SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY VOLUME 5 [Whole Volume] The Artist of "Isleta Paintings" in Pueblo Society Esther S. Goldfrank SMITHSONIAN PRESS Washington: 1967 A Publication of the SMITHSONIAN INSTITUTION United States National Museum LIBRARY OF CONGRESS CARD 65-62172 UNITED STATES GOVERNMENT PRINTING OFFICE, WASHINGTON, 1967 For sale by the Superintendent of Documents, U.S. Government Printing Office Washington, D.C. 20402 • Price $4.25 Contents Page WHY WRITE ABOUT THE ARTIST Now? 3 THE PREHISTORY OF THE PAINTINGS 4 The artist approaches the Bureau of American Ethnology 4 The Pueblo of Isleta 6 THE PAINTINGS 7 MORE ABOUT LENTE'S HISTORY 8 Names 8 Residence 9 Education and employment 9 Age and ceremonial participation 9 Family connections 11 Trips 12 The religious straddle 12 "A kindly man" 12 MORE ABOUT LENTE'S MOTIVATIONS AND ATTITUDES 13 CONCLUSION 15 LITERATURE CITED 16 APPENDIX 1. "Who's who in Isleta" 17 APPENDIX 2. The letters of Joe B. Lente 27 Illustrations FIGURES Page 1. Corn chiefs receiving gifts of food 2 2. Self-portrait of Joe B. Lente 10 3. Food distribution in Corn group ceremonial 10 PLATES (The Letters of Joe B. Lente.) 1936 May 1 29 June 15 33 August 20 34 September 5 36 November 2 37 November 27 (1) 38 November 27 (2) 39 1937 January 10 40 January 28 42 n.d 43 February 15 44 March 11 46 April 6 48 May 18 50 June 28 52 July 28 54 September 20 57 December 3 58 CONTENTS 1938 Page January 20 65 February 16 66 March 18 67 April 14 68 June 6 69 November 26 70 December 12 ' * 1939 January 23 74 February 13 78 March 10 80 March 29 83 April 18 90 May 16 93 June 20 96 July 14 100 July 29 104 August 13 Ill August 31 114 October 13 118 October 15 122 November 14 124 November 29 128 1940 January 15 131 February 12 135 July 25 140 September 1 144 October 9 148 November 16 152 1941 January 6 158 February 1(1) 168 February 1 (2) 172 March 3 180 April 8 192 May 5 199 June 1 208 June 23 212 July 30 218 December 4 223 The Artist of "Isleta Paintings" in Pueblo Society FIGURE 1.—Corn chiefs receiving gifts of food at close of their ceremony. (See p. 10; detail of Parsons, 1962, painting 42, facing p. 96.) Why Write About the Artist Now? It is well over 4 years since "Isleta Paintings" appeared as a Bulletin of the Bureau of American Ethnology.1 This handsome volume reproduces more than 140 pictures of the social and ceremonial life of Isleta, N. Mex., painted by a single Indian artist from June 1936 to December 1941. It has been generally recognized as a major contribution to our knowledge of the Southwest. But as Dr. Elsie Clews Parsons (1962) stated in her Introduction, the artist asked to remain unnamed; and acceding to his by no means perverse request, she was careful to avoid divulging information that might lead to his identification. Shortly after "Isleta Paintings" was issued I learned that the artist, then, according to one report, "In his early '50's," had died in 1953 or a litde later. (I omit the names of all who have given me information as I do not wish in any way to jeopardize their relations with the people of Isleta. Except when stated otherwise all quotations are from personal communications.) Obviously, the situation since publication is radi- cally changed; and I felt that, as editor of "Isleta Paintings," I was now confronted with new obliga- tions. Foremost among them was the duty—scien- tific and artistic—of identifying the highly gifted Pueblo Indian who had given us this memorable record of life in his native village. In addition to his pictures, which constitute a unique collection (though painted upward of a quarter of a century ago we have nothing either before or since from any pueblo, eastern or western, that can match them in ceremonial scope and detail) we also have an equally unique collection of letters written by him to Dr. Parsons over a 5-year 1 Bureau of American Ethnology Bulletin 181, with an Introduc- tion and Commentary by Dr. Elsie Clews Parsons and edited by Esther S. Goldfrank, is cataloged by the Library of Congress under the title "Isleta Paintings." For bibliographic purposes, it is herein referred to as Parsons, 1962. 241-010—67 2 period.2 These letters explain what the artist painted—the who, the which, the where—and his remarks are included in Dr. Parsons' Commentary. They also give some information on his kin and ceremonial connections. But particularly important for an understanding of Pueblo personality and the institutions that shape it are the artist's recurring references to his hopes, his fears, and his work. Anyone who has ever tried to probe beneath the seemingly calm surface of Pueblo society and elicit intimate personal reactions, especially in the Rio Grande villages, will realize how precious these statements are. I have therefore put together the few facts on the artist's history contained in his letters to Dr. Parsons and in comments made to me since the publication of "Isleta Paintings," as well as some passages, again from his letters, that give additional insight into his motivations and attitudes. I have also included, as Appendix 1, a "Who's Who in Isleta" drawn up by Dr. Parsons. Appendix 2 consists of the letters of Joe B. Lente, as he almost invariably signed himself. Dr. Parsons too must have had some such publica- tion in mind. Besides her sometimes editing of Lente's letters she made marginal notations ("biog," "anxiety and motiv," etc.) and, after I assembled my material, I also discovered cards on which she had put together 2 Lente's letters and his Isleta paintings are deposited with the American Philosophical Society in Philadelphia along with other of Dr. Parsons' papers. I wish to thank Dr. Henry Allen Moe, Dr. Richard Shryock, and Mrs. Gertrude D. Hess for their helpful interest and permission to publish this correspondence and Dr. Whitfield J. Bell, Jr., the present Librarian of the Society, for making available to the Smithsonian Institution photographic reproductions of the original letters. I am particularly grateful to Dr. Richard B. Woodbury, Chairman of the Office of Anthro- pology, and Paul H. Oehser, Chief of the Editorial and Publica- tions Division, of the Smithsonian Institution, who recognized the importance of printing Lente's letters in full. SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY VOLUME 5 pertinent excerpts. My notes and hers differed only in minor ways, primarily in the length of our citations. Certain of the passages reproduced at the end of this paper reflect more than one aspect of the artist's character; and certain of them repeat themes indi- cated previously. With respect to the first, I have preferred "lumping" to breaking down information into several categories, however relevant, since I believe that in this way we get a better sense of the whole man. The repetitions, though they add little factually, serve a similar purpose. Like many intelligent Indians, Lente's command of written English had its limitations. In the body of this paper, and in conformity with Dr. Parsons' prac- tice in her Introduction and Commentary to "Isleta Paintings," I have taken the liberty of correcting his spelling, improving his punctuation and making his remarks more generally comprehensible. There may be some who will hold it is too early to present these data. Their familiarity with the darker side of Pueblo behavior may still recommend extreme caution—even a decade after the artist's death. But a decade today means something different from a decade years back. It must not be forgotten that important changes are taking place in the pueblos as elsewhere; that in at least one Rio Grande village, the ceremonialists themselves have cooperated in setting down for posterity the traditions and ways of their society (Lange, 1959, pp. 5 f.). And to assuage the fear that the sins of the father will be visited upon the children, I hasten to add that our Isleta artist was, in village parlance, a "bachelor." An anthropologist writes: "At one time, so he told me, he had been married to a white school teacher but that fell through. He had no wife or children when I knew him." The Prehistory of the Paintings The reader will no doubt want to know how these unique collections of paintings and letters came into being. The beginning of the story goes back to 1924,3 when Dr. Parsons asked me to "crack" Isleta in a month! I did not know then that she had, at an earlier time, been forced to abandon her own efforts to penetrate this Tiwan-speaking village of some 1200 persons 13 miles from Albuquerque. Undisturbed by the possibility of failure, I acquiesced. I had worked in Laguna and Cochiti, the latter also on the Rio Grande, and been faced with the usual problems of research and behavior. But never had I encountered anything to compare with the hostility I met with in Isleta. After 9 frustrating days, in which I was given information so blatantly incorrect that I ignored it completely, my aloof Indian "family" introduced me to one of their close friends, "a good storyteller," they said. But their curiosity or their cussedness, I still don't know which, caused them to interrupt our first session so persistently that before it was concluded their "storyteller" and I decided to continue our talks in Albuquerque. And this we did for the remainder of my stay. It was not an auspicious start and I knew before my return to New York that a proper investigation of Isleta would require a good deal more than a month's time. For me a lengthy stay in the field was ruled out by the presence at home of a very young daughter. 