Monday, January 31, 2005

Monday, Jan. 31, 2005

native american arts daily news, presented by
amerindianarts.us

Learn about Native Alaska Native culture
Tulsa Native American Times - Tulsa,OK,USA
... He was introduced to Native arts by watching his mother, a skin sewer ... School of Design in Providence, RI, the Institute of American Indian Arts in Santa ...

Local guide
Billings Gazette - Billings,MT,USA
... and Humanities Program, has provided rural communities with access to the arts. ... Several prominent Native American writers from the Crow, Cheyenne, Lakota, and ...

 This once a day Google Alert is brought to you by Google.


From: "ghwelker"
Subject: Native American Recipes
Native American Recipes (Meat)
http://www.indigenouspeople.net/meat.txt
Native American Recipes (Non-Meat)
http://www.indigenouspeople.net/nonmeat.txt


From: "ghwelker"
Subject: Mohawk Creation Legends of the Iroquois (online movie clip) streaming video
Mohawk Creation Legends of the Iroquois
http://www.presenciataina.tv/CreationStory.mov

Presention by Dr. Tom Porter, sponsored by Lotus Music and Dance featuring the native traditional Areitos of the Iroquois Confederation of the Northeastern USA and Canadian frontier.


From: George Lessard
Subject: AEQ Book Review of Telling Stories the Kiowa Way

http://www.amazon.com/exec/obidos/tg/detail/-/0816522782/104-4144017-1587941?v=glance&st=*
http://www.ubcpress.ubc.ca/search/title_book.asp?BookID=3875
http://www.powells.com/cgi-bin/biblio?show=Trade%20Paper:Used:0816522782:13.50
http://search.barnesandnoble.com/booksearch/isbninquiry.asp?pwb=1&isbn=0816522782

Palmer, Gus, Jr. Telling Stories the Kiowa Way. Tucson: University of Arizona Press, 2003. 170 pp. ISBN 0816522782, $17.95.

Reviewed for the Anthropology & Education Quarterly by David Samuels University of Massachusetts

© 2004 American Anthropological Association. This review will appear on the web site 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.

Please send your contributions for the ANKN Listserv to Alaska Native Knowledge Network .

If you have any suggestions, questions, or comments, please email Alaska Native Knowledge Network .

George Lessard-Media Specialist


From: "ghwelker" Subject: 28th Annual California Conference on American Indian Education

CALL FOR STUDENT WRITING

The 28th Annual California Conference on American Indian Education is approaching quickly and, once again, we wish to showcase the writings of American Indian students from our state in a small booklet (chapbook) available to each participant who attends the conference. We are requesting poetry, short stories, and photography from all K-12 American Indian youths who reside in California. This is the fourth year we have requested photographs. If possible we would prefer black and white photographs but will accept color. All submissions should address the conference theme "Educating Tomorrows Leaders." Photographs and writings that demonstrate the power of intergenerational education, whether formal or cultural, are especially welcome. Please inform your youths about this opportunity to have their work published and encourage them to submit their writings to:

American Indian Education Program
1919 B Street,
Marysville, CA 95901
Phone: (530) 749-6196 Fax: (530) 741-7840
email: jgraham@mjusd.k12.ca.us

Copyright will remain with the authors. Works submitted for publication will not be returned, so please send copies only. Each youth who is published will receive two free chapbooks from the Conference Planning Committee. All works should be submitted for review by Monday, March 7, 2005. Along with each submission, please include the following information:
Student Name Tribal Affiliation
Age of Student
Phone Number
Address Sponsoring organization (i.e., Title IX, IEC, or school)

We are looking forward to publishing the writings and photographs of our California Native American youths. If you have any questions, please contact James Graham at (530)749-6196.

Thank you, The 28th Annual California Conference on American Indian Education


Subject: Sundance Institute's commitment to supporting Native Cinema

From: George Lessard

The Sundance Institute's commitment to supporting Native Cinema is woven throughout the 23-year history of the Institute along with its support for the artistic vitality of American Cinema. Rooted in the recognition of a rich tradition of story telling and artistic expression by Native Peoples, the Institute established a Native Program as a means of supporting the development of Native filmmakers and the exhibition of their work. The Sundance Institute has supported nearly 45 Native writers and directors over the past 23 years, and showcased nearly 100 films by Native filmmakers. The Sundance Film Festival's Native Forum is a gathering of Indigenous filmmakers from around the world, and offers opportunities for them to share their expertise and knowledge with each other and the independent film community through workshops, panels, networking events, and special screenings.
http://festival.sundance.org/2005/?=native&107


Hero, Hawk, and Open Hand
Early tribal artifacts put in spotlight
Little-known items focus of exhibit in Chicago

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" 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
Chinle, Arizona (Canyon DeChelly)- Seminars and workshops have limited capacity and usually require enrollment months in advance.

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.

Contact Teddy Draper at
dechelly2000@yahoo.com

Web Sites:
Native American Links Page
Indigenous Peoples Literature
Wisdom of the Old People
Native American Summer Camp Info
Native Village(117K)

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].

Indian band seeks to regain its birthright
By David Whitney

Wintu Indians
At War Against Dam, Tribe Turns to Old Ways
Petition in Support of the Winnemem Wintu Tribe


Coyote's Eyes - Pima

When Coyote was traveling about one day, he saw a small bird. The bird was hopping about contentedly and Coyote thought, "What a beautiful bird. It moves about so gracefully." He drew nearer to the bird and asked, "What beautiful things are you working with?" but the bird could not understand Coyote. After a while the bird took out his two eyes and threw them straight up into the air, like two stones. It looked upward but had no eyes. Then the bird said, "Come, my eyes. Come quickly, down into my head." The eyes fell down into the bird's head, just where they belonged, but were much brighter than before. Coyote thought he could brighten his eyes. He asked the bird to take out his eyes. The bird took out Coyote's eyes, held them for a moment in his hands, and threw them straight up into the air. Coyote looked up and called, "Come back, my eyes. Come quickly." They at once fell back into his head and were much brighter than before. Coyote wanted to try it again, but the bird did not wish to. But Coyote persisted. Then the bird said, "Why should I work for you, Coyote? No, I will work no more for you." But Coyote still persisted, and the bird took out his eyes and threw them up. Coyote cried, "Come, my eyes, come back to me." But his eyes continued to rise into the air, and the bird began to go away. Coyote began to weep. But the bird was annoyed, and called back, "Go away now. I am tired of you. Go away and get other eyes." But Coyote refused to go and entreated the bird to find eyes for him. At last the bird gathered gum from a pinon tree and rolled it between his hands and put it in Coyote's eye holes, so that he could see. But his eyes had been black and very bright. His new eyes were yellow. "Now," said the bird, it "go away. You cannot stay here any longer."

Myths and Legends of California and the Old Southwest Compiled and Edited by Katharine Berry Judson, 1912

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3

Comments: Post a Comment
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Sunday, January 30, 2005

Sunday, Jan. 30, 2005

native american arts daily news, presented by
amerindianarts.us

Detail from 'The Rooster' at Macy's Romare Bearden exhibit
New York Daily News - New York,NY,USA
... Take a tip from Jon Young, the Arts and Programs education coordinator. ... One Tribe Many Nations, a Black Native American community representing the Seminole ...

Arts smarts: Little-used Oregon Cultural Trust tax credit is gift ...
The Register-Guard - Eugene,Oregon,USA
... Nine recognized Native American tribal groups also receive about $3,000 each from that fund. Three statewide organizations - the Oregon Arts Commission, Oregon ...

Jazzfest rebounds with packed lineup
Times Picayune - New Orleans,LA,USA
... in California, owns the popular Coachella Valley Music & Arts Festival in ... Elements of the Native American village that previously occupied the field near the ...

 This once a day Google Alert is brought to you by Google.


Date: Fri, 28 Jan 2005 04:22:12 -0000 From: "cuziswuzz"
Subject: Indigenous People's Images in Sports

Hello, I will be creating a power point presentation for my undergraduate ethnic studies class that will provide a visual awareness of the blatant discrimination of Indigenous People's Images in Sports; i.e. mascots. If anyone would like me to send them a copy of this, please email me at tstrickl@calpoly.edu and I'd be happy to send it - or if anyone has any pictures/information that would be helpful in creating it I'd appreciate that too.


From: "ghwelker"
Subject: Native American Recipes
Native American Recipes (Meat)
http://www.indigenouspeople.net/meat.txt
Native American Recipes (Non-Meat)
http://www.indigenouspeople.net/nonmeat.txt


From: "ghwelker"
Subject: Mohawk Creation Legends of the Iroquois (online movie clip) streaming video
Mohawk Creation Legends of the Iroquois
http://www.presenciataina.tv/CreationStory.mov

Presention by Dr. Tom Porter, sponsored by Lotus Music and Dance featuring the native traditional Areitos of the Iroquois Confederation of the Northeastern USA and Canadian frontier.


