Rhonda Holy Bear is an enrolled member of the Cheyenne River Sioux
Tribe. She was born in South Dakota, at Old Cheyenne River Agency--also
known as "Chief Martin Charger's Camp." Rhonda grew up in extreme
poverty and was raised mainly by her grandparents, DeSmet and Angeline
[Soft] Holy Bear. Rhonda's earliest dolls were a hammer and a clothespin.
She sometimes even dressed up her cats and dogs and pretended they
were babies. One day, she made a doll from some scraps of cloth she
found around the house. "Look Grandma! I made a doll!" she said, handing
her creation to her Grandmother Angeline, who was almost completely
blind. Her grandmother examined the doll in her hands and told Rhonda
the story that has inspired her to create dolls to this very day:
Rhonda's Grandma, Angeline, had been orphaned as a young child
and had been raised by her Grandmother. Angeline's Grandmother,
like many of the women of her time, was skilled in the traditional
arts of quilling and beading. Around 1923, when Angeline was 5 years
old, her grandmother brought her to a tribal gathering in South
Dakota. Some affluent tourists visited their tipi. They had a little
girl who was similar in age to young Angeline. While the adults
talked in the tipi, the two little girls played with a traditional
Lakota doll that Angeline's grandmother had made for her. Angeline
loved that doll as if it were her little friend. It was made of
buckskin and was adorned with beadwork. Grandmother had even stitched
clippings of Angeline's hair to the doll's head.
When it came time to say goodbye, the young tourist girl refused
to leave without Angeline's treasured doll. She put up such a fuss
that the tourists offered her grandmother a small sum of money for
it. The little tourist girl happily left with the doll. Young Angeline
lost her little Lakota doll friend.
Listening to Grandmother Angeline's account, Rhonda could tell
that, even after all those many years, Angeline still missed the
doll. Angeline encouraged Rhonda to sew. All they had was black
thread and a couple of needles. She told Rhonda that, if she collected
as many fabric pieces as she could, she could make a quilt. Rhonda
collected fabric like her grandmother had instructed but, she was
not interested in making a quilt. What Rhonda wanted were toys,
especially dolls.
Eventually, Rhonda had salvaged as many materials from around
the house as she could. Still driven, she took a walk to the dumping
ground in search of other things she might use. The dump proved
to be a good source for supplies and materials. On the way home
from the dump, she would collect clay from the river bed. She brought
the clay home and fashioned a crude sculpture of a head. As soon
as the clay head had dried, eleven-year-old Rhonda Holy Bear confidently
marched to the Mobridge Museum. She asked the curator to put her
clay head on display. The curator took it in exchange for the last
exhibit Rhonda had previously donated--her rock collection! Little
did Rhonda know, at the time, what an important role museums would
continue to play in her life.
Rock That Comes Alive - Absarokee Tribute" copyright 2006
Rhonda Holy Bear - Winner of Best of Classification Award
in the Diverse Art forms/Transitional Cultural Objects category
at the 2006 SWAIA Indian Market in Santa Fe, NM
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When Rhonda was fourteen, she moved to Chicago to live with
an aunt. She had long been intrigued by the tales she had heard
about this great city. Rhonda wanted to sing. She wanted to be on
television and on the radio. She wanted to explore all her talents.
She jumped at the chance to go. She enrolled in a school that had
strong arts and cultural history programs. Many acclaimed Native
artists and tribal members visited the students and gave demonstrations
and lectures. Rhonda thrived in this environment. She excelled in
drawing, painting, singing, acting, and dancing. She got to fulfill
her dreams of playing guitar and singing on both the radio and television.
She acted and danced in school plays. She even won an Indian Princess
Pageant when she was 16. Her teachers called her "The Multi-talented
Kid." Rhonda loved all the arts in which she was excelling. She
would eventually focus most of her energies on singing and art.
She found herself particularly drawn to the more traditional, hands-on
skills of beading and sculpting. These skills reminded her the most
of her Grandmother, Angeline.
In 1978, when Rhonda was eighteen, she picked up a book and
discovered a picture of an antique Indian doll from the late 1800's.
She remembered the story her Grandmother had told her, years before,
about her long-lost doll friend. She was inspired to create a doll
at that very moment. As usual, money was scarce. Rhonda only had
ten dollars. So she did what she always had done; she used whatever
she could find around her to create. She made the doll body from
her pillowcase. She found a coat hanger from which she fashioned
an armature. Using the only money she had, she bought a bag of cotton
balls from the drug store and a car chamois from the hardware store.
Rhonda used the chamois to simulate the look of traditional brain-tanned
buckskin clothing. She stuffed pieces of her pillowcase with the
cotton balls. The doll needed hair. Rhonda cut some of her own hair
and sewed it onto the doll's head--just like her own Great Great
Grandmother had done for Angeline's doll, decades before. Rhonda
put the final details on the doll: a dress with a fully beaded yoke,
moccasins, leggings, and a leather belt with conchos, fashioned
from thumbtacks. Rhonda was following in her Great Great Grandmother's
footsteps.