3 In Parsons, 1962, this year is incorrectly given as 1925. With mixed feelings, I handed my notes to Dr. Parsons, and the following year she went to Isleta, contacted my informant and, as I had done, inter- viewed him outside the pueblo. Her monograph (Parsons, 1932) is based almost entirely on data gleaned from him. THE ARTIST APPROACHES THE BUREAU OF AMERICAN ETHNOLOGY In 1935 the Bureau received a letter dated Novem- ber 26. It read: Gentlemen: Your extract from the forty-seventh annual report of the Bureau of American Ethnology has been shown me by an Indian of this Village (Isleta). This Indian who has been educated in our English speaking schools has drawn some pictures which he claims are somewhat contradictory but altogether a great improvement over the ones shown in the extract above mentioned and desires to know if you can use them in connection with future extracts. These pictures in most cases are in lieu of those found on pages 291 to 357 and will be described and interpreted underneath each hieroglyphic. A sample page is herewith enclosed for your inspection which is one of the approximately fifteen pages. WHOLE VOLUME THE ARTIST OF "ISLETA PAINTINGS' This Indian boy, being somewhat superstitious, does not desire his name to appear anywhere in connection with these disclosures on account of what he feels will be sure antagonism from the majority of the tribe here, and for other reasons he will not disclose, but he does want some monetary consideration for his work. Are you interested? B. G. Young Isleta, N.M. Mr. Young has not been further identified. On May 1, 1936, H. W. Dorsey of the Bureau re- ceived the following letter: Dear Sir: I sent the copies of the drawings of the Isleta Indian medicine men. There were two different drawings and they were sent by Mr. B. G. Young. These drawings are most secret. No one can see them but Indians that believe. I have read the copy of the magazine printed by Washington in 1932. The history is true and exact,4 but you are missing the pictures to complete it. I have drawn some as follows: On page 264, Figure 4 Grandfather (te'e) page 334, Figure 21 Kapyo black eyes and [Fig.] 22 Kapyo shure " 335 " 23 pinitu dance whole complete row " 296 " 10 altar and water jar in corn group cere- monial " 297 " 11 Chief of Corn Group and his people, giving them water and in his arms baby being named with Indian corn " 301 " 14 Complete. In this you have no drawing of what you call Kumpa, but I am drawing him as he looks. These drawings you will never see anywhere because no one can do this because it is too hard. They are afraid they will die if they do this, and I don't want any soul to know as long as I live that I have drawn these pictures. I want good satisfac- tion because they are valuable and worth it. 4 Later, Lente frequently pointed to statements that he con- sidered incorrect. As soon as we make arrangements I will send them to you. I am Indian and have no way of making a living, no farm. I worked at the A.T.S.F. Railway Company for about 8 years in Clovis and Gallup and [undecipherable] and last in Albuquerque under Mr. D.E. Barton, Supt. Late, and left the service on account of my health. If you can do something to get me in touch with some of the Santa Fe Railway officials for them to put me back to work at the Albuq shops or elsewhere, then I will be pleased because money does me much good. Steady work will make me a living. Please don't let anything get out so that they will find out I do the drawing. It takes quite [a lot of] work to do all this. I have wonderful pictures to send, but I want to hear from you first. It takes about, oh, I don't know [how long to make] different drawings on different acts. I have to draw more medicine men and how they bring their spruce from the mountain and how they do it in the middle of the plaza. Well please answer as soon as possible. I am yours respectfully, Joe B. Lente Isleta, New Mexico If I had some way to get help in this world I would never [have] done this, but I expect to get good help. The final "e" in his name was read as an undotted "i," and on May 15, Dr. Matthew W. Stirling, Chief of the Bureau, wrote Dr. Parsons at Harrison, N.Y.: Dear Dr. Parsons: I am enclosing with this letter copies of two letters which we have received, together with a couple of drawings from Isleta, all of which are self-explana- tory. We are not in a position to do anything further about the matter, and thinking that you might be interested I am turning this material over to you to do with as you see fit. If you do not care to do any- thing about it, I presume Lenti expects the drawings to be returned. Dr. Parsons was interested. Two days later she wrote on the stationery of the Department of Anthro- pology of Columbia University: Dear Mr. Lenti: Your letter and two enclosures were forwarded to me as the proper person to attend to them. I enclose two five dollar bills. I will be glad to pay at the same rate for others equally good. I understand your position thoroughly and I promise you as far as I am concerned there will be no trouble. Address as above. SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY VOLUME 5 On June 15, Lente answered: Dear Mrs. Parsons, I received your letter and also the ten dollars, which you enclosed with the letter, and was very glad to get it. It is not enough for somethings are not public and have never been seen before because nobody will do them. But I guess it is OK with me. I will send you five pictures and please send me the money right back and I will buy good drawing paper a littie bigger, and better paint and give you larger drawings. I will send them a few at a time as long as you promise me that you will keep me away from trouble. I will complete the whole secret drawings. It will be all right if you [make them] public some day, but don't you tell who did this. It [would be] hard for me. I know they will never find out. This will be all for this time. I look for mail soon before I change my mind about giving you drawings. So goodbye, yours respectfully, Joe B. Lente Isleta N. Mex. Attached was his list of the five drawings he in- tended to send. Four of them, as will be seen, were described in his previous letter: 1. Grandfather on page 264. Figure 4 Te'e. Real as you [have] already seen. [Cf. Parsons, 1962, painting 73.] 2. Corn Group on page 297. Figure 11. Getting holy water to live happy and ask for a long life, and baby getting her name [by which] she will be known when she grows up and giving her (or him) the road to the east where her great Indian God stays and to the earth when she (or he) dies. [Cf. ibid., painting 9, which should be dated June 15, 1936.] 3. K'apyo—the three black stripes are shifun, Black Eyes, the last eight are Red Eyes. After sunrise about 7, road to place from round house where they make them. Page 334, Figs. 21 and 22. [Cf. ibid., painting 110.] 4. Kumpa, page 301. Standing before sunrise praying and asking good life and good things for his people. Complete dress, buckskin and bandeleer. [Not available when Parsons, 1962, was published.] 5. Medicine men dancing at the altar taking rags out from people's body exactly [as] in action. [Cf. ibid., painting 60.] The next will show you when they bring in a witch at the altar in front of the people. [Not available when Parsons, 1962, was published.] So began the protracted relationship, surely unique in the history of Southwest studies, between an un- usually talented Pueblo Indian artist and an out- standing anthropologist. THE PUEBLO OF ISLETA As every student of the Southwest knows, the minutiae of Pueblo structure vary enormously from village to village, and basic differences between such pueblos as Hopi and Zuni in the west and Isleta and Taos in the east have frequentiy been noted. Also noted has been the similarity in the overall structure of these tribal hydraulic societies (cf. Wittfogel and Goldfrank, 1943, passim, and Wittfogel, 1957, p. 545). In decisive part this is due to their location which requires the use of irrigation to assure an adequate watering of the crops. Irrigation on a comprehensive scale requires a directing leadership to organize and discipline the cooperative effort (which transcends the limits of the family). Under these conditions obedi- ence becomes a first good, and without it, there can be no common good. It is this Pueblo readiness to cooperate—and obey—that has led some anthropolo- gists to find extraordinary virtue in the integration and harmony of Pueblo life and to overlook the coercive means employed to achieve them and the costs in individual initiative and personality develop- ment. The letters of our artist tell us a good deal about this last. In Isleta at the time Lente was painting for Dr. Parsons, there was the usual directing hierarchy: the Town Chief (cacique); the War Chief (kumpa); the heads of the two moieties; the heads of the seven (originally five) nonexogamous Corn Groups; the heads of the two curing societies and their various assistants (all with life tenure); the so-called "elected" war captains (guards or police); and the governor, whose duties are secular and whose office was obvi- ously created to protect the priestly functionaries from undue exposure to the Spanish conquerors. Whoever is interested in the history of Isleta, the intricacies of its social and ceremonial organization, and the strug- gle for power between individual ceremonialists and between their groups—a struggle so often muted by investigators—should consult Dr. Parsons' 1932 mono- graph as well as her Introduction to "Isleta Paintings" and David French's "Factionalism in Isleta Pueblo." At this point I shall only explain terms used by the artist in the two letters given above. Others will be identified at the time of occurrence. WHOLE VOLUME THE ARTIST OF "ISLETA PAINTINGS" Te'e. Both