From: George Lessard
Subject: AEQ Book Review of Telling Stories the Kiowa Way

http://www.amazon.com/exec/obidos/tg/detail/-/0816522782/104-4144017-1587941?v=glance&st=*
http://www.ubcpress.ubc.ca/search/title_book.asp?BookID=3875
http://www.powells.com/cgi-bin/biblio?show=Trade%20Paper:Used:0816522782:13.50
http://search.barnesandnoble.com/booksearch/isbninquiry.asp?pwb=1&isbn=0816522782

Palmer, Gus, Jr. Telling Stories the Kiowa Way. Tucson: University of Arizona Press, 2003. 170 pp. ISBN 0816522782, $17.95.

Reviewed for the Anthropology & Education Quarterly by David Samuels University of Massachusetts

© 2004 American Anthropological Association. This review will appear on the web site 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.

Please send your contributions for the ANKN Listserv to Alaska Native Knowledge Network .

If you have any suggestions, questions, or comments, please email Alaska Native Knowledge Network .

George Lessard-Media Specialist


From: "ghwelker" Subject: 28th Annual California Conference on American Indian Education

CALL FOR STUDENT WRITING

The 28th Annual California Conference on American Indian Education is approaching quickly and, once again, we wish to showcase the writings of American Indian students from our state in a small booklet (chapbook) available to each participant who attends the conference. We are requesting poetry, short stories, and photography from all K-12 American Indian youths who reside in California. This is the fourth year we have requested photographs. If possible we would prefer black and white photographs but will accept color. All submissions should address the conference theme "Educating Tomorrows Leaders." Photographs and writings that demonstrate the power of intergenerational education, whether formal or cultural, are especially welcome. Please inform your youths about this opportunity to have their work published and encourage them to submit their writings to:

American Indian Education Program
1919 B Street,
Marysville, CA 95901
Phone: (530) 749-6196 Fax: (530) 741-7840
email: jgraham@mjusd.k12.ca.us

Copyright will remain with the authors. Works submitted for publication will not be returned, so please send copies only. Each youth who is published will receive two free chapbooks from the Conference Planning Committee. All works should be submitted for review by Monday, March 7, 2005. Along with each submission, please include the following information:
Student Name Tribal Affiliation
Age of Student
Phone Number
Address Sponsoring organization (i.e., Title IX, IEC, or school)

We are looking forward to publishing the writings and photographs of our California Native American youths. If you have any questions, please contact James Graham at (530)749-6196.

Thank you, The 28th Annual California Conference on American Indian Education


Subject: Sundance Institute's commitment to supporting Native Cinema

From: George Lessard

The Sundance Institute's commitment to supporting Native Cinema is woven throughout the 23-year history of the Institute along with its support for the artistic vitality of American Cinema. Rooted in the recognition of a rich tradition of story telling and artistic expression by Native Peoples, the Institute established a Native Program as a means of supporting the development of Native filmmakers and the exhibition of their work. The Sundance Institute has supported nearly 45 Native writers and directors over the past 23 years, and showcased nearly 100 films by Native filmmakers. The Sundance Film Festival's Native Forum is a gathering of Indigenous filmmakers from around the world, and offers opportunities for them to share their expertise and knowledge with each other and the independent film community through workshops, panels, networking events, and special screenings.
http://festival.sundance.org/2005/?=native&107


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


Hero, Hawk, and Open Hand
Early tribal artifacts put in spotlight
Little-known items focus of exhibit in Chicago

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" 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
Chinle, Arizona (Canyon DeChelly)- Seminars and workshops have limited capacity and usually require enrollment months in advance.

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.

Contact Teddy Draper at
dechelly2000@yahoo.com

Web Sites:
Native American Links Page
Indigenous Peoples Literature
Wisdom of the Old People
Native American Summer Camp Info
Native Village(117K)

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].

Indian band seeks to regain its birthright
By David Whitney

Wintu Indians
At War Against Dam, Tribe Turns to Old Ways
Petition in Support of the Winnemem Wintu Tribe


Coyote-Chinook

Coyote was coming. He came to Gôt'a't. There he met a heavy surf. He was afraid that he might be drifted away and went up to the spruce trees. He stayed there a long time. Then he took some sand and threw it upon that surf: "This shall be a prairie and no surf. The future generations shall walk on this prairie." Thus Clatsop became a prairie. The surf became a prairie.

At Niâ'xaqcê a creek originated. He went and built a house at Niâ'xaqcê. He went out and stayed at the month of Niâ'xaqcê. Then he speared two silver-side salmon, a steel-head salmon, and a fall salmon. Then he threw the salmon and the fall salmon away, saying: "This creek is too small. I do not like to see here salmon and fall salmon. It shall be a bad omen when a fall salmon is killed here; somebody shall die; also when a salmon is killed. When a female salmon or fall salmon is killed a woman shall die; when a male is killed a man shall die." Now he carried only the silver-side salmon to his house. When he arrived there he cut it at once, steamed it and ate it. On the next day he took his harpoon and went again to the mouth of Niâ'xaqcê. He did not see anything, and the flood tide set in. He went home. On the next day he went again and did not see anything. Then he became angry and went home. He defecated and said to his excrements: "Why have these silver-side salmon disappeared?" "Oh, you with your bandy legs, you have no sense. When the first silver-side salmon is killed it must not be cut. It must be split along its back and roasted. It must not be steamed. Only when they go up river then they may be steamed." Coyote went home. On the next day he went again and speared three. He went home and made three spits. He roasted each salmon on a spit. He had three salmon and three spits. On the next day he went again and stood at the month of the creek. He did not see anything until the flood tide set in. Then he became angry and went home. He defecated. He spoke and asked his excrements: "Why have these silver-side salmon disappeared?" His excrements said to him: "I told you, you with your bandy legs, when the first silver-side salmon are killed spits must be made, one for the head, one for the back, one for the roe, one for the body. The gills must be burnt." "Yes," said Coyote. On the next day he went again. He killed again three silver-side salmon. When he arrived at home he cut them all and made many spits. He roasted them all separately. The spits of the breast, body, head, back, and roe were at separate places. Coyote, roasted them. On the next morning he went again. He speared ten silver-side salmon. Coyote, was very glad. He came home and split part of the fish. The other part he left and went to sleep. On the next morning he roasted the rest. Then he went again and stood at the mouth of the river. He did not see anything before the flood tide set in. He went home. On the next morning he went again, but again he did not see anything. He went home angry. He defecated and asked his excrements: "Why have these silver-side salmon disappeared?" His excrements scolded him: "When the first silver-side salmon are killed, they are not left raw. All must be roasted. When many are caught, they must all be roasted before you go to sleep." On the next morning Coyote went and stood at the mouth of the river. He speared ten. Then he made many double spits, and remained awake until all were roasted that he had caught. Now he had learned all that is forbidden in regard to silver-side salmon when they arrive first at Niâ'xaqcê. He remained there and said: "The Indians shall always do as I had to do. If a man who prepares corpses eats a silver-side salmon, they shall disappear at once. If a murderer eats silver-side salmon, they shall at once disappear. They shall also disappear when a girl who has just reached maturity or when a menstruating woman eats them. Even I got tired."

Now he came this way. At some distance he met a number of women who were digging roots. He asked them: "What are you doing?" "We are digging gamass." "How can you dig gamass at Clatsop? You shall dig [a root, species?] and thistle [?] roots in this country. No gamass will be dug here." Now they gathered [a root, species?] and thistle [?] roots. He left these women and spoiled that land. He transformed the gamass into small onions.

Then he came to Clatsop. It was the spring of the year. Then he met his younger brother the snake. He said to him: "Let us make nets." The snake replied: "As you wish." Now they bought material for twine, and paid the frog and the newt to spin it. Now Coyote cleaned all the material for twine while the snake was crawling about. Then the frog and the newt spun it. Then Coyote said to his younger brother: "Clean it, clean it. You crawl about all day." Thus he spoke to the snake. Coyote continued: "You shall make one side of the net, I make the other." Coyote finished his twine and said to the snake: "Quick! quick! you let me wait. Make your net." The snake replied: "You let me wait." Thus he spoke to Coyote. Now, Coyote made his net. He finished it all. The two women made the ropes, Coyote made the net buoys; while the snake crawled about. Coyote said: "Make your net buoys; you let me wait." Thus he said to the snake. The snake replied: "Make haste! you let me wait." Coyote finished his net buoys. Then he went to look for stones, and the snake accompanied him. They went for stones to Tongue point. The snake crawled about among the stones, while Coyote carried them down. They went home. After they reached home Coyote went to gather spruce roots. The snake accompanied him. Coyote dug, up the ground and the snake crawled about at the same place. They went home. Coyote split the spruce roots. "Go on; work," he spoke to the snake; "you let me wait." The snake replied: "Quick, quick; work! you let me wait." Now Coyote tied his net to the buoys and laid it down flat on a large mat. Then he tied it to the buoys. The snake crawled about at the same place. Coyote finished his net and hung it up outside. Early the next morning he stepped out of the house, and there hung already the net of the snake. "Oh, brother," he said, "you got the better of me." Coyote was ashamed. The snake had won over him. Coyote said: "When a person makes a net, he shall get tired before he finishes it. It would not be well if he would not get tired." The snake said to him: "I told you that you would let me wait."

