Crackdown planned on fake Indian art
native
american arts daily news, presented by
amerindianarts.us
Native American Art at Michener Museum
Native American Art with a Fresh, Contemporary Perspective
Crackdown planned on fake Indian art
Traditional tourism
Cultural tourism and not casinos is the future of economic development for tribes in Indian Country, former U.S. Sen. Ben Nighthorse Campbell said Thursday at the Institute of American Indian Arts.
Honoring Po'pay's legacy
Pueblo original voices in new book
Finding A New Path . . . With The Help Of A Friend
Demand for eagle parts threatens recovery
Minnesota-PIPESTONE - The annual American Indian Art Show is an educational and entertaining event for the family. Art show, presentations and workshops on Native American history, culture and art are part of the fun, plus there's free entertainment, including Calvin Standing Bear's flute playing. The Friday- through-July-31 event takes place at Loon H. Moore Park. Call 507-825-3734 for information.
July 29 - 31, 2005 56th Annual Navajo Festival of Arts and Culture, Flagstaff, AZ. Salina Bookshelf will join more than 50 Navajo artists during this event at the Museum of Northern Arizona
Indian Market is Santa Fe's biggest single event and the largest show and sale of Native American art and craft in the world. There is no other gathering of Native American artists that offers the breadth of variety and depth of quality than this weekend in Santa Fe. This year marks the 84th annual Indian Market and will feature the work of 1,200 artists from all over North America. In addition to the actual market there are auctions, art shows, special gallery exhibits and artist receptions, musical events and festivities all over town leading up to the weekend show. For seasoned collectors and first-timers alike, Indian Market is a remarkable look at new and old art forms and one of Santa Fe's most memorable events, held this year on the Santa Fe Plaza, Aug. 20-21. Free admission. For information: (505) 983-7647; www.swaia.org.
Art entries needed for New Mexico State Fair
Native American art will be accepted at the Native American Art Gallery on Wednesday through Friday, Aug. 17-19, from 9 a.m. to 5 p.m. and on Saturday, Aug. 20, from 8 a.m. to 5 p.m. Dealers may pre-register between Tuesday and Friday, Aug. 9-12. Exhibits must have been produced by Native American Indians of federally regulated tribes.
For more information, go online at www.exponm.com, call Vigil-Eastwood at (505) 265-1791, extension 454 or e-mail her at ramonave@swcp.com.
OKLAHOMA—Murals by the celebrated Kiowa Five, a group of American Indian artists from Anadarko (pop. 6,645), can still be seen on the walls of the Anadarko Post Office. Three of the five—Steven Mopope as the lead artist, assisted by James Auchiah and Spencer Asah—painted 16 murals in the post office in 1936 and 1937 portraying life among the Kiowa before settlers arrived.
Native playwright’s work to be performed in Tulsa
Comedy takes satirical look at stereotyping
Mama Earth Loves Lace is part of a trilogy by Ojibwe writer, Mark Anthony Rolo, a prize-winning journalist, and former President of the Native American Journalists Association. The play will be performed by Thunder Road Theater (formerly Tulsa Indian Actors’ Workshop) as part of Summerstage, the theater festival hosted by the Performing Arts Center. http://www.nativetimes.com/index.asp?action=displayarticle&article_id=6747Full Story
‘Call for Entries': Ninth Annual Native American Indian Film & Video Festival 2005
Columbia — Eastern Cherokee, Southern Iroquois & United Tribes of South Carolina is Calling for Entries to their successful annual Film Festival. ECSIUT will once again bring images, stories, documentaries, music videos and dramatic feature films in celebration of National Native American Indian Heritage Month to the audiences of the southeastern United States. On November 1-5, 2005 the Eastern Cherokee, Southern Iroquois & United Tribes of South Carolina and the Columbia Film Society of South Carolina will once again join to present Native American films. This unique film festival, the only Native festival of it's kind in the southeastern section of the country draws independent film makers and theater goers from area states including North Carolina, Georgia, and Florida. "We are a non-profit organization that feels this is important....We have been successful getting new independent Native American and Indigenous Filmmakers and movies to new audiences," explained the Film Festival's founder and Coordinator, Dr. Will Moreau Goins.
The Nickelodeon and the Columbia Film Society are also co-sponsors and the adopted home for the annual film festival each year. "This festival helps us make that connection to the rest of the Native American Indian world that is not in South Carolina. Bringing us new and contemporary images and current issues facing our Native brothers and sisters and also entertaining us," explained Goins. "We want to show contemporary, authentic, current and quality work in film that features Native American Indian and indigenous people and culture .... that has been our goal since this film festival started and that goal hasn't changed. We welcome filmmakers from throughout the diverse Native and indigenous Diasporas... reaching out specifically to our Latino/Hispanic native indigenous people, culture and filmmakers from the Indians in Brazil, South America, Central America or those of the Native Hawaiians.
