Native American vets sought to participate in new music video
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JAMES W. BROSNAN. WASHINGTON -- An effort is under way in Congress to
help stop the sale of fake Native American arts and
crafts. ...
Contemporary Work Evokes the Rituals of First Americans
... the US Customs House, a beaux arts
building that ... of the National Museum of the American
Indian.
The 56th annual Navajo Festival of Arts
Filipino peformance provides message in a gong
... the National Heritage Fellowship Award from the National Endowment for the Arts. ... Alexis Canillo is a Miwok Native American and American-Filipino who dances and ...
Last of WWII Comanche Code Talkers Dies
Bush "stealth" court pick Roberts is no friend of Indigenous
Peoples...
Expert on how law passed to return sacred items fares today
Long journey for Chickasaw-made item
Daniel Worcester knife travels to Big Apple and beyond
From: dorindamoreno dorindamoreno@comcast.net
Subject: Native American vets sought to participate in new music video
By Pamela G. Dempsey
Diné Bureau Information
Veterans interested in participating can contact Asdza Shash
Productions at
(623) 693-1365 or (623) 693-1364.
A one-page biography and photograph is requested.
Outside of the Four Corners area please call: (306) 937-7796 or email nativeamericanvet @hotmail.com
WINDOW ROCK - Local Native American veterans are invited to participate in a music video shoot.
Native American singer and songwriter Lorrie Church is shooting a music video "Native American" to honor Native American veterans and the memory of the late Pfc. Lori Piestewa.
Church is from the Sweetgrass First Nation Indian Reservation in the province of Saskatchewan. She was named Entertainer of the Year and Female Vocalist of the Year by the Saskatchewan County Music Association.
Asdza Shash Productions is recruiting local Native American veterans for the project.
"We're reaching out to veterans in the Four Corners," said Karen Tsinnie. "We want a lot of veterans (for the video)."
Tsinnie said that proceeds from the video will go towards the Native American Veterans Memorial in Phoenix.
The music video will be shot on location on the Hopi reservation.
For some participants, cost of travel, hotel, and meals will be covered.
Tsinnie said that Church has held two concerts in the past to raise money for the memorial.
"There's been a small response so far," she said of the number of veterans who wanted to participate in the video.
Native American dance groups and code talkers are also planned to be part of the video, which is set to shoot in September.
Church postponed the video last year so she could include as many Native American veterans as possible.
RCarneen (360)848-9931(Voicemail only, checked twice a day...email is best way to reach me!) online: www.ksvr.org local:(91.7FM KSVR Mt Vernon, WA NAMAPAHH First People's radio, news & music: Th 7-8pm/Sun 3-4pmPST)Native News Views & music...bringing light to the darkness... We'll play your tracks, tell your story, share your wisdom & insight.Please email us(PSA's welcome)...proceeded by 5 mins of Independent Native News www.kuac/inn
Artrain will visit the city of Manassas from July 28-31. It will be located behind City Hall at 9027 Center Street, near the Manassas Museum and Train Depot at the corner of Main and Center Streets. For more information, visit http://www.artrainusa.org.
Artrain USA is a not-for-profit organization whose mission is to enrich lives and build communities through the arts. Artrain USA brings world-class art exhibitions and art education programs to communities and their residents. The current exhibition, Native Views: Influences of Modern Culture, is a contemporary Native American art exhibition that explores the ways Native American artists are influenced by popular culture and offers mainstream America the opportunity to look at and consider different insights into contemporary society.
THE VALLEJO INTER-TRIBAL COUNCIL is proudly presenting its 10th Anniversary Pow-Wow on July 30 and July 31 at the Waterfront, Service Club Park in Vallejo. All Native-American Drum Groups are welcomed and a special invitations goes out to Women Drum Groups. On Saturday, July6 30 the event runs from 11:00 AM through 10:00 PM and Sunday's event runs from 11:00 AM through Dusk. Special guest performers include ELEM COLONY POMO DANCERS and XITALALLI AZTEC DANCERS. Head Elders will be CHARLES KOSHIWAY and SACHEEN CRUZ-LITTLE FEATHER. Head Man will be VAL SHADOW HAWK. Head Woman will be SMOKE JOHNSTON. Northern Host Drum will be ALL NATIONS. This event is free to the public and includes authentic Native American Arts and Drafts, Indian Tacos will be on sale as well as other food vendors. The event is Drug, alcohol, Weapon, and pet free. Vendors wishing to have a booth can call 552-2562. For more info on the event call 557-2140 or go to www.vallejointertribalcouncil.org.
