Hernandez, Jo Farb

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San Jose State UniversitySJSU ScholarWorksFaculty Publications Art and Art History & Design Departments4-1-2010Book Review. Teresa J. Wilkins, Patterns ofExchange: Navajo Weavers and TradersJo Farb HernandezSan Jose State University, Jo.Hernandez@sjsu.eduFollow this and additional works at: https://scholarworks.sjsu.edu/artdesign_pubPart of the Art and Design CommonsThis Article is brought to you for free and open access by the Art and Art History & Design Departments at SJSU ScholarWorks. It has been acceptedfor inclusion in Faculty Publications by an authorized administrator of SJSU ScholarWorks. For more information, please contactscholarworks@sjsu.edu.Recommended CitationJo Farb Hernandez. "Book Review. Teresa J. Wilkins, Patterns of Exchange: Navajo Weavers and Traders" Western Folklore (2010):254-256.254 BOOK REVIEWS and jazz. That particular dichotomy often is drawn too neatly, and Cartwright shows how blues music both implicitiy and explicitiy influenced Fitzgerald's musical expression. Bob Groom's essay examines blues and gospel in the 1950s. He counters a widely-held perspective that blues is largely apolitical by discussing the sharp, even cynical, political commentary of musical lyrics following World War II. John Minton's study of Zydeco completes this compilation of essays. Minton gives read­ers what may become the definitive article on the roots of Zydeco. Using both published sources as well as his own interview, Minton offers a solid revision of the idea that Zydeco was flrst created within Louisiana's Creole communities. Rather than seeing it as Louisiana roots music, Minton demonstrates that is first appeared in house parties and music clubs in urban East Texas. Minton shows how Zydeco is related to blues music, and he insightfully explores why many want to see both forms of music as pure forms of rural-based folk music rather than recognizing the far more complex and interesting history of each. The articles in Ramblin' on My Mind offer a good view of various facets of blues music scholarship. The range of topics, disciplinary perspectives, and styles of writing will provide readers with ample ways to explore blues music. One major concern, however, is the overall emphasis on the history of blues. There are interesting developments in contemporary blues scenes that deserve academic inquiry, yet much of the focus of scholarship is on the blues music created and performed prior to the 1970s. This focus on blues history results in a sense of historicizing the music, itself, and it feels incongruous that a volume of essays that offers "new perspectives on the blues" largely omits any discussion of contempo­rary blues artists. Gregory Hansen Arkansas State University Jonesboro Pattems of Exchange: Navajo Weavers and Traders. By Teresa J. Wilkins. (Norman: University of Oklahoma Press, 2008. Pp. xiv + 230, acknowledgments, intro­duction, photographs, illustrations, map, appendix, notes, bibliography, index. $34.95 cloth.) White America's complex relationship with Native Americans and their arts has always reflected larger contemporary political/social realities. Among other complex elements, this has encompassed a sense of embedded guilt about the treatment of Natives by that broader society, coupled with romanticisms about the "noble savage" and the authenticity of their life in nature. To this end, much of the earlier literature on the trading posts—intermediaries between Native artists and a developing market of white collectors—tended to either describe them as exploitative pillagers or as sites that not-so-covertly attempted to acculturate the "naive" Natives into the dominant capitalist system. This focus assumed a uni-directional relationship, ignoring any possibility that the Navajo themselves might have influenced and modified the fundamental nature of those interactions. Pattenu of Exchange 255 As Teresa J. Wilkins describes in her fme book, the reality was clearly much more complex. The trading posts were initiated and flourished in a rapidly-changing society in which two radically different cultures learned how to work with each other for the economic benefit of both. Wilkins charts how each trader in the Navajo region had a unique way of working with the Native weavers as well as how they chose to market their wares to Euro-American consumers. A signifi­cant component of all of the traders' efforts, however, was to serve the federal government's policy of promoting the assimilation of the Natives by converting