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american arts daily news, presented by
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Colgate
to celebrate King's legacy with range of activities
Colgate University - Hamilton,NY,USA
...
1 pm, African, Latin, Asian, & Native American (ALANA)
Cultural Center: "The Arts and Activism." Jaime Nolan, director
of the ALANA Cultural Center ...
Stuart
News events calendar: January 8
Sebastian
Sun - Sebastian,FL,USA
... Eagle Pipe Dancers: Native
American dancers, fifth annual New Year's Social and Mini Pow-Wow
... Lucie Yacht Club, arts and crafts and flea market, 9
am-3 pm Jan. ...
This once a day Google Alert is brought to you by Google.
From: Wells Mahkee, Jr.
[mailto:wpmahkee@yahoo.com]
Sent: Friday, January 07, 2005 11:50 AM
Subject: Zuni Pueblo Band
Dear friends,
The Zuni Pueblo Band has been invited to march in the Presidential Inaugural Parade on January 20th. The band considers this a great honor and has the opportunity to showcase Zuni Pueblo on a national level. They are presently attempting to raise approximately $22,000 to take care of travel and motel expenses.
The band will be holding a benefit concert here in Zuni on Sunday, January 9th, time and location TBA...
If you would like to make a monetary donation to the band, you are free to do so. For further information, you may contact either myself at wpmahkee@yahoo.com or Raeleva Sanchez at rae_who@yahoo.com. The band is included in the listing of parade participants at this link. You can also help by forwarding this message to your friends, family and other e-mail contacts.
Elahkwa/Thank you!
Wells
You can help support this effort by
Bidding on this painting
Date: Fri, 07 Jan 2005 01:56:00 -0000
Three Saturdays,
Learn about the indigenous cultures of the Northeast through lectures,
performances, and films. Journey through "Native New York" with Evan
T. Pritchard, founder of the Center for Algonquin Culture, and learn
how Broadway used to be the Mohican Trail. Enjoy the Mohawk Singers
and Dancers, and take a look down the "Pow Wow Highway" with actor
Gary Farmer, and much more.
For details,
visit
Date: Thu, 06 Jan 2005 02:21:54 -0000
~LEONARD PELTIER's Magnificent `Political Platform'~
from the brand new book ~HAVE YOU THOUGHT of LEONARD PELTIER LATELY?~
LEONARD PELTIER—2004 Presidential Candidate, 2004 Nobel Peace Prize
nominee, humanitarian, philosopher, author, poet, Pipe-carrier,
political
prisoner, archetypal victim, patriot of the Indian People, hero of
Indigenous Peoples everywhere, accomplishes amazing things from his
5-1/2x9-foot cinderblock cell at USP Leavenworth.
Here, as Holiday Gift to humanity,I pass on this `political platform'
that
LEONARD wrote in the year 2000, when we ran a national Presidential
write-in campaign for Leonard (he publically withdrew in October 2000,
as
Ralph Nader should have graciously and sensibly done, so he wouldn't
draw
votes away from Gore—a little-known story among many others in the new
book ~HAVE YOU THOUGHT of LEONARD PELTIER LATELY?~*).
THIS TRULY MAGNIFICENT platform for the (nonexistent, alas) `Leonard
Peltier Freedom Party' is vital reading at this critical moment in our
Nation's history. It shows us what true leadership—-what one Peltier
supporter has called "The True Leader"—_might actually be.
Above all, true leadership must come from both the heart and the head,
and
be in tune with all Creation. Here are the words of one such True
Leader-—our brother Leonard Peltier, USP #89637-132, now serving his
29th
year in Leavenworth for a crime the whole world—-and especially the
FBI—knows he did not commit.
PLATFORM for a LEONARD PELTIER FREEDOM PARTY
PLANK ONE:
"Our work will be unfinished until not a single
human being is hungry, not one woman is battered,
not one child is abused, not one innocent languishes in
prison and no one is persecuted for his or her beliefs."
PLANK TWO:
"We need not courtrooms but schoolrooms, not jails and
prisons but decent homes and jobs for the millions of every
color--including many, many white people--who are being
denied their human and civil rights every day of every week
by the special interests who are trying to steal America.
Government must be by, of and for the People, not by, of
and for the special interests. Read your own Declaration of
Independence and Constitution, America. It's all there."
