The 47th Annual Indian Market at S’edav Va’aki Museum

Few events capture the vibrancy of Indigenous artistry and heritage, like the Annual Indian Market at S’edav Va’aki Museum in Phoenix, Arizona. As a professional photographer and seasoned travel writer, I’m always looking for authentic cultural experiences that tell a story—through people, places, and tradition.

At the 47th Annual Indian Market, I immersed myself in handmade crafts, intricate beadwork, contemporary Indigenous art, and live performances that showcased the diverse traditions of Native cultures.

The rhythmic sounds of traditional drumming filled the air while the scent of freshly made frybread drifted through the market. Everywhere I turned, I found visual treasures—handwoven baskets, finely tooled silver jewelry, colorful paintings, and intricately decorated pottery—each piece reflecting centuries-old techniques passed down through generations.

The most memorable part of my first Indian Market was interacting with the artists. Most were eager to share their expertise and history, enthusiastically educating those unfamiliar with their customs and traditions.

A Sacred and Historic Setting

The S’edav Va’aki Museum, formerly known as the Pueblo Grande Museum, is more than a venue for the Indian Market. It serves as a site of profound historical and cultural significance for Indigenous peoples of the region. S’edav Va’aki means “Central Mound” in the O’odham language.

S’edav Va’aki Museum, located beside Sky Harbor International Airport in Central Phoenix, is built around a 1,500-year-old Hohokam platform mound, representing the advanced civilization that once thrived in the Salt River Valley. One of the largest preserved structures of its kind, the mound served ceremonial, political, and communal purposes.

The ancestors of today’s O’odham tribes, the Hohokam people, were master engineers known for their extensive canal systems, which made desert farming possible long before European contact. When the Hohokam settled here, the Salt River ran year-round. It fed the most extensive canal system in prehistoric America. The river dried up only after the addition of modern-day dams.

As I walked through the museum’s outdoor trails, I could feel the history and imagined the activities of the Indigenous people of the day. For Native artisans, dancers, and storytellers, the mound is a spiritual and cultural backdrop.

Pithouse ©Julie Diebolt Price

Pithouses

Replica pithouses (the earliest homes at Pueblo Grande) on the grounds were informative and put things into perspective of how Native Americans lived from AD 450.

Adobe mud covered the wood frames of the houses built in shallow pits. These one-room homes arranged around a shared courtyard had a low entryway with a small door, probably for security.

Ki:Him

Ki:Him (pronounced kee-heem) translates to “village” and refers to a traditional settlement or dwelling. At the Indian Market, over 100 Native American artists exhibited in the Ki:Him showcasing fine art, crafts, and cultural items, including paintings, sculptures, jewelry, and baskets. Some came from as far away as Canyon De Chelly, Arizona, and Pueblos in New Mexico; many were locals.

Museum Renovations in 2024

In 2024, the S’edav Va’aki Museum underwent significant renovations to enhance the visitor experience and preserve cultural heritage. The first major update in five decades, the refurbishment included introducing the O’odham people as visitors enter the lobby. Most beneficial to me was the S’edav Va’aki pronunciation recording that activated when pressing a big red button.

Exhibit space revitalization included changes to the “Dig It” gallery, which remained unchanged for 20 years before it transformed into a rotating exhibit space. The new exhibit “Following Their

Roots” explores Indigenous farming techniques across Arizona’s diverse ecosystems.

Primitive Dolls ©Julie Diebolt Price

Cultural and Artistic Highlights of the Market

Lawrence Melendez shared the story of what he called primitive dolls. These simple yet expressive dolls are more than playthings. They are cultural tools that teach children traditional values, life lessons, and survival skills. Melendez learned to carve and paint the dolls from his uncle 35 years ago.

In Native American communities, raising children is a shared responsibility. Uncles play an essential role by showing care and respect for elders and the strong connections central to Native traditions. Uncles act as mentors and father figures, teaching their nieces and nephews traditional knowledge, skills, stories, and spiritual practices. Through this, they help pass down cultural values and wisdom.

Cory Paul Hubbard, a member of the Salt River Pima-Maricopa Indian Community, demonstrated how simple it is to create a pinch bowl. Since I recently started studying pottery making, I’ve developed a greater appreciation for its expertise and craftsmanship. Seeing the process firsthand inspired me to make my own pinch bowls in the Native American style.

Another fascinating demonstration showcased the delicate process of shell etching. Using a brush, the artist applied lacquer on the shells and then babysat them in an acid bath for up to seven hours to ensure the acid didn’t eat a hole through the shell. I watched as the fine details emerged.

The Navajo weaving demonstration wasn’t about watching someone work at the loom but understanding its meaning. Emily Malone, a Navajo weaver from Chinle, Arizona, always includes her signature feather at the bottom of every one of her pieces–from table mats to wall hangings and rugs. The larger works take months to complete.

Navajo Rug Under Creation ©Julie Diebolt Price

Apache Tribal Dance Performance

A highlight of the event was the Apache tribal dance performance. Tony Duncan Productions and the Duncan family shared intertribal dances typically performed at powwows and social gatherings. The family’s costumes were adorned in elaborate regalia featuring intricate beadwork, fringed garments, and feathered headdresses.

The Jingle Dress Dance, also known as the Healing Dress Dance, is a tale of a little girl named Maggie White who was very ill. Her grandparents took her to native and non-native doctors, but none of them could cure her. One night, her grandfather had a dream. It was a dream for dancing and the dress of teardrops. She was happy and healthy.

The following day, he asked the grandmothers to make her this special dress. They put it on her, and she danced around the arbor four times. The first, she was held; the second, she had help by assistance; the third, she could walk; the fourth, she could dance.

Apache Tribal Dancers ©Julie Diebolt Price

My Biggest Takeaway

Slow down and observe the details that make each art form unique. I liked to focus on the hands of the artisans as they worked the raw materials and the expressions of those eager to share.

Attending the 47th Annual Indian Market was more than just an opportunity to see authentic Indigenous art. It was an invitation into the heart of cultural preservation, storytelling, and artistic passion. Every piece of artwork, every demonstration, and every conversation held a connection to tradition, family, and history.

Experiencing all of this on the sacred land of S’edav Va’aki made it even more powerful.

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