moieties (see below) have three "grand- fathers"—watchmen. Each wears a mask, unusual in Isleta ceremonials, and carries a yucca whip. (Cf. Parsons, 1932, pp. 255 and 263 f.; and 1962, paintings 73 and 72 which are dated June 15, 1936, and April 6, 1937, respectively.) K'apyo. On page 287 of her 1932 monograph, Dr. Parsons writes: "The willows carried by the Kyapiunin [pi.] are thought of as whips to inflict punishment." She does not mention the k'apyo in her discussion of the moieties as such (cf. pp. 261 ff.), but in her description of the Dark Kachina (a super- natural representation) on pp. 321 ff., "the boys," as she calls them, are obviously like the k'apyo depicted in Parsons, 1962, paintings 70, 109-113, the earliest of which is dated June 15, 1936. The k'apyo, like the te'e, are appointed by moiety, apparently as the occasion requires (cf. ibid., p. 7). Pinitu Dance. Pinitu (spruce) is brought down from the mountains by the "k'apyo clowns" for the autumn Kachina dance (cf. ibid., painting 109). This is a harvest dance and the Kachina are "mountain-dwell- ing rain spirits" (cf. ibid., p. 7; and Parsons, 1932, pp. 332 ff.). Shifun (Black Eyes) and Shur£ (Red Eyes). These are the nonexogamous moieties. The former, identi- fied with winter, is said to have come out from the lower world first, and its members, therefore, always appear first in ceremonies and dances that require the presence of both groups. The latter is identified with summer. (Ibid., pp. 261 ff.) Kumpa. The permanent War Chief, the highest ranking disciplinary official in the Isleta hierarchy. He is, of course, closely linked to war, but he is also in the vanguard of the struggle against witches. He and his assistants serve as guards at ceremonies and dances. He installs the Town Chief, the cacique (ibid., pp. 258 ff.), and punishes him when the latter is guilty of malpractice (ibid., pp. 363 ff. "The Disobedient Town Chief"). Corn Groups. Originally there were five of these nonexogamous societies (now seven because of sub- division) not unlike certain Mexican calpulli and barrios. Each is identified with a color and a direc- tion—white, east; black, north; yellow, west; blue, south; all colors, up, down and middle. Each also has a headman who, once installed, serves for life. The groups have their individual ceremonies and retreats for rain and well-being but, at times, some or all of the headmen may act together with other functionaries or groups. (Cf. ibid., pp. 255 f. and 269 ff.; and Parsons, 1962, painting 78.) Medicine societies. There are two of these societies at Isleta: Town Fathers and Laguna Fathers (cf. Parsons, 1932, pp. 264 ff.). Each has its own cere- monial room (cf. Parsons, 1962, paintings 62 and 63) and a headman. They are active not only in curing and at births, particularly when there are complications (cf. ibid., paintings 1 and 5), but also in exorcising witches who are believed to cause illness (cf. ibid., paintings 59 and 60). Their remuneration can be a serious drain. (Cf. ibid., painting 6.) The Paintings It hardly needs saying that description is no sub- stitute for seeing, but a few words regarding the general character and subject matter of the many pictures painted over the years by Joe B. Lente for Dr. Parsons may be helpful. None of Lente's pictures is signed. All are in water color on ordinary white drawing paper, ranging in size from approximately a foot square to 18" X 24" or slighdy larger. His early palette was limited essentially to black, ochre, and rust with the paper serving for white. From the first his figures are movingly drawn, their actions simply and convincingly portrayed. In the earliest pictures there is no attempt to provide a realistic background or, in fact, any background. By mid-1938, Lente discovered perspective, and while his pictures then began to exhibit a greater sophistica- tion they still retained their directness and appeal. His use of perspective also gave a new dimension to his perception of space. He is strikingly successful in projecting the empti- ness of the desert landscape, the sparse but orderly furnishings of a Pueblo dwelling, the separateness of the individual, even in the crowd. But he is equally successful in projecting the richness of his cultural environment. Later too there is more color, but it never is tastelessly applied. With the exception of a few paintings in which ethnological detail becomes overwhelmingly important (and these may have been requested), his work remained sensitively conceived and executed. Also with the years his people became more individualized in face and form—a tendency foreign to traditional Pueblo painting whether on ceremonial objects or kiva walls. As noted above in Mr. Young's letter, Lente's aim SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY VOLUME 5 was to illustrate Dr. Parsons' 1932 monograph. And this he did almost on a page-to-page basis. But at times, Dr. Parsons asked him to elaborate or concen- trate on particular aspects, and this he did also (the dating of his pictures is illuminating in this respect). But despite frequent urgings, she was never able to get him to make a substantial record of everyday happenings. Even in his series on birth, his major concern was with the ceremonial concomitants. Attempts to record Pueblo biographies have invariably resulted in a review of the ceremonial calendar, the only context in which individual performance seems significant. Dr. Parsons fully realized that the order in which the pictures were painted would have "intriguing implications for the problem of personal esthetic development." (Parsons, 1962, p. 2.) However, she concluded that the order dictated by the subjects represented was the more important. Thus she assembled Lente's pictures under various rubrics. With the exception of the introductory section (which deals with birth, curing, and death) and the concluding section (which reproduces stone fetishes and prayer sticks), they are fitted into the annual Isletan cere- monial cycle. Continually the pictures emphasize the close interlocking of the secular and religious life of the villagers. Through them, and more intensely than through our numerous monographs and texts, we begin to comprehend an Isletan's relation to nature, to his gods, to his fellows. There are scenes inside the kivas, the ceremonial chambers which, excepting for certain public cere- monies, only accredited priestiy officials and their assistants, primarily the war captains and serving women, may enter. We see how the single Round House, the responsibility of the permanent War Chief, is designed, where the supporting posts are placed, where the fire is lit, where the scalps are kept, where the different groups are ranged during the dances and other activities. We see how the houses of the two curing societies are fitted out—the room of the Laguna Fathers with elaborately painted walls and eagle feathers and bearskin, major instruments of their power, hanging on the center pole; and the room of the Town Fathers with stalks of wheat and corn and no-longer-used bear paws adorning the otherwise bare walls and eagle feathers and eagle skin, major instruments of their power, hanging on the center pole. We see the inner room where the cacique receives official messengers asking to be allowed to give their respective ceremonies. We see the permis- sive Salt Circle, drawn in cornmeal of all colors and covering the pit that conceals the "lives of the people," and the punishment circle, also drawn in cornmeal. And we see the small window through which the sun enters each midday while journeying across the sky. There are also scenes inside the homes of ordinary people: the birth of a child, the preparation of a corpse for burial, the conduct of cures. And there are many out-of-door scenes, most of them of a ceremonial nature: the spreading of pollen on a yucca plant before its suds-making root is gathered for ritual hair washings; the planting of feathered prayer sticks, by members of the hierarchy, in the irrigation ditch to "pay" the water people for the water they will let run through it, the propitiation of Grasshopper Chief so that he will keep his hungry hordes from destroying the crops; the symbolic fertilization of the fields; the hunting of rabbits. And again and again we see the merging of Pueblo and Plains elements and Pueblo and Catholic elements in Isleta life. There is no evidence that before Lente sent his first pictures to the Bureau in the fall of 1935 he had established in his village any considerable reputation as an artist. But whoever examines his paintings will be impressed with their thoughtful composition, their beauty of line, their use of space and color, their liveliness and charm—and this is true even for the earliest of them which show little, if any, "school" influence. As Dr. Parsons states in her Introduction, his paintings have been compared to early Persian paintings. They are also reminiscent of the Kuaua Kiva murals that were uncovered in nearby Bernalillo shortly before Lente wrote to the Bureau. But there is nothing in the correspondence or any other available information to indicate that he had any knowledge of them then or during the years he worked for her. More About Lente's History NAMES It is not at all unusual for an American Indian to be given several names during his lifetime—one at birth (a Chinese would say his "baby" name) and others to mark significant moments in his physical and social maturation. Whether our artist enjoyed such distinctions I do not know. On January 15, 1940, he wrote Dr. Parsons: "My own mother is still WHOLE VOLUME THE ARTIST OF "ISLETA PAINTINGS' alive and she is Pachiri, water-bubble [blue-Corn], This is why I am Pachiri. And my father was Pachiri." On November 29, 1939, he had already written her: "My Pachiri name is Paepaloa, road shining." With respect to his Spanish name, the picture is quite different and paradoxically more "Indian." As we have seen, his earliest letter to Dr. Parsons was signed Joe B. Lente, and this continued to be his habit, excepting once—his letter of July 30, 1941, was signed "J.B.L. as usual." The "as usual" appears to have been employed first in his letter of July 25, 1940. and originally I took it to be synonymous with our equivocal "as ever." But on reexamining Lente's correspondence, I found that in his letter of December 4, 1941, he had written "as usual address" below his name. Thus it became clear that he was merely reasserting his residence in "Isleta, New Mex.," the words previously placed below his signature. The J.B.L. shows his suggesti- bility and readiness to imitate. Dr. Parsons' "E.C.P." was a familiar conclusion in her letters to those of us with whom she dealt professionally and frequently, and certain of her notes to Lente on file at the Ameri- can Philosophical Society also end in these initials. Besides Dr. Parsons, one anthropologist also knew our artist as Joe B. Lente, and another reported that in Isleta he is "best and immediately known as Bartolu." His two pictures in the Museum of the American Indian in New York City are signed respec- tively "Jose" Bartolo Lente," and "Joe Bartolo Lente." A public agency knew him as "Jose" Luther Lente," an art shop in Albuquerque as "Jose Luther Lente, nickname "Buster." Faced with such variety, it is more than possible that changes in the artist's Spanish name signified, as would changes in an Indian name, unusual relations or events in his life history—Joe, Jos6, and J.B.L.; Luther, B., Bartolu, Bartolo, and Buster—this last perhaps another play on the B. RESIDENCE Nor has it been a simple matter to learn with whom our artist resided. One anthropologist heard that he lived with his sister and her husband; one with an older brother; and a source outside the village men- tioned an uncle. Since the Tiwan terms for these relationships are very different—older brother, impapei; uncle, inmeme'i; brother-in-law, insoowe'e (Parsons, 1932, pp. 223, 224, 227, respectively), Joe B. Lente, being a "bachelor," may well have lived with each of them at one time or another. EDUCATION AND EMPLOYMENT Beyond the information contained in Mr. Young's letter to the Bureau I know nothing of Joe B. Lente's schooling, and I have little to add to his employment record as set forth in his letter of May 1, 1936, to Mr. Dorsey. From time to time Joe farmed with his brother "on his place at Isleta" (personal communication and letter of November 26, 1938) and, in fact, is said to have died "apparently of a heart attack, after he had been lifting some heavy bales of hay." (Another report somewhat contradictorily had it that he "took his life; he was killed in an auto accident.") He was also a silversmith in an Albuquerque art shop that occa- sionally bought some of his pictures. For 5 years, from some time after May 1, 1936, until shortly before her death in December 1941, he painted and ex- plained well over 100 pictures for Dr. Parsons without ever meeting her. And for several years, I believe toward the end of his life, he worked with another anthropologist, this time face to face. One point in Lente's letter to Mr. Dorsey should be amended in the light of subsequent information, also from his pen. In his first letter he stated that he had "no farm." Almost 4 years later, on February 12, 1940, and then in answer to a question asked by Dr. Parsons, he wrote: "Yes, I have some small land but it has not been given to me yet as my mother has it all. Maybe I will get some. If my mother dies first, then I will take the land." AGE AND CEREMONIAL PARTICIPATION In his letter of November 1935, Mr. Young refers to Joe Lente as "this Indian boy." The word "boy," it hardly needs saying, is often used to connote a male of almost any age toward whom the speaker feels affectionate or protective. In his letter of July 29, 1939, Lente claimed that his mother was 87 years old. One and a half years later, in his letter of February 1, 1941, he gave her age as 98. In this latter figure he has obviously reversed the numbers, a not isolated occurrence in his correspondence—his third from last letter to Dr. Parsons carries the date "6/1-1914." However even the early figure, while biologically possible, should not be taken as certain. In his letter of April 6, 1937, and in a different context, he stated with utmost honesty: "I cannot tell you exactly what year because the Indians never remember the number." 10 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY VOLUME 5 The problem is further complicated by Lente's letter of February 16, 1938, and a picture (fig. 1) dated March 18, 1938, which appears as Painting 42 in "Isleta Paintings." In his letter, Lente drew a sitting figure labeled in larger than his usual script: "This is me." In this self-portrait his face is extremely youthful, his hair is long, a strap such as is ordinarily attached to a medicine bag is slung crosswise over his right shoulder, and he is squatting before a bowl filled with fruit—to judge from the shape of the ob- jects depicted therein. Both refer to Dr. Parsons' 1932 report in which on page 299 there is a crude drawing not untypical of the anthropologist in the field and the artistically untalented informant who employ dots and dashes, exes and circles, to give some idea of the personnel and objects involved in the situation under discussion. xxwx horn? i • & <$) <5> o o . - + <•&• o * % X X. X ' o # • o m J^. • FIGURE 3.—Food distribution in Corn group (Parsons, 1932, fig. 12, p. 299.) /.-=-• ceremonial. FIGURE 2.—Self-portrait of Joe B. Lente from his letter of February 16, 1938* This drawing raises several questions. Would an Indian, old enough and acculturated enough to have "married" a White schoolteacher, wear his hair, not short in the "American" way as most young Isletans were doing at this time, but long in the "traditional" way favored by older men and particularly by cere- monialists? And would a full-fledged and fully be- lieving functionary be willing, as Joe Lente was, to reveal the greatest secrets of his society for a very nominal monetary return? A positive answer is, of course, possible—if not too likely. Further questions are raised by the picture that Lente sent a few weeks later. On the back, this picture is dated March 18, 1938. On the face there are penciled notations in his handwriting reading f'Food distribution. Figure 12" and "page 299." In Parsons' 1932 report, the full title under this cut is "Food Distribution in Corn Group Ceremonial"; and in "Isleta Paintings" she quite logically placed Lente's March 18th painting at the close of the series dealing with the activities of the Corn groups. (When she saw his self-portrait and probably because of his shoulder strap, she thought he might be a "medicine man," a member of the Laguna Fathers.) Examining the cut on page 299 we see that Dr. Parsons' 1932 informant must have indicated five crosses for the functioning officials, each at the head of a long line of dots (for the bowls of food paid for their services). On page 269 we read: "Each group has a chief (kabede), a chief assistant (auki'i) and a varying number of other assistants (k'abnin) or helpers. . . ." Lente's March 18th painting has four officiants, and they are all clothed exactly as is his self-portrait. But none has his face. Was he the missing fifth? Or was he indulging in pure fantasy when he wrote under the portrait he sent Dr. Parsons, "This is me"? WHOLE VOLUME THE ARTIST OF "ISLETA PAINTINGS' 11 Certainly there is nothing in Lente's paintings or letters to indicate any such psychopathic tendency. But the youthful countenance of his self-portrait does suggest that he was indeed the missing fifth, that 13 years earlier when Dr. Parsons was gathering her data on Isleta, Lente, the young son of the Kumpa (Letter of October 13, 1939) and the grandson of the Chief of the Black Eye moiety (Letter of October 13, 1939) was then serving as "helper" to the Chief of his Corn group. By submitting his very young looking and ceremonially clothed self-portrait at the very time he was translating the crosses in Dr. Parsons' 1932 sketch into the functioning officials of his March 18, 1938, painting, he was admitting, if obliquely, both the veracity of Dr. Parsons' previous information and his once participation in a ceremony of his Corn group. As a matter of fact, as early as August 20, 1936, he wrote: "All this work I am doing is very secret. No one ever sees these things but the people who join in [a] society." On July 14, 1939, almost a year and a half after he sent his self-portrait to Dr. Parsons, he again hints at his ceremonial participation: "All this work I am doing they don't all see just because they are Indian. No, they don't see or know about this work. Just the outside dance is what they get to see." And then he adds: "But me, I belong to [am related to] ceremonial members, that is why they call me on all work." And immediately he refers to his father having been "kumpa" and his grandfather, "black eye chief." There is no reason to doubt Lente's word in these matters. Certainly while he was painting for Dr. Parsons he went where he could, saw all he could, and remembered his experiences well. Isleta, like other present-day Pueblos, has had its difficulties in filling its numerous and demanding ceremonial positions. Not improbably Lente, because of his background, was indeed called