Gerald Pinto was born and raised in New Mexico on the southern edge of the Navajo reservation. As a member of the Navajo-Diné tribe, he has drawn on the richness and depth of his ancestral culture and combined it in new and exciting ways with other artistic traditions to produce pottery that is unlike any other. He is well known throughout New Mexico for his classic-style smoke pots, terracotta vessels and blackware pottery, which all represent different facets of Navajo history and culture. Most recently, he has begun making Rakú style pieces, which fuse Navajo and Japanese techniques to produce a range of striking finishes.

           

Gerald's "Elemental" line of smoke pots are similar in many respects to his earlier terracotta pieces, but incorporate a more contemporary style derived in part from the Japanese Rakú tradition. The product of a long and often frustrating process of experimentation with various clays and slips he found near his home, Elemental pots like the one the artist is shown holding above are made from a gypsum base and coated with an iron-based slip. They are burnished with a polisheed amber stone and given an initial firing using either cedar wood or an electric kiln during cold or windy conditions. A second firing, using cedar, piñon, pine, dry sage and other fuels that the artist prefers to keep secret, brings out the unique metallic color of the Elemental pieces, creating a mix of bright gold and darker, smokier tones. The elemental pots are accented with copper and turquoise to achieve a final, striking aesthetic balance. These pots bear motifs that connect them with the ancestral Native American past, such as Navajo creation stories.

On August 13 and 14, 2009 Gerald showed his new "Equinox" line of Navajo-Rakú style pottery at Nativa's Old Town store. Guests had a unique opportunity to learn about this unusual technique, which the artist developed himself in 2007. Equinox is the time of year when the sun crosses the equator and day and night are of precisely equal length. The Equinox line represents this state of balance and harmony, juxtaposing a matte black lower surface with a shiny white antique crackle finish on the upper surface where he has applied the glaze. Each piece is finsihed with Kingman green turquoise and copper wire inlay.  The artist is pictured below during the Nativa exhibit demonstrating his craft surrounded by a collection of Elemental and Equinox pieces.

                                  

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Alfreda Fragua of Jemez Pueblo appeared for the first time this year at the Santa Fe Indian Market, displaying her contemporary style, stone polished pottery. Ms. Fragua "took up clay," as she puts it, when she was twelve or thirteen, but did not begin to pursue the art full time until three years ago when, she says, "I really put my heart into it. It's more of a joy to me than a business. It is a form of meditation." Besides bringing her inner peace and fulfillment, pottery making also strengthens her  connection with both her ancestors and those who will come after her. "You can't take your work to the grave," Alfreda observes. "You need to pass it onto the next generation." Her devotion and spiritual commitment are evident in the elegant pieces that she produces, which combine traditional plant and animal motifs such as corn stalks, turtles and water serpents in exciting and innovative ways.

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My wife and I only visited the city of Luang Prabang once, in May of 2007. Although it is one of my most cherished memories of my travels in Southeast Asia--and believe me, I  have many such memories--I was a little hesitant to blog about the city at all.  Located at the intersection of the Mekong and Nam rivers and surrounded by the lush, mountainous terrain of northern Laos, the city and its environs offer a mix of natural, historic and ethnographic attractions for visitors. Yet, despite an influx of tourists over the last few years, Luang Prabang somehow maintains a sleepy, laid back atmosphere. I'd just as soon keep it that way, which is why I'm leery about spreading the word about this magical spot.

But I just can't keep from writing about Luang Prabang--I feel compelled to share with you just what makes it such a special place for me. Luang Prabang is strikingly situated on a peninsula formed by the languid confluence of its two rivers. Looking down on the city from one of the nearby mountaintops, it is easy to imagine Luang Prabang as a nineteenth-century French colonial town, with its picturesque streets and mix of Western and Asian architecture: European-style villas mingled with Lao-style shops, houses and temples. Bicycles and pedestrians, including a good number of orange-clad monks, outnumber cars on the quiet, palm-lined byways and the scent of frangipani is never far away. A UNESCO World Heritage Site, Luang Prabang was founded in the seventh century by a Tai prince. It was the capital of the Kingdom of Laos through the French colonial period until the Communists took power in 1975 and remains the capital of the province of the same name today.  You can hear the echoes of its history with every step you take down its shady streets and alleyways.


                                     


Reminders of the city's history are never far away. By local standards, the Royal Palace  is a recent addition, built in 1904 during the colonial period for King Sisavang Vong and his family and later converted into the National Museum. Just across the way is a flight of steps leading up the hill called Phu Si. As one climbs these stairs, it becomes clear why Luang Prabang is regarded as the religious center of Laos. The hill is dotted with temples, including statues of Buddha for every day of the week and even a shrine to the Buddha's footprint. On the way up you'll also see--rather jarrignly in a place so peaceful--an artillery piece used to defend the city during the Communist Revolution. At the summmit stands a golden stupa, where the visitor can get a spectacular view of the city and its surrounds. 


                                 

                 

                      

                          

After hiking up and down Phu Si in the Laotian humidity, I was more than a little hungry and thirsty. Fortunately, the solution to my problem was not far away:  the Le Tam Tam Beer Garden. There I enjoyed stewed and marinated wild boar with red wine sauce, washed down with a large, cold bottle of Beer Lao, which must be the country's  second biggest export after rice. Eat your heart out, Anthony Bourdain!

                       

Finally, like most tourists in Luang Prabang, we spent a day on a boat on the Mekong to visit two of the most popular nearby attractions: the caves at Pak Ou and the craft village of Ban Xang Hai. We joined our guide, the intrepid Captain Sop, and a group of European travellers aboard one of many river craft that take tourits on day trips to and from Luang Prabang every day.

               

                              

There are actually two cave complexes at Pak Ou: the lowerr complex of Tham Ting and the upper complex, called Tham Phum. These caverns are a testament to the enduring centrality of religion in local life.  These caves were believed to have been first used in the eighth century by the early inhabitants of Laos, who worshipped Phi, or nature spirits. According to legend, an ancient river spirit inhabits the caves. How long must it have taken the generations of laborers and craftspeople who carved out the long staircases leading to the caves and created the religious images inside? The limestone walls of both complexes are lined with a multitiude of Buddha statues, most of which were carved within the last three centuries, in the classic Luang Prabang standing style. 

             

              

Last stop: Ban Xang Hai. The main occupation of the villagers here is evidently producing three of my favorite things: handmade paper, silk, and whiskey (though not in that order). The paper, called saa, is made by pulverizing mulberry bark and then pressing the pulp into sheets.  

                           

We were almsot instantly sold, picking up some paper lamps and a notebook that I later used for the 1st draft of this blog.
   
                


The locals' beautiful handwoven silk scarves and sarongs were on display not far down the street.

                        
     
Finally, I could not leave without sampling the locally made rice wine or lao lao, as it is called here.  But make no mistake, this concoction is not wine as we know it in the West; this is strong stuff! If the alcohol content itself were not enough to give it a kick, the village distillers have added a variety of local reptiles to the mix, including scorpions and cobras.

               

                          

I toasted a farewell and we climbed into the boat again. As we made our way back toward the city  in the fading light of evening and contemplated our departure from Laos, we couldn't help but think about our next trip to Luang Prabang, this place of quiet enchantment. We did not know--and we still don't know--how or when we will return, but return we will. It's just a question of how and when.

                      

I considered writing more about Luang Prabang, but I won't. It's impossible to do justice to this place with mere words and photos--you'll just have to visit it yourself. But do me a favor: if you enjoy your stay as much as I did, keep it to yourself.