"These all fit in our festival and we welcome Filmmakers to submit that share stories from these Native experiences," Goins said. In years past, as in this year, this festival has brought Native American producers, directors, associate directors and featured actors in a Native American historical drama to the screenings to further our understanding of media literacy and the making of their film, by hosting discussions, receptions and forums for these discussions. In the evening with the panel discussion Native Americans and Native Filmmakers share, their adaptation of film-making through their respective lenses. They discuss their unique perspectives of their voices and their contributions to cinema and the world.
This festival presents a series of films that are American Indian produced, directed, and starring Native American Indian people. The major categories for this festival include: Documentary Feature, Documentary Short, Commercial Feature, Short Subject, Music Video, Animated Short Subject, Student Film, Public Service, and Industrial. Formats excepted include: 35 mm, VHS, DVD, Digital,16mm, and Beta SP. Deadline for submission is September 20, 2005.
For Application or More Information Contact:
ECSIUT, Film Festival of Southeastern USA
P.O. Box 7062, Columbia South Carolina, 29202, (803) 699-0446,
Attn: Dr. Will Moreau Goins, Film Festival Coordinator/ Presenter
To get Application Form for Submission with Film/Video VHS Preview go to the website and (Click on) Call for Entries http://www.cherokeesofsouthcarolina.com/
A new exhibit at the Mashantucket Pequot Museum features an array of art. “Northeastern Native American Fine Arts Show,'' which runs through Sept. 5 at the museum's gallery, shows off the artistic skills of American Indians from the Northeast. Thirty-four artists with connections to tribes of the Northeast were chosen for the show, which includes sculpture, carvings, oils, acrylic and mixed media.
Southwest Museum, 234 Museum Drive, Los Angeles, (323) 221-2164. 10 a.m.-5 p.m. Tuesday-Sunday. $7.50 adults, $5 students and seniors 60+, $3 children 2-12. The museum's permanent collection includes artifacts of the Native American tribes of the Southwest, California, the Great Plains and the Northwest Coast. Works by Robert Freeman, Tom Red Bear and Russell Means are on display. The show and sale includes etchings, paintings and stone sculptures; through Aug. 14.
Fernbank Museum-Atlanta. Opening on October 1, are two exhibitions that allow visitors to further explore the history and peoples of the region featured in Grand Canyon. The special exhibition, Totems to Turquoise: Native American Jewelry Arts of the Northwest and Southwest celebrates the traditional beauty, power and symbolism of Native American arts through a historic and contemporary collection of jewelry and artifacts. The gallery exhibition, Sacred Places of the Southwest features black and white photographs from Claus Mroczynski, which capture the mystical beauty of early Native American dwellings found throughout the landscapes of the Southwest.
Museum of Indian Arts and Culture: "The Jewelry of Joe Quintana," works by the Cochiti silversmith, through Sept. 1; "Beauty Within," historical objects from the collection, through Oct. 23; "IconoClash," symbols of American Indian culture, through Jan. 15; "The Pottery of Santa Ana Pueblo," through Feb. 19; sculptures by Doug Hyde, through March 26. 708 Camino Lejo, Santa Fe. Admission and hours: (505) 476-1250.
Millicent Rogers Museum: Paul Peralta-Ramos Taos Collection, Southwest American Indian art and Hispanic textiles and devotional art. Through March 12, 2006. 1504 Millicent Rogers Road, Taos. Admission and hours: (505) 758-2462.
State Fair art entries: Entries accepted at Expo New Mexico as follows: fine arts, including china painting, 9 a.m.-6 p.m. Aug. 5 and 9 a.m.-5 p.m. Aug. 6, Fine Arts Building; Hispanic art, 9 a.m.-6 p.m. Aug. 12 and 9 a.m.-5 p.m. Aug. 13, Hispanic Arts Center; photography, 9 a.m.-6 p.m. Aug. 15, Creative Arts Building; Native American art, 9 a.m.-5 p.m. Aug. 17-19 and 8 a.m.-5 p.m. Aug. 20, Native American Art Gallery; youth and non-professional art, including china painting, 9 a.m.-6 p.m. Aug. 26 and 9 a.m.-5 p.m. Aug. 27, Creative Arts Building Information: www.exponm.com or Ramona Vigil-Eastwood, 265-1791, Ext. 454
Plains Art Museum: "Between Two Cultures: The Art of Star Wallowing Bull," opens Sept. 24; "Contemporary Native American Artists - Reflections After Lewis and Clark," opens July 21, (701) 232-3821.
Creation story Cherokee 2 - Cherokee
The earth is a great island floating in a sea of water, and suspended at each of the four cardinal points by a cord hanging down from the sky vault, which is of solid rock. When the world grows old and worn out, the people will die and the cords will break and let the earth sink down into the ocean, and all will be water again. The Indians are afraid of this.
When all was water, the animals were above in Gälûñ'lätï, beyond the arch; but it was very much crowded, and they were wanting more room. They wondered what was below the water, and at last Dâyuni'sï, "Beaver's Grandchild," the little Water-beetle, offered to go and see if it could learn. It darted in every direction over the surface of the water, but could find no firm place to rest. Then it dived to the bottom and came up with some soft mud, which began to grow and spread on every side until it became the island which we call the earth. It was afterward fastened to the sky with four cords, but no one remembers who did this.