in from time to time as a "helper." On August 20, 1936, he wrote "I can sing any clan songs." (Actually there are no clans at Isleta, only nonexogamous societies of one kind or another.) Two decades later, an Isleta woman dis- approvingly agreed. To one anthropologist she said: "He used to be drunk every day and come down to the depot and he'd sing all the sacred songs and say all the words he wasn't supposed to use right there in front of everyone." The available evidence does not permit an exact answer either on Lente's age when he painted his pictures for Dr. Parsons or on his ceremonial partici- pation at that time or previously. But the reader will, I believe, find figures 1-3 fascinating clues in a still unsolved mystery. FAMILY CONNECTIONS Statements regarding Lente's relatives are also few. Those made by outsiders have already been reported. His own are not always clear, either because of his inadequate punctuation, his indiscriminate use of pronouns, or his desire to shield his identity. Take two passages from his letter of February 1, 1941: 1) "He [my old grandfather] used to be sheriff. And my mother says his father used to be sheriff and he was sheriff when the woman Andria killed Nafa." 2) "My grandfather Pablo Jiron and Vicente Jiron were brothers and they were both young when he was sheriff. So old man Vicente was not first governor as you have it in your history. Don't put this [down] as it is not mentioned that he was my grandfather because people will learn quickly [about me] if it is published like this." Thus on the basis of the first passage it could have been either Lente's grandfather or great-grandfather who was sheriff when Nafa was killed. But since Lente goes on to say that "he told me how it happened when he had the order to punish the woman" it seems more likely that here the "he" refers to his "old grand- father" who, when Joe was "about 10 years old," told him "all that happened in his young days." Apparently on the basis of the second passage, Dr. Parsons states in her "Who's Who in Isleta" that Lente's grandfather was a brother of both Pablo Jiron and Vicente Jiron. (See Appendix 1.) She may well be correct. But from the text it would be at least as legitimate to put "Pablo Jiron" in apposition to "my grandfather" and to view the rest of the sentence as implying that both brothers were young men when the former was sheriff. Finally, the end of this passage could indicate that it was Vicente Jiron who was Lente's grandfather. There are other problematic statements that I shall point to in passing. Below is what I have learned regarding Lente's family connections, most of it from his letters. GRANDFATHER : No personal name mentioned. Older brother of Pablo and Vicente Jiron (Letter of February 1, 1941); sheriff (Letter of February 1, 1941); Chief of the Black Eye moiety (Letters of October 13, 1939, and February 1, 1941). GREAT-UNCLES: 1). Pablo Jiron. Younger brother of Lente's grandfather (Letter of February 1, 1941); scalp taker, died in 1911 (Letter of June 1, 1940). 2). Vicente Jiron. Younger brother of Lente's grandfather (Letter of February 1, 1941); not the first governor of Isleta as stated in Parsons' 1932 "history" (Letter of February 1, 1941). 12 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY VOLUME 5 FATHER: NO personal name mentioned. Member of Pachiri, Blue Corn group (Letter of November 29, 1939); Kumpa (Letters of July 14, 1939, and October 13, 1939); Kumpawithlawe [member of the Warrior Society] (Letter of April 6, 1937). MOTHER: NO personal name mentioned. Member of Pachiri, Blue Corn group (Letter of January 15, 1940); owns land (Letter of February 12, 1940); in 1939 age is given as 87 (Letter of July 29, 1939), in 1941 as 98 (Letter of February 1, 1941). UNCLE: NO personal name mentioned. (Personal communication.) BROTHER: No personal name mentioned. Older than Joe. (Personal communication.) SISTER: NO personal name mentioned. Wife of Juan Churina. (Personal communication.) BROTHER-IN-LAW: Juan Churina. (Personal com- munication.) TRIPS Like most Pueblo Indians, Lente wanted to see things outside his Pueblo: and perhaps stimulated by Dr. Parsons who had herself done considerable research in Zuni, he seems to have been particularly interested in going there. On November 27, 1936, after having lost six paintings, probably in the mail, Lente wrote: "Please send me a little [money] before the 10th of Dec. I want to make a little trip to Zuni Pueblo .... I want to see that Zuni dance pretty bad." Just 2 years later, on November 26, 1938, he wrote: "I would like to get your answer by the 9th or 10th of Dec. as I want to go to Zuni for shalakoo dance. It is on the 12th they tell me." And on May 16, 1939, he wrote: "I received your letter on time and I was glad I made a trip to Zuni and [they] are dancing for rain." Apparently the Indian summer festival in Gallup also attracted him. In an undated letter—from inter- nal evidence I think the year is 1940—he wrote: "I am to go to the Gallup ceremonial. I will learn from the medicine men the secret of the feather dance in basket. They are all my friends." THE RELIGIOUS STRADDLE The presence of Catholic elements in Pueblo Indian religion has often been pointed out and it is well documented in Parsons, 1962. Lente's letters fre- quently reflect this integration. On January 20, 1938, he wrote: "I received your letter and also $20.00 on the 23 of Dec. I was sure very glad and I don't know how to thank you. I sure bought some presents for the kids." And in this same letter: "I hope I will never get in trouble with this." On April 14, 1938, he wrote: "It is wonderful you are getting the whole secret that no one has ever seen or knows, and that they will never get to see or know until they see your book." And in the same letter: "I hope to my heavenly father God [that the Isletan priestly hierarchy] will never get me." On November 26, 1938, he wrote: "I hope this letter will find you in good health in the name of God." And in the same letter he expressed his desire to attend the Zuni "shalakoo" dance. On November 29,1939, he wrote: "Merry Christmas to you and happy New Year. ... I will be looking for this mail on the 18 or 19. This will be my Santa Claus money to buy Christmas presents. . . . This year on the farm was a poor dry year and lots of grasshoppers, so we won't be very happy. I hope I don't get burned up for this." And in the same letter: "I will go and drink holy water in my clan water bubbling blue corn." "A KINDLY MAN" There are other indications in his letters that he enjoyed giving, particularly at Christmas and to "the kids." Besides, from time to time he was con- cerned for Dr. Parsons' well-being. On August 20, 1936, he wrote: "Will drop you a few lines. How is Mrs. Parsons nowadays? I hope fine." On May 18, 1937, he wrote: "Will now drop you a few lines and how are you getting along? I hope fine." And on January 20, 1938, he wrote: "Well, my friend are you working hard this year? I hope not." The anthropologist who worked with Lente for several years has written: "Joe was a very kindly person. At one time he felt he could improve my fortunes by putting 'charm material,' which he had obtained from an Isleta medicine man, under the doorstep of my house. He showed it to me from a distance but would not let me look at it closely or watch him when he buried it." After Joe's death, and because he had requested it, his brother came to this friend's office with "two things he wanted me to have. One being a few crosses and some old beads of a necklace and one being—to my considerable surprise—a battered copy of the Parsons report." WHOLE VOLUME THE ARTIST OF "ISLETA PAINTINGS" 13 More About Lente's Motivations and Attitudes Lente's letters of May 1, 1936, to Mr. Dorsey, and June 15, 1936, to Dr. Parsons, which have been reproduced in full above, make it clear that he had no doubts regarding his ability to make reliable "drawings" (actually water colors), that he was willing to do so for "good help," that he was con- sciously and dangerously flouting priestly authority in suggesting—and implementing—such an arrange- ment, and that his identity was to remain unknown as long as he lived. The following excerpts from his letters to Dr. Parsons reemphasize all these themes, the last two with particular poignancy. August 20, 1936: No person will do this because they are afraid. They have great belief in it and say if they ever tell they will die or fall into poor health ... I am ready to die any time but I will have a little good time with this little money that I get. No person will ever know what I am doing. I know most every secret of Ind. I can sing any clan songs. I will send you drawings as soon as I hear from you. I will send them from Albuq station and you send me mail at Isleta. November 27, 1936: I am willing to help you and aim to send you most secret [things] that you do not see. The two following letters document the point of greatest crisis in Lente's and Dr. Parsons' 5-year relation. She may originally have wanted to men- tion it in her Introduction to "Isleta Paintings" since, in her preparatory notes, she comments: "Dur- ing 1937 two incidents occurred which I may not describe lest they furnish identification clues. Each occurrence was enough to have frightened off any less determined character than Felipe [her name for Lente], but he mastered his fears and continued his correspondence." In the end she must have thought that even these remarks were too revealing since they are not included in her biographical sketch of Lente in her Introduction. January 10, 1937: Did you tell any people there [Columbia Uni- versity] about my name and drawings because