them to a capitalist (cash) economy. J.L. Hubbell, who is treated with the greatest thoroughness here, established his trading post at Ganado just after the Navajo returned from their "Long Walk" in 1864, a period of great poverty and starvation. This may have influenced him to approach the Navajo more holistically, attempting to understand their culture and adjusting his business practices to better mesh with traditional Navajo values of helping and reciprocation. Recognizing that the Euro-American market was interested in authenticity and traditionality, he promoted the age and scarcity of his prodvicts. In contrast, G.N. Gotton, marketing the "primitive" quality of Native labor and their use of natural materials, underscored the "otherness" of the producers. Gotton insisted on a more purely capitalist interaction with the weavers, as didJ.B. Moore, who imposed new ways of production, dividing and compartmentalizing tasks so that several women now worked on each rug—one carding/spinning, one weaving, etc.—in order to more closely resemble an assembly-line production to maximize profit. This was a radical move, particu­larly as prior to the trade with the Spanish settlers the Navajo language had no words for expressing value in strictly quantitative terms. Removing the produc­tion of a rug from a single woman's home weakened its context and had pro­found cultural implications. Also examined is the aesthetic influence each trader attempted to impose on the Native weavers. As is well-documented, they tried to standardize imag­ery (which is why certain rug designs became known by the names of the posts through which they were traded). Yet what has not been treated in past literature was the extent to which the Navajo weavers creatively adapted the traders' sugges­tions and even contested them, responding in light of their own cultural priori­ties. As Wilkins writes, "the process and end product of Navajo weavers' work was and is continually negotiated...these intercultural trade relationships resulted in both weavers and traders beginning to understand hybrid economies....cultural identity shifts occurred among all involved" (81). Recognizing the end-of-millennium anti-modernist sentiments of the Euro-American market, the traders understood that Native weavings could be used by purchasers to protest the burgeoning industrialization of those times, allowing the buyers to connect to an authentic, exotic experience while concomitantly encouraging the seemingly inevitable and desirable progression of the Natives from their perceived savagery to civilization. Yet by marketing a homogeneous "otherness," the traders ironically reinforced social-economic class distinctions and commodified an artistic production that had previously been influenced solely by Navajo principles of autonomy, creativity, and cooperation. As the weavers began to understand the cultural and economic changes that the traders were introducing, they exacted their own changes, reflecting the reciprocal obligations inherent to traditional transactions. Their expectation (not always fulfilled) was that since the traders were "helping" the Navajo by 2.56 BOOK REVIEWS buying their rugs, it implied a broader cooperative social relationsbip surpassing tbe merely economic. Tbe Navajo attempted to teach tbe traders tbeir own proto­col for trading relationships, wbicb included the understanding tbat any transac­tion beralded the beginning of a long-term relationsbip in wbicb an exchange of knowledge was regarded as a form of belp, in wbich intangible, relational forms of belping—sucb as telling others about a trader's cooperative acts—were con­sidered part of tbe deal, in wbicb gifts over and above tbe appropriate amount of goods exchanged in trade were proffered, and in wbicb goods and knowledge continued to circulate among people (141). Tbe result was far from tbe antiseptic antbropological ideal of culture as orderly and consensual, but ratber a hybridized economy characterized by resistance, cballenge, and process layered upon accommodation: a mucb more creolized and dynamic reality. Tbe traders' interactions witb tbe Navajo pro­duced a part-capitalist and part-cooperative economy, reflecting Navajo cultural convictions at tbe same time tbat it moved tbem from a mostly-barter to a mosdy-casb way of doing business. Tbis led to notbing less tban a complete re-conceptualization of tbe concept of culture as process, witb constandy shifting power relationships. Tbis book is an important addition to scholarsbip of tbe fleld, as it widens tbe conventional wisdom