Rhonda was delighted with the doll and was inspired to create
a few more. She held onto them until 1982, when she saw an ad in
The Chicago Sun Times for a new art gallery called American West.
Curious, she decided to check it out. The gallery owners took notice
of Rhonda and offered her a sales job, which she accepted. The gallery
owner offered her a ride to work the next day.
When he arrived at Rhonda's apartment the next morning, the
gallery owner noticed the dolls Rhonda had made. He asked who had
made them. When Rhonda told him that she had made them, he was intrigued.
He asked Rhonda to bring the dolls to the gallery to show his wife,
who was a doll collector. Rhonda agreed. Later that day, the gallery
owners offered Rhonda eighty dollars for two dolls. Rhonda accepted
and the two dolls sold immediately the following day. Stressing
the sales potential, the gallery owners requested that Rhonda bring
in more dolls for display. Rhonda responded by bringing in eight
more. That very day, a woman came into the gallery and bought all
of them. The gallery owners, again, requested more dolls. By running
an ad in American Indian Art Magazine, they helped introduce Rhonda's
dolls to the world. Rhonda could feel the momentum building.
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Now, out of school, Rhonda was a young, self-motivated artist.
She longed to study the artifacts and art of her people. She had
been accepted to the Art Institute of Chicago on the merits of her
portfolio, which included slides of drawings, paintings and dolls
that Rhonda had made. Unfortunately, she lacked the necessary funds
for the tuition and was unable to attend. This did not deter Rhonda
from tirelessly researching and creating. She made weekly trips
to the Chicago Field Museum on "Free Admission Night" which was
on Thursdays. Rhonda was no stranger to this Museum. She had taken
many field trips there with her classmates, back in high school.
She had danced there as a Pow-Wow dancer. At the Field Museum, Rhonda
had learned the traditional art of ribbon work from an older tribal
woman named Sarah Keahna. She learned many Cherokee legends and
arts from John White, a museum worker. Rhonda and her fellow students
even got to take part in building a Long House. This museum had
been very important to Rhonda.
Now, a few years later, Rhonda would return to the Field Museum
with her colored pencils and pad. Rhonda was fascinated by the workmanship
of the traditional Native clothing. She recorded as much as she
could about the art and culture of her people. Eventually, seeing
the objects behind the glass wasn't enough. Rhonda longed to hold
them in her hands and to study them up close. She imagined that,
if she could only get behind the scenes, she could explore the treasures
that were not on display.
She called upon the renowned (but ever humble) historian, researcher,
and scholar, Fr. Peter J. Powell. He spoke to the museum's curator.
The curator then allowed Rhonda access to the vaults and to the
literary and photographic libraries. For the next couple of years,
Rhonda would spend countless hours researching there. Later, she
would travel around the country, museum hopping. She would scour
the bead stores, trading posts, and antique shops, in search of
information, supplies and artifacts.
In 1983, Rhonda's dolls were featured in a museum show. The
Museum of the American Indian (Broadway and 155th Street, NY, NY)
ran an exhibit called "Eloquent Visions: Dolls of the Great Plains."
It ran from October, 1983 through June, 1984. In The Museum of the
American Indian News (Sept. 1, 1983), Doctor Ronald W. Force, Director
said:
"Rhonda Holy Bear's 'Crow Woman on Horse' and 'Lakota Family'
depict clothing styles and accoutrements of the Plains in the 19th
century. Her careful research and meticulous attention to detail
set her apart as one of the most accomplished doll makers of today."
In 1984, Rhonda participated in her first west coast show at
the C.N. Gorman Museum in Davis, California. In a Davis paper, Rebecca
Romani wrote:
"Holy Bear draws her designs from the traditions of the Plains
Indians. Stressing accuracy of representation, her dolls feature
exquisite miniature bead and quill work as well as singularly expressive
faces."
Rhonda's creative journey would lead her to Santa Fe, New Mexico.
There, in 1984, Rhonda began an affiliation with the Wheelwright
Museum. The museum purchased a pair of Rhonda's dolls for their
permanent collection. They also exhibited and sold her dolls at
the Case Trading Post at the Wheelwright. Around this time, Rhonda
decided to apply for a South Western Association on Indian Affairs
Fellowship Grant. Michael Turner Hamilton, the Case Trading Post
Manager, wrote Rhonda a recommendation letter. In it, she said of
Rhonda's work:
"I do not believe work of this caliber and importance is being
executed by any other doll maker in the United States." She went
on to say, "Her enthusiasm for her craft contributes much to her
ability to transform history into the magic of her dolls."
Rhonda won the South West Association on Indian Affairs Fellowship
Grant in 1985. A SWAIA article from that year states ,"Rhonda Holy
Bear was a 1985 winner and the first doll maker to receive a SWAIA
fellowship." Rhonda won a cash award and was given a booth at the
SWAIA Indian Market in Santa Fe. At Indian Market, that summer,
Rhonda won both First and Second Place awards in the Plains Style
Dolls category. On that day, Rhonda sold all eight of her pieces
in one hour.