there were some people here looking for me by my name and these people tried to get me through Maisel's Ind. Trading post at Albuq. and I told this Ind. boy that I am not doing any drawing for C.U. of New York City the address he told me. He said they were sending for me so that I would work for them and I told him I don't know how to draw. I am not an artist so I don't know anything. So please don't let anyone know as I don't care to draw for others. You know what trouble I will get into if they find it out. ... I am drawing for you nothing but the real truth and I am doing my best to help you on your history. ... If I was not poor and needy I would not be doing this. Nobody else can give you all this. January 28, 1937: I received your letter . . . which was opened by mistake. The man who opened it is named John P. Lente. I thank [for] the $20.00. I am sure glad that you did your part and sent it in a hurry, but I didn't get it until everything was all over. [After the Zuni Shalako ceremony was over?] I am now sending you 4 more drawings. I hope they will never find out about [me] personally. ... I guess you better send the answer to the Albuquerque, N.M. post office and I will go look for it in about 10 days. I am afraid to have any more mistakes [happen] with the letters as they did [here in Isleta]. In Albuq there will be no trouble. February 15, 1937: You never heard about the many important things the Isleta pueblo has and had because they are more important Indians than Navaho or other pueblos. If I had not seen the history I would not give you or anybody drawings. But still I feel they would never learn who did all this drawing. I am pretty sure you are the only person that gets full secret pictures. There are no drawings like these. I don't care how much they work to get this they will never get it. There is no Indian could do this. They are afraid for their life. All these pictures are worked out with songs. Tonight there are medicine men who will dance and fast with prayer sticks for their fields before they plant. [They] will pray to weather and the sun. I will go tonight myself and be sleepy tomorrow. I must remember. I am Clan Indian. [Dr. Parsons has added in explanation: "I participate in ceremonials."] April 6, 1937: This drawing is hard for me to do but I need money to live on, and I hope I will never get killed for this. Please don't mention me if they ever try to find out. May 18, 1937: You have asked me a few questions. ... If you 14 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY VOLUME 5 don't understand about Town chief ask me again what I mean. . . . These are all secret works that I am doing. June 28, 1937: I still have some great pictures to send, but I thought I would wait until I hear from you. Answer at this address as plainly [as possible] because it is too far to go for mail in Albuq. Please send the mail to Isleta. Answer soon. December 3, 1937: I don't let anyone mail this but myself . . . and koata [a flat stone; cf. Parsons, 1962, painting 1] belongs to Blue Corn Group and it's not the way you have it in the book. It looks plenty different, but I will draw that too. March 18, 1938: I am enclosing another 4 drawings. I hope you are satisfied to be getting real stuff that you never thought of getting because no one knows about secrets. There are some Indians who never saw this. Someday they will be surprised. I hope I will be dead by then. I hate to ask you to please answer this in about 15 days and address it Joe B. Lente, General Delivery, Albuquerque, N.M. I will have to make a special trip for this because I don't want this mail at Isleta as Pablo Abeita has gotten hold of the post office. I don't want any of this to be found out until it is completed, and that will not be for a long time I hope. November 26, 1938: I hope you are glad to learn about all that you wrote in the history. February 13, 1939: This book [the "history"] is a little different and mixed up on page 324 where he says hollered from the roof. It is no roof. The k'apyo chief goes up in the tree and calls out that the people are to get ready. March 10, 1939: I hope you are satisfied with what you are getting. I hope they will never find out about this. If they do there will be plenty of trouble. March 29, 1939: Well my friend this will cost a little more because it is too much work and trouble, specially on draw- ings like no. 4 with many people. I have to do this work completely and at the same time answer your questions. You already have the story and have paid for it. I cannot give you much because you have paid the person who gave you the history. But I can't do this for nothing. He is mistaken in some places. He didn't tell real. Everything I tell you is real fact as I don't want to make mistakes or make believe something that is not so. Besides I am taking a big chance. It is all right if they don't find out. Well, my friend, I will let you set the price of this as you did before. Dr. Parsons adds: "This hold-up I ignored," and presumably Lente did not press the point. Also in this letter Lente indicates one "big chance" he did take to get information. Regarding the "Round House," the single round kiva in Isleta, he writes: They keep all kinds of animal horn [here], and no one is allowed to go in just any time. It has to be some ceremonial before they can go in. Some nights ago I went in to take a good look. It was around 2 o'clock A.M. June 20, 1939: You are getting more real stuff than Mr. Lummis did because he just learned from one old man Patricio. He never learned about all this work because they wouldn't know all, no one not even an Indian unless he belongs to a society. Even Indians of this pueblo don't get to see this. ... I hope they will never get me for doing this. August 13, 1939: This is not Kabewiride [assistant to the Town Chief]. It is the war chief and he borrowed the mountain lion cover [quiver] from Kabewiride. [And then regarding Helele (a dance for the Sun; cf. Parsons, 1962, pp. 274 f.):] It will be a little hard because it will have lots of people inside the Round Kiva. . . . The people don't get to see this any more since the Hau'kabede ["Supply Chief" in charge of Helele; cf. ibid., 1962, p. 270] died. August 31, 1939: I am sorry these letters are getting to you too soon. ... I feel the sooner my work is finished the better for me, before anything happens. I have time now. If I do something else then I may not get finished. Well, my friend, I am enclosing 5 works . . . you have all this in your history, only you have them all mixed up with other words, and it is hard to straighten it out. . . . Amigo, I will leave 17 days. Is this enough? I will call for mail on the 16th of Sept. Next month it will be quite a while because I will be busy from now on on some other work. October 13, 1939: I am sorry that you do not feel everything is true that I am working on. If I had not seen or known about all this I would not know how to begin or what to draw, but I had been with them and grand- father and my father were in these ceremonials, headmen too. ... I don't care who it is he would [not] know how to write about or draw things he don't see with his own eyes. I cannot draw a WHOLE VOLUME THE ARTIST OF "ISLETA PAINTINGS' 15 picture of war in Poland because I don't know what is going on [there]. If I was there and learned, I might, but I cannot do it without seeing. I have to be there a long time before I learn. It's the same here. I was born and raised here. I know almost everything. I guarantee all my work is true. Correct. If not, I am willing to give all this work free. Dear friend I guess you understand now. I don't want to do this just to get money. No, nothing but the truth. You will be surprised someday that you found someone who did you a big favor. You may find all this in your history. You have it all. November 14, 1939: You will find all this in your history only it is all mixed up. January 15, 1940: [After mentioning offerings on the ashpile to the dead, Lente writes:] I don't know if I am doing right to tell all this or not. Sometimes I feel funny. Everything is secret. Too much work for me. October 9, 1940: I am sure giving you some wonderful work about things you would never expect to learn. . . . Dear amigo I am afraid I have to stop soon as I am telling you too much that you don't know and that some people don't know even if they are all Indian. February 1, 1941: You never thought of getting all this important work. I have more . . . more interesting yet. It is too much trouble for this work and I don't get enough pay. ... I buy my own paint and paper and envelopes, stamps, pay my fare in trips to town and answer your questions and tell you some history that you don't know, and explain ... so you see this is too much work and you pay me just for draw- ing. At the end of all this trouble I don't make anything. ... If you pay me 25.00 on 4 drawings this will help cover the expenses. If not, no more. I am taking a big chance. Some day I may get into trouble. March 3, 1941: [Dr. Parsons does not seem to have increased the rate since Lente writes: ] Thank you very much for my pay $20. I don't mean for you to pay me for the information you ask for if it is the same as you have in your history. May 5, 1941: Everything I am drawing happens. I cannot do this without knowing. If I don't know, I can't make it just to make it, because I wouldn't know what to say, amigo. July 30, 1941: I cannot tell you about the last dance with scalp. The old Indians did not understand about keeping records, and all the oldest people are dead. I cannot tell you [the year, only the] time of year. So I can't say. . . . My friend I received your