It got day. Then they went to catch salmon in their net. They laid the net and caught two in it. Coyote jumped over the net. Now they intended to catch more salmon, but the flood-tide set in. They had caught only two before the flood-tide set in. Now they went home. Coyote said that he was hungry, and he split the salmon at once. They roasted them. When they were done they ate. The frog and the newt were their cousins. The next morning they went fishing with their net. The newt looked after the rope, the snake stood at the upper end of the net, Coyote at the lower end. They intended to catch salmon, but they did not get anything until the flood-tide set in. They went home. Coyote was angry. He defecated and spoke to his excrements: "You are a liar." They said to him: "You with your bandy- legs. When people kill a salmon they do not jump over the net. You must not step over your net. When the first salmon are killed, they are not cut until the afternoon." "Oh," said Coyote, "You told me enough." On the next morning they went fishing. When they had killed a salmon they did not jump over the net. They laid their net twice. Enough salmon were in the net. Then he ordered the newt: "Bail out the canoe, it is full of water." She bailed it out. Then they intended to fish again, but the flood-tide set in. They went home and put down what they had caught in the house. In the afternoon Coyote split the salmon. He split them in the same way as the silver-side salmon. He placed the head, the back, the body, and the roe in separate places and on separate double spits. They were done. The next morning they went fishing. They did not kill anything. Coyote became angry and defecated. He said to his excrements: "Tell me, why have these salmon disappeared?" His excrements scolded him: "Do you think their taboo is the same as that of the silver-side salmon? It is different. When you go fishing salmon and they go into your net., you may lay it three times. No more salmon will go into it. It is enough then. Never bail out your canoe. When you come home and cut the salmon, you must split it at the sides and roast belly and back on separate double spits. Then put four sticks vertically into the ground [so that they form a square] and lay two horizontal sticks across them. On top of this frame place the back with the head and the tail attached to it." He said to his excrements: "You told me enough." On the next morning they went fishing and killed three salmon. They did not bail out their canoe. Then he said to the newt: "Fetch a stick from the woods. We will make a club." She went and brought a stick. Then they laid their net again. Again a salmon was in it and he killed it with his club. They intended to continue fishing, but the flood-tide set in. They killed four only. They put down their salmon. In the afternoon Coyote cut them and put four sticks into the ground. Now he did as his excrements had told him. When they were done he broke the backbone at once. On the next morning they went fishing. They did not kill anything before the flood-tide set in. They went home. Coyote was angry and defecated. "Why have these salmon disappeared?" he asked his excrements. "I told you," they said to Coyote; "do you think their taboo is the same as that of the silver-side salmon? It is different. When you kill a salmon you must never strike it with a stick. When they may be boiled, then you may strike them with a stick. When it is almost autumn you may strike them with a stick. Do not break a salmon's backbone when they just begin to come. When you have killed a salmon take sand, strew it on its eye, and press it with your fist. Do not club it." Coyote said: "You have told me enough." On the next morning they went fishing. Salmon went into the net; three went into the net immediately. He strewed sand on each and pressed each. He killed many salmon. They went home and roasted them. When they were done he distributed them among the people of the town above Clatsop. Now they dried them. On the next morning they went fishing. They tried to fish but did not catch anything before the flood-tide set in. They went home. Coyote was angry. He defecated: "Why have these salmon disappeared?" "I told you. you lean one, with your bandy-legs. There are many taboos relating to the salmon. When you have killed many salmon you must never carry them outside the house. You must roast and eat them at the same place. When part is left they must stay it the same place. When you want to dry them you must do so when the flood-tide sets in on the day after you have caught them." He said to them: "You have told me enough." On the next morning they went fishing again. They killed many salmon. They roasted them all. When they were done he invited the people. The newt was sent out. They came to eat in Coyote's house. They finished eating. Then they left there what they had not eaten. Now it was low water in the morning. They went out early to lay their net, but they did not catch anything. They fished until the flood-tide set in. They did not kill anything. They were unsuccessful. Twice they tried to go fishing early in the morning, but they were unsuccessful; they did not catch anything. Coyote defecated and said to his excrements: "Why have the salmon disappeared?" Coyote received the answer: "I told you, you lean one, that the salmon has many taboos. When you go fishing and it is ebb-tide early in the morning, you must not lay your net before sunrise. The salmon must not be carried outside until a crow takes one and carries it outside. Then it must be distributed raw. No fire must be made until daylight; the breast must not be eaten before the next day. When salmon are roasted at a tire and they are done, water must be poured into the fire." He said to his excrements: "You have told me enough. The Indians shall always do this way. Thus shall be the taboos for all generations of Indians. Even I got tired."

Thus spoke Coyote about the taboos of Clatsop. He said to his cousins: "We will move to the other side." The newt made herself ready. Then the snake looked at the frog, who was growling. The snake reached her, struck, and killed her.

Now they arrived here on this side. They went fishing and killed salmon. He did the same way as in Clatsop. He strewed sand on the eye of that salmon. He pressed its eye. Then they intended to fish again, but they did not kill anything. They went home. On the following morning they went again fishing, but they did not kill anything On the next morning they went fishing again, but they did not kill anything. Coyote scolded. He defecated: "Why have these salmon disappeared?" "Oh, you foolish Coyote. When you kill a salmon you must kick it. Do you think it is the same here as at Clatsop?" "Oh, said Coyote. On the next morning they went fishing again. They laid their net and caught two salmon. They laid their net again and caught three salmon. He threw one ashore. It fell down head first so that the mouth struck the sand. They tried to lay their net again but they did not kill anything. They tried to fish until the flood tide set in. They had not killed anything. They had caught five only. They went home. In the evening Coyote cut the salmon and roasted them. They were done. The following morning they went fishing, but did not kill anything. Coyote scolded. He defecated: "Why have these salmon disappeared?" "Oh, you foolish Coyote. Do you think it is the same here as at Clatsop? Do not throw salmon ashore so that the head is downward. It is taboo. When you kill a salmon go and pick salmonberries. When you have caught many salmon put salmonberries into the mouth of each." "Oh, you have told me enough," he said to his excrements. The next morning they again went fishing. They killed many salmon. He sent the newt to pick salmonberries. The newt brought salmonberries. Now they put those berries into the mouths of those salmon. It got day and they went fishing again. They met fishermen on the water. A short distance down river they laid their net. They laid it several times and went up the river a short distance. They passed the canoes of those fishermen. They laid their net and intended to fish, but they did not kill anything. They were unsuccessful. They went home. Coyote scolded. He defecated: "Why have these salmon disappeared?" "You lean one! When yon kill a salmon, and you have laid your net at one place and you kill one more, you must lay your net at the same place. You must not pass a canoe with fishermen in it. It is taboo." "Yes," said Coyote. On the next day they went again fishing. Coyote said: "Even I got tired. The Indians shall always do in the same manner. Murderers, those who prepare corpses, girls who are just mature, menstruating women, widows and widowers shall not eat salmon. Thus shall be the taboos for all generations of people."

Chinook Texts by Franz Boas. [1894] (U.S. Bureau of American Ethnology Bulletin, no 20.)

Submitted by Wolf Walker

From Blue Panther Keeper of Stories

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Saturday, January 29, 2005

Sat., Jan. 29, 2005

native american arts daily news, presented by
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Out & About
Press-Enterprise (subscription) - Riverside,CA,USA
... FENDER MUSEUM OF MUSIC AND THE ARTS, "The 50th Anniversary of the ... MUSEUM, "Death Valley is Alive" ; exhibits on natural, local and Native American history, 9 am ...

Shiawassee program looks at endangered species
The Saginaw News - Saginaw,MI,USA
... 22, at the Midland Center for the Arts, Eastman at West St. ... The Ziibiwing Center, a Native American museum and cultural center located at 6650 E. Broadway in ...

Professor's novel chosen to help build community
Wesleyan Argus - Middletown,CT,USA
... "The National Endowment of the Arts (NEA) did ... this year has a multicultural theme and will feature literature by African-American, Native-American, Latino, and ...

 This once a day Google Alert is brought to you by Google.


Date: Fri, 28 Jan 2005 04:22:12 -0000 From: "cuziswuzz"
Subject: Indigenous People's Images in Sports

Hello, I will be creating a power point presentation for my undergraduate ethnic studies class that will provide a visual awareness of the blatant discrimination of Indigenous People's Images in Sports; i.e. mascots. If anyone would like me to send them a copy of this, please email me at tstrickl@calpoly.edu and I'd be happy to send it - or if anyone has any pictures/information that would be helpful in creating it I'd appreciate that too.


From: "ghwelker"
Subject: Native American Recipes
Native American Recipes (Meat)
http://www.indigenouspeople.net/meat.txt
Native American Recipes (Non-Meat)
http://www.indigenouspeople.net/nonmeat.txt


From: "ghwelker"
Subject: Mohawk Creation Legends of the Iroquois (online movie clip) streaming video
Mohawk Creation Legends of the Iroquois
http://www.presenciataina.tv/CreationStory.mov

Presention by Dr. Tom Porter, sponsored by Lotus Music and Dance featuring the native traditional Areitos of the Iroquois Confederation of the Northeastern USA and Canadian frontier.