PLANK THREE:
"If building more prisons for those of us who are unlike
yourselves is to be your strategy, then, I promise you, you
cannot build enough prisons to hold us all. I ask America,
as one familiar with your darkest side as well as with your
shining possibilities, rethink this current craze for building
ever more prisons for ever more of those of us born different
than you. We don't need more prisons. We need more
compassion. That compassion is our own highest
possibility."
PLANK FOUR:
"Democracy means difference, not sameness. Allow us our
differences as we allow you yours. We don't conflict with
each other; we complement each other. We need each other.
Each of us is responsible for what happens on this Earth.
We are each absolutely essential, each totally irreplaceable.
Each of us is the swing vote in the bitter election battle now
being waged between our best and our worst possibilities.
How are you going to cast your all-important ballot?
Humanity awaits your decision.
PLANK FIVE:
"WE MUST EACH BE AN ARMY OF ONE in the endless
struggle between the goodness we are all capable of and the
evil that threatens us all from without as well as from
within. Yes, we can each be an army of one. One good
man or one good woman can change the world, can push
back the evil, and their work can be a beacon for millions,
for billions. Are you that man or woman? If so, may the
Great Spirit bless you. If not, why not?We must each of us
be that person. That will transform the world overnight.
That would be a miracle, yes, but a miracle within our
power, our healing power.
To heal will require real effort, and a change of heart,
from all of us. To heal means that we will begin to look
upon one another with respect and tolerance instead of
prejudice, distrust and hatred. We will have to teach our
children--as well as ourselves--to love the diversity of
humanity.
To heal we will have to make a conscious effort to live as
the Creator intended, as sisters and brothers, all of one
human family, caretakers of this fragile, perishable and
sacred Earth. To heal we will have to come to the
realization that we are all under a life sentence together on
this planet...and there's no chance for parole.
We can do it. Yes, you and I and all of us together. Now is
the
time. Now is the only possible time.
Let the Great Healing begin.
--Leonard Peltier, USPrisoner#89637-132
If you would to join LPNET for occasional messages from Harvey Arden by
&
about Leonard & kindred subjects, please reply with YES I'LL JOIN LPNET
on
the subject line. I ask each of you personally to join & FWD these
messages to folks on your own list. Become part of the history of your
own
times!
Also please visit Leonard's own website: www.leonardpeltier.org
THE NEW BOOK ON LEONARD PELTIER IS NOW OUT!
Order copies NOW for Holiday gifts!!
~HAVE YOU THOUGHT of LEONARD PELTIER LATELY?~
Please Order copies NOW for yourself & your friends at:
www.haveyouthought.com
or send a check for $23+$5=$28 per copy ($5 s/h on one copy; $2 s/h
each
add'l copy) made out to 'Have You Thought' & mail to:
For those who may have an interest, there's a new interview with author
Harvey Arden about the Wisdomkeepers, Leonard Peltier, Australian
Aboriginals & the state of the world...now archived at:
Date: Sat, 1 Jan 2005 11:57:03 -0700
From Nov. 26, 2004 through Jan. 30, 2005, the Peabody Essex Museum
hosts Our Land: Contemporary Art from the Arctic, the first major
museum exhibition of contemporary art from Canada's newest territory,
Nunavut. The exhibition includes more than 50 artworks-from
sculpture, prints, and textile art to photography, video, and sound
installations-all created in the last half-century, a time of
burgeoning artistic and cultural awareness and pride among Canada's
Inuit. Our Land is a collaborative project of the Peabody Essex
Museum, the Government of Canada, and the Government of Nunavut.
Newspaper coverage
Today, Inuit art includes a wide range of media and can be found in
public and private collections in Canada and other parts of the
world. Germaine Arnaktauyok, Kenojuak Ashevak, Pitseolak Ashoona,
Pudlo Pudlat, Jesse Oonark, Zacharias Kunuk, and Lucie Idlout are
just a few of the artists who have contributed to a vital body of
sculpture, drawing, printmaking, textile arts, and work in other
media, that are featured in Our Land . The outstanding creative
achievements of such artists have helped give voice to Inuit values
and beliefs and spurred economic and social development in their
communities. Our Land aims to introduce the art and unique worldview
of Canada's contemporary Inuit to visitors of the Peabody Essex
Museum.