W. Tussinger is a member of the Wyandotte Nation of Oklahoma and has lived on several reservations including the Yuroks of Northern California and the Yakamas of Washington State where he attended college.
1413745474 He has written his first novel which was released in December, 2004. The title of the book is THE FOURTH WORLD
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.
Full 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/
July 16, 2005 -- American Indian Film Music Review
A THOUSAND ROADS, NOT TAKEN
By Brent Michael Davids
"If we don't frame the issues, someone else will frame the issues for us"
- Wilma Mankiller (Cherokee)
This is the first in a series of film music reviews intended to address American Indian composers and musicians in the film industry. The intent here is twofold: to discuss film scoring, but also to provide insights into the process of making a good American Indian film score. With this in mind, a potential starting place is to review the musical score of the signature film of the National Museum of the American Indian, A THOUSAND ROADS. While other films might be part Indian or have Indian themes mixed into them, this signature film embodies the ideals of the National Museum of the American Indian.
Therefore, it occurred to me, that in a place that prides itself on commissioning genuine Indian works of art, such as the giant woven curtain designed by Romona Sakiestewa (Hopi) for the Rasmuson Theater which regularly exhibits A THOUSAND ROADS, the NMAI might be the best choice to find a clear example of American Indian film scoring for the subject of this review.
BACKGROUND
Admittedly, looking at American Indian films for their musical scores is not a popular science; just google the phrase "American Indian film score" or "American Indian film music" and see how little you turn up. There are a couple reasons for this, the lack of American Indian film composers and the market-driven climate of popularized film songs. First, the demands of composing for film are varied and intense. A film composer must be an expert in most forms of music from classical to rock, able to write the score into music manuscript, able to identify the proper music genre and its proper dramatic placement within a film scene, and able to compose quickly. While there are many highly creative and talented Indians who are musical performers and even composers, they are more often not versed in all forms of music as demanded by a career in film music. In addition, those Indian composers that can write for orchestra are few and far between. For instance, if a singer-songwriter takes on the task of scoring a film, they most likely will hire a trained composer to ghost write for the orchestra, or simply work collaboratively with a trained composer who can write down and orchestrate the music.
Secondly, in today’s film scene, the marketplace has a near stranglehold over the type of music used for film scores. The desired ideal for film music has shifted as a result of the heavy lobbying efforts of the record companies and producers. In the former days, before song placement or needle-dropping songs into films, film scores were seen as the comprehensive work of trained composers such as Jerry Goldsmith or Elmer Bernstein. In today's marketplace however, large deals are struck between the recording industry and film producers, the intent of which is to give record companies the chance to have their songs reach a larger film audience with the sale of accompanying music CDs, in exchange for providing additional revenue to film makers in search of more funding.
But this deal-making stifles the film scores being produced, creating a tunnel-vision effect on the newer generation of film directors. Today, the recording industry's lobbying efforts have influenced a new generation of directors who buy into the marketed ideal for film scores, as if few other scoring solutions exist; today’s film makers rarely search out expert film composers but immediately search out the music of songsters and bands instead. Many American Indian film makers are not immune from this lobbying effect, almost having been brought up or raised by the industry to first look for bands and songsters, and not trained film composers. Coupled with the genuine scarcity of Indian film composers in the field, the stifling effect for American Indians is compounded. Checking the composer credit on any Indian film, even if the film features an Indian musician, will reveal a non-Indian composer is listed who did most of the actual film scoring. American Indian film scores are not the most studied or talked about topic -- inside or outside of Indian country -- which is why in-depth reviews of this type are needed. Taking a cue from Wilma Mankiller, as Indians we should be framing these issues for ourselves.
CONTEXT
For A THOUSAND ROADS, we must examine the context of the score, as well as the music itself. While working as the Associate Director of the Mall Transition Team for the new NMAI building, James Volker (non-Indian) had the initial idea. "I was the originator of the concept of the film, some three and a half years ago," Volker explained, "I wanted to develop a film that was identified solely with the Museum, and that's when it became called a signature film" (May 18, 2005). Volker was then approached by Scott Garen (non-Indian), "Scott was the primary mover in terms of the development of the production. The Smithsonian and myself and Rick West and Elizabeth Duggal were the primary story consultants." Garen was directed to collaborate with Joy Harjo (Muskogee Creek) to write the script and Chris Eyre (Cheyenne/Arapaho) to direct the film. Including Ulali, these were the only American Indians involved in the film scoring process. Ulali is a trio that sings in many styles including the indigenous-based pre-blues singing style. Ulali singers include: Pura Fe (Tuscarora), Soni Moreno (Mayan/Apache/Yaqui), and Jennifer Kreisberg (Tuscarora).
