Swept Under the Rug: A Hidden History of Navajo Weaving (University of Arizona Southwest Center Series)

Beginning with an analysis of trader archives revealing that nearly all Navajo textiles were wholesaled by weight until the 1960s, M'Closkey scrutinizes the complex interactions among artists, dealers, collectors, and museum curators that have facilitated the explosion in value of those old weavings. She also examines the production of Mexican copies of Navajo-style rugs, which in recent years has combined with the market for pre-1950 textiles to diminish the demand for contemporary Navajo weavings. Navajo patterns, she points out, remain unprotected by copyright because traditional designs have been in the public domain for decades.

Much of the exploitation M'Closkey delineates has been justified by the ethnographic classification of functional textiles as nonsacred crafts. But the author's conversations with Navajo weavers suggest that their motivations for weaving go far beyond economics. Weavers' feelings for hozho, the Navajo concept of harmonious beauty, encompass far more than any western concept of aesthetics. M'Closkey shows that the weavers' views of their work are marginalized when the work is treated as a collectible craft and culture is split from commodity.

No one who studies, collects, sells, or enjoys Navajo textiles (either genuine or knock-offs) can ignore this book. Sure to be controversial, it will be important reading for anyone concerned with the merchandising of Indian art.

The author also addresses the problem of knockoffs of Dine' creativity and design seen today in the increasing number of overseas copies (from Mexico, India, Europe, and elsewhere) of Navajo weaving designs being marketed in the U.S. and sold worldwide.

Richly documented from the records of traders, trading posts, government, and other original sources--especially the testimony of the Dine' (Navajo) weavers themselves--the author gives voice to a history too-long hidden from the general public and now made clear and plain. "Swept Under the Rug" reveals how the weavings were severed from their makers' stories and how, because of this, the prevailing and standard "history" of Navajo weaving does not reflect Dine' values, but rather those of an externally controlled access to the public and marketplace. Fair-trade grassroots indigenous initiatives and cooperatives such as Black Mesa Weavers for Life and Land, Sheep Is Life, the Dine' College Navajo Textile Project, and others, are starting to bring about change and empower the Dine', through the work of their own hands, to reach the market directly, reclaiming the present and a future for the wool and weavings at the core of their culture and economy.

This book is a must-read complement to the few books in print about Navajo weaving that give voice to the Dine' themselves, such as in "Weaving A World: Textiles and the Navajo Way of Seeing," by Roseann S. Willink and Paul G. Zolbrod, and in parts of "Woven by the Grandmothers: Nineteenth-Century Textiles from the National Museum of the American Indian," ed. by Eulalie H. Bonar.