Journal of Northeast Texas Archaeology
Although I originally set out to find an art form that I was comfortable with and would be inspired by, for myself, I ended up discovering an ancient art form that would benefit not just myself, but the generations of Caddo people that would come after me. I feel that eventually they will see the benefit from its rediscovery. But also, I quickly realized the need to make public the distinction of our ancient pottery legacy for the sake of those Caddo that would pick up the craft. The Native American art world in the American Southeast is much different from that of the Southwest that I grew up loving. So many Native American artists are confused about what is their tribe’s specific legacy and traditional art form that many claim a broad spectrum of tribes in the region by creating artwork under the umbrella of “Mississippian” or “Southeastern Ceremonial.” It became apparent that the Caddo’s specific and unique pottery heritage is in danger of being misrepresented in the art world and to collectors. Making it all the more obvious was that I found out there was only one active Caddo member practicing pottery making, Jereldine Redcorn. I felt like although she was successful in reviving the lost art of our Caddo pottery, there is only so much one person can do and it was then that I decided that I could help expand and help spread our knowledge and our experiences so that our beautiful pottery tradition could be reborn and survive for all time, rather than become lost again in the earth.
Earles, Chase K.
"Traditional Caddo Potter,"
Index of Texas Archaeology: Open Access Gray Literature from the Lone Star State: Vol. 2015
, Article 36. https://doi.org/10.21112/.ita.2015.1.36
Available at: https://scholarworks.sfasu.edu/ita/vol2015/iss1/36
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