In addition to the exhibition, catalogue, and DVD, the museum will
host an active calendar of public programming featuring Inuit art and
culture, including films, lectures, artist demonstrations, online
exhibitions, and dance and musical performances.
Our Land: Contemporary Art from the Arctic , has received financial
support from the Government of Nunavut's Department of Culture,
Language, Elders and Youth, the Government of Canada, the Constance
Killam Trust, and the Elizabeth Killam Rodgers Trust.
Visit the online exhibition
Nunavut Circumpolar (Nunavut & the circumpolar regions)
http://groups.yahoo.com/group/nunavutcircumpolar/
To subscribe via e-mail, send a blank message to:
Thebacha List (Fort Smith & the NWT)
http://groups.yahoo.com/group/Thebacha/
To subscribe via e-mail, send a blank message to:
Northern Clipper (Business in the North)
http://groups.yahoo.com/group/Northern-Clipper/
To subscribe via e-mail, send a blank message to: Subject: Tlingit Whale House Series
Date: Mon, 3 Jan 2005 17:02:28 -0700
From: George Lessard
Nine years ago, brilliantly carved Tlingit artifacts linking the
Chilkat people with their ancestors were sold and removed from the
village of Klukwan. Since then, families, neighbors and lawyers have
fought bitterly over ownership. No one sees them now.
By Marilee Enge
Whale House Series
Series At A Glance
See also
Date: Sat, 01 Jan 2005 16:54:45 -0000
DAGGETT - A break-in discovered Christmas Day has robbed the museum in
this Mojave Desert town of its most prized
possessions, including antique dolls and American Indian artifacts on
loan from local families.
The thieves methodically cleared out glass display cases in the
Daggett Museum, said curator Beryl Bell, who discovered the
burglary when she went to feed her goldfish over the holiday.
"It's really heartbreaking for a small museum," Bell said Wednesday.
The stolen Native American artifacts include a basket appraised at
$3,500, a Navajo sash and two large clay Acoma pots that
had never been appraised but are very valuable, said Leslie Lloyd, the
president of the Daggett Historical Society, which
runs the museum.
The thieves also took antique dolls, model trains and other toys,
farming implements and examples of rocks from the area,
Lloyd said.
The thieves ignored the computers and copy machine in the office of a
local government agency that shares the low-slung
modular building with the museum, but they stole $2 in coins from
Lloyd's desk and a museum donation jar that contained
about $10, she said.
Despite the theft of the change, Lloyd believes the burglars were
experienced, as they left no fingerprints and took steps
to disable the alarm system -- even though it wasn't operational at
the time of the break-in.
"This appeared to be a very neat operation and it appeared they had a
shopping list," she said.
The historical society has notified the Antique Tribal Art Dealers
Association, which plans to post news of the break-in on
its Web site and will inform its 250 members by e-mail to look out for
the stolen artifacts, said Alice Kaufman, the
organization's executive director.
The historical society is offering a $500 reward to anyone who can
provide information leading to the arrest and conviction
of those responsible for the theft.
Hero, Hawk, and Open Hand CHICAGO - A translucent, larger-than-life hand with long, tapering
fingers lends an air of mystery to a new exhibit of ancient and
little-known tribal art at the Art Institute of Chicago.
"Hero, Hawk, and Open Hand" opened Nov. 20 and runs through Jan. 30,
2005. It is scheduled to be shown at The St. Louis Art Museum from
March 4 to May 30, 2005, and at the Smithsonian National Museum of
Natural History from early July to late September.
Navajo artist Teddy Draper Workshops
Workshop information for 2005
March 15-19, instructor Elmer Yazzie, "cut yucca brush" watercolor technique.
May 16-20, instructor Teddy Draper, Jr., pastel techniques, insights into art, culture, and connecting to nature.
June 7-11, Indian Jewelry Basics (class limited to 4 students).
June 7-11, instructor Teddy Draper, Jr., pastel techniques, insights into art, culture, and connecting to nature.