Over the next 20 years, Rhonda had many more sellout
shows. Her work has been exhibited and collected by many galleries,
museums and foundations including:
American West Gallery (Chicago, IL), El Parian de Santa Fe
(Santa Fe, NM), The Wheelwright Museum of the American Indian
(Santa Fe, NM), Mosi Lakai-Bi'Kisis, Inc. (Santa Fe, NM), The
Morning Star Gallery (Santa Fe, NM: 1995-2000), Sherwoods Spirit
of America Gallery (Santa Fe, NM: 2003), The Mitchell Museum/Kendall
College (Evanston, IL.), The Denver Art Museum (Denver, CO) and
Rhonda's favorites: Fr. Peter J. Powell, D.D. and The Foundation
for the Preservation of American Indian Art (Chicago, IL.) and
The Paul Dyck Foundation Research Institution of American Indian
Culture (Rimrock, AZ).
Rhonda and her work have been the subject of numerous articles
in magazines, newspapers, and other publications. Some publications
include:
American Indian Art Magazine (Cover); Architectural Digest;
Doll Reader Magazine; International Doll World; Ford Times Magazine;
Indian Artist Magazine; Native Peoples Magazine; Daybreak Magazine;
Museum of the American Indian News; The Santa Fe New Mexican;
Morning Star Gallery (Catalogue); Las Campanas Haven (Cover);
Sondags Journalen (Denmark); The National Museum of the American
Indian, Smithsonian Institute (publication); The National Museum
of Natural History, Smithsonian Institute (publication); Mobridge
Paper (SD); American West Gallery (artist publication); SWAIA
Foundation Fellowship (Announcement 1985); Spotlight, The Sunday
Star Ledger:" Icons of Innocence From Another America" (Montclair,
New Jersey); El Parian De Santa Fe (gallery catalogue); "Connecting
Generations - Contemporary American Indian Dolls," Sept. 14, 2003
- Feb. 15, 2004 (Montclair Museum Show Catalogue); "Prarie Art
Culture - Working Within the Circle: Native American Representations
of Self" by Stephanie Snow (Grinnell College internet article).
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Rhonda and her work have been featured in books, including:
ARTISTS AND CRAFTSPEOPLE by Arlene Hirschfelder and NORTH AMERICAN
INDIAN JEWELRY AND ADORNMENT-FROM PREHISTORY TO THE PRESENT by Lois
Sherr Dubin. Both books feature one of the most pivotal pieces of
Rhonda's career, "The Last Lakota Horse Raid." This piece is important
for many reasons. Completed in 1991, it is a culmination of many
years of research and soul-searching. It is a thirty-inch female
figure, completely carved out of basswood. She is dressed in a fully
micro-beaded dress. It is decorated with figures, beaded in the
tradition of the Cheyenne River pictorial style.
The fully carved body represents Rhonda's cultural "roots."
The youthful appearance of the doll represents Wakan Tanka, who
is eternally youthful. The scene, depicted and commemorated on the
dress, represents White Bull's account of the Last Lakota Horse
Raid of 1879. White Bull was the great Lakota warrior whose account
of Little Big Horn is documented in Stanley Vestal's book, WAR PATH.
The piece represents both struggle and renewal. The Horse Raid
depicted on the doll's dress represents the end of an era in Lakota
History. On the other hand, the figure is ultimately a symbol of
the White Buffalo Calf Woman, who brought the Lakota People the
sacred pipe and a message of peace and harmony. She is "Pte San
Win," ("Light") the daughter of the Sun and the Moon. Rhonda's depiction
of The White Buffalo Calf Woman carries a message of renewal and
hope. The figure, with it's tall, elongated line, symbolizes a "spiritual
reach." With "The Last Lakota Horse Raid," a piece rooted in tradition,
Rhonda Holy Bear makes a relevant contemporary statement about the
current struggles and achievements of her Lakota people. The piece
is a symbol of Rhonda's prayer for the renewal and survival of the
people. "The Last Lakota Horse Raid" is one of Rhonda's most powerful
and influential works.
With every doll Rhonda creates, she asks herself deeper and
deeper questions about the subject of her self-expression. For Rhonda,
the dolls have evolved far beyond being children's playthings. They
represent her family and the roots of her tribal history. They have
helped her to complete a circle in her journey as a Lakota. She
still hears her Grandmother's voice as she creates her dolls.
Rhonda recalls a vivid dream she had when her Grandmother passed
away. In the dream, a voice told her that, with her Grandmother's
passing, Rhonda's back had been shattered. "Those are your relatives,"
the voice said, referring to the shattered pieces of her back. "You'll
have to find a way to put them back together again."
Rhonda says, "My dolls represent my relatives, past, present,
and future. Without them, I could not be who I am today. My ancestors
and their stories are connected like each vertebrae of my spine.
I carry their story with me in my back. It's a strong place to be.
''Mitakuye Oyasin"
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