THE SCORE
The film A Thousand Roads portrays a number of small vignettes in locations including: Alaska, New Mexico, New York City, Peru, and Puget Sound. Each location employs a short story, including: a girl's encounter with Alaska villagers, a Navajo boy's struggle with gang pressure, and a Mohawk woman's stressful inner-city job. The stories are threaded together with an unseen voice who refers to the film’s characters as if he knows them personally. The vignettes serve to illustrate the many roads of Indigenous peoples in a type of visual suite or pastiche. The film is 42 minutes, and the music is 32 minutes (77%). Only ten minutes is without film music.
FULL REVIEW
The full review includes material from interviews with flutist-composer R. Carlos Nakai, singer-composer Jennifer Kreisberg of Ulali, poet-musician-composer Joy Harjo of Poetic Justice, former Composer-In-Residence of the Toronto Symphony Barbara Croall, and Emeritus Professor James Mason. The full review is available at < http://www.filmcomposer.us/nmai.html > as copyable text (4700 words) for re-print in newspapers and journals, and as a print-ready PDF (10 pp) for individuals and educational uses. Permission is given to freely re-print and distribute.
REVIEWER
Brent Michael Davids, Mohican Nation, is a strikingly accomplished film and concert composer who is awarded by ASCAP, NEA, Sundance, Rockefeller, Chanticleer, Kronos Quartet, Miro Quartet, National Symphony and featured on ABC, NBC, CBS, NPR, and NAPT. Davids' former film scores include: POWWOW SYMPHONY (BBG) Composer; THE 1920 CLASSIC MYTH: THE LAST OF THE MOHICANS (BBG) Composer; THE WORLD OF AMERICAN INDIAN DANCE (NBC-Sports and Four Directions Entertainment); DREAMKEEPER (Hallmark and ABC) Associate Composer and Source Music Producer; THE SILENT ENEMY (BBG) Composer. Upcoming films include: BRIGHT CIRCLE Composer; THE WILL SAMPSON STORY (AIFI) Composer; IN THE EYE OF THE HURRICANE: PEOPLE OF COLOR RESISTING CORPORATE GLOBALIZATION (Sin Fronteras) Composer; FROM MOCCASINS TO SNEAKERS (Horizon Productions and Entertainment) Composer. His music is also heard daily on the only national American Indian call-in talk show "Native America Calling" by the Koahnic Broadcast Corporation. Davids holds a Bachelor degree and Master degree in composition from Northern Illinois University and Arizona State University respectively, and apprenticed with film composer Stephen Warbeck (SHAKESPEARE IN LOVE).
www.filmcomposer.us
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.
AEQ Book Review of Making Dictionaries: Preserving Indigenous Languages of the Americas
Frawley, William, Kenneth C. Hill, and Pamela Munro, eds.Making Dictionaries: Preserving Indigenous Languages of the Americas . Berkeley: University of California Press, 2002. 450 pp. ISBN 0520229967, $34.95.
Reviewed for the Anthropology & Education Quarterly by Catherine S. Fowler
University of Nevada
csfowler@unr.nevada.edu
This volume of papers provides fascinating perspectives on the processes and practices of dictionary making by several contemporary lexicographers, all of whom have struggled or are yet struggling to develop these important tools for indigenous languages in North America and Meso-America. Given that most of the 23 contributors are well known for their work in theoretical and/or historical linguistics, but also are actively involved in language preservation and restoration efforts, their accounts of the complexities, time and issues involved in developing dictionaries become even more important and significant. As noted in the introduction by Fawley, Hill and Munro, when one considers that a good dictionary "is a thousand pages of ideas and history, a guide to the mind and world of a people" (p. 22), developed by a person (rarely persons) who is "simultaneously a phonetician, morphologist, syntactician, and semanticist but also a sociologist, anthropologist, biologist, diplomat, therapist, mediator, and salesman" (p. 21), then the work and results deserve much more consideration than they are often accorded. Indeed, lexicographers are far from the "unfortunate drudges" that history suggests, but rather heros to be celebrated and lauded for their ultimate achievements. Readers of this volume will come away with that impression, as well as a genuine feeling for the real work and problems involved.