Web Sites: Literacy in Indigenous Communities by L. David van Broekhuizen, Ph.D. (2000) Essay on the Zuni World View
Cushing also cited an
incidence where he showed a pole that accompanies a theodolite to an old Zuni
man and asked him what he thought the name of it was. In response the old man inquired as to the
use
of the
item. After briefly describing the
implementation of the device the old man provided a rather lengthy
sentence-word that Cushing translated as "heights of the world progressively
measuring stick". The next day Cushing
took the pole to the extreme corner of the pueblo and began "to flourish it
around" until a middle-aged man relented to curiosity and asked what it
was. Cushing then provided the Zuni
name he had learned the day before and the man promptly requested, "Can they
actually tell how far up and down journeying the world is?"
[105].
Indian band seeks to regain its birthright
Wintu Indians Notices:
Registration for the 31st Annual 2005 Bilingual Multicultural Education
and Equity Conference is now Haidu Language Project Currently, only seven Kasaan Haidas speak the Kasaan Haida dialect with
varying degrees of fluency--all elders over the age of 75. This summer, I urged the Kasaan Haida
Heritage Foundation (KHHF) to allow me to utilize the foundation's nonprofit
status to seek funding and conduct projects that preserve our elders'
knowledge. In September, we created the position of Media Specialist in which I intend
to raise money and interview our elders, especially in regards to the Haida
language. I will produce, direct, and coordinate a video documentary to raise
awareness and archive the language. I plan to make the results available in
digital formats on the KHHF website. Donations received from now until December 31, 2004 will earn the donor
a Grassroots Founder designation. I ask for a relatively small gift of 25 to 100
dollars. Donor's names will appear in the KHHF newsletter and donations
will be eligible for a tax deduction for this year. Grassroots Founders get
special on-screen mention in the documentary. Coming of the Hopi from the Under World- Hopi
A long time ago the people were living below. There were a great many
of
them, but they were often quarreling with one another. So the chiefs,
who
were worried and angry over this, had a council and concluded that they
would try to find another place to live. So they first sent out a bird
named
Mótsni, to find a place of exit from this world. He flew up high but
was too
weak and returned without having been successful. They then sent the
Mocking-bird (Yáhpa). He was strong and flew up very high and found a
place
of exit. Returning, he reported this to the chiefs.
In the meanwhile the chiefs had caused a great flood. Many
Bálölölkongwuus
came out of the ground with the water, and a great portion of the
people
were destroyed. When the Mocking-bird had made his report to the chiefs
the
latter said: "All right, that is good. We are going away from here.''
They
then announced through the crier that in four days they would leave,
and
that the women should prepare some food, and after they had eaten on
the
fourth day they would all assemble at the place right under the opening
which the Mocking-bird had found. This was done.
The chiefs then planted a pine-tree (calávi), sang around it, and by
their
singing made it to grow very fast. It grew up to the opening which the
Yáhpa
had found, and when the chiefs tried and shook it, they found that it
was
fairly strong, but not strong enough for many people to climb up on,
especially its branches, which were very thin. So they planted another
kind
of pine (lö'oqö), sang around it, and made it also to grow up fast.
This
tree and its branches was much stronger than the other, but while the
first
one had grown through the opening, this one did not reach it entirely,
its
uppermost branches and twigs spreading out sideways before they reached
the
opening. Hereupon they planted in the same manner a reed (bákavi),
which
proved to be strong, and also grew through the opening like the calávi.
Finally they planted a sunflower (áhkawau), and as it was moist where
they
planted it, it also grew up very fast and to a great size, its leaves
also
being very large; but the sunflower did not reach the opening. Its very
large disk protruded downward before it reached the opening. The
sunflower
was covered with little thorns all over. Now they were done with this.
Hereupon Spider Woman, Pöokónghoya, his brother Balö'ongawhoya, and the
Mocking-bird that had found the opening, climbed up on the calávi in
the
order mentioned. After they had emerged through the opening,
Pöokónghoya
embraced the calávi, his brother the reed, both holding them firmly
that
they should not shake when the people were climbing up. The
Mocking-bird sat
close by and sang a great many songs, the songs that are still chanted
at
the Wúwûchim ceremony. Spider Woman was also sitting close by watching
the
proceedings. Now the people began to climb up, some on the calávi,
others on
the lö'oqö, still others on the ahkavu and on the bákavi. As soon as
they
emerged, the Mocking-bird assigned them their places and gave them
their
languages. To one he would say: "You shall be a Hopi, and that language
you
shall speak." To another: "You shall be a Navaho, and you shall speak
that
language." And to a third: "You shall be an Apache, a Mohave, a
Mexican,",
etc., including the White Man. The language spoken in the underworld
had
been that of the following Pueblo Indians: Kawáhykaka, Ákokavi,
Kátihcha,
Kótiyti; these four branches of the Pueblo Indians speaking essentially
the
same language.
