Answer:
Explanation:Born Maria Antonia Montoya, Maria Martinez became one of the best-known Native potters of the twentieth century due to her excellence as a ceramist and her connections with a larger, predominantly non-Native audience. Though she lived at the Pueblo of San I.l.d.e.f.o.n.s.o, about 20 miles north of Santa Fe, New Mexico, from her birth in 1887 until her death in 1980, her work and her life had a wide reaching importance to the Native art world by re-framing Native ceramics as a fine art. Before the arrival of the railroad to the area in the 1880's, pots were used in the Pueblos for food storage, cooking, and ceremonies. But with inexpensive pots appearing along the rail line, these practices were in decline. By the 1910's, Ms. Martinez found a way to continue the art by selling her pots to a non-Native audience where they were purchased as something beautiful to look at rather than as utilitarian objects.
Her mastery as a ceramist was noted in her village while she was still young. She learned the ceramic techniques that were used in the Southwest for several millennia by watching potters from San I.l.d.e.f.o.n.s.o, especially her aunt N.i.c.h.o.l.a.s.a as well as potters (including Margaret T.a.f.o.y.a from Santa Clara), from other nearby Pueblos. All the raw materials had to be gathered and processed carefully or the final vessel would not fire properly. The clay was found locally. To make the pottery stronger it had to be mixed with a temper made from s.h.e.r.d.s of broken pots that had been pounded into a powder or volcanic ash. When mixed with water, the elasticity of the clay and the strength of the temper could be formed into different shapes, including a rounded pot (known as an o.l.l.a) or a flat plate, using only the artist’s hands as the potting wheel was not used. The dried vessel needed to be scraped, sanded, smoothed, then covered with a slip (a thin solution of clay and water). The slip was polished by rubbing a smooth stone over the surface to flatten the clay and create a shiny finish—a difficult and time-consuming process. Over the polished slip the pot was covered with designs painted with an iron-rich solution using either pulverized iron ore or a reduction of wild plants called g.u.a.c.o. These would be dried but required a high temperature firing to change the brittle clay to hard ceramics. Even without kilns, the ceramists were able to create a fire hot enough to transform the pot by using manure.
Making ceramics in the Pueblo was considered a communal activity, where different steps in the process were often shared. The potters helped each other with the arduous tasks such as mixing the paints and polishing the slip. Ms. Martinez would form the perfectly symmetrical vessels by hand and leave the decorating to others. Throughout her career, she worked with different family members, including her husband Julian, her son Adam and his wife Santana, and her son P.o.p.o.v.i D.a. As the pots moved into a fine art market, Ms. Martinez was encouraged to sign her name on the bottom of her pots. Though this denied the communal nature of the art, she began to do so as it resulted in more money per pot. To help other potters in the Pueblo, Ms. Martinez was known to have signed the pots of others, lending her name to help the community. Helping her Pueblo was of paramount importance to Ms. Martinez. She lived as a proper Pueblo woman, avoiding self-aggrandizement and insisting to scholars that she was just a wife and mother even as her reputation in the outside world increased.
Maria and Julian Martinez pioneered a style of applying a matte-black design over polished-black. Similar to the pot pictured here, the design was based on pottery s.h.e.r.d.s found on an Ancestral Pueblo dig site dating to the twelfth to seventeenth centuries at what is now known as B.a.n.d.e.l.i.e.r National Monument. The M.a.r.t.i.n.e.z.e.s worked at the site, with Julian helping the archaeologists at the dig and Maria helping at the campsite. Julian Martinez spent time drawing and painting the designs found on the walls and on the s.h.e.r.d.s of pottery into his notebooks, designs he later recreated on pots. In the 1910's, Maria and Julian worked together to recreate the black-on-black ware they found at the dig, experimenting with clay from different areas and using different firing techniques. Taking a cue from Santa Clara pots, they discovered that smothering the fire with powdered manure removed the oxygen while retaining the heat and resulted in a pot that was blackened. This resulted in a pot that
1. Europe
2. He like being in the war because it provides beifents
Highlight "The GI Bill was a blessing"
3. WW2 affected lots of peoples view on what they do and dont have.
Highlight "The war changed our whole idea of how we wanted to live when we came back. We set our sights pretty high"
The correct answer to this open question is the following.
Without a doubt, the effects of the act on Native American history over the course of the twentieth century left the Native Indians divided, hurt, and without their lands.
The Dawes General Allotment Act of 1887 was one of the major pieces of legislation in Native American history. The Act granted the power to the federal government of the United States to split the land and divide it into individual plots so people could get the land and make it work. If a Native American Indian wanted to be considered a United States citizen, it had to accept the Act.
This piece of legislation was another try to change the Indian's culture and habits, to destroy their traditions, and getting them to assume the white American culture.
This was another episode of the complicated and conflictive relationships between white colonists and Native American tribes, that started the moment colonists arrived in the Americas and founded colonies.
White people always wanted more land to settle in and exploit the resources for a big profit.
Native Indians always believed that the land belonged to them and had been inherited by their ancestors.
Answer:
Mazu has these powers because She was no longer an ordinary girl, the gods had touched her.
Explanation:
What had occupied mazu's mind initially was the act of weaving till her mind became peaceful and still. She had sat down to weave because she was worried for her fishermen brothers who were outside in the water.
Mazu was able to see her brothers after she fell into a trance and became extraordinary. She had been touched by the Gods who found her to be courageous and also a person who did not show off. She was thought to have a rarest form of courage that is balanced courage and that is why she was touched.
The reason she is able to see her brothers struggling to survive at sea and the reason she is able to guide them to the largest pieces of wood was due to the gods who touched her and made her extraordinary.