From: George Lessard
Subject: AEQ Book Review of Telling Stories the Kiowa Way

http://www.amazon.com/exec/obidos/tg/detail/-/0816522782/104-4144017-1587941?v=glance&st=*
http://www.ubcpress.ubc.ca/search/title_book.asp?BookID=3875
http://www.powells.com/cgi-bin/biblio?show=Trade%20Paper:Used:0816522782:13.50
http://search.barnesandnoble.com/booksearch/isbninquiry.asp?pwb=1&isbn=0816522782

Palmer, Gus, Jr. Telling Stories the Kiowa Way. Tucson: University of Arizona Press, 2003. 170 pp. ISBN 0816522782, $17.95.

Reviewed for the Anthropology & Education Quarterly by David Samuels University of Massachusetts

© 2004 American Anthropological Association. This review will appear on the web site 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.

Please send your contributions for the ANKN Listserv to Alaska Native Knowledge Network .

If you have any suggestions, questions, or comments, please email Alaska Native Knowledge Network .

George Lessard-Media Specialist


From: "ghwelker" Subject: 28th Annual California Conference on American Indian Education

CALL FOR STUDENT WRITING

The 28th Annual California Conference on American Indian Education is approaching quickly and, once again, we wish to showcase the writings of American Indian students from our state in a small booklet (chapbook) available to each participant who attends the conference. We are requesting poetry, short stories, and photography from all K-12 American Indian youths who reside in California. This is the fourth year we have requested photographs. If possible we would prefer black and white photographs but will accept color. All submissions should address the conference theme "Educating Tomorrows Leaders." Photographs and writings that demonstrate the power of intergenerational education, whether formal or cultural, are especially welcome. Please inform your youths about this opportunity to have their work published and encourage them to submit their writings to:

American Indian Education Program
1919 B Street,
Marysville, CA 95901
Phone: (530) 749-6196 Fax: (530) 741-7840
email: jgraham@mjusd.k12.ca.us

Copyright will remain with the authors. Works submitted for publication will not be returned, so please send copies only. Each youth who is published will receive two free chapbooks from the Conference Planning Committee. All works should be submitted for review by Monday, March 7, 2005. Along with each submission, please include the following information:
Student Name Tribal Affiliation
Age of Student
Phone Number
Address Sponsoring organization (i.e., Title IX, IEC, or school)

We are looking forward to publishing the writings and photographs of our California Native American youths. If you have any questions, please contact James Graham at (530)749-6196.

Thank you, The 28th Annual California Conference on American Indian Education


From: "ghwelker" Subject: INDIAN HISTORY - 8000 BC to Present (THE MIGRATION CONTINUES) INDIAN HISTORY - 8000 BC to Present
http://www.telusplanet.net/public/dgarneau/indian4.htm
CANADIAN HISTORY
http://www.telusplanet.net/public/dgarneau/direct.htm
METIS NATION A COMPLETE HISTORY 1600 - 1900
http://www.telusplanet.net/public/dgarneau/metis.htm
THE true CANADIAN HISTORY 128,000 BC - 2003 AD
http://www.telusplanet.net/public/dgarneau/indian.htm
GENEALOGY of CANADIAN ANCESTORS
http://www.telusplanet.net/public/dgarneau/gene.htm


Subject: Sundance Institute's commitment to supporting Native Cinema

From: George Lessard

The Sundance Institute's commitment to supporting Native Cinema is woven throughout the 23-year history of the Institute along with its support for the artistic vitality of American Cinema. Rooted in the recognition of a rich tradition of story telling and artistic expression by Native Peoples, the Institute established a Native Program as a means of supporting the development of Native filmmakers and the exhibition of their work. The Sundance Institute has supported nearly 45 Native writers and directors over the past 23 years, and showcased nearly 100 films by Native filmmakers. The Sundance Film Festival's Native Forum is a gathering of Indigenous filmmakers from around the world, and offers opportunities for them to share their expertise and knowledge with each other and the independent film community through workshops, panels, networking events, and special screenings.
http://festival.sundance.org/2005/?=native&107


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


Hero, Hawk, and Open Hand
Early tribal artifacts put in spotlight
Little-known items focus of exhibit in Chicago

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" 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
Chinle, Arizona (Canyon DeChelly)- Seminars and workshops have limited capacity and usually require enrollment months in advance.

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.

Contact Teddy Draper at
dechelly2000@yahoo.com

Web Sites:
Native American Links Page
Indigenous Peoples Literature
Wisdom of the Old People
Native American Summer Camp Info
Native Village(117K)

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].

Indian band seeks to regain its birthright
By David Whitney

Wintu Indians
At War Against Dam, Tribe Turns to Old Ways
Petition in Support of the Winnemem Wintu Tribe


Coyote, Iktome and the Rock - Lakota / White River

Coyote was walking with his friend Iktome. Along their path stood Iya, the rock. This was not just any rock; it was special. It had those spidery lines of green moss all over it, the kind that tell a story. Iya had power.

Coyote said: "Why, this is a nice-looking rock. I think it has power." Coyote took off the thick blanket he was wearing and put it on the rock. "Here, Iya, take this as a present. Take this blanket, friend rock, to keep you from freezing. You must feel cold."

"Wow, a giveaway!" said Iktome. "You sure are in a giving mood today, friend."

"Ah, it's nothing. I'm always giving things away. Iya looks real nice in my blanket."

"His blanket, now," said Iktome.

The two friends went on. Pretty soon a cold rain started. The rain turned to hail. The hail turned to slush. Coyote and Iktome took refuge in a cave, which was cold and wet. Iktome was all right; he had his thick buffalo robe. Coyote only had his shirt, and he was shivering. He was freezing. His teeth were chattering.

"Kola, friend of mine," Coyote said to Iktome, "go back and get me my fine blanket. I need it, and that rock has no use for it. He's been getting along without a blanket for ages. Hurry; I'm freezing!"

Iktome went back to Iya, saying; "Can I have that blanket back, please?"

The rock said: "No, I like it. What is given is given."

Iktome returned and told Coyote: "He won't give it back."

"That no-good, ungrateful rock!" said Coyote. "Has he paid for the blanket? Has he worked for it? I'll go get it myself."

"Friend," said Iktome, "Tunka, Iya, the rock-there's a lot of power there! Maybe you should let him keep it."

"Are you crazy? This is an expensive blanket of many colors and great thickness. I'll go talk to him."

Coyote went back and told Iya: "Hey, rock! What's the meaning of this? What do you need a blanket for? Let me have it back right now!"

"No," said the rock, "what is given is given."

"You're a bad rock! Don't you care that I'm freezing to death? That I'll catch a cold? Coyote jerked the blanket away from Iya and put it on. "So there, that's the end of it."

"By no means the end," said the rock.

Coyote went back to the cave. The rain and hail stopped and the sun came out again, so Coyote and Iktome sat before the cave, sunning themselves, eating pemmican and fry-bread and wojapi, berry soup. After eating, they took out their pipes and had a smoke.

All of a sudden Iktome said: "What's that noise?"

"What noise? I don't hear anything."

"A crushing, a rumble far off."

"Yes, friend, I hear it now."

"Friend Coyote, its getting stronger and nearer, like thunder or an earthquake."

"Its rather strong and loud, I wonder what it can be."

"I have a pretty good idea, friend," said Iktome.

Then they saw the great rock. It was Iya, rolling, thundering, crashing upon them.

"Friend, let's run for it!" cried Iktome; "Iya means to kill us!"

The two ran as fast as they could while the rock rolled after them, coming closer and closer.

"Friend, let's swim the river. The rock is so heavy, he sure can't swim!" cried Iktome. So they swam the river, but Iya, the great rock, also swam over the river as if he had been made of wood.

"Friend, into the timber, among the big trees," cried Coyote. "That big rock surely can't get through this thick forest." They ran among the trees, but the huge Iya came rolling along after them, shivering and splintering the big pine trees, left and right.

The two came out onto the flats. "Oh! oh!" cried Iktome, Spider Man. "Friend Coyote, this is really not my quarrel. I just remembered, I have pressing business to attend to. So long!" Iktome rolled himself into a tiny ball and became a spider. He disappeared into a mousehole.

Coyote ran on and on, the big rock thundering close at his heels. Then Iya, the big rock, rolled right over Coyote, flattening him out altogether.

Iya took the blanket and rolled back to his own place, saying: "So there!"

A wasichu rancher riding along saw Coyote lying there all flattened out. "What a nice rug!" said the rancher, picking Coyote up, and he took the rug home.

The rancher put Coyote right in front of his fireplace. Whenever Coyote is killed, he can make himself come to life again, but it took him the whole night to put himself up into his usual shape. In the morning the rancher's wife told her husband: "I just saw your rug running away."

Friends hear this: always be generous to heart. If you have something to give, give it forever.

Told by Jenny Leading Cloud in White River, Rosebud Indian Reservation, South Dakota, 1967. Recorded by Richard Erdoes.

