Educational Media Reviews Online

There has been a rich history of anthropological discourse – led in most cases by non-Indigenous scholars – dedicated to the study of the cultural affairs of Indigenous peoples in the United States. While this wave of scholarship has undoubtedly led to the preservation and articulation of various aspects of Indigenous culture, it has unfortunately often isolated Indigenous voices and treated the subjects of anthropological research as commodities or objects. A Weave of Time: The Story of a Navajo Family is a beautifully shot and meticulously researched film about a single Diné (Navajo) family that regrettably falls victim to this ideology of salvaging that which may soon be rendered extinct.

A Weave of Time follows the cross-generational work of anthropologist John Adair, intertwining black and white photographs of his first visit with this particular Diné family in 1938 with contemporary interview footage designed to learn more about Navajo artistry, particularly the work of silversmiths and rug weavers. The film’s contributions to the oral history narrative of one particular Diné family cannot be downplayed; however, it is crucial to remember that this film represents the work of one specific anthropologist with one specific Diné family. I fear this film may be perceived as encompassing a generalized “Navajo experience” by viewers not privy to the Diné way of life, which would actually hinder audience understanding of Indigenous peoples in the United States.

The biggest issue I have with this film is its treatment of the Diné and their artistry as commodities without questioning the institutions that produce these ideologies. While this is not necessarily the fault of the film’s producers, these weaknesses highlight the fault of educators and scholars in mainstream society to contemplate the societal forces that lead to impoverished living conditions for many Indigenous communities across the United States. This film details how Diné weavers are selling their rugs to non-Indigenous business owners for maybe $1,500, a far financial cry from the amount of labor and time put into each rug. These rugs are then being sold by non-Indigenous business owners to other non-Indigenous “art lovers” for up to $27,000. This discussion of “price jacking” and the true artistry behind these rugs hints at capitalist commodification, among other social issues, that are completely ignored throughout the film. I urge that a careful look at these detrimental social institutions and ideologies would make a much more engaging and productive film than a voyeuristic look at Diné rug weaving through an anthropological and non-Indigenous lens.

A Weave of Time reads more as a film produced for the family it was written about, rather than a film for a general or mainstream audience. Therefore, I would recommend this film with reservations. It offers a breathtaking glimpse into the work of Diné artists and follows multiple generations of a single family as they live and work in their community. However, it is crucial that the viewer recognize the harm that would be created by generalizing about all of Diné society through the eyes of this particular family. I would also encourage the viewer to critically engage with the social ideologies and institutions that lead to poor working and living conditions for the Diné in the United States.