regarding botb tbe economic and tbe social/cultural relationsbips between Navajo weavers and tbe trading posts tbat introduced tbeir arts to Victorian Euro-American society. Additional color pbotograpbs would bave been belpful in underscoring tbe aesthetic impact and evolution of tbe arts resulting from tbese socio-economic modifications; nevertbeless, tbe book will be useful to academics and general collectors of Native arts alike. Wilkins writes well, melding compelling anecdotes witb rigorous scbolarsbip in order to break down beretofore-beld stereotypes of bow tbese iconic textiles came to embody an important and ongoing cbapter of tbe American Soutbwest. Jo Farb Hernández San José Stale University, San José, CA and SPACES - Saving and Preserving Arts and Cultural Environments, Aptos, CA "I Choose Life": Contemporary Medical and Fteligious Practices in the Navajo World. By Maureen Trudelle Scbwarz. (Norman: University of Oklaboma Press, 2008. Pp. xi +380, preface, Appendix, notes, glossary, bibliograpby, index. $50.00 clotb, $24.95 paper.) In "/ Choose Life, "Maureen Trudelle Scbwarz examines bow tbe Navajo botb view and respond to biotechnologies sucb as blood transfusion, organ transplant, cardiopulmonary resuscitation, and surgical intervention, especially amputa­tion. Scbwarz cbooses to focus on tbese particular aspects of modern bealtbcare because tbe Navajo bave a growing problem witb diabetes and its associated complications (sucb as End Stage Renal Disease), wbicb leads to tbeir being more likely to be candidates for tbese medical treatments tban non-Navajo. But sbe also cbooses to focus on tbese aspects of modern bealtbcare because tbey are especially problematic for tbose Navajo wbo bold traditional beliefs 

Book Review. Teresa J. Wilkins, Patterns of Exchange: Navajo Weavers and Traders

San Jose State University

San Jose State University
SJSU ScholarWorks
Faculty Publications Art and Art History & Design Departments
4-1-2010
Book Review. Teresa J. Wilkins, Patterns of
Exchange: Navajo Weavers and Traders
Jo Farb Hernandez
San Jose State University, Jo.Hernandez@sjsu.edu
Follow this and additional works at: https://scholarworks.sjsu.edu/artdesign_pub
Part of the Art and Design Commons
This Article is brought to you for free and open access by the Art and Art History & Design Departments at SJSU ScholarWorks. It has been accepted
for inclusion in Faculty Publications by an authorized administrator of SJSU ScholarWorks. For more information, please contact
scholarworks@sjsu.edu.
Recommended Citation
Jo Farb Hernandez. "Book Review. Teresa J. Wilkins, Patterns of Exchange: Navajo Weavers and Traders" Western Folklore (2010):
254-256.
254 BOOK REVIEWS 
and jazz. That particular dichotomy often is drawn too neatly, and Cartwright 
shows how blues music both implicitiy and explicitiy influenced Fitzgerald's 
musical expression. 
Bob Groom's essay examines blues and gospel in the 1950s. He counters a 
widely-held perspective that blues is largely apolitical by discussing the sharp, 
even cynical, political commentary of musical lyrics following World War II. John 
Minton's study of Zydeco completes this compilation of essays. Minton gives read­
ers what may become the definitive article on the roots of Zydeco. Using both 
published sources as well as his own interview, Minton offers a solid revision of 
the idea that Zydeco was flrst created within Louisiana's Creole communities. 
Rather than seeing it as Louisiana roots music, Minton demonstrates that is first 
appeared in house parties and music clubs in urban East Texas. Minton shows 
how Zydeco is related to blues music, and he insightfully explores why many want 
to see both forms of music as pure forms of rural-based folk music rather than 
recognizing the far more complex and interesting history of each. 
The articles in Ramblin' on My Mind offer a good view of various facets of blues 
music scholarship. The range of topics, disciplinary perspectives, and styles of 
writing will provide readers with ample ways to explore blues music. One major 
concern, however, is the overall emphasis on the history of blues. There are 
interesting developments in contemporary blues scenes that deserve academic 
inquiry, yet much of the focus of scholarship is on the blues music created and 
performed prior to the 1970s. This focus on blues history results in a sense of 
historicizing the music, itself, and it feels incongruous that a volume of essays that 
offers "new perspectives on the blues" largely omits any discussion of contempo­
rary blues artists. 