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
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Coyote's Daughter [Becomes] His Wife - Apache / White Mountain

Coyote had a black belt with red fringes. He also had a turkey feather cap with two eagle feathers sticking up. He was traveling with his daughter. They came to a river and started across, wading. Coyote said to his daughter, "Your dress will get wet, so lift it up a little way." The girl did this. Pretty soon Coyote said again, "Lift your dress a little higher, it will get wet," and the girl did so.

Then he kept on telling her to lift it a little higher until she had the dress up to her belly. Then Coyote looked and saw his own . She looked pretty good to him. When they got across the river, they went on to Coyote's camp.

Then Coyote pretended to get sick. He lay down as if he was in a very bad way. Then he made believe he was going to die. This was all in one day. He said to his wife, "I am dying now. Over where they are playing hoop and poles there will be a man standing, right at one end of the course. He will be dressed just as I am now. That is the man I want my daughter to marry. After I am dead, wait and destroy the wickiup over me. I was always afraid of rocks.[ Probably refers to burial under rocks, the customary way.] Then leave some red paint beside me." When he got through talking, he made believe he died. His children started to cry for him. They destroyed the wickiup on top of him and went off leaving him there.

Just as soon as they had left. Coyote jumped up, crawled out from under the wickiup and ran to the place where they were playing hoop and poles and stood there. He got there before his family did. Then he saw his wife and children coming. His wife talked with her daughter. "There is the man you are to marry " she said, "Go and fix up a new wickiup for yourselves " So they went and fixed up a new wickiup for the man and the girl That evening the man and the girl went to the wickiup and lay down together. That way Coyote lay with his own daughter all night He was married to her now.

Next day his wife said she was going to wash him up with yucca. Coyote had some lice in his hair and he told her to look for them Coyote also had a mole on the back of his head. He laid his head on his daughter's knees and she started to pick off lice. After a while Coyote fell asleep there. Then the girl came to the mole on the back of his head. When she saw this, she thought, "This is my father. She slipped herself out from under Coyote quietly so as not to waken him, and then stepped easily over to her mother's camp. When she got there, she said, "My mother, that man I have been married to is my father. I know because of that mole on the back of his head." Then the old woman got mad all right. She said He was dead over there a long time ago." She took up a big rock and went over to where Coyote was lying asleep. Just before she got ready to throw the rock on him, he jumped up. "It seems to me you are not glad to see me, my mother-in-law," he said to his own real wife. What's the matter, mother-in-law, what are you trying to do? His old wife said, "You were dead long ago over there, and now. Coyote, you marry with your own daughter. You had better not stay around here any longer. Go some other place!"

Coyote started off and came to another camp where they were playing hoop and poles. "Look, here comes the man who married his own daughter," they said. Coyote turned around and started off in another direction. The next camp he came to they said, Mere comes the man who married his own daughter," and Coyote turned around again. Then he went a very long way to a camp far off. When they saw him, they said, "There is that man who married his own daughter," and Coyote turned back. Then Coyote started to wonder who it was who was telling everyone about him. "Wind, you're the one who is talking about me," he said. Then he climbed up a hill where wind was blowing. When he got there he put his hand back and spread his backside apart with his finger. The wind blew inside it and he closed it again. Then Coyote traveled on to another camp and no one said anything to him. He said to himself, "I knew you were the one doing this, Wind." [Listeners often exclaimed in disgust over Coyote's incestuousness.]

Told by Francis Drake Taken from Myths and Tales of the White Mountain Apache by Grenville Goodwin, 1994

Submitted by Wolf Walker

From Blue Panther Keeper of Stories

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Friday, January 28, 2005

Friday, Jan. 28, 2005

native american arts daily news, presented by
amerindianarts.us

Community calendar
Montclarion - Montclair,CA,USA
... free; technique based on martial arts, dance and the healing arts. ... 3565 Fruitvale Ave., presents the following events: Native American Storyteller Corrina ...
See all stories on this topic

It's prime time for antiques shows
San Jose Mercury News (Subscription) - San Jose,CA,USA
... Arts Show in San Francisco. Over 90 top international dealers will show off African and Oceanic sculpture and masks, weapons from New Guinea, Native American ...

Speaking out
Birmingham News - Birmingham,AL,USA
... the events features exhibits, music, folk dances and arts and crafts. ... Parker Branch Waterfall and Canyon, Pebble Bluff Native American shelters and Kinlock ...

City confidential: Marcus Hummon
Nashville City Paper - Nashville,TN,USA
... American Duet); boxing in the '50s in New York (Poor Players); a Native American athlete at the ... What have you learned about life while working in the arts? ...

Candace Strong featured speaker at Coastal Arts Guild
Newport News Times - Newport,OR,USA
... Social hour for guild members and guests begins at 11:30 am, followed by the luncheon and program. "Blending Native American with Anglo arts and crafts to ...

The family farm: Can it really work?
Barre Montpelier Times Argus - Barre,VT,USA
By David M. Kaslow Arts Correspondent. ... In reading about the Bascom Farm, we are introduced to the science of sap flow, the Native American method of sugaring ...

Haunted Places in Oklahoma
juiceenewsdaily - Jasper,AL,USA
... Sightings of native American spirits, and unusual noises common place. ... Midwest City - Midwest City High School Performing Arts Center - 5 years ago a janitor ...

Woman evokes the legends of her people
Ventura County Star (subscription) - Ventura county,CA,USA
... to do until some movie scouts came to the school looking for Native American actors. ... in 1978 from the University of Arizona with a bachelor of arts degree in ...

Things to do
Providence Journal (subscription) - Providence,RI,USA
... Eric Larivee, a New York cabaret singer; Tom Frederick, a Native American performer; jazz ... Children can take part in an arts and crafts project and there will ...

 This once a day Google Alert is brought to you by Google.


From: "ghwelker"
Subject: Mohawk Creation Legends of the Iroquois (online movie clip) streaming video
Mohawk Creation Legends of the Iroquois
http://www.presenciataina.tv/CreationStory.mov

Presention by Dr. Tom Porter, sponsored by Lotus Music and Dance featuring the native traditional Areitos of the Iroquois Confederation of the Northeastern USA and Canadian frontier.


From: George Lessard
Subject: AEQ Book Review of Telling Stories the Kiowa Way

http://www.amazon.com/exec/obidos/tg/detail/-/0816522782/104-4144017-1587941?v=glance&st=*
http://www.ubcpress.ubc.ca/search/title_book.asp?BookID=3875
http://www.powells.com/cgi-bin/biblio?show=Trade%20Paper:Used:0816522782:13.50
http://search.barnesandnoble.com/booksearch/isbninquiry.asp?pwb=1&isbn=0816522782

Palmer, Gus, Jr. Telling Stories the Kiowa Way. Tucson: University of Arizona Press, 2003. 170 pp. ISBN 0816522782, $17.95.

Reviewed for the Anthropology & Education Quarterly by David Samuels University of Massachusetts

In Telling Stories the Kiowa Way, Gus Palmer Jr. has provided readers with a highly readable introduction to Native American oral poetics and verbal art. The author, an associate professor of anthropology at the University of Oklahoma, deftly addresses questions of narrative, orality, and knowledge in the context of contemporary Kiowa culture and society.

Palmer divides the book into nine chapters with two focuses. The first focus covers the range of knowledge one must develop command of in becoming a Kiowa storyteller, and the second focus explores the education of a native ethnographer. In chapter 1, Palmer introduces readers to the importance of stories in Kiowa culture and begins to deconstruct such naturalized western narrative concepts as fact and fiction. Additionally, he examines the meaning of speech and silence as responses to questions. In chapter 2, he briefly introduces John Topfi, a key storytelling consultant for Palmer.

The next three chapters explore the radical open-endedness of Kiowa narratives and the way this open-endedness encourages co-participation from audiences; the social contexts that frame the emergence of narratives and how good storytellers are sensitive to shifts in these contexts; and, the embedding of stories within stories, especially the embedding of "fictional" stories within the narration of personal experience. Chapter 6 explores the contextualized telling of jokes, concentrating the relationship between Kiowas and cowboys.

Chapters 7 and 8 explore the ways that storytellers scaffold audience knowledge and participation by layering old and new texts and information. This is Palmer's denouement, the presentation of "storytelling as it really takes place" (p. 92) and his argument that "oral storytellingŠis nothing less than genuine American literature" (p.109).

These points are well taken and make the book a useful introductory text in courses dealing with Native American literature, the issues of orality and performance, or verbal art. Palmer's concentration on questions of how one becomes a "master speaker," a proficient or expert storyteller like John Topfi, also lends this book to use in classrooms where questions of language, literacy, and culture are a focus-although the decision to present the Kiowa stories in their English translations limits the ways in which the specificity of the Kiowa language can be used in that context. Palmer, in consultation with Laurel Watkins, developed the Kiowa language curriculum at the University of Oklahoma. Although his dedication to the life of the Kiowa language is unquestionable, one wishes that Palmer's dedication could have made its presence felt more vividly in the presentation of the book's narratives. No doubt questions of "audience" played a role in these decisions, but surely even a general readership could stand to learn that there are things that cannot be communicated in English.

