Fly Yeis with Water Bug geometric designs and water symbols, woven in the Teec Nos Pos Guardian Yei surrounding patient in the center with Medicine Man and Yei. This weaver is quite
area. All handcarded, handspun, and hand dyed Merino wool. talented as the patient looks as if there is movement – even dancing. All handcarded, handspun, and
hand dyed native wool.

71”x 37” (1.80Mx.939M) Circa 1920 Size : 48” x 35” (1.219M x .88M) PAGE 5 Circa 1930s

PAGE 4

DRAGONFLY YEI PICTORIAL
Unique dragonfly yeis with wings.

All handcarded, handspun, and hand dyed
native wool.

Circa 1920-30
Size : 41.5” x 73” (1.05M x 1.85M)

BEAUTY WAY SANDPAINTING TEXTILE Rainbow Yei and Corn

Sometimes weavers make changes in a weaving so it is not perfect. This weaver did several HISTORIC
things: different colored faces and eyes, two ceremonial baskets, and more if you look closely.
Germantown and handspun, hand carded native wool.

Size : 63” x 53” (1.6M x 1.34M) Circa 1930s

FEMALE YEIS WITH TADPOLES First Dancers Nightway Chant SANDPAINTING TEXTILE
(Twisted Sisters Yei)
Possibly woven by a relative of Mrs. Sam, (Gladys Manuelito), Hasteen Klah’s niece, as it is very
Very unusual design most likely for similar to a sandpainting weaving she did around this time frame, published and featured in
fertility Ceremony. Arizona Highways Magazine, July 1974, page 24.
All Handcarded, handspun, and hand dyed native wool.
All handcarded, handspun, and hand dyed
native wool. Size : 74” x 53” (1.87M x 1.34M) Circa 1930s
Circa 1930s
PAGE 7
Size : 38” x 66” (.96M x 1.67M)

PAGE 6

NIGHTWAY CEREMONY WITH SPIDER WOMAN YEI BE CHEI
CROSS BORDER YEI BE CHEI

HISTORIC Spider Woman Cross Border with Yei Dancers. All handcarded, handspun, Early unusual portrayal of the Yeis with feathers and the smaller Yei figures at their feet.
and hand dyed native wool. All handcarded, handspun, and hand dyed native wool.

Size : 42” x 57” (1.06M x 1.44M) Circa 1930s Size : 5’ x 8’ (1.52M x 2.43M) Circa 1920

YEI BE CHEI STORM PATTERN / YEI BE CHEI

Hand Spun : Tourist Souvenir (Fred Harvey Era) All handcarded, handspun, There are 3 Female Yeis in the center of the storm pattern which is surrounded by Male Yeis
and hand dyed native wool. and medicine man, depiction of a healing ceremony. All handcarded, handspun, and hand dyed
native wool.

Size : 62” x 50” (1.57M x 1.27M) Circa 1930s Size : 5’3” x 9’ (1.60M x 2.74M) Circa 1930s
PAGE 8
PAGE 9

NIGHTWAY CEREMONY YEI BE CHEI

HISTORIC Nightway Ceremony with male and female Yeis, unusual negative background Yei with Rainbow Bars and Transitional Border
with bows & arrows at their feet. Exceptional example. All handcarded,
handspun, and hand dyed Mohair. Female Yei Figures with giant like features i.e. exaggerated upper torso. Very early piece.
All handcarded, handspun, and hand dyed Merino wool.
Size : 62” x 63”(1.57M x .965M) Circa 1930 Size : 77” x 50” Circa 1900

YEI BE CHEI DANCERS Arrow Fletchings STORM PATTERN PICTORIAL with YEI EMERGENCE FIGURES

Yei Dancers surrounded by arrow fletchings. Female Yei in the center. Highly unusual weaving with Navajo creation story symbolism including whirling log center
All handcarded, handspun, and hand dyed native wool. and emergence figures peaking out above and below. All handcarded, handspun, and hand dyed
native wool.

