In the late 1950s Japanese–American weaver and Santa Fe, New Mexico, resident, Alice Kagawa Parrott appealed to Mable Morrow, a former arts and crafts specialist for the United States Bureau of Indian Affairs, to teach her Hopi, Navajo, and Spanish-colonial methods for carding, spinning, and dyeing wool yarns. Markers of this seminal intergenerational exchange would echo throughout Parrott’s diverse production of tapestries, commercial yardages, and garments for the duration of her practice. In the following decades, she exhibited her weavings both locally and internationally and was active among a prominent network of modern artists and craftsmen such as furniture designer Sam Maloof, ceramicist Toshiko Takaezu, and fiber artist Lenore Tawney. While Parrott’s narrators have focused on her extensive use of natural dyes, the origins of this practice have received minimal attention. Addressing this gap in the scholarship, this article explores the intercultural and, at times circular, transmission of botanical and craft knowledge among Santa Fe’s Indigenous communities, government officials like Morrow, and local artists and weavers as far afield as Hawaii. An assessment of Morrow’s accumulation and preservation of traditional Native American techniques in the early twentieth century, and the adoption of these methods by Parrott in the 1960s, demonstrates that vegetal dye processes served to permeate the perceived boundary between Indigenous and modern craft production during this period. This transcultural mixing of materials and methods is perhaps best expressed by Parrott’s luminously pigmented yarns which intertwine and form the foundation of her practice and the final artworks themselves.
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