letter and was very glad to hear again. Enclosed are 4 drawings. ... If I don't get you [to] understand plainly, tell me [and] I will be glad to correct it. December 4, 1941: My friend I hope you will be interested in this work. I hope you will enjoy this Christmas and happy new year in 1942. This is Joe B. Lente's last letter to Dr. Parsons in the files of the American Philosophical Society. Dr. Parsons died on December 19, 1941. Conclusion Pueblo society places a very considerable emphasis on knowledge, but it also dictates how this knowledge is to be acquired and used. Joe Lente was a rebel. In a society where, as one anthropologist put it, "disobedience is a sacrilege and heresy as well as treason" (White, 1932, p. 11), he obviously was not attracted by the Pueblo road to recognition and power—a priestly vocation—and this despite his early involvement with "ceremonial members" (espe- cially his father and grandfather) and ceremonial activities. Indeed he used his abilities in the very way that from his earliest years he had learned would surely bring dire punishment—even death: he dis- closed the most sacred and secret teachings of his society to an outsider. The wonder is that while he breached a basic principle of his society, that while his anxiety over this action never abated, he never- theless chose to remain in Isleta, outwardly conform- ing, except when he was drunk, to its authoritarian mode of life. Throughout the Parsons years and under what must have been almost unbearable tensions, Lente used his original and essentially untutored talent with an integrity that remains unchallenged even by those who 16 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY VOLUME 5 severely criticized him. One Isleta woman, after seeing a few examples of his later work, could explain his extraordinary knowledge only by surmising that "he might have been a witch" since he "didn't know anything"—that is, since he held no recognized ceremonial office; and she was probably expressing the feelings of her orthodox townsmen when she added: "If they [the priestly officials] had known he was doing that they would have killed him." But she no more than the other Isletans who saw these pictures found them inaccurate in any basic way. The anthropologist who showed them wrote me: "Whatever view informants took of the artist's personality, his integration into the traditional socio- ceremonial organization, or the ethics of his decision to violate the taboo against recording pueblo life, they were able to specify only minor errors in the few examples of his work which they saw. The very intensity of their reactions seems to guarantee that the representations are valid." On our part it must be said that while from the start Joe B. Lente made it clear that he expected some "monetary consideration" for his work, and while initially he saw himself as the illustrator of an already published monograph and not as an artist- historian set on immortalizing ritually significant aspects of Isleta life for their own sake—what shines out from his correspondence is his determination not to skimp when payment seemed inadequate, not to bend the truth to serve esthetic or selfish ends. To "tell real" in the face of continuing fears for his safety became his overriding aim. His letters and paintings show how magnificendy he succeeded. ESTHER S. GOLDFRANK Chinese History Project New York and University of Washington, Seattle. Literature Cited FRENCH, DAVID 1948. Factionalism in Isleta Pueblo. Amer. Ethnol. Soc, Mono. No. 14. New York. LANGE, CHARLES H. 1959. Cochiti, a New Mexico pueblo, past and present. Univ. Texas. Austin. PARSONS, ELSIE CLEWS 1932. Isleta, New Mexico. 47th Ann. Rep. Bur. Amer. Ethnol. for 1929-1930. pp. 193-466. 1962. Isleta Paintings. [Introduction and commentary by Elsie Clews Parsons.] [Edited by Esther S. Goldfrank.] Bur. Amer. Ethnol. Bull. 181. WHITE, LESLIE A. 1932. The Pueblo of San Felipe. Amer. Anthropol. Assoc., Mem. No. 35. Menasha, Wis. WITTFOGEL, Karl A. 1957. Oriental despotism: a comparative study of total power. New Haven. WITTFOGEL, KARL A., and GOLDFRANK, ESTHER S. 1943. Some aspects of Pueblo mythology and society. Journ. Amer. Folklore, January/ March. APPENDIX 1 WHOLE VOLUME THE ARTIST OF "ISLETA PAINTINGS" WHO'S WHO IN ISLETA x 19 Mentioned in Name Identification Lente Parsons, 1932 Parsons, 1962 Correspondence Abeita, Alejandro February 1, 1941 (2) - - First governor. Abeita, Andrea do. - - Buried in old graveyard. — Geneal. Ill, no. 45 — Andrea Abeita. (See Andria.) Abeita, Maria p. 349 Maria Abeita or Shuitia (Kere- san), Sun clan, wife of Lorenzo Correo also Sun clan. — Geneal. Ill, no. 36 — Maria Abeita. Abeita, Pablo December 3, 1937 — — Stone mother, hakobato, belongs to Pablo Abeita's Corn group. March 18, 1938 "I don't want this mail at Isleta as Pablo Abeita has got hold of post office now." January 6, 1941 — — Chief of the White Earth clan. His death. March 3, 1941 — — White Corn Chief being marked after death. Story of "nest." p. 205 Father came from Los Lentils, Berkwintow, Rainbow Village, 5 miles south of Isleta. Highly Mexicanized and so Pablo's critics call him half-Mexican. — p. 207 — Criticized by Pueblo for giving information to White man. — p. 208, n. 27 — Related to Isletan policeman, Escapula. — p. 235 — Said to have married father's brother's daughter. - p. 245 - Death of daughter in childbirth. — p. 251 — Son, Joe Abeita, member of Council. p. 254 Federal judge for 5 years. Lieutenant governor and cousin to governor, Juan Trinida Abeita. Brother-in-law to Felipe Abeita, past governor. — p. 259, n. 70 — Involved in difficulty with associates of War Chief. — pp. 265-266 — Goes to Jemez to get medicine men there to help Zunis. — p. 270 — Chief of White Corn. Turw'iv (Sun kick stick). Black Eyes.20 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY WHO'S WHO IN ISLETA 1—Continued VOLUME 5 Mentioned in Name Identification Lente Parsons, 1932 Parsons, 1962 Correspondence Aged [1925] about 50. - p. 304 - White Corn Chief. — p. 353 — Said to "hate the Laguna people." — p. 355 — Hostile encounters with Juan Rey. p. 458, n. 47 painting 22 painting 34 Death of mother. Laid out. Turw'iv, Sun kick stick. Andria, — February 1, 1941 (2) — — Woman who killed Nafa. (See Abeita, Andrea.) Anzara, Perfecta June 23, 1941 Mother in Town Fathers and first midwife to be appointed by Town Fathers. p. 268 Kepap (mother spreading), woman assistant to Bautista Zuni. Wife of the Hunt Chief. Aged [1925] 30, Shur6, Yellow Corn. Biantue, Haka February 1, 1941 (2) — - "Old Mountain Mark," buried in old graveyard. Carpio, Creancio June 23, 1941 — Town Father. Appointed child- birth doctor by Bautista Zuni. p. 268 Crescencio Carpio or Pawire (water digging), aged [1925] 25, Shure, Yellow Corn. Chaves, Candelaria February 12, 1940 - - Mother of Mark Chaves. p. 207 Called before Council for sup- posedly passing information to White man but acquitted— "... a woman of extraordi- nary mentality and char- acter. ..." Chaves, Mark February 12, 1940 Son of Candelaria Chaves. "On first of Feb. they made one medicine man in Laguna society. . . . They gave him medicine man name Torwirto, sun bow mark. His grand- father was medicine man and had the same name." Chavez, Ceceila June 23, 1941 — Deceased. The first midwife remembered.WHOLE VOLUME THE ARTIST OF "ISLETA PAINTINGS" WHO'S WHO IN ISLETA 1—Continued 21 Mentioned in Name Identification Lente Parsons, 1932 Parsons, 1962 Correspondence Churina, Juanita - - Introduction Daughter of Juan Rey Sheride (Churina). Midwife who introduced use of badger paw at childbirth (cf. painting 1). Churina, Juan Rey (See Sheride, Juan Rey) Harmio, Alcario November 29, 1939 Tuefuni or Black Cane. Will succeed Vicente Juanch as chief. — p. 271 — In 1925, first assistant to Chief of Poplars. Ieppato (Corn - pp. 272-273 - [Iebato] or Jose Padilla, Chief White) of Corn [of All Colors]. — — painting 36 Coming with bundle of yucca to Corn chief's ceremonial house. Jiron, Pablo February 1, 1941 (2) — — Brother of Vicente Jiron and Felipe's 2 grandfather. June 1, 1941 - - Old man, scalp taker, died 1911. Jiron, Vicente February 1, 1941 (2) — — Brother of Pablo Jiron and Felipe's grandfather. p. 453 Governor when railroad was to come through Isleta and leader of opposition to it. Jojola, Dolores n.d. In undated answer to question, "Who is Kabewhirida now?" Felipe answered "Old man Dolores Jojola." April 6, 1937 "When Kabawherida died, Kumpa took his place. His name was Dolores Jojola and Old Man Dolores died. Now at present it is Remijo Lucero." July 28, 1937 "Sun-arrow was Town chief, died some time ago, and Dolores Jojola was assistant to Town Chief; he was Kabewhirida." p. 256 text and n. 55 Town Chief Paptoa (Bapthur) or pollen is [1925] between 65 and 75 years old. Has held office for 13 or 14 years.22 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY WHO'S WHO IN ISLETA x—Continued VOLUME 5 Mentioned in Name Identification Lente Parsons, 1932 Parsons, 1962 Correspondence Black Eye moiety. Previously Kumpa. Lived adjacent to luo (Sun-Arrow). p. 259 Ramehon Lucero, the last Kumpa, successor to Dolores Jojola. — — painting 25 Funeral of Remijo Lucero, successor to Dolores Jojola. Jojola, Jos6 March 3, 1941 — — Succeeds Pablo Abeita as White Earth Chief. p. 251 First assistant of White Corn Chief and President of Council. p. 268 Jose Estabula Hohola or Teriwipaloa (parrot tail bright); government police officer and detective, White Corn, Shure. — p. 270 — Na bato, (whiteness) brother of Chief of the Shure". Geneal. Ill, no. 35 — Jose" Lupi Hohola. — — painting 22 Singing at funeral of Pablo Abeita. Juanch, Vicente November 29, 1939 — — Chief