Having said this, Palmer communicates his points in English very well. The book is engagingly written, and Palmer himself is a skilled storyteller. The book's strongest aspects as a classroom text are twofold: first, the way it brings together a number of classic thinkers in the subject of oral literature, such as Dennis Tedlock, Dell Hymes, Richard Bauman, Ruth Finnegan, Keith Basso, and Albert Lord, in an exploration of narrative as it emerges naturally in the open-ended richness of social context. A second strong point is the way Palmer discusses those scholarly works in dialogue with Native American authors on the question of Native American literary forms and performances. If there is a drawback to the work, it is that Palmer does not quite tell a reader what new knowledge one might learn from attending specifically to Kiowa narrative practices. Instead, Palmer tends to emphasize similarities or the ways in which Kiowa storytelling parallels certain universality that has been claimed elsewhere in Homeric, Serbian, Apache, and Zuni cultural contexts.

© 2004 American Anthropological Association. This review will appear on the web site 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.

Please send your contributions for the ANKN Listserv to Alaska Native Knowledge Network .

If you have any suggestions, questions, or comments, please email Alaska Native Knowledge Network .

George Lessard-Media Specialist


From: "ghwelker" Subject: 28th Annual California Conference on American Indian Education

CALL FOR STUDENT WRITING

The 28th Annual California Conference on American Indian Education is approaching quickly and, once again, we wish to showcase the writings of American Indian students from our state in a small booklet (chapbook) available to each participant who attends the conference. We are requesting poetry, short stories, and photography from all K-12 American Indian youths who reside in California. This is the fourth year we have requested photographs. If possible we would prefer black and white photographs but will accept color. All submissions should address the conference theme "Educating Tomorrows Leaders." Photographs and writings that demonstrate the power of intergenerational education, whether formal or cultural, are especially welcome. Please inform your youths about this opportunity to have their work published and encourage them to submit their writings to:

American Indian Education Program
1919 B Street,
Marysville, CA 95901
Phone: (530) 749-6196 Fax: (530) 741-7840
email: jgraham@mjusd.k12.ca.us

Copyright will remain with the authors. Works submitted for publication will not be returned, so please send copies only. Each youth who is published will receive two free chapbooks from the Conference Planning Committee. All works should be submitted for review by Monday, March 7, 2005. Along with each submission, please include the following information:
Student Name Tribal Affiliation
Age of Student
Phone Number
Address Sponsoring organization (i.e., Title IX, IEC, or school)

We are looking forward to publishing the writings and photographs of our California Native American youths. If you have any questions, please contact James Graham at (530)749-6196.

Thank you, The 28th Annual California Conference on American Indian Education


From: "ghwelker" Subject: INDIAN HISTORY - 8000 BC to Present (THE MIGRATION CONTINUES) INDIAN HISTORY - 8000 BC to Present
http://www.telusplanet.net/public/dgarneau/indian4.htm
CANADIAN HISTORY
http://www.telusplanet.net/public/dgarneau/direct.htm
METIS NATION A COMPLETE HISTORY 1600 - 1900
http://www.telusplanet.net/public/dgarneau/metis.htm
THE true CANADIAN HISTORY 128,000 BC - 2003 AD
http://www.telusplanet.net/public/dgarneau/indian.htm
GENEALOGY of CANADIAN ANCESTORS
http://www.telusplanet.net/public/dgarneau/gene.htm


Subject: Sundance Institute's commitment to supporting Native Cinema

From: George Lessard

The Sundance Institute's commitment to supporting Native Cinema is woven throughout the 23-year history of the Institute along with its support for the artistic vitality of American Cinema. Rooted in the recognition of a rich tradition of story telling and artistic expression by Native Peoples, the Institute established a Native Program as a means of supporting the development of Native filmmakers and the exhibition of their work. The Sundance Institute has supported nearly 45 Native writers and directors over the past 23 years, and showcased nearly 100 films by Native filmmakers. The Sundance Film Festival's Native Forum is a gathering of Indigenous filmmakers from around the world, and offers opportunities for them to share their expertise and knowledge with each other and the independent film community through workshops, panels, networking events, and special screenings.
http://festival.sundance.org/2005/?=native&107


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


Date: Sat, 01 Jan 2005 16:54:45 -0000
From: "ghwelker"
Subject: Museum loses Indian artifacts to burglary
Museum loses Indian artifacts to burglary
ASSOCIATED PRESS

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.

The historical society is offering a $500 reward to anyone who can provide information leading to the arrest and conviction.
Glenn Welker
Editor, List Manager, and Web Master
for
Indigenous Peoples Literature


Hero, Hawk, and Open Hand
Early tribal artifacts put in spotlight
Little-known items focus of exhibit in Chicago

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
Chinle, Arizona (Canyon DeChelly)- Seminars and workshops have limited capacity and usually require enrollment months in advance.

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.

Contact Teddy Draper at
dechelly2000@yahoo.com

Web Sites:
Native American Links Page
Indigenous Peoples Literature
Wisdom of the Old People
Native American Summer Camp Info
Native Village(117K)

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].

Indian band seeks to regain its birthright
By David Whitney

Wintu Indians
At War Against Dam, Tribe Turns to Old Ways
Petition in Support of the Winnemem Wintu Tribe


Coward, The Son Of The Moon - Caddo

When people first come out of earth, little boy is taken out by grandparents who are poor. Boy is fed by other boys and grows rapidly. He becomes successful hunter. His grandparents die and boy wanders away into timber to mourn. Man comes and embraces him. He is Moon, and says he will be boy's father, watch over him, and give him power. Boy goes home and weeps no more. Girl comes and asks to become his wife, and they live together. Wife sees husband has great power. Woman asks him to watch her child, who is asleep, while she goes to get water. When she has gone he wakes child up and cuts its leg off. When she returns child is dead, and young man is playing with leg. She calls people, and they come and kill young man. He comes out of grave and looks just the same as before he was killed. All men go on war-path except Coward, as people call him. When asked by chief why he does not go, he takes war club and goes out to fight. Arrows fly off from him and enemies see he cannot be killed. Men run, and he kills many with war clubs. Next day he is sick, and vomits all arrow-heads that have pierced his body. He bathes and is well. Many years after he tells people Moon is his father. Then he arises and goes up to Moon.

Traditions of the Caddo, By George A. Dorsey, collected 1903-1905, under the auspices of the Carnegie Institution of Washington.

Submitted by Wolf Walker

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3

Comments: Post a Comment
0 comments

Thursday, January 27, 2005

Thursday, Jan. 27, 2005

native american arts daily news, presented by
amerindianarts.us

Community calendar
Cambridge Chronicle - Somerville,MA,USA
... Lessons from an Ancient Native American Spiritual Teacher ... AMERICAN RED CROSS BLOOD SERVICES - Volunteers ... CAMBRIDGE MULTICULTURAL ARTS CENTER - Public relations ...

Southwest Arts Festival expands its scope
The Desert Sun - Palm Springs,CA,USA
... the boundaries of traditional Southwestern art, the Southwest Arts Festival returns to ... art, which often features desert landscapes and Native American images. ...

Art calendar
Monterey County Herald - Monterey,CA,USA
... "Ancient Echoes: Native American Rock Art," photographs by Daniel Bianchetta at 165 Forest Ave., Pacific Grove. ... Arts and crafts by more than 160 local artists. ...

Weekly Entertainment Planner for January 27, 2005
Duluth News Tribune - Duluth,MN,USA
... CHILDREN'S THEATRE ARTS PROGRAM offers spring classes in acting and musical theater for ages 5 ... Native American Basket Weaving for kids, 9 am to noon March 19 ...

East Bay Briefings
Providence Journal (subscription) - Providence,RI,USA
... can visit www.lightyearimaging.com/guild and click on Arts Guild Home for ... stretches the genre of western films by humanizing the Native American characters and ...

ARTRAIN USA: "NATIVE VIEWS: INFLUENCES OF MODERN CULTURE"
Ann Arbor News - Ann Arbor,MI,USA
... this exhibition of work by 54 Native American artists ... a variety of Michigan-based native artists will ... pm, Brighton Center for the Performing Arts, Brighton High ...

 This once a day Google Alert is brought to you by Google.


From: "ghwelker"
Subject: Mohawk Creation Legends of the Iroquois (online movie clip) streaming video
Mohawk Creation Legends of the Iroquois
http://www.presenciataina.tv/CreationStory.mov

Presention by Dr. Tom Porter, sponsored by Lotus Music and Dance featuring the native traditional Areitos of the Iroquois Confederation of the Northeastern USA and Canadian frontier.


From: George Lessard
Subject: AEQ Book Review of Telling Stories the Kiowa Way

http://www.amazon.com/exec/obidos/tg/detail/-/0816522782/104-4144017-1587941?v=glance&st=*
http://www.ubcpress.ubc.ca/search/title_book.asp?BookID=3875
http://www.powells.com/cgi-bin/biblio?show=Trade%20Paper:Used:0816522782:13.50
http://search.barnesandnoble.com/booksearch/isbninquiry.asp?pwb=1&isbn=0816522782

Palmer, Gus, Jr. Telling Stories the Kiowa Way. Tucson: University of Arizona Press, 2003. 170 pp. ISBN 0816522782, $17.95.