Fawley, Hill and Munro begin their excellent introduction and summary of the papers by noting some common "war stories" shared by lexicographers. These include: where and how to begin, finding and continuing funding, inevitable project expansion ("mission creep"), in-achievable goals, an inevitable back-burner status, and a "so what" or even mean spirited final assessment. But beyond these, they also list and discuss ten more serious issues raised by such work, while pointing out how the authors address them in various ways. These ten include: choosing and defining main/subsidiary entries; the use (and abuse) of linguistic theory in dictionary construction; consideration of literacy and orthography issues; choice, use (and abuse) of graphics; definitions of the community of users and their role in decision making; holistic vs. specialized dictionaries; use (and abuse) of etymology and other aspects of history; the role of technology in development and ultimate production; issues as to inclusion/exclusion and variation in usages; and the role of consistency and rules in development (known largely by their violation!). The 16 papers are then collected into four sections, each with a slightly different perspective or focus on one or more of these issues. These include: I. Form and Meaning in the Dictionary with papers by K. Hale and D. Salamanca on Misumalpan languages, W. Pulte and D. Feeling on Cherokee, J. Grimes on Huichol, P. Munro on verbs in various languages, and R. Rhodes on Eastern Ojibwa-Chippewa-Ottawa; II. Role of the Dictionary in Indigenous Communities with papers by K. Rice and L. Saxon on Canadian Athabascan languages, L. Hinton and W. Weigel on California languages, and P. Kroskrity on Western Mono; III. Technology and Dictionary Design with papers by U. Canger on 16th and 17th C. Nahuatl, J. Amith on Nahuatl, and D. Rood and J. Koonz on Comparative Siouan; and IV. Specific Projects and Personal Accounts with papers by H. Aoki on Nez Perce, K. Hill on Hopi, C. Callaghan on Miwok languages, W. Bright on the Native American Place names in the U.S. Project, and M. Clayton and J. Campbell on 16th Century lexicographer Alfonso de Molina. There is a single bibliography and the volume is indexed.
Although there are too many good papers in the volume to note here, those interested in anthropology and education should probably pay particular attention to the papers in sections II and III, as they deal more specifically with issues involved in teaching literacy and in the role of dictionaries in language retention and revitalization. The papers by Rice and Saxon, Hinton and Weigel and Kroskrity are particularly oriented and insightful as to matters involving proper assessments of community language ideologies in proposed projects, educational levels of potential users of the materials, including their familiarity with existing orthographies such as English, the social positions of persons involved in the project(s), their expectations as well as those of the community in general, political and sensitivity issues, and ultimately ways to assess the usefulness of those materials in educational efforts, be they preservation and reference or more active utilization. The essays in section III by Aoki, Hill, and Callaghan also provide further discussion of several of these topics while focusing on the authors' specific experiences of what can go right and wrong in developing dictionaries in specific communities. The article by Hill, Hinton and Weigel, and in some ways Kroskrity, are particularly useful in thinking about ethical issues in working with contemporary communities, and about dictionaries as partnerships with communities-even though there are never any guarantees that everyone will be pleased with the process or the results.
Overall, this collection provides, as noted, interesting insights into the processes and issues involved in making dictionaries, those tools which are so extremely useful to many kinds of users but often taken for granted-unless your language does not have one, or better, several.
© 2004 American Anthropological Association. This review will appear on the web site http://www.aaanet.org/cae/aeq/br/index.htm and will be cited and indexed in the December 2004 issue (35.4) of the Anthropology & Education Quarterly. Please note that the postings to the Council for Anthropology and Education listserv are delayed due to AEQ's transition to Arizona State University. We apologize for the delay and thank you for your understanding.
The Anthropology & Education Quarterly publishes reviews of current books in the anthropology of education and related fields. The Book Review Editor identifies the books to be reviewed and solicits each review from an appropriate scholar. The Book Review Editor may also consider reviews submitted voluntarily at his or her discretion, but volunteered reviews are rare. The Book Review Editor makes the decision whether to accept the review for publication. This policy has applied and continues to apply to all book reviews, whether published on the AEQ web site or in the paper journal.
George Lessard
Media Specialist
Creation Story - Chippewa
In the beginning before there were people, before there were animals a lone woman lived in a cave. She lived on the roots and berries of the plants. One night a magical dog crept into her cave and stretched out on the her bed beside her. As the night grew long the dog began to change. His body became smooth and almost hairless. His limbs grew long and straight. His features changed into those of a handsome warrior. Nine months later the woman birthed a child. He was the first Chippewa male and through him came the Chippewa peoples.
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
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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 5:51 PM
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