Sotheby's to auction historically significant American Indian Art, May 8, 2006
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Sotheby's to auction historically significant American Indian Art, May 8, 2006
Park volunteers needed
Edge of the Cedars State Park Museum staff needs volunteers to assist with the Four Corners Indian Art Market May 6 and 7 from 9 a.m. to 5 p.m. Volunteers will work four-hour shifts.
The art market is a celebration of the contemporary and traditional Native American arts and culture. Activities include Hopi and Navajo dancers and performances by singer James Bilagody and flute player Aldean Ketchum. Food, pottery, arts, crafts and jewelry are available for purchase. For more information, please call 435-678-2238.
Prayer at sunrise
Now this day, (Lukka yattone)
My sun father, (Hom yatoka tatcu)
Now that you have come out standing to your sacred place, (yam telashina kwi to' ye lhana kwai ikapa)
That from which we draw the water of life, (yam kia kwi ya na te'ona)
Life sacred meal, (hala wo tinane)
Here I give to you. (lilha tom ho te'a upa)
Your long life, (yam onaya naka)
Your old age, (yam lha shiaka)
Your waters, (yam kashima)
Your seeds, (yam towashonane)
Your riches, (yam u/tenane)
Your power, (yam sawanikia)
Your strong spirit, (yam tsemakwin tsume)
All these to me may you grant, (temlha hom to anikchiana).
To be chanted with an offering of cornmeal
Zuñi
May 19-21, Baton Rouge
ANNUAL TUNICA-BILOXI POW WOW: Chief Joseph A. Pierite Pow Wow Grounds, Hwy. 1, Marksville. American Indian singers, dancers and craftspeople will perform and display their wares. Singing and dancing competitions will be held. Featured performances by Annie Humphrey, Cannes Brulée, Hawk (flutist), and Jackie Crow (legend keeper). (318) 253-2034.
Associated Press
A proposal to develop an American Indian cultural and educational center in a vacant federal building in Wausau is moving forward.
A marketing firm is being paid $35,000 to study the idea. Supporters say the center would help improve relations between Wisconsin's tribes and non-tribal communities and attract tourists to the Wausau area.
The tribes would run the center. Organizers say the center would help preserve Indian culture and languages, feature tribal history and make tribal education more accessible.
American Indian Women's Activism in the 1960s and 1970s-Donna Hightower Langston
Taos Art Museum: "The Stark Legacy," paintings by members of the Taos Society of Artists. Through July 23. 227 Paseo del Pueblo Norte, Taos. Admission and hours: (505) 758-2690.
THE WOMEN/Edward S. Curtis
"THE WOMEN/Edward S. Curtis," by Christopher Cardozo; foreword by Louise Erdrich (Bulfinch Press, $35) — Cardozo, who lives in Minneapolis, is the world's foremost expert on, and collector of, photos of American Indians taken by turn-of-the-century photographer Edward S. Curtis. Cardozo went through 1,000 photos to find the 100 sepia-toned images in this book, which show the daily lives of American Indian women at a time when most were already on reservations. Minneapolis novelist and poet Erdrich discusses women's work in her foreword: " … although Edward Curtis believed that he was documenting a vanishing culture, it is in these humble arts that the strength of Native culture lives on."
A Bashful Courtship – Lakota
A young man lived with his grandmother. He was a good hunter and wished to marry. He knew a girl who was a good moccasin maker, but she belonged to a great family. He wondered how he could win her. One day she passed the tent on her way to get water at the river. His grandmother was at work in the teepee with a pair of old worn-out sloppy moccasins. The young man sprang to his feet. "Quick, grandmother -- let me have those old sloppy moccasins you have on your feet!" he cried. "My old moccasins, what do you want of them?" cried the astonished woman.
"Never mind! Quick! I can't stop to talk," answered the grandson as he caught up the old moccasins the old lady had doffed, and put them on. He threw a robe over his shoulders, slipped through the door, and hastened to the watering place. The girl had just arrived with her bucket. "Let me fill your bucket for you," said the young man. "Oh, no, I can do it." "Oh, let me, I can go in the mud. You surely don't want to soil your moccasins," and taking the bucket he slipped in the mud, taking care to push his sloppy old moccasins out so the girl could see them. She giggled outright.
"My, what old moccasins you have," she cried. "Yes, I have nobody to make me a new pair," he answered. "Why don't you get your grandmother to make you a new pair?" "She's old and blind and can't make them any longer. That's why I want you," he answered. "Oh, you're fooling me. You aren't speaking the truth." "Yes, I am. If you don't believe -- come with me now!" The girl looked down; so did the youth. At last he said softly: "Well, which is it? Shall I take up your bucket, or will you go with me?" And she answered, still more softly: "I guess I'll go with you!" The girl's aunt came down to the river, wondering what kept her niece so long. In the mud she found two pairs of moccasin tracks close together; at the edge of the water stood an empty keg.