Reviewed for the Anthropology & Education Quarterly by David Samuels University of Massachusetts

In Telling Stories the Kiowa Way, Gus Palmer Jr. has provided readers with a highly readable introduction to Native American oral poetics and verbal art. The author, an associate professor of anthropology at the University of Oklahoma, deftly addresses questions of narrative, orality, and knowledge in the context of contemporary Kiowa culture and society.

Palmer divides the book into nine chapters with two focuses. The first focus covers the range of knowledge one must develop command of in becoming a Kiowa storyteller, and the second focus explores the education of a native ethnographer. In chapter 1, Palmer introduces readers to the importance of stories in Kiowa culture and begins to deconstruct such naturalized western narrative concepts as fact and fiction. Additionally, he examines the meaning of speech and silence as responses to questions. In chapter 2, he briefly introduces John Topfi, a key storytelling consultant for Palmer.

The next three chapters explore the radical open-endedness of Kiowa narratives and the way this open-endedness encourages co-participation from audiences; the social contexts that frame the emergence of narratives and how good storytellers are sensitive to shifts in these contexts; and, the embedding of stories within stories, especially the embedding of "fictional" stories within the narration of personal experience. Chapter 6 explores the contextualized telling of jokes, concentrating the relationship between Kiowas and cowboys.

Chapters 7 and 8 explore the ways that storytellers scaffold audience knowledge and participation by layering old and new texts and information. This is Palmer's denouement, the presentation of "storytelling as it really takes place" (p. 92) and his argument that "oral storytellingŠis nothing less than genuine American literature" (p.109).

These points are well taken and make the book a useful introductory text in courses dealing with Native American literature, the issues of orality and performance, or verbal art. Palmer's concentration on questions of how one becomes a "master speaker," a proficient or expert storyteller like John Topfi, also lends this book to use in classrooms where questions of language, literacy, and culture are a focus-although the decision to present the Kiowa stories in their English translations limits the ways in which the specificity of the Kiowa language can be used in that context. Palmer, in consultation with Laurel Watkins, developed the Kiowa language curriculum at the University of Oklahoma. Although his dedication to the life of the Kiowa language is unquestionable, one wishes that Palmer's dedication could have made its presence felt more vividly in the presentation of the book's narratives. No doubt questions of "audience" played a role in these decisions, but surely even a general readership could stand to learn that there are things that cannot be communicated in English.

Having said this, Palmer communicates his points in English very well. The book is engagingly written, and Palmer himself is a skilled storyteller. The book's strongest aspects as a classroom text are twofold: first, the way it brings together a number of classic thinkers in the subject of oral literature, such as Dennis Tedlock, Dell Hymes, Richard Bauman, Ruth Finnegan, Keith Basso, and Albert Lord, in an exploration of narrative as it emerges naturally in the open-ended richness of social context. A second strong point is the way Palmer discusses those scholarly works in dialogue with Native American authors on the question of Native American literary forms and performances. If there is a drawback to the work, it is that Palmer does not quite tell a reader what new knowledge one might learn from attending specifically to Kiowa narrative practices. Instead, Palmer tends to emphasize similarities or the ways in which Kiowa storytelling parallels certain universality that has been claimed elsewhere in Homeric, Serbian, Apache, and Zuni cultural contexts.

© 2004 American Anthropological Association. This review will appear on the web site 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.

Please send your contributions for the ANKN Listserv to Alaska Native Knowledge Network .

If you have any suggestions, questions, or comments, please email Alaska Native Knowledge Network .

George Lessard-Media Specialist


From: "ghwelker" Subject: 28th Annual California Conference on American Indian Education

CALL FOR STUDENT WRITING

The 28th Annual California Conference on American Indian Education is approaching quickly and, once again, we wish to showcase the writings of American Indian students from our state in a small booklet (chapbook) available to each participant who attends the conference. We are requesting poetry, short stories, and photography from all K-12 American Indian youths who reside in California. This is the fourth year we have requested photographs. If possible we would prefer black and white photographs but will accept color. All submissions should address the conference theme "Educating Tomorrows Leaders." Photographs and writings that demonstrate the power of intergenerational education, whether formal or cultural, are especially welcome. Please inform your youths about this opportunity to have their work published and encourage them to submit their writings to:

American Indian Education Program
1919 B Street,
Marysville, CA 95901
Phone: (530) 749-6196 Fax: (530) 741-7840
email: jgraham@mjusd.k12.ca.us

Copyright will remain with the authors. Works submitted for publication will not be returned, so please send copies only. Each youth who is published will receive two free chapbooks from the Conference Planning Committee. All works should be submitted for review by Monday, March 7, 2005. Along with each submission, please include the following information:
Student Name Tribal Affiliation
Age of Student
Phone Number
Address Sponsoring organization (i.e., Title IX, IEC, or school)

We are looking forward to publishing the writings and photographs of our California Native American youths. If you have any questions, please contact James Graham at (530)749-6196.

Thank you, The 28th Annual California Conference on American Indian Education


From: "ghwelker" Subject: INDIAN HISTORY - 8000 BC to Present (THE MIGRATION CONTINUES) INDIAN HISTORY - 8000 BC to Present
http://www.telusplanet.net/public/dgarneau/indian4.htm
CANADIAN HISTORY
http://www.telusplanet.net/public/dgarneau/direct.htm
METIS NATION A COMPLETE HISTORY 1600 - 1900
http://www.telusplanet.net/public/dgarneau/metis.htm
THE true CANADIAN HISTORY 128,000 BC - 2003 AD
http://www.telusplanet.net/public/dgarneau/indian.htm
GENEALOGY of CANADIAN ANCESTORS
http://www.telusplanet.net/public/dgarneau/gene.htm


Subject: Sundance Institute's commitment to supporting Native Cinema

From: George Lessard

The Sundance Institute's commitment to supporting Native Cinema is woven throughout the 23-year history of the Institute along with its support for the artistic vitality of American Cinema. Rooted in the recognition of a rich tradition of story telling and artistic expression by Native Peoples, the Institute established a Native Program as a means of supporting the development of Native filmmakers and the exhibition of their work. The Sundance Institute has supported nearly 45 Native writers and directors over the past 23 years, and showcased nearly 100 films by Native filmmakers. The Sundance Film Festival's Native Forum is a gathering of Indigenous filmmakers from around the world, and offers opportunities for them to share their expertise and knowledge with each other and the independent film community through workshops, panels, networking events, and special screenings.
http://festival.sundance.org/2005/?=native&107


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


Date: Sat, 01 Jan 2005 16:54:45 -0000
From: "ghwelker"
Subject: Museum loses Indian artifacts to burglary
Museum loses Indian artifacts to burglary
ASSOCIATED PRESS

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.

The historical society is offering a $500 reward to anyone who can provide information leading to the arrest and conviction.
Glenn Welker
Editor, List Manager, and Web Master
for
Indigenous Peoples Literature


Hero, Hawk, and Open Hand
Early tribal artifacts put in spotlight
Little-known items focus of exhibit in Chicago

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
Chinle, Arizona (Canyon DeChelly)- Seminars and workshops have limited capacity and usually require enrollment months in advance.

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.

Contact Teddy Draper at
dechelly2000@yahoo.com

Web Sites:
Native American Links Page
Indigenous Peoples Literature
Wisdom of the Old People
Native American Summer Camp Info
Native Village(117K)

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].

Indian band seeks to regain its birthright
By David Whitney

Wintu Indians
At War Against Dam, Tribe Turns to Old Ways
Petition in Support of the Winnemem Wintu Tribe


Coward, The Son Of The Moon - Caddo

When people first come out of earth, little boy is taken out by grandparents who are poor. Boy is fed by other boys and grows rapidly. He becomes successful hunter. His grandparents die and boy wanders away into timber to mourn. Man comes and embraces him. He is Moon, and says he will be boy's father, watch over him, and give him power. Boy goes home and weeps no more. Girl comes and asks to become his wife, and they live together. Wife sees husband has great power. Woman asks him to watch her child, who is asleep, while she goes to get water. When she has gone he wakes child up and cuts its leg off. When she returns child is dead, and young man is playing with leg. She calls people, and they come and kill young man. He comes out of grave and looks just the same as before he was killed. All men go on war-path except Coward, as people call him. When asked by chief why he does not go, he takes war club and goes out to fight. Arrows fly off from him and enemies see he cannot be killed. Men run, and he kills many with war clubs. Next day he is sick, and vomits all arrow-heads that have pierced his body. He bathes and is well. Many years after he tells people Moon is his father. Then he arises and goes up to Moon.

Traditions of the Caddo, By George A. Dorsey, collected 1903-1905, under the auspices of the Carnegie Institution of Washington.