62”x 47” (1.5Mx1.19M) PAGE 10 Circa 1930s Size : 42” x 97” (1.06M x 2.46M) PAGE 11 Circa 1920s

“CHEI” – Horned Toad NAVAJO WEAVING HOLY GIRL YEI
Grandfather of the gods
Rare ‘One of a Kind’ Extremely rare and unusual Yei weaving
standing over 8’ tall and 96 years old.
All handspun, hand carded Mohair All handspun, hand carded hand dyed
Aniline Dyes. native wool.
Circa 1920
Circa 1920 Size : 4’ x 8’6” (1.21M x 2.59M)
Size : 40” x 68” (1.01M x 1.72M)

HISTORIC

HERO TWIN PICTORIAL YEI BE CHEI DANCER
Monster Slayer & Born of Water
Most likely woven in the Two Grey
Crystal Area Hills area of the Navajo Reservation.
Representing the emergence/creation story
of the Navajo, surrounded by flowing energy All handspun, hand carded
Lincoln wool.
designs Circa 1930
All handspun, hand carded hand dyed
Size : 66”’ x 49”(1.68M x 1.25M)
native wool.
Circa 1920 PAGE 13

Size : 52” x 82”(1.32M x 2.08M)

PAGE 12

CORN PLANT YEI

Corn plant Yei representing all things good
and life giving. Other symbols include
feathers, birds,and corn – emanating
positive energy to the world.
All handspun, hand carded, hand dyed
native wool.
Circa 1925
Size : 50” x 69”(1.27M x 1.75M)

FOXTAIL YEI

Male and female Yeis, male Yeis have foxtails hanging from their waist. The date on the HISTORIC
weaving tells us it was probably commissioned for the 1939 World’s Fair, as weaving
demonstrations were often part of the World’s Fairs during this time.
All handcarded, handspun, and hand dyed native wool.

Size : 76” x 43”(1.93M x 1.09M) Circa 1939

TREE OF LIFE YEI PICTORIAL SANDPAINTING TEXTILE Rainbow Yei

Featuring two monumental Corn Yeis with Female Yeis are holding Prayer Staffs – surrounded by Guardian Yei.
Spider Woman Crosses and 3 small Navajo All handcarded, handspun, and hand dyed native wool.

Blankets in the middle. All hand carded, 4’3”x6’3” (1.29M x 1.19M) PAGE 15 Circa 1940s
handspun, hand dyed native wool.
Circa 1920s
Size 49” x 86” (1.24M x 2.18M)

PAGE 14

These two weavings were most likely made by the same weaver.
i.e. feathers, gourds, jacla necklaces, and medicine bag straps.

HISTORIC DRAGONFLY YEI YEI BE CHEI

Dragon Fly Yeis with floating Rainbow Bars and Arrows attached to the Black is natural black from the first shearing of lambs underbelly.
Guardain Yei symbol. All handcarded, handspun, and hand dyed native wool. All handcarded, handspun, and hand dyed native wool.
Size : 35.6” x 51”(.90M x 1.29M)
Size : 42” x 41”(1.06M x 1.04M) Circa 1930s Circa 1930s

YEI BE CHEI FOXTAIL YEI BE CHEI

Vegetal Brown. All handcarded, handspun, and hand dyed native wool. All handcarded, handspun, and hand dyed native wool.
Size : 47” x 36”(1.19M x .91M) Circa 1930s 40.5”x 68” (1.02M x 1.72M) Circa 1930

PAGE 16 PAGE 17

These two weavings were most likely made by the same weaver.
i.e. style of Yeis, medicine bundles & feathers.

