Date of Graduation

5-2026

Document Type

Thesis

Degree Name

Bachelor of Arts in Anthropology

Degree Level

Undergraduate

Department

Anthropology

Advisor/Mentor

Dr. Kirstin Erickson

Committee Member

Dr. Jessica Kowalski

Second Committee Member

Dr. Trish Starks

Third Committee Member

Dr. Kathleen Paul

Abstract

Introduction Today, Southwest Indigenous jewelry exists at the intersection of cultural expression and commercial exchange. Drawing on interviews with Native artists, this study focuses on the lived experiences of those who design, produce, market, and curate Indigenous jewelry to argue that authenticity is not defined by visual appearance alone, but by the cultural knowledge, community relationships, and generational practices embedded in each piece. As Native silversmiths navigate increasing pressures from mass production, appropriation, and global markets, they actively work to maintain both artistic integrity and cultural authenticity. At the same time, this paper explores the tension between appreciation and appropriation. While growing demand for Native jewelry can create economic opportunities, it also enables exploitation through imitation and misrepresentation. This dynamic complicates how Indigenous art is valued, consumed, and protected in contemporary markets. Native silversmithing in the U.S. Southwest is rooted in a rich historical and cultural context where tradition, identity, and community knowledge shape both the practice and its meaning. Yet the rise of commercialization and tourism have reshaped Native jewelry, transforming both its production and perception over time. This transformation is further complicated by the growth of counterfeiting and mass production, blurring the line between authenticity and reproduction. Well publicized legal cases such as “Operation Al Zuni” (U.S. Attorney’s Office, District of New Mexico 2018) demonstrate how fraudulent practices undermine Native artists’ livelihoods and devalue authentic Native jewelry, providing insight into artists' lived experiences and revealing the emotional, cultural, and economic consequences of imitation. Furthermore, markets such as the annual Santa Fe Indian Market play a significant role in shaping visibility, reputation, and value within the Native art world. While these spaces offer important opportunities for exposure and income, they also reinforce hierarchies that can limit access for emerging artists. Native silversmiths respond to such pressures by preserving traditional knowledge, developing individual artistic identities, and educating consumers about authenticity. Through these efforts, artists assert control over their work and ensure the continuation of their cultural practices.

Keywords

Native American, Silversmithing, Jewelry, Zuni, Navajo, Cultural Appropriation, Sante Fe Indian Market, Turquoise, Commodification

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