In the under-world the people had been very bad, there being many
sorcerers
and dangerous people, just like there are in the villages to-day who
are
putting diseases into the people. Of these Pópwaktu, one also found his
way
out with the others. The people kept coming out, and before they were
all
out the songs of the Mocking-bird were exhausted. "Hapí! pai shúlahti!
Now!
(my songs) are gone," and at once the people who were still on the
ladders
commenced returning to the under-world, but a very great many had
already
come out, an equally large number having remained in the under-world,
but
the Kík-mongwi from below was with the others that came out of the
kiva. The
people who had emerged remained around the sípapu, as the opening was,
and
has ever since been called.
At this time no sun existed and it was dark everywhere. The half-grown
son
of the Kík-mongwi took sick and died, so they buried him. His father
was
very angry. "Why has some Powáka come out with us?" he said. "We
thought we
were living alone and wanted to get away from those dangerous men. That
is
the reason why we have come out, and now one has come with us."
Hereupon he
called all the people together and said: "On whose account have I lost
my
child? I am going to make a ball of this fine com-meal and throw it
upward,
and on whose head that ball alights, him I shall throw down again
through
the sípapu." Hereupon he threw the ball upward to a great height, the
people
all standing and watching.When it came down it fell upon the head of
some
one and was shattered. "Ishohí! so you are the one," the chief said to
him.
But as it happened this was the chief's nephew (his younger sister's
son).
"My nephew, so you are núkpana (dangerous); why have you come out with
us?
We did not want any bad ones here, and now you have come with us. I am
going
to throw you back again." So he grabbed him in order to throw him back.
"Wait," he said, "wait! am going to tell you something." "I am going to
throw you back," the chief replied. ''Wait," his nephew said again,
"until I
tell you some thing. You go there to the sípahpuni and you look down.
There
he is walking." "No, he is not," the chief replied, "I am not going to
look
down there, he is dead." But he went and looked down and there he saw
his
boy running around with other children, still showing the signs of the
head
washing which the Hopi practice upon the dead immediately after death.
"Yes,
it is true, it is true," the chief said, "truly there he is going
about."
"So do not throw me down there," his nephew said, "that is the way it
will
be. If any one dies he will go down there. Let me remain with you, I am
going to tell you some more." Then the chief consented and let his
nephew
remain.
It was still dark, and as there was no sunshine it was also cold, and
the
people began to look for fire and for wood, but as it was so dark, they
could find very little wood. They thus lived there a while without
fire, but
all at once they saw a light in the distance and the chief said: "Some
one
go there and see about it." When they had still been in the lower world
they
had occasionally heard footsteps of some one up above. So some one went
in
search of the light, but before he had reached it he became tired and
returned. Another was sent and he got there. He found a field in which
corn,
watermelons, beans, etc., were planted. All around this field a fire
was
burning, which was kept up by wood, and by which the ground was kept
warm so
that the plants could grow. The messenger found a very handsome man
there.
He had four strands of turquoise around his neck and very large
turquoise
ear pendants. In his face he had two black lines running from the upper
part
of his nose to his cheeks, and made with specular iron. By his side was
standing his friend (a mask) which looked very ugly, with large open
eye-holes and a large mouth. So it was Skeleton (Másauwuu) whom they
had
heard walking about from the other world. "Who are you?" Skeleton asked
the
messenger. ''Where do you come from?" "Yes," he replied, "we have come
from
below, and it is cold here. We are freezing and we have no fire.
"You go and tell your people and then you all come here to me." So he
returned and the people asked him: "Now, what have you found out? Have
you
found anybody?" "Yes," he said, "I have found somebody and he has a
good
crop there." Skeleton had fed the messenger with some of his good
things
which he had there. The people had not brought much food with them from
below and so they had not very much left. The people were very glad for
this
invitation and went to the place where Skeleton lived. But when they
saw the
small field they thought: "Well, that will be gone in a very short
time,"
but Skeleton always planted and the food was never gone. When they came
there they gathered some wood and built a fire and then they warmed
themselves and were happy. Skeleton gave them roasting ears, and
watermelons, melons, squashes, etc., and they ate and refreshed
themselves.