Gregory Hansen 
Arkansas State University 
Jonesboro 
Pattems of Exchange: Navajo Weavers and Traders. By Teresa J. Wilkins. (Norman: 
University of Oklahoma Press, 2008. Pp. xiv + 230, acknowledgments, intro­
duction, photographs, illustrations, map, appendix, notes, bibliography, 
index. $34.95 cloth.) 
White America's complex relationship with Native Americans and their arts has 
always reflected larger contemporary political/social realities. Among other 
complex elements, this has encompassed a sense of embedded guilt about the 
treatment of Natives by that broader society, coupled with romanticisms about 
the "noble savage" and the authenticity of their life in nature. To this end, 
much of the earlier literature on the trading posts—intermediaries between 
Native artists and a developing market of white collectors—tended to either 
describe them as exploitative pillagers or as sites that not-so-covertly attempted 
to acculturate the "naive" Natives into the dominant capitalist system. This focus 
assumed a uni-directional relationship, ignoring any possibility that the Navajo 
themselves might have influenced and modified the fundamental nature of 
those interactions. 
Pattenu of Exchange 255 
As Teresa J. Wilkins describes in her fme book, the reality was clearly much 
more complex. The trading posts were initiated and flourished in a rapidly-
changing society in which two radically different cultures learned how to work 
with each other for the economic benefit of both. Wilkins charts how each trader 
in the Navajo region had a unique way of working with the Native weavers as well 
as how they chose to market their wares to Euro-American consumers. A signifi­
cant component of all of the traders' efforts, however, was to serve the federal 
government's policy of promoting the assimilation of the Natives by converting 
them to a capitalist (cash) economy. 
J.L. Hubbell, who is treated with the greatest thoroughness here, established 
his trading post at Ganado just after the Navajo returned from their "Long Walk" 
in 1864, a period of great poverty and starvation. This may have influenced him 
to approach the Navajo more holistically, attempting to understand their culture 
and adjusting his business practices to better mesh with traditional Navajo values 
of helping and reciprocation. Recognizing that the Euro-American market was 
interested in authenticity and traditionality, he promoted the age and scarcity 
of his prodvicts. In contrast, G.N. Gotton, marketing the "primitive" quality of 
Native labor and their use of natural materials, underscored the "otherness" of 
the producers. Gotton insisted on a more purely capitalist interaction with the 
weavers, as didJ.B. Moore, who imposed new ways of production, dividing and 
compartmentalizing tasks so that several women now worked on each rug—one 
carding/spinning, one weaving, etc.—in order to more closely resemble an 
assembly-line production to maximize profit. This was a radical move, particu­
larly as prior to the trade with the Spanish settlers the Navajo language had no 
words for expressing value in strictly quantitative terms. Removing the produc­
tion of a rug from a single woman's home weakened its context and had pro­
found cultural implications. 
Also examined is the aesthetic influence each trader attempted to impose 
on the Native weavers. As is well-documented, they tried to standardize imag­
ery (which is why certain rug designs became known by the names of the posts 
through which they were traded). Yet what has not been treated in past literature 
was the extent to which the Navajo weavers creatively adapted the traders' sugges­
tions and even contested them, responding in light of their own cultural priori­
ties. As Wilkins writes, "the process and end product of Navajo weavers' work was 
and is continually negotiated...these intercultural trade relationships resulted in 
both weavers and traders beginning to understand hybrid economies....cultural 
identity shifts occurred among all involved" (81). 