LUKACHUKAI YEI Circa 1930 MOTHER EARTH/FATHER SKY HISTORIC
SANDPAINTING WEAVING
All handcarded, handspun, and hand dyed native wool.
Size : 31” x 40”(.78m x 1.01M) Mother Earth & Father Sky images are at
the bottom of the weaving surrounded
LUKACHUKAI YEI Circa 1940 by Rainbow Bars. Two Yeis dancing
above with a stylized corn plant between
All handcarded, handspun, and hand dyed native wool. them. All handcarded, handspun, and
Size : 42” x 70”(1.06M x 1.77M) hand dyed native wool.
Circa 1930
PAGE 18 Size : 41” x 54”(1.04M x 1.37M)

SANDPAINTING TEXTILE
Male Shooting Way with
Monster Slayer Twin

All handcarded, handspun natural
native wool. Black is carded wool from
the under belly of black lambs. Tan is a
vegetal color hand dyed by the weaver.
Circa 1930
Size : 31.5” x 51”(.80M x 1.29M)

PAGE 19

SANDPAINTING
TEXTILE

Night Skies from the
Shooting Way Chant

Made with
Germantown yarns.

Circa 1930s
Size : 47” x 47”
(1.193M x 1.193M)

RAINBOW YEI HISTORIC

Sashes represent rain. All handcarded, handspun, and hand dyed native wool.

Size : 5’9” x 7’(1.75M x 2.13M) Circa 1930

WHIRLING LOGS YEI BE CHEI
WITH HOLY PEOPLE

SANDPAINTING

Whirling Logs represent the 4
Sacred Mountains,

4 Cardinal Directions and
the 4 Seasons. The 4 gods of
the East, West, North & South
are portrayed. (Talking God,
House God, and 2 Humpback
Gods). Mountain mahogany

root background would
place the weaver in the

Teec Nos Pos area.
All handcarded, handspun,
and hand dyed native wool.

Circa 1930
Size : 58” x 72”
(1.147M x 1.83M)

All handcarded, handspun, and hand dyed native wool.

Size : 54” x 72”(1.373M x 1.183M) Circa 1930

PAGE 20 PAGE 21

CORN STALK YEI

All handspun, hand carded hand dyed
native wool.
Circa 1920
Size : 25” x 40” (.63M x 1.01M)

HISTORIC SHIPROCK YEI Guaridian Rainbow With Corn & Sacred Plants Circa 1940s

All handspun, hand carded native wool.
Size : 58” x 34” (1.47M X .86M)

GERMANTOWN YEI SAMPLER YEIS WITH SNAKES AND Sacred PLANTS

Made with Germantown Yarns. All hand carded, handspun, and hand dyed native wool with some Germantown Yarn.
Circa 1900-1910s
Size: 39” x 21.5” (.99M x .546M) PAGE 23 Circa 1940s
Size : 18” x 10”(.457M x .254M)

PAGE 22

Weavings by Blue Corn Arrow People Sandpainting NAVAJO CHURRO COLLECTION
Master Weaver People Shooting Way Ceremony
Helene Nez Sandpainting Navajo Churro Collection
Shooting Way Best Of Category & Best Of Division
Helene Nez, born in 1977 learned weaving Ceremony 2006 Gallup All Indian Inter-Tribal
from her mother, Master Weaver Grace Nez. She Never Before Done Ceremonial
started weaving when she was 19, now a master In Textile Form
weaver herself. “I am where water meets, Navajo Churro All Natural Vegetal Dyes
born for Tangle clan. My nali is Comanche Collection 52”x 73” (1.32Mx1.85M)
Warrior and my grandparents are Bitter Water. Best Of All Weavings Circa 2006: 2 years on the loom
“Sandpaintings are my favorite design. In the 2013 Gallup Inter- Churro 679
sandpainting, the rainbow is special to the Tribal Ceremonial
Navajo. It represents rain that washes away pain YEI PICTORIAL
and gives us moisture for life. When I started Corn Yeis are vegetal with Teec Nos Pos Border
the corn people it was pretty difficult, but that is dyed Indigo Green. Navajo Churro Collection
one reason why I wanted to do it, so I can know Size 5’ x 6’ All hand dyed Churro wool with
myself, I can accomplish it.” said Helene. (1.27M x 1.524M) subtle silk highlights.
Helene has won 6 Major Awards at the All Circa 2013
Indian Inter-Tribal Ceremonial from 2006 to 2 years on the loom Circa 2000 : 1.5 years on the loom
2014. Most of her weavings take up to 2 years to Churro 1302 Size 4’ x 9’ (1.21M x 2.74M)
make, otherwise she probably would have more Churro 241
honors. Her weavings have been on exhibit PAGE 25
in the Desert Caballeros Western Museum in
Wickenburg, AZ.