Submitted by Wolf Walker

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3

Comments: Post a Comment
0 comments

Wednesday, January 26, 2005

Weds., Jan 26, 2005

native american arts daily news, presented by
amerindianarts.us

South Lakes to present Native American musical
TimesCommunity.com - Leesburg,VA,USA
... present "Anasazi," which it bills as the first-ever Native American musical ... haunting melodies and lyrics, said Judy Bowns, a theater arts teacher associated ...
See all stories on this topic

Maryland Places Second Nationally In AP Program
WBAL Channel.com - Baltimore,MD,USA
... equity gap for Hispanic and Native American students, while ... that 17.7 percent of African-American students scored ... The Carver Center for the Arts in Baltimore ...

Critics: Pawlenty's Casino Plans Don't Add Up
WCCO - Minneapolis,MN,USA
... who make up 85 percent of the state's Native American population but ... "The vast majority of Native Americans in ... if we are going to fund a stadium, arts or other ...

Tom Scarborough to be featured artist for February at Koshare ...
Lamar Daily News - Lamar,CO,USA
... Scarborough's work is highly praised by Richard Conn (well known Western History author and long time curator of Native American Arts at the Denver Art Museum ...

Tulsa man is a trailblazer in one tough sport
Native Times - USA
... first Native American to win a belt in Ultimate Fighting. Sifu RedCloud Anquoe currently holds the United States Muay Thai Association's Mixed Martial Arts/ ...

 This once a day Google Alert is brought to you by Google.


From: "ghwelker"
Subject: Mohawk Creation Legends of the Iroquois (online movie clip) streaming video
Mohawk Creation Legends of the Iroquois
http://www.presenciataina.tv/CreationStory.mov

Presention by Dr. Tom Porter, sponsored by Lotus Music and Dance featuring the native traditional Areitos of the Iroquois Confederation of the Northeastern USA and Canadian frontier.


From: George Lessard
Subject: AEQ Book Review of Telling Stories the Kiowa Way

http://www.amazon.com/exec/obidos/tg/detail/-/0816522782/104-4144017-1587941?v=glance&st=*
http://www.ubcpress.ubc.ca/search/title_book.asp?BookID=3875
http://www.powells.com/cgi-bin/biblio?show=Trade%20Paper:Used:0816522782:13.50
http://search.barnesandnoble.com/booksearch/isbninquiry.asp?pwb=1&isbn=0816522782

Palmer, Gus, Jr. Telling Stories the Kiowa Way. Tucson: University of Arizona Press, 2003. 170 pp. ISBN 0816522782, $17.95.

Reviewed for the Anthropology & Education Quarterly by David Samuels University of Massachusetts

In Telling Stories the Kiowa Way, Gus Palmer Jr. has provided readers with a highly readable introduction to Native American oral poetics and verbal art. The author, an associate professor of anthropology at the University of Oklahoma, deftly addresses questions of narrative, orality, and knowledge in the context of contemporary Kiowa culture and society.

Palmer divides the book into nine chapters with two focuses. The first focus covers the range of knowledge one must develop command of in becoming a Kiowa storyteller, and the second focus explores the education of a native ethnographer. In chapter 1, Palmer introduces readers to the importance of stories in Kiowa culture and begins to deconstruct such naturalized western narrative concepts as fact and fiction. Additionally, he examines the meaning of speech and silence as responses to questions. In chapter 2, he briefly introduces John Topfi, a key storytelling consultant for Palmer.

The next three chapters explore the radical open-endedness of Kiowa narratives and the way this open-endedness encourages co-participation from audiences; the social contexts that frame the emergence of narratives and how good storytellers are sensitive to shifts in these contexts; and, the embedding of stories within stories, especially the embedding of "fictional" stories within the narration of personal experience. Chapter 6 explores the contextualized telling of jokes, concentrating the relationship between Kiowas and cowboys.

Chapters 7 and 8 explore the ways that storytellers scaffold audience knowledge and participation by layering old and new texts and information. This is Palmer's denouement, the presentation of "storytelling as it really takes place" (p. 92) and his argument that "oral storytellingŠis nothing less than genuine American literature" (p.109).

These points are well taken and make the book a useful introductory text in courses dealing with Native American literature, the issues of orality and performance, or verbal art. Palmer's concentration on questions of how one becomes a "master speaker," a proficient or expert storyteller like John Topfi, also lends this book to use in classrooms where questions of language, literacy, and culture are a focus-although the decision to present the Kiowa stories in their English translations limits the ways in which the specificity of the Kiowa language can be used in that context. Palmer, in consultation with Laurel Watkins, developed the Kiowa language curriculum at the University of Oklahoma. Although his dedication to the life of the Kiowa language is unquestionable, one wishes that Palmer's dedication could have made its presence felt more vividly in the presentation of the book's narratives. No doubt questions of "audience" played a role in these decisions, but surely even a general readership could stand to learn that there are things that cannot be communicated in English.

Having said this, Palmer communicates his points in English very well. The book is engagingly written, and Palmer himself is a skilled storyteller. The book's strongest aspects as a classroom text are twofold: first, the way it brings together a number of classic thinkers in the subject of oral literature, such as Dennis Tedlock, Dell Hymes, Richard Bauman, Ruth Finnegan, Keith Basso, and Albert Lord, in an exploration of narrative as it emerges naturally in the open-ended richness of social context. A second strong point is the way Palmer discusses those scholarly works in dialogue with Native American authors on the question of Native American literary forms and performances. If there is a drawback to the work, it is that Palmer does not quite tell a reader what new knowledge one might learn from attending specifically to Kiowa narrative practices. Instead, Palmer tends to emphasize similarities or the ways in which Kiowa storytelling parallels certain universality that has been claimed elsewhere in Homeric, Serbian, Apache, and Zuni cultural contexts.

© 2004 American Anthropological Association. This review will appear on the web site 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.

Please send your contributions for the ANKN Listserv to Alaska Native Knowledge Network .

If you have any suggestions, questions, or comments, please email Alaska Native Knowledge Network .

George Lessard-Media Specialist


From: "ghwelker" Subject: 28th Annual California Conference on American Indian Education

CALL FOR STUDENT WRITING

The 28th Annual California Conference on American Indian Education is approaching quickly and, once again, we wish to showcase the writings of American Indian students from our state in a small booklet (chapbook) available to each participant who attends the conference. We are requesting poetry, short stories, and photography from all K-12 American Indian youths who reside in California. This is the fourth year we have requested photographs. If possible we would prefer black and white photographs but will accept color. All submissions should address the conference theme "Educating Tomorrows Leaders." Photographs and writings that demonstrate the power of intergenerational education, whether formal or cultural, are especially welcome. Please inform your youths about this opportunity to have their work published and encourage them to submit their writings to:

American Indian Education Program
1919 B Street,
Marysville, CA 95901
Phone: (530) 749-6196 Fax: (530) 741-7840
email: jgraham@mjusd.k12.ca.us

Copyright will remain with the authors. Works submitted for publication will not be returned, so please send copies only. Each youth who is published will receive two free chapbooks from the Conference Planning Committee. All works should be submitted for review by Monday, March 7, 2005. Along with each submission, please include the following information:
Student Name Tribal Affiliation
Age of Student
Phone Number
Address Sponsoring organization (i.e., Title IX, IEC, or school)

We are looking forward to publishing the writings and photographs of our California Native American youths. If you have any questions, please contact James Graham at (530)749-6196.

Thank you, The 28th Annual California Conference on American Indian Education


From: "ghwelker" Subject: INDIAN HISTORY - 8000 BC to Present (THE MIGRATION CONTINUES) INDIAN HISTORY - 8000 BC to Present
http://www.telusplanet.net/public/dgarneau/indian4.htm
CANADIAN HISTORY
http://www.telusplanet.net/public/dgarneau/direct.htm
METIS NATION A COMPLETE HISTORY 1600 - 1900
http://www.telusplanet.net/public/dgarneau/metis.htm
THE true CANADIAN HISTORY 128,000 BC - 2003 AD
http://www.telusplanet.net/public/dgarneau/indian.htm
GENEALOGY of CANADIAN ANCESTORS
http://www.telusplanet.net/public/dgarneau/gene.htm


Subject: Sundance Institute's commitment to supporting Native Cinema

From: George Lessard

The Sundance Institute's commitment to supporting Native Cinema is woven throughout the 23-year history of the Institute along with its support for the artistic vitality of American Cinema. Rooted in the recognition of a rich tradition of story telling and artistic expression by Native Peoples, the Institute established a Native Program as a means of supporting the development of Native filmmakers and the exhibition of their work. The Sundance Institute has supported nearly 45 Native writers and directors over the past 23 years, and showcased nearly 100 films by Native filmmakers. The Sundance Film Festival's Native Forum is a gathering of Indigenous filmmakers from around the world, and offers opportunities for them to share their expertise and knowledge with each other and the independent film community through workshops, panels, networking events, and special screenings.
http://festival.sundance.org/2005/?=native&107


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


Date: Sat, 01 Jan 2005 16:54:45 -0000
From: "ghwelker"
Subject: Museum loses Indian artifacts to burglary
Museum loses Indian artifacts to burglary
ASSOCIATED PRESS

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.

The historical society