Brendan Kayquaptewa
Parrot Kachina
11" H
with 1 1/2" base
Brendan Kayquaptewa began
carving kachina figures over 14 years ago. As a former student
of architecture he studied at the University of Arizona and Brigham
Young University, where he developed an understanding of form
and function which is reflected in his artwork.
Realizing that architecture
as a technical occupation may not allow for the traditional expression
he felt so connected to, Brendan shifted his focus full-time
to kachina carving.
Although he is mostly self
taught, by looking at the works of others, Brendan also learned
from his brother Sam, as well as his late father Robert.
Born in Keams Canyon, Brendan
was raised in the traditional village of Hotevilla at Third Mesa,
and is a member of the Rabbit and Tobacco clans.
This particular figure is
a fine example of Brendan's meticulous attention to detail and
bold use of color. The Parrot Kachina, or Kyash, as he
is called, has an obscure history whose purpose seems to be one
of bringing summer growth plus the increase of parrots. -Kachinas: a Hopi Artist's Documenary (193)
Interestingly, Wright continues
"there is apparently a complete break in the history of
the Parrot Kachina. His appearance on First Mesa before the turn
of the century is quite different from his appearance eighty
years later on Second Mesa.
Between these two personations
no dolls were made that were recognizable as the Parrot Kachina,
nor were any dances given as the paraphernalia was not available.
In 1965 a Parrot Dance was given as a regular dance for the first
time in several generations. Formerly it had been given in the
Water Serpent Ceremony on First Mesa.
Why the Hopi tradition includes
parrots is a matter of much speculation - however, many believe
that according to their oral history, the Hopi migrated from
South America many centuries ago. One legend tells of their arrival
in the Fourth World after crossing the "green deep."
Upon reaching the shoreline, these majestic birds flew out to
welcome them to their new home.
Their use in modern tradition
could be a remnant of an earlier era and custom. The existence
of evidence of some paraphernelia, as it has been described,
suggests that the Hopi did maintain open trade in the complex
network of the Anasazi which reached deep in the Meso America.
Brendan's work is exceptional
in this piece as in all of his pieces. His soft and subtle details
add amazing realism to his work. With pothook eyes, and an evergreen
collar, the Parrot Kachina is depicted here with the long, brightly
colored tail feathers of the Macaw upon his head. Each of the
pine boughs around his neck has been delicately carved.
In his right hand he holds
a rattle, and a cane in the other - some believe it could be
a planting stick that he carries to assist the summer growing
season. His Hopi sash and belt flow loosely to the right, as
he picks up his feet to the rythym of the song.
He has signed "B. Kayquaptewa,"
and has added a nice touch to the base with the flowers.
Brendan most recently won
best of Kachina Division at the Museum of Northern Arizona's
Hopi Show in July of 2002.