PAGE 24

SELENA YAZZIE MARIAN NEZ NAVAJO CHURRO COLLECTION

Selena Yazzie was born in 1963 and Marian Nez born in 1967, is Helene
started weaving when she was 7 years old, and Cindy’s big sister. She was taught to
learning weaving from her mother and weave by her mother and grandmother. A
grandmother.
She has won many awards including master weaver, she has won many awards
Best of Textile for this weaving and another and her weavings were exhibited in the
in 2012. Her weavings were on exhibit in Desert Caballeros Western Museum in
the Desert Caballeros Western Museum in
Wickenburg, AZ. She says her kids have been Wickenburg. Her talent for weaving is ev-
a major influence in her life and her weav- ident in this weaving, notice how perfect
ing is the one thing that keeps her going in the circles are in the center sandpainting
life. She is best known for her Pictorial and design. Circles are one of the most diffi-
Sandpainting weavings. Master Weaver Cara
Gorman is her cousin. cult design elements to weave.

BEAUTY WAY SANDPAINTING WEAVING BISTIE STYLE WITH SANDPAINTING CENTER
Selena Yazzie Marian Nez
Navajo Churro Collection, 1st Place, Best of Category & Best of all Weavings
2015 Gallup Inter-Tribal All Indian Ceremonial Navajo Churro Collection
1st Place & Best Of Category 2013 Gallup All Indian
Circa 2015 : 2 years on the loom.
Size 85” x 59” (2.159M x 1.49M) Inter-Tribal Ceremonial
Churro 1426 Two Year On The Loom Size: 6’ X 9’ (1.892M x 2.74M)

Churro 1345

PAGE 26 PAGE 27

TEEC NOS POS YEI SANDPAINTING TEXTILE NAVAJO CHURRO COLLECTION
PICTORIAL Navajo Churro Collection
CINDY NEZ Juanita Tsosie (1930-2011)
Round Rock Area
Navajo Churro Collection
The Desert Caballeros Colors of the Corn People repre-
Western Museum sent the Four Cardinal Directions.
Exhibit 2000 Circa 2009
Pastel colors are all Size 66” x 74” (1.67M x 1.87M)
natural dyed silk. Churro 158
Circa 2000
1.5 years on the loom. HOLY GIRL PICTORIAL
Size 60” x 88” Navajo Churro Collection
(1.52M x 2.23M) Emily Malone
Churro 237
Yellow is natural dyed silk.
CINDY NEZ Circa : 2012
Size : 4’ x 6’ (1.21M x 1.82M)
A master weaver, she has won many Churro 738
awards including “Best of Show” Gallup All
Indian Tribal Ceremonial 2003, for an in- PAGE 29
tricate multi-pattern Teec Nos Pos Weaving.
Cindy’s weavings were also exhibited in the
2000 Exhibition at the Desert Caballeros
Western Museum in Wickenburg, Arizona.