At first the earth was flat and very soft and wet. The animals were anxious to get down, and sent out different birds to see if it was yet dry, but they found no place to alight and came back again to Gälûñ'lätï. At last it seemed to be time, and they sent out the Buzzard and told him to go and make ready for them. This was the Great Buzzard, the father of all the buzzards we see now. He flew all over the earth, low down near the ground, and it was still soft. When he reached the Cherokee country, he was very tired, and his wings began to flap and strike the ground, and wherever they struck the earth there was a valley, and where they turned up again there was a mountain. When the animals above saw this, they were afraid that the whole world would be mountains, so they called him back, but the Cherokee country remains full of mountains to this day.
When the earth was dry and the animals came down, it was still dark, so they got the sun and set it in a track to go every day across the island from east to west, just overhead. It was too hot this way, and Tsiska'gïlï', the Red Crawfish, had his shell scorched a bright red, so that his meat was spoiled; and the Cherokee do not eat it. The conjurers put the sun another hand-breadth higher in the air, but it was still too hot. They raised it another time, and another, until it was seven handbreadths high and just under the sky arch. Then it was right, and they left it so. This is why the conjurers call the highest place Gûlkwâ'gine Di'gälûñ'lätiyûñ', "the seventh height," because it is seven hand-breadths above the earth. Every day the sun goes along under this arch, and returns at night on the upper side to the starting place.
There is another world under this, and it is like ours in everything--animals, plants, and people--save that the seasons are different. The streams that come down from the mountains are the trails by which we reach this underworld, and the springs at their heads are the doorways by which we enter, it, but to do this one must fast and, go to water and have one of the underground people for a guide. We know that the seasons in the underworld are different from ours, because the water in the springs is always warmer in winter and cooler in summer than the outer air.
When the animals and plants were first made--we do not know by whom--they were told to watch and keep awake for seven nights, just as young men now fast and keep awake when they pray to their medicine. They tried to do this, and nearly all were awake through the first night, but the next night several dropped off to sleep, and the third night others were asleep, and then others, until, on the seventh night, of all the animals only the owl, the panther, and one or two more were still awake. To these were given the power to see and to go about in the dark, and to make prey of the birds and animals which must sleep at night. Of the trees only the cedar, the pine, the spruce, the holly, and the laurel were awake to the end, and to them it was given to be always green and to be greatest for medicine, but to the others it was said: "Because you have not endured to the end you shall lose your, hair every winter." Men came after the animals and plants. At first there were only a brother and sister until he struck her with a fish and told her to multiply, and so it was. In seven days a child was born to her, and thereafter every seven days another, and they increased very fast until there was danger that the world could not keep them. Then it was made that a woman should have only one child in a year, and it has been so ever since.
From James Mooney's History, Myths, and Sacred Formulas of the Cherokees.
From Blue Panther Keeper of Stories. http://groups.yahoo.com/group/Native_Village http://groups.msn.com/KeeperofStories
By Sara Wright
Communing with Bears is the story of a joyful encounter between one woman and a black bear.
Web Sites:
Native American Links Page
Indigenous Peoples Literature
Native Voice
Wisdom of the Old People
Native American Summer Camp Info
By David Whitney
Hero, Hawk, and Open Hand
Hero, Hawk, and Open Hand, The Book
Early tribal artifacts put in spotlight
"Hero, Hawk, and Open Hand" is scheduled to be shown at the Smithsonian National Museum of
Natural History from early July to late September.
National Association of Tribal Historic Preservation
Inuit film to tell story of last great shaman
Petition in Support of the Winnemem Wintu Tribe
My Two Beads Worth: Indigenous News Online
Northern California Indian Development Council
Native Village
Smudge Ceremony
To subscribe to Native Village weekly email reminders, please send your
email
address to:
NativeVillage500@aol.com
NATIVE VILLAGE YOUTH AND EDUCATION NEWS is a free newsletter which
informs
and celebrates in the education, values, traditions, and
accomplishments of the
Americas' First Peoples.
Member: Native American Journalists Association
Buffalo Field Campaign
PO Box 957
West Yellowstone, MT 59758
(406) 646-0070
bfc-media@wildrockies.org
Literacy in Indigenous Communities by L. David van Broekhuizen, Ph.D. (2000)
HTML Format (70K)
PDF Format(117K)
Literacy in first languages in indigenous communities is a complex
topic that generates lively discussion. This research synthesis
explores the notions of national, mother-tongue, multiple, and
biliteracies. It presents important information pertaining to
threatened languages, language shift, and language loss. Examples of
culturally relevant uses of literacy in indigenous communities and
issues related to first-language literacy instruction are also
provided.
Essay on the Zuni World View
Excerpt(Complete article is available in PDF)
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].
posted by Amerindian Arts at 5:23 PM
0 Comments:
Post a Comment
<< Home