As retold by Marie L. McLaughlin in "Myths and Legends of the Sioux" in 1913
From the Archives of Blue Panther Keeper of Stories
http://groups.msn.com/KeeperofStories/
Reprinted by permission
Home of NAMAPAHH First People's Radio
Host/Producer Robin Carneen
Thurs 7-8pm Sun 4-5pm PST
New group: (my photo album location)
http://spaces.msn.com/members/NativeRadio4all/
Linguists Find the Words, and Pocahontas Speaks Again
By JOHN NOBLE WILFORD
Dorothy Dunn On Primitive Art
Excerpt
Anthropologists use the term "primitive" as a general category to describe cultures which had not achieved a certain standard (define modernity). For Dunn, a primitive was not a certain type of culture, but described individuals and objects indigenous to any, every, culture. The primitive subject was that gifted individual, or "seer" whom was able to discern the primitive objects relevant to their culture. These objects were also primitives, and represented the signs, icons, or symbols of a culture. Thus, for Dunn, primitive art was the one to one relationship between the seer and the perceived set of primitive objects of their culture. Primitive was not a certain type of culture, but a certain set of variables occurring in every culture, and primitive art was an event that portrayed the values, or what was of importance in that culture. Thus, Dunn encouraged her students to carry on the tradition into the Modernist era.
Essay on the Zuni World View
Excerpt(Complete article is available in PDF)
In Signs from the Ancestors, a study of Zuni cultural symbolism and perceptions in rock art, M. Jane Young cites the "dialectics of the beautiful and the dangerous" noted by Barbara Tedlock and states that "Tedlock posits an underlying aesthetic framework that informs cosmology, whereas I posit an underlying cosmological principle that informs aesthetics". From the perspective of this paper and its conclusions it would appear that Young is perhaps partially correct in her ascertainment although the confluence of the two principles makes it difficult to discern logical priority in either the beautiful (tso’ya) or the dangerous (attanni), for the multireferential finds manifestation of beauty in the "aesthetic of accumulation, an elaborate redundancy of symbolism in Zuni sacred and secular environments" and informs cosmological principles of the preconditions of the rational, while aesthetic license premises pragmatics where proper interpretation of context ensures that rational thought of the "perspective-taker" attains objectivity as a "personal accomplishment" in the success of "reciprocal public intentions". This is because the principle of the “base metaphor” cited by Young is inclusive of a body of conceptual presuppositions which include the notion of an interrelatedness of all things, which is seen here as a cosmological precept akin to notions of identity and individuation, and the notion of a predetermined harmony as indicative of the aesthetic. Young notes that the “very generality of the metaphor lends its ambiguity--an ambiguity quite characteristic of the Zuni view of the world. Zuni ritual symbols, whether expressed verbally or visually, are frequently multivalent or multireferential, standing for both themselves and something else at the same time; yet all of the meanings are bound together, so that the Zunis say, as do the Mescalero Apache: "They’re all the same thing".
Bibliography of the Zuni Language
Excerpt
The Zuni, or Shiwi language, is now generally considered a language isolate. The Encyclopedia Britannica categorizes it as a Penutian language, and Bertha Dutton once posed the hypothetical that according to the Swadesh list, "If the Zuni language is a member of the Penutian language family, then it is a distant relative of the Tanoan languages (Tewi)." The Penutian hypothesis was advanced by Alfred Kroeber and Roland B. Dixon, and later refined by Edward Sapir, and was an attempt to reduce the number of unrelated language families in a culturally diverse area that was centered in California's central coast. While this theory was plausible for some of the languages, the problem of verification of this theory was that to find any evidence of any cognates between the California languages and Zuni, one would possibly have to trace the languages' lineage by as much as 3000-5000 years or more.
Indian Ledger Art-Resources and Information
Excerpt
Ledger art is traditionally a male American Indian pictographic art form, and historically has been characterized as such by researchers. Chronologically its stylistic development belongs to the Proto-Modern era of the Native American Fine Arts Movement and was a major influence, through trade routes and the patronage of white art collectors, on Modern Indian Art as its elements diffused to the schools of New Mexico, Oklahoma, and the Northwest Coast. Its more explicit expression, however, yielded to the styles that developed in these schools and culminated in the early 1960's during a period of the Movement referred to as the First Generation Modernists. Only recently have the researchers of Ledger art recognized Virginia Stroud as the Native American Woman artist who, as a Second Generation Modernist and a member of the so-called "New Indian Art Movement", revitalized a traditionally male form of art expression with her pictographic images in the late 1960's to the early 1980's. Influence on Stroud's stylistic achievements can be attributed to her Kiowa upbringing centered in Oklahoma, which is the major geographic center of the Southern Plains school, and her attendance at Bacone under the direction and influence of Dr. Richard West.
AEQ Book Review of
Making Dictionaries: Preserving Indigenous Languages of the Americas .
Frawley, William, Kenneth C. Hill, and Pamela Munro, eds. Berkeley: University of California Press, 2002. 450 pp. ISBN 0520229967, $34.95.
© 2004 American Anthropological Association Book Review
of Making Dictionaries: Preserving Indigenous Languages of the Americas .
Reviewed for the Anthropology & Education Quarterly by Catherine S. Fowler
University of Nevada
csfowler@unr.nevada.edu
To Order this book
W. Tussinger has written his first novel which was released in December, 2004. The title of the book is THE FOURTH WORLD.
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.
THE FOURTH WORLD
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
By David Whitney
Hero, Hawk, and Open Hand
Hero, Hawk, and Open Hand, The Book
Early tribal artifacts put in spotlight at the Smithsonian National Museum of
Natural History
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.
posted by Amerindian Arts at 9:19 AM
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