PAGE 28

CONTEMPORY These two weavings attributed to the same weaver, possibly attributed to Despah Nez SANDPAINTING YEI
MARIE SHIRLEY
Dragonfly (Marie Brown)
4 Directions
Sandpainting Master Weaver Marie Shirley from
the Chinle Area of the Navajo
Tapestry reservation has won many awards.
Attributed to Her weavings have been exhibited
and published in the Fine Art of
Despah Nez Navajo Weaving.
Very finely woven. Exhibited Heard Museum
Circa 1960s-1970s 1990s and the
Desert Caballeros Museum
Size 28” x 28” 2000-2001
(.714M x .71M) Circa 1980s
Size 72” x 47” (1.82M x 1.193M)
Mother Earth
Father Sky RAINBOW BLESSING YEI
(Holy Girl)
Sandpainting
Tapestry MARIE SHIRLEY
(Marie Brown)
Attributed to
Despah Nez Vegetal Dyes
Circa 1980s
Very finely woven. Size 25” x 34” (.63M x .86M)
Circa 1960s-1970s
PAGE 31
Size 28” x 29”
(.714M x .73M)

PAGE 30

YEI BE CHEI TAPESTRY

Louise Yazzie (Sawmill area) CONTEMPORARY

BEAUTY WAY SANDPAINTING WEAVING 2013 All Indian Inter-Tribal Ceremonial - 1St Place Yei Be Chei
Size 36” x 52” (.914M x 1.32M) Circa 2013
Anita Tsosie (1959-2007) Master Sandpainting Weaver

Blue Ribbon 1995 O’odham Tash Circa : 1995
Size : 70” x 84” (1.77M x 2.13M)

YEI BE CHEI TAPESTRY

YEI BE CHEI LIFESTYLE PICTORIAL Pictorial of a Yei Be Chei Ceremony Della Woody (Sawmill area) Premier weaver of this style. Della Woody
weavings were published in the ‘Fine Art of Navao Weaving’.

Anita John from the Many Farms Area Circa : 1980 1st Place Heard Museum Show – 1985 Circa 2013
Size 47” x 87” (1.19M x 2.20M) Size: 15” x 20” with frame included: 24” x 19”

PAGE 32 PAGE 33

NAVAJO YEI PICTORIAL

Christine Chischilly (Lukachukai Area)

CONTEMPORY 2nd Place 2015 Gallup All Indian Inter-Tribal Ceremonial - Yei Be Chei YEI BE CHEI
Size 60” x 34” (1.52M x .86M) Circa 2013 Velma Segay (Sawmill Area)

Size 31” x 43” (.78M x 1.09M) Circa 1980-90s

YEI BE CHEI Circa 1987 FOXTAILYEI BE CHEI PAGE 35 Circa 2015
Lillie Smiley (Shiprock Area)
Lula Brown (Sawmill Area)
Size 23” x 33” (.55M x .83M) Size 45” x 33” (1.14M x .83M)

PAGE 34

CONTEMPORY YEI BE CHEI LOOKING TO
MINIATURE TAPESTRY THE FUTURE

Helen Begay We are looking forward to sharing Navajo
(Sawmill area) Textiles in an Annual Exhibit at the Nizhoni
Ranch Gallery. 2017 will be the year of the
Circa 2012 Teec Nos Pos (circle of cottonwoods).
Size: 14” x 10” (.35M x .25M)” We hope you will join us again next year
for a look into the best of the past and the future
TWO WEAVERS of Navajo Teec Nos Pos weaving.
HOLDING A YEI BE CHEI
Ava Tsosie weaving on a Teec Nos
WEAVING MINIATURE Pos of the future. Another Navajo
TAPESTRY Churro Collection piece. Ava is
one of the youngest Master Weavers
Louise Yazzie Bia we work with today, daughter of
(Sawmill area) Linda Nez and Granddaughter of
Circa 2015 Grace Nez, all master weavers!

Size: 3.5” x 4.5” (.8M x .11M) Pristine Condition Teec Nos Pos : c. 1930s
SPIDER ROCK
MINIATURE
YEI TAPESTRY CANYON DE CHELLY
Darlene Yazzie Home of Spider Woman
(Sawmill area)
The Holy Entity who
Circa 1980s taught the Navajo to weave.
Size: 5.75” x 5.5” (.14M x .139M)

PAGE 36

Nizhoni Ranch Gallery

Steve & Gail Getzwiller

Sonoita, Arizona
520-455-5020

www.navajorug.com