Some of the plants were very small yet, others still larger, so that
they
always had food.
So the people remained there, made fields, and they always kept up a
fire
near the fields, which warmed the ground so that they could raise a
crop.
When the crop had matured they gathered it all in, and when they now
had
provisions they planned to start off again, but there was still no sun,
and
it was cold. So they talked about this, saying: "Now, it ought not
remain
this way." So the chiefs all met in council with Skeleton, and talked
this
matter over in order to see whether they could not make a sun as they
had
had it in the underworld, but they did not just know how to do it. So
they
finally took a piece of dressed buffalo hide (hâkwávu), which they cut
in a
round shape, stretched it over a wooden ring, and then painted it with
white
dû'ma (kaoline). They then pulverized some black paint (tóho)[1] with
which
they drew a picture of the moon around the edge of this disk,
sprinkling the
center of the disk with the same black color. They then attached a
stick to
this disk. Hereupon they stretched a large piece of white native cloth
(möchápu) on the floor and placed this disk on it. All these objects
they
had brought with them from the under-world.
They then selected some one (the story does not say whom) and directed
him
to stand on this moon symbol. Hereupon the chiefs took the cloth by it,
corners, swung it back and forth, and then threw it upward, where it
continued swiftly flying eastward into the sky. So the people sat and
watched. All at once they noticed that it became light in the east.
Something was burning there as they thought. The light became brighter
and
brighter, and something came up in the east. It rose higher and higher,
and
where the people were it became lighter and lighter. So now they could
go
about and they were happy. That turned out to be the moon, and though
it was
light, the light was only dim and the people , when working in the
fields,
would still occasionally cut off their plants because they could not
see
very distinctly, and it was still cold and the people were freezing,
and
they still had to keep the ground warm with fires. So. the people were
thinking about it. The chiefs again met in council, and said: "Ishohí!
It is
better already, it is light, but it is not quite good yet. it is still
cold.
Can we not make something better?" They concluded that perhaps the
buffalo
skin was not good, and that it was too cold, so they decided that this
time
they would take a piece of möchápu. They again cut out a round piece,
stretched it over a ring, but this time painted it with oxide of copper
(cákwa). They painted eyes and a mouth on the disk, and decorated the
forehead of what this was to resemble in yellow, red, and other colors.
They
put a ring of corn-husks around it, which were worked in a zigzag
fashion.
Around this they tied a táwahona, that is, a string of red horse-hair,
finally thrusting a number of eagle-tail feathers into a corn-husk
ring,
fastened to the back of the disk. In fact, they prepared a sun symbol
as it
is still worn on the back of the flute players in the Flute ceremony.
To the
forehead of the face painted on the disk they tied an abalone shell.
Finally
the chief made nakwákwosis of the feathers of a small yellowish bird,
called
iráhoya, which resembles a fly-catcher, but has some red hair on top of
the
head.
Of these nakwákwosis the chief tied one to the point of each eagle-tail
feather on the sun symbol. They then placed this symbol on the white
cloth
again, again asked some one to stand on it, and, as in the case of the
moon,
they swung the cloth with its contents into the air, where it kept
twirling
upward and upward towards the east. Soon they again saw a light rise in
the
east. It became brighter and brighter and warmer. That proved to be the
sun,
and it had not come up very high when the Hopi already felt its warmth.
After the sun had been created and was rising day after day, the people
were
very happy, because it was now warm and very light, so that they could
attend to their work very well. The children were running around and
playing. They were now thinking of moving on. They had a great many
provisions by this time, and so the chiefs again met in a council to
talk
the matter over. "Let us move away from here," the chiefs said; "let us
go
eastward and see where the sun rises, but let us not go all together.
Let
some take one route, others another, and others still further south,
and
then we shall see who arrives at the place where the sun rises first.
So the
people started. The White People took a southern route, the Hopi a more
northern, and between them traveled what are now the Pueblo Indians of
New
Mexico. Often certain parties would remain at certain places, sometimes
for
several years. They would build houses and plant.
