WEBVTT

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Today we've been, I've been
talking to a lot of people.

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And one of the things
that keeps reoccurring

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is that when I work in clay,
and I do that every day,

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it is a part of who I am.

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It's very difficult to
spend time with a piece

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and put all that you are, your
emotions and your feelings,

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how you were brought up
into this piece, this form.

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And then all of a sudden
make the transition

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of going to sell it
in town or wherever,

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and this has been
happening for Pueblo people

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for quite a long time now.

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And I don't know.

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I've never gotten used to of it.

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And the first time I took
my pieces to be sold,

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it was such a
shock because I was

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dealing with a whole
different standard

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of the creative process.

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I was dealing with a
business, and to this day,

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I don't think I'm really
that comfortable with it.

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So I had to write about it.

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And this is called "Mud Woman's
First Encounter with the World

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of Money and Business."

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"She unwrapped her
clay figures, unfolding

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the cloth each was nestled
in carefully, almost

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with ceremony.

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Concerning herself with
the specific curves

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and bends and idiosyncrasies
that made each piece her own.

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Standing these forms
upright, displaying them

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from one side to
the next, Mud Woman

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could feel her
pride surging upward

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from a secret part within her,
translating into a smile that

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passed her lips.

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All of this in front
of the gallery owner.

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After all the creations
were unveiled,

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Mud Woman held her breath.

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The gallery owner peering from
behind fashionable bifocals

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examined each piece
with an awareness

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Mud Woman knew very little of.

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The owner cleared her throat,
asking, first of all, dear,

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do you have a resume?

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You know, something written
that would identify you

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to the public?

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Who is your family?

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Are any of them well known
in the Indian art world?"

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This is a true story.

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[LAUGHTER]

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"Mud Woman hesitated,
trying desperately

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to connect this business
woman's voice with her questions

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like a foreigner trying to
comprehend the innuendos

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of a new language.

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So unexpected and
somewhat intimidating,

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the center of what Mud
Woman knew to be real

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was shifting with each moment
in this gallery, the format

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of this exchange with was
a new dimension from what

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was taken for granted at home,
where the clay moist and smooth

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waited to be rounded and
coiled in sensuous shapes,

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in a workroom Mud Woman and
her man had built of Earth too.

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All this struggled
against a blaring radio

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with poor reception
and noon hour traffic.

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Handling each piece,
the merchant quickly

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judged whether or
not Mud Woman's work

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would be a profitable venture.

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Well, she began, your work
is strangely different,

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certainly not traditional
Santa Clara pottery,

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and I'm not sure
there is a market

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for your particular
style, especially

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since nobody knows who you are.

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However, if for some
reason you make it big,

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I'll be the first to
say I discovered you.

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So I'll buy a few pieces, and
we'll just see how it goes.

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Without looking up, she opened
a large black checkbook,

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quickly scribbling
the needed information

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to make the gallery's
check valuable.

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Mud Woman hesitantly
exchanged her work

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for the unexpectedly smaller sum
that wholesale prices dictate,

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and after a few polite
but obviously strained

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pleasantries, Mud
Woman left, leaving

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behind her shaped
pieces of Earth.

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Walking against the honks
of a harried lunch crowd,

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Nan chu Kweejo, Clay
Mother, then spoke.

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Navi ayu, ti gin nau na
muu, nai sa aweh kucha?

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My daughter is this the way it
goes, this pottery business?

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Hearing this Mud Woman
lowered her head,

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walking against the crowd of
workers returning from lunch.

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Nan chu Kweejo's question
clouded Mud Woman's vision

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with a mist of lost
innocence as she

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left the city and the world
of money and business behind."

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[APPLAUSE]

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