A painting of a dancer in motion, taking a big step forward, standing on the tippy-toes of his left foot, his right knee raised high. The dancer wears a yellow skirt, black mask, and tall but delicate, rectangular-shaped headdress. Two pink ribbons dotted with white feathers ripple out behind him. His bare chest and arms are painted white with black geometric designs and he holds two black swords, pointing them downwards. A downward-facing orange crescent shape floats above the figure, in close proximity to his left shoulder.

Allan Houser

Untitled (Apache Crown Dancer)

1942

Casein/tempera on paper

15” W x 20¾” H

About this artwork

Trained in the Studio Style by Dorothy Dunn at the Santa Fe Indian School between 1936 and 1937, Allan Houser (Chiricahua Apache) worked in this “flat” style during the New Deal and at the start of his career, on his way to becoming a trailblazing 20th-century artist. Even in this early work, one can see Houser pushing the boundaries of the conventions of the era, painting the dancer’s movements with palpable energy and power.

Audio description for individuals with low vision. Audio descriptions produced by Art Beyond Sight.

Audio description

This is an untitled painting by artist Allan Houser, depicting an Apache Crown Dancer. The work is fifteen inches wide and twenty inches tall, painted on paper with casein paint and tempera. For more about this painting style and the history of this painting, refer to the “About this Artwork” section above.

The painting captures a single Apache Crown Dancer in movement during a dance. He is facing left, bent over at the waist, and he is caught mid-step, with his left foot on the ground and his right foot raised high as he takes a lunging step forward. In each hand he holds a long, dark green and black sword-shaped implement decorated with a wavy line down the blade.

The dancer is adorned on both head and body. His head is crowned with a headdress, and his face fully covered by a black mask with small circle openings for eyes and mouth. The mask has white triangular designs above his eyes and on his forehead. Encircling his neck is a blue polka-dotted piece of cloth, wrapped as one might wear a bandana. His torso and arms are colored light blue, and a long wavy line extends down his left arm from the shoulder to the hand. On his chest are painted two dark blue bands extending from either shoulder to his breastplate, creating a necklace-type effect. They join at a shape some viewers might recognize as similar to a Maltese cross, which is comprised of four triangles forming a square by connecting at their points in the square’s middle. The dancer has thin white strips of material tied around his upper arms, from which stream long pieces of pink material decorated with white feathers with black and orange tips. On his lower body he wears a long pale yellow skirt, decorated with three horizontal green and red lines. Two pieces of fur or material appear on the left and right of the skirt hem, they are yellow with red at the tip, and appear tail-like while swaying with the dancer’s movement. On his feet are yellow moccasins with pale yellow soles, a green and red design on the lower ankle portions, and red and blue diamond shapes on the shaft portions which cover the dancer’s shins.

The most dramatic thing the dancer wears is his headdress. The headdress appears about two feet tall and is likely carved from wood. Some viewers might relate its shape to American football goal posts. The base of the headdress, which rests on the dancer’s head, is a slightly curved black triangle. Above the triangle and balanced on its tip stands the goal post-style structure, a horizontal bar with two vertical arms extending on the left and right. At either end of the horizontal beam, the vertical arms are painted yellow on the bottom half and green on the top half. They are decorated with diamond shapes and are tipped with feather-shaped tips. In the middle of the horizontal beam, a rectangle shape extends straight upward, topped by four thin sticks with feather-shaped tips.

The elaborate nature of the dancer’s regalia matches the high energy and vigor of his movements.

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Gallup’s New Deal art collection consists of over 120 objects created, purchased, or donated from 1933 to 1942 through New Deal federal art programs administered by President Franklin D. Roosevelt to support artists during the Great Depression.

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