Soon they became estranged from each other, and would begin to attack
and
kill one another. The Castilians were especially bad, and made wars on
other
people. When starting, the chiefs had agreed that as soon as one of the
parties should reach the place where the sun rises, many stars would
fall
from the sky, and when that would happen all the traveling parties
should
remain and settle down where they would be at that time. The White
People
having taken a southern route, were more gifted than the other people.
When
they had become very tired carrying their children and their burdens,
one of
the women bathed herself and took the scales that she had rubbed off
from
her body and made horses of these scales. These horses they used after
that
for traveling, so that they could proceed very much faster. In
consequence
of this they arrived at the place where the sun rises before any of the
other parties arrived there. And immediately many stars fell from the
sky.
"Aha!" the people said who were still traveling; "Some one has already
arrived." Hereupon they settled down where they were. It had also been
agreed upon before the different parties started, that whenever those
who
did not reach the place where the sun rises should be molested by
enemies,
they should notify those who had arrived at the sunrise, and the
latter,
would then come and help them.
H. R. Voth, The Traditions of the Hopi, Field Columbian Museum
Anthropological Series, 1905
From: "ghwelker"
Subject: Living in America: The American Indian Experience
The American Museum of Natural History
presents
Living in America: The American Indian Experience
January 15, 22 and 29
1:00-5:30 p.m.
Kaufmann Theater, first floor
or
call 212-769-5315.
From: borreror@amnh.org
From: "ghwelker"
Subject: ~LEONARD PELTIER’s Magnificent ‘Political Platform’
[Passed on by Harvey Arden 12-13-04]
harvey@haveyouthought.com
~
A Living Memoir with Artifacts
by Harvey Arden, Edited & Compiled by George Bowe Blitch
with companion website www.haveyouthought.com
& 8 full-color pages of recent paintings by Leonard Peltier
with Special Contributions by:
Leonard Peltier
George Blitch
Barry Bachrach
Standing Deer
Arthur J. Miller
Lawrence Sampson
Carter Camp
Stephanie M. Schwartz
Keith Rabin
Have You Thought
1410 Blalock Road, #420
Houston, TX 77055
http://www.prophecykeepers.com/arden.html
From: George Lessard
Subject: Our Land - Contemporary Art from the Arctic
Our Land - Contemporary Art from the Arctic
THROUGH JANUARY 30, 2005
Peabody Essex Museum [excerpt]
with links to these resources and art sites:
INUKSUK
Video interview with Peter Irniq: Constructing an Inuksuk at the
Peabody Essex Museum, 2004
BACKGROUND INFORMATION ON NUNAVUT LAND, GOVERNMENT, CULTURE AND ART
Government of Nunavut website
Nunavut travel planner
Building Nunavut: A Story of Inuit Self-Government
Nunavut Planning Commission website
Inuit Sculpture
INUIT TRADITIONAL KNOWLEDGE | INUIT QAUJIMAJATUQANGIT
What is Inuit Qaujimajatuqangit?