of Poplars (Narkabede), died Nov. 28, 1939. " p. 271 — Vicente Wanchu. Naride (Poplar). Juancho, Bautista March 3, 1941 - - Shichu Chief. p. 273 — Bautista Wanchu, Chief of the Shichu. Klechu, Lupita February 12, 1940 — — Female helper Shichu Mothers ceremonial. Koawa (Spruce) p. 258 — Reference to woman named "Spruce." p. 271 Reference to woman named "Spruce." painting 43 Black Eye moiety, ceremonial hair washing of Chief. Lente, Olaia February 12, 1940 ' Female helper Shichu Mothers ceremonial. ! p. 274 Olaia Lenti or Tokum (Day rising), assistant to Shichu Chief.WHOLE VOLUME THE ARTIST OF "ISLETA PAINTINGS" WHO'S WHO IN ISLETA x—Continued 23 Mentioned in Name Lente Correspondence Parsons, 1932 Parsons, 1962 Identification Lucero, Ambrosio Lucero, Remijo Lucero, Reyes Lujan, Lady Carlota Lujan, Maria February 1, 1941 (2) April 6, 1937 July 28, 1937 n.d. October 13, 1939 February 1, 1941 (2) October 13, 1939 p. 259 p. 268 p. 268 painting 25 plate XLII Rich old man, owned many sheep; the first person buried in old graveyard open campo santo. "My father was Kumpa whelewa . . . Town chief . . . was Sun-arrow. When Sun- arrow died then Caba wherida took [his] place and when Caba Wherida died the Kumpa took [his] place. His name was Dolores Jojola, and Old Man Dolores died. Now at present [Kumpa] is Remijo Lucero." "Sun-arrow was Town Chief, died some time ago, and Dolores Jojola was assistant to Town Chief; he was Kabe- whiride. Next to Kabewhiride is Kuampa. Old man Remijo Lucero was Kuampa." In undated answer to question, "Who is Kuampa withlawe now?" Felipe answered "Old man Remijo Lucero." White corn and Black Eyes, aged [1925] 65 to 70, Kumpa. Ramehon Lucero; Kumpa who succeeded Dolores Jojola; Town Chief after latter's death. Died May 9, 1937. One of the female assistants carrying Old Mother Clay to ceremonial house. Aged [1925] 30. Assistant to Chief of Laguna Fathers. [No longer extant.] Has St. Kietino in her house. One of female assistants carrying old Mother Clay to ceremonial house. Ioii (Corn little) Laguna medi- cine society, Shure*, All Colors Corn (Eagle). 24 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY WHO'S WHO IN ISLETA 1—Continued VOLUME 5 Mentioned in Name Lente Correspondence Parsons, 1932 Parsons, 1962 Identification Lujan, Patricio Lupe, Annai Makere, Chrina (or Circle) Nafa (Feather down) Padilla, Cecilia Padilla, Thomas Patricio Polaca, Pablo March 3, 1941 June 23, 1941 February 12, 1940 July 14, 1939 February 1, 1941 (2) June 1, 1941 June 20, 1939 March 29, 1939 Geneal. Ill, no. 62 Geneal. IV, no. 39 p. 270 Geneal. I, no. 11 p. 260 p. 263 p. 260 p. 263 p. 207 p. 264 plate XLD paintings 1 and 2 painting 66 Maria Nicanora Lujan. Do. [No longer extant.] Marking Pablo Abeita at death. Shiepuyo (Prayer feather light). Assistant to White Corn Chief; Black Eyes. Patricio Lujan, 35, Black Eyes, White Corn. Deceased midwife. Female helper Shichu Mothers ceremonial. "My father was Kumpa and my grandfather was Black Eye chief." [Name Nafa is not used in pictures or letters.] Juan Domingo Lucero (Nafa). Scalp taker. 90 years old [1925]. Bautista Lenti (Na-fa). Chief of Black Eye Moiety. (Grandma Cecile) St. Kietino formerly in her house; brought from Los Lentils; inferably her family from Los Lentils. Old lady; childbirth specialist. Old man, scalp taker, died 1908. Jose Tomas Padilla. Luao (arrow). 90 years old [1925]. Past Chief of Shure\ Old man who gave Lummis information. Do. Earth People Chief. Wikun made by Earth people kept at house of Pablo Polaca, the Chief. Pablo Polaka. Ialakab (Willow tip). Kachina Chief. Yellow Corn and Black Eyes. Previous assistant to Kachina Chief. [Name not used in painting.] WHOLE VOLUME THE ARTIST OF "ISLETA PAINTINGS" WHO'S WHO IN ISLETA x—Continued 25 Mentioned in Name Identification Lente Parsons, 1932 Parsons, 1962 Correspondence Sheride, Juan Rey January 6, 1941 _ _ Outstanding medicine man (See Churina, among Laguna 1880 immi- Juan Rey) grants. — — painting 75 At end of line with eagle feathers and stone point. Sun-Arrow April 6, 1937 "Town chief's name was Sun- arrow, died then Kabawherida took his place, and when Kabawherida died then Kumpa took his place. His name was Dolores Jojola." July 28, 1937 — — "Sun-arrow was Town Chief, died some time ago." — p. 256, n. 54 — Antonio Montoya, Sun-arrow, Turluo, Luo. Tochide, — painting 131 "White Earth Day People Chief." (Tocheda.) (Aug. 31, 1939.) Torreo, Santiago frontispiece Old Man Bear waits on western hills for his time to enter village and place prayer stick in mid- dle of dance plaza. Trujillo, Antonio - - painting 84 Thliwa Chief. Turberse (Sun August 31, 1939 - - A woman brings in bowl of zigzag) syrup to singers of Helele. - - painting 131 Do. Zuni, Bautista June 23, 1941 Town Father, assistant to Rey Zuni. Appointed assistant to childbirth doctor by Rey Zuni, succeeds Rey Zuni as Chief of Town Fathers. p. 251 Vice-president of council. Chief of Magpies. Past governor. — p. 268 — Churina (yellow call). Chief assistant to Rey Zuni. — p. 270 — Chief of Magpies. Died December 1925. Zuni, Juana June 23, 1941 - - Midwife, deceased, without Dominga having taught a successor. Zuni, Ramon October 13, 1939 " Medicine man leading the way to ceremonial house. March 3, 1941 Prayermaker and singer in Spanish for all ceremonials, for death, and for the saints.26 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY WHO'S WHO IN ISLETA x—Continued VOLUME 5 Mentioned in Name Identification Lente Parsons, 1932 Parsons, 1962 Correspondence - p. 264 - Grandfather of Black Eyes; Laguna Father; aged [1925] 25. p. 268 Paepalo (road shining). House finishing specialist. Grand- father Black Eyes. White Corn, Laguna Medicine man. - - painting 24 Prayermaker and singers at burial. - - plate XLII [No longer extant.] Zuni, Rey(es) February 1, 1941 (1) Old man Rey [Zuni], Chief of Town Fathers, appointed medicine man specialist for childbirth. June 23, 1941 Appointed a Mother of Town Fathers—Perfecta Anzara or Kaipop—as midwife and helper to Bautista Zuni. Zuni, Rey(es) p. 267 Turshaupaw'iepuyu (Sunrise lake light). Black Eyes, White Corn. Aged [1925] 60. — p. 305 — Chief of Town Fathers. Died December 1925. Zuni, Rufina[Fina] March 3, 1941 "Old, old woman," first assistant Mother of White Corn chief, died March 2, 1941. p. 235 "An old-fashioned woman," prevented marriage between brother's daughter and the girl's first cousin. 1 This "Who's Who in Isleta" was prepared by Dr. Elsie Clews Parsons. The names were taken from Lente's paintings or his letters to her. The identifications from the letters and paintings are hers. She also listed relevant page numbers from her 1932 monograph and genealogies, but the identifications appearing alongside them have been added for further clarification. At some points the spelling of names and native terms has been simplified, but since the sources are varied, consistency has not been an aim. Also, since the same native or Spanish name may be given to different persons, we cannot be sure that the same name, when taken from different sources, applies to the same individual. 2 The pseudonym for Jose B. Lente used by Dr. Parsons in "Isleta Paintings." APPENDIX 2. The Letters of Joe B. Lente 241 - 010 O - 67 - 3 WHOLE VOLUME THE ARTIST OF "ISLETA PAINTINGS" 29 Lenti, Joe B. ... 9^ ^^.^Uy, . ^fZf- " 0 > / , CLO/ + ^^L^^S^^^^^^i J sytc&cx^r 0^tp<^ex^n^f 'Jn+~^ &**§* &~t~~^ O?o yis fatyitS ^ i/-€rc<,_(L&£. V^2?M:., fa X*A : ^h€f Q,/.jz^/b£*A 32 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY VOLUME 5 (■ 2. J i* r?< >u; % Pirn s>vaT? " i ^t- - Y^ jt^lffxcci^L cy\ aa^*^, ? ^ 1-^.MC < t~■•» ^* y i -t- ' / ~i a yet */b •£< / WHOLE VOLUME THE ARTIST OF "ISLETA PAINTINGS" 7&~. <&%« Q£LC4 y* ^^ 'tSM4^^ i/u&M *i~< m< ""* 33 nvizZ ht(iQJ) a^&&jL>rxt>(ny*~A Sf'^t^a^cf fz&a** ■■^& 2^ ^a^c/y^^f y& &£f4affi. 4fa ^ oA— *"{■ A ?■■** 7/ V^-^Y 34 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY VOLUME S J' ■}A^ • 1 s>. A" /Yld9*//^*}'^ & jU<^ J^y^t^f ??C*t/J,1 J/f<- L?c*AAc\-i )_ 'jAijaaA A-*c^r^ Qyjfa^itfjr- *^<**^: C^^»^yJ^^-^ r*U t^o^C^C -£*** JL&& 9(,0V 0 * A? ^ A* f \ A / /* t A j c^ii^utr^t^ OZL*.^ ~£y AXM %^A2/Z*^_ 4t?0*e/% ^ ++*£< £&**;**A /?<*+%. *** WHOLE VOLUME THE ARTIST OF "ISLETA PAINTINGS" 35 fz&tw ~X/Ulf CJU^xt tines' '7l!uJZi^i^ 0^tU<-^OCjtsU^( C 'lll£/^Llis C&OAJU~<-<^<.J t-^^fc*— * .<& CA°*^X &i &&&f£^y J-YdtXiL<>e.< C2^Z^A. j I M' 1 / / a 36 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY VOLUME 5 22L. l£j£L fPaAL4^>JLAj £Lu : 7hnJt fe £? ~-N A"" (://<«£2C4^S~t~^s: Ctt+cf jj^c^u^ ^^y6*v .u*~*»J^T" S'S^ic WHOLE VOLUME THE ARTIST OF "ISLETA PAINTINGS" 37 /a&k 'h* }/w z-Ultdir. ')/LVL 'A^'C C4* ft f-L*Oo{ Jifwi >1 t-VtA lA*t O^^A^tyj CUtc/ Ic*^***/7^, /Of™ ,s*7 AJ u»*~* $ cA*+t/ ^O^ ^aiA^ 47 >AzstA*Af*<: *^ncis) /lis^oi*^.--/**'*-^*-' c™'*^"**- f lv~t L(lsu-c Tc^^^^7~ fz-*-&> AZA/<*^£~, fHA<-£/ a»-**i ,^»*2Sl*. cS-fas^ ~2A<~C*I CHsl^/ATz^cy^^ fetvconpc A*7 -5**- (Tt^c^/ fi£+*y -facsf ^ ta^r* ^^c^e^*^ <~r tCA tuzw^cs AC^^A A) fl/~ ° / .^rn^C/ jxka+v ^fiie^i, z^/^*^t ^ Z. rout ^x C^cn*^-*^. c 0L4 (bcH^i ?yi£LcA^4^* f ~C AL-C--* (Z/~ < *fcisr*e^( fl^y*c/ ->ytf/f {/z>L O^AU/ rfi+Tsf, Cv c<^-i s2?s*i4 *~-l<^4-t CA &/ SO / Y—^^tCr Ai^/^ '•ASs. 40 SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY VOLUME 5 //IOTAJ%3Z A^ /> ' '* ClA <'A c^Ap^&£} l 'A- ' ? ZL£. fcf Zi& <&*-*+? A&tf2A& ^£CAL< <£/2>*Zf v?^? _ / • i ' / s? /> r O^U^iu £^^P sh*/^Zi*t< WHOLE VOLUME THE ARTIST OF "ISLETA PAINTINGS" 41 7 „ CtAAS^ >c* JCtc^a^ CALA^ctstsn<^ rhsitL/7 £< ^^^JIJL* M /JU^U>L1^LJI Oz<7ZJU*«jr i&f ZAAJ? JLczsi 0^c4 . &SU*~&L4** ?<**** *U ()*&** fj &„&,. ^teJLUj(t c^tc/^O^i^ ofa*** /t^isL*. 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