Tonita roybal biography template
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San Ildefonso Pueblo
Black Mesa at San Ildefonso Pueblo
San Ildefonso Pueblo is located about twenty miles northwest of Santa Fe, New Mexico, mostly on the eastern bank of the Rio Grande. Although their ancestry has been traced to prehistoric pueblos in the Mesa Verde area, their most recent ancestral home is in the area of Bandelier National Monument, the prehistoric village of Tsankawi in particular. Tsankawi abuts the reservation on its northwest side.
A mission church was built in 1617 and named for San Ildefonso. Hence the name. Before that the village was called Powhoge, "where the water cuts through" (in Tewa). Today's pueblo was established as long ago as the 1300s. When the Spanish arrived in 1540, they estimated the village population at about 2,000.
That mission was destroyed during the Pueblo Revolt of 1680 and when Don Diego de Vargas returned to reclaim the San Ildefonso area in 1694, he found virtually all the Tewa people on top of nearby Black Mesa. After an extended siege the two sides negotiated a treaty and the people returned to their villages. However, the next 250 years were not good for them. The Spanish swine flu pandemic of 1918 reduced the pueblo's population to about 90. Their population has grown to more than 600 now but the only economic act
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Early San Ildefonso Pottery Innovators
symbols, were used as a foundation for revival and innovation.
Around 1919-1920, Maria Martinez and her husband Julian Martinez discovered/invented the now-classic black-on-black pottery style. Despite the folklore that it was a secretive process, they quickly shared the information about making this style of pottery, and it revolutionized the economy and life of the pueblo. It was an exciting time for potters. They had an entirely new process for making pottery, new designs, new information, and a newly developing market for their folk art pottery in places such as Santa Fe and Taos, New Mexico. In this period of the 1920s to about 1940, the potters were unencumbered by “tradition” and looked beyond the Pueblos for inspiration. The result was amazing originality in the designs and shapes of their pottery.
In the Pueblos, women would typically make and polish the pottery, while the men would paint the designs. While Maria and Julian excelled as potters and promoters and eventually became world-famous, other potters such as Susana Aguilar, Ramona Gonzales, and Tonita Roybal were vital to the rapidly changing pottery movement. In the 1930’s the pottery of San Ildefonso would change further as a few men married women from other Pueblos