Interviewing Inuit Elders: Nunavut Arctic College Oral Traditions
Project
INUKTITUT LANGUAGE AND SYLLABARY
A guide to the Inuktitut Syllabery writing system
Writing in Inuktitut: An Historical Perspective
Inuktitut remains strong and alive
Writing in Inuktitut: Try It Yourself
Arctic Life, Arctic Language
ORGANIZATIONS THAT PROTECT AND PROMOTE INUIT CULTURE AND ART
Inuit Heritage Center in Baker Lake
Kitikmeot Inuit Association
Qikiqtani Inuit Association
Kivalliq Inuit Association
Index of Arctic Cooperatives Limited (many in Nunavut)
Inuit Tapiriit Kanatami (Canadian organization representing Inuit in
Nunavut)
Nunavut Tunngavik Incorporated
Uqqurmiut Centre for Arts and Crafts
Nunavut Arts and Crafts Association
The Avataq Cultural Institute
CELEBRATING INUIT ART
Canandian Museum of Civilization, Iqqaipaa: Celebrating Inuit Art
Nunavut Art Exhibition
The World Around Me: Inuit art collection at University of Lethbridge
Cape Dorset Artists
The Faye and Bert Settler Collection of Inuit Art at the Winnipeg Art
Gallery
SONG
Interview With Throat Singing featuring Tanya Tagaq Gillis and Celina
Kalluk, January 9, 2003
Inuit Throat-Singing
Inuit Throat Singing of the Arctic Circle
First Indigenous Music Festival of the Americas
Lucie Idlout: Songs of the First People (interview)
Lucie Idlout website
Susan Aglukark website
Qimuk Music Incorporated
Inuit Music article written by Malaspina College student
Tanya Tagaq Gillis
Musical Memories: Drum Dance of the Copper Inuit
ART FROM NUNAVUT | IN THE NEWS
Government of Canada Helps Nunavut Artists Work Together to Bring
Inuit and Aboriginal Art to New Audiences
Art employs 4,000 in Nunavut
Inuit Art: The New Reality
Sharing Their Thoughts: Pequot Museum exhibit shows art work by Inuit
women
MEDIA
Inuktitut online TV
Isuma: Independent Inuit Video-making
Nunatsiaq News
Northern News Services online
--
- -
GEORGE LESSARD
Information & Media Specialist
For more Northern information consider subscribing to:
nunavutcircumpolar-subscribe@yahoogroups.com
Thebacha-subscribe@yahoogroups.com
Northern-Clipper-subscribe@yahoogroups.com
Part 1 : The sale of the Whale House legacy.
Part 2 : Carving the masterworks.
Modern-day carvers and anthropologists follow the trail of a Tlingit
artist of profound skill and vision
Part 3 : A Tlingit buyer of Tlingit artifacts.
Tlingit nobleman Louis Shotridge, so of a keeper of the Whale House,
becomes a scholar of his people - and a controversial collector
Part 4 :A dealer's passion for the Whale House.
A Seattle art dealer's decade of obsession ends in bitterness and in
court.
Part 5 :Epic sage becomes litigation.
A tangle of bloodlines and birthrights is now a court's to unravel.
CHILKAT INDIAN VILLAGE, IRA v. JOHNSON Decision
Summary
In an action brought by the Chilkat Indian Village, IRA against an
individual and a corporation and individuals comprising the "Whale
House Group" for the conversion of tribal trust property and
violation of a tribal ordinance which prohibits the removal of such
property from the village without prior notification of and approval
by the Chilkat Village Council seeking declaratory and injunctive
relief and monetary damages, the Chilkat Indian Village Tribal Court
orders the return of artifacts and the payment of expenses for the
artifacts' return as well as costs and fees of litigation.
Full Text
From: "ghwelker"
Subject: Museum loses Indian artifacts to burglary
Museum loses Indian artifacts to burglary
ASSOCIATED PRESS
Glenn Welker
Editor, List Manager, and Web Master
for
Indigenous Peoples Literature
Early tribal artifacts put in spotlight
Little-known items focus of exhibit in Chicago
Chinle, Arizona (Canyon DeChelly)-
Seminars and workshops have limited capacity and usually require enrollment months in advance.
dechelly2000@yahoo.com
Indigenous Peoples Literature
Wisdom of the Old People
HTML Format (70K)
PDF Format(117K)
Excerpt (Complete article is available in PDF)
By David Whitney
At War Against Dam, Tribe Turns to Old Ways
Petition in Support of the Winnemem Wintu Tribe
available online
Teaching and Learning
Through a Cultural Eye
February 9-11, 2005
Sheraton Anchorage Hotel, Anchorage, Alaska
Sponsored by
Alaska Association for Bilingual Education
Native Educators' Association
Alaska State Department of Education and Early Development
For more information contact:
The Coordinators, Inc.
329 F Street, Suite 208, Anchorage, AK 99501
Phone: 907/646-9000 * Fax: 907/646-9001
Please send checks (payable to "KHHF") to:
Kasaan Haida Heritage Foundation
600 University Street, Suite 3010
Seattle, WA 98101-1129
Memo area on your check designating funds for
"Media Specialist/Projects".
Sincerely,
Frederick Olsen, Jr.
For more information, email me or go to
http://kavilco.com/pages/
aboutkhhf.html
KHHF is a registered 501(c)(3) nonprofit organization (EIN 92-0169568).
From Blue Panther Keeper of Stories.
posted by Amerindian Arts at 3:33 PM
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