Go behind-the-scenes of today’s Doodle below!

In honor of Native American Heritage Month in the U.S., today’s interactive Doodle—illustrated by Zuni Pueblo guest artist Mallery Quetawki—celebrates Zuni (A:shiwi) Native American fiber artist, weaver, and potter the late We:wa (wee-wah). As a Łamana (thah-mah-nah), the late We:wa was a revered cultural leader and mediator within the Zuni tribe, devoting their life to the preservation of Zuni traditions and history.

As advised by the Zuni tribe, it is discouraged to speak of community members who have passed on within the present tense. Therefore, we refer to We:wa as “the late We:wa” out of respect for their memory and spirit.

The term “Two Spirit” became widely adopted in the 1990s to encompass the various non-binary gender identities and expressions amongst Indigenous peoples. In the Zuni tribe, Łamana is the recognized third gender outside of the male-female binary system. Historical records have used both “he” and “she” pronouns in reference to Łamana and the late We:wa. Because Łamana and many modern Indigenous Two-Spirit people are considered distinct from male and female genders, we have aligned with our Zuni community collaborators and elected to use the ungendered singular pronoun “they.”

The late We:wa was born of the Donashi:kwi (Badger clan) and a child of the Bit'chi:kwe (Dogwood clan) around 1849 in Zuni Pueblo, a community indigenous to the land that is now known as New Mexico. In the Zuni tribe, Łamana is a recognized third gender outside of the male-female binary system and revered as a traditional cultural concept reflecting harmony and balance. Like most Łamana, at a young age the late We:wa began learning a variety of skills done by both men and women in the tribe. They became an expert weaver, a role traditionally taken on by men in the community, and created textiles using different looms. After years of training, the late We:wa became one of the first Zuni craftspeople to sell ceramics and woven goods to non-Indigenous people, which catalyzed the process of Indigenous crafts being appreciated as a fine art in the U.S.

The late We:wa also mastered essential Zuni myths, songs, and ceremonies to become a highly respected spiritual leader in the community. Their cultural expertise led to the late We:wa traveling with American anthropologists James and Matilda Stevenson to Washington, D.C. in 1885 in hopes of fostering cultural exchange. During the late We:wa’s landmark visit to the U.S. capital, they called upon high-ranking U.S. officials to protect Zuni lands and culture from encroaching settlers.

Even in the face of colonial policy, which threatens Indigenous peoples nationwide, the late We:wa’s dedication to their community never faltered. They returned to Zuni Pueblo, where they spent the remainder of their life as an artist and community leader. Today, the late We:Wa’s legacy lives on in the approximately 10,000 Zuni people who safeguard the rich tapestry of Zuni heritage and retain one the most uninterrupted cultural lineages of modern Indigenous tribal communities in the U.S.

Give the art of weaving a try in today’s interactive Doodle in honor of the late We:wa and their craft!

Guest Artist Q&A with Mallery Quetawki

Today’s Doodle was illustrated by Zuni Pueblo guest artist Mallery Quetawki. Below, she shares her thoughts behind the making of this Doodle:

Q. What does creating a Doodle for the late We:wa mean to you personally?

A. Personally, creating the We:wa Doodle was an honor as We:wa was such a warm and generous individual who exemplified our core values as A:shiwi. To be representing my people on this Doodle is another honor that I will always be thankful for. We are a village filled with talented artists and I am absolutely grateful for this honor to represent our history and to tell it using our art.

Q. How did you approach illustrating the late We:wa’s story? Did you seek guidance from anyone else in the tribe?

A. I was very fortunate to accompany our keepers of traditional knowledge to Washington D.C. a couple years ago to visit the Smithsonian Museum of the American Indian. On this trip I was able to view the collection created or collected during We:wa’s stay in DC in the late 1800’s. That up-close connection to our people’s past and We:wa’s role in our government relations with the U.S. gave me another sense of pride in where I come from. I was able to learn directly from our religious leaders and cultural keepers of knowledge of the items in that museum collection. I have kept that knowledge with me, as well as the research I had done on We:wa in a college course describing the dual gender roles that can be seen in our tribe. The very few photos of We:wa were not the only images I used to create the portrait. I made sure I included the character that We:wa was both in social and cultural contexts.

Q. What stands out most for you from the late We:wa’s story and legacy?

A. The idea that We:wa was our first ambassador between the U.S. Government and the tribe is very impressive. We:wa learned English to aid our tribal leaders in DC. However, the biggest story to me that has pulled at my heartstrings is how he and his husband adopted so many children who had no one else. They had a wealthy household—not based on money and material, but on the warmth of his character in helping those in need and being in that dual role of spiritual and social guidance. He was a very devout person in our culture and religion and was thus blessed in life with his ability to speak to others and his craft at weaving and pottery. We:wa was a caregiver in both our physical and spiritual realms.

Q. What do you hope people will take away from this Doodle?

A. I hope that people become aware of our traditional customs and the fact that they are very much in practice currently. Our ancient ways of life are still here and we can all learn from one another. We:wa was a male individual who lived as a woman. He is an ancestor of ours whom we think so dearly.

If we could all be caring and empathetic to one another we can all live We:wa’s legacy.

Early sketches and paintings of the interactive Doodle below

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Guest Artist | Mallery Quetawki

Music | Juanita Edaakie and Loretta Beyuka from the Zuni Olla Maidens

Art Director | Sophie Diao

UX Design | Anthony Irwin

Engineering | Jonathan Shneier, Katherine Lee, Gemma Nash, Stephanie Gu

Yarn Wranglers | Jordan Thompson, Mark Ivey, Daniel Dovali

Producer | Greg Capuano

Sound Design | Silas Hite

Marketing & Partnerships | Sierra Menzies, Perla Campos

Business Affairs & Partnerships | Madeline Belliveau

Doodle Team Leads | Jessica Yu, Brian Kaas, Nate Swinehart

Consultants | Google Aboriginal and Indigenous Network

A special thank you to Curtis Quam, Cordelia Hooee, and the A:shiwi A:wan Museum and Heritage Center for their key support on this project.

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