Recognizing the end-of-millennium anti-modernist sentiments of the Euro-
American market, the traders understood that Native weavings could be used by 
purchasers to protest the burgeoning industrialization of those times, allowing 
the buyers to connect to an authentic, exotic experience while concomitantly 
encouraging the seemingly inevitable and desirable progression of the Natives 
from their perceived savagery to civilization. Yet by marketing a homogeneous 
"otherness," the traders ironically reinforced social-economic class distinctions 
and commodified an artistic production that had previously been influenced 
solely by Navajo principles of autonomy, creativity, and cooperation. 
As the weavers began to understand the cultural and economic changes that 
the traders were introducing, they exacted their own changes, reflecting the 
reciprocal obligations inherent to traditional transactions. Their expectation 
(not always fulfilled) was that since the traders were "helping" the Navajo by 
2.56 BOOK REVIEWS 
buying their rugs, it implied a broader cooperative social relationsbip surpassing 
tbe merely economic. Tbe Navajo attempted to teach tbe traders tbeir own proto­
col for trading relationships, wbicb included the understanding tbat any transac­
tion beralded the beginning of a long-term relationsbip in wbicb an exchange of 
knowledge was regarded as a form of belp, in wbich intangible, relational forms 
of belping—sucb as telling others about a trader's cooperative acts—were con­
sidered part of tbe deal, in wbicb gifts over and above tbe appropriate amount 
of goods exchanged in trade were proffered, and in wbicb goods and knowledge 
continued to circulate among people (141). 
Tbe result was far from tbe antiseptic antbropological ideal of culture as 
orderly and consensual, but ratber a hybridized economy characterized by 
resistance, cballenge, and process layered upon accommodation: a mucb more 
creolized and dynamic reality. Tbe traders' interactions witb tbe Navajo pro­
duced a part-capitalist and part-cooperative economy, reflecting Navajo cultural 
convictions at tbe same time tbat it moved tbem from a mostly-barter to a 
mosdy-casb way of doing business. Tbis led to notbing less tban a complete re-
conceptualization of tbe concept of culture as process, witb constandy shifting 
power relationships. 
Tbis book is an important addition to scholarsbip of tbe fleld, as it widens 
tbe conventional wisdom regarding botb tbe economic and tbe social/cultural 
relationsbips between Navajo weavers and tbe trading posts tbat introduced tbeir 
arts to Victorian Euro-American society. Additional color pbotograpbs would 
bave been belpful in underscoring tbe aesthetic impact and evolution of tbe arts 
resulting from tbese socio-economic modifications; nevertbeless, tbe book will 
be useful to academics and general collectors of Native arts alike. Wilkins writes 
well, melding compelling anecdotes witb rigorous scbolarsbip in order to break 
down beretofore-beld stereotypes of bow tbese iconic textiles came to embody an 
important and ongoing cbapter of tbe American Soutbwest. 
Jo Farb Hernández 
San José Stale University, San José, CA and 
SPACES - Saving and Preserving Arts and Cultural Environments, Aptos, CA 
"I Choose Life": Contemporary Medical and Fteligious Practices in the Navajo World. By 
Maureen Trudelle Scbwarz. (Norman: University of Oklaboma Press, 2008. 
Pp. xi +380, preface, Appendix, notes, glossary, bibliograpby, index. $50.00 
clotb, $24.95 paper.) 
In "/ Choose Life, "Maureen Trudelle Scbwarz examines bow tbe Navajo botb view 
and respond to biotechnologies sucb as blood transfusion, organ transplant, 
cardiopulmonary resuscitation, and surgical intervention, especially amputa­
tion. Scbwarz cbooses to focus on tbese particular aspects of modern bealtbcare 
because tbe Navajo bave a growing problem witb diabetes and its associated 
complications (sucb as End Stage Renal Disease), wbicb leads to tbeir being 
more likely to be candidates for tbese medical treatments tban non-Navajo. 
But sbe also cbooses to focus on tbese aspects of modern bealtbcare because 
tbey are especially problematic for tbose Navajo wbo bold traditional beliefs 


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Book Review. Teresa J. Wilkins, Patterns of Exchange: Navajo Weavers and Traders

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