Nikyle Begay, a member of the Diné community identified with the Todích’ííníí – Bitter Water, Totsohní – Big Water, Deeshchiinii – Red Streak People, and bįįh bitoodni – Deer Springs People clans, is a dedicated shepherd, weaver, and educator based in the Navajo Nation at Sunrise Springs, Arizona. From birth, Begay was intertwined with the life of sheep, as their grandmother followed a tradition by burying their umbilical cord in the family’s sheep corral, hoping they would continue the family’s shepherding legacy. This early connection to sheep led Begay to embrace weaving, where they have passionately advocated for the preservation of ancestral Navajo Churro sheep and the revival of intricate historic twill patterns.
Begay’s weaving practice is deeply rooted in historical techniques, particularly the twill method used for crafting saddle blankets. Their exceptional skill in reconstructing complex patterns has helped revive weaving traditions that were overshadowed by the trading post economy, which favored regional styles for tourist and non-Native markets over traditional durable designs. The trading post system historically prioritized the aesthetic preferences of settlers, sidelining the robust twill weavings. Begay is among a new wave of weavers who are bringing back Diné techniques and aesthetics that had been marginalized by colonial market demands.
In their work, Begay emphasizes a nonhierarchical approach, with their weavings showcased in museum exhibitions like Smoke in Our Hair at the Hudson River Museum, as well as being used practically, such as on horseback. This duality underscores their role as a cultural steward, blending artistic practice, education, and everyday application to preserve and pass on cultural knowledge. In a conversation with Moonoka Begay and Zach Feuer, conducted over Zoom, Nikyle Begay discussed their upbringing, the process of disentangling weaving from colonial influences, and the reclamation of queer Diné identity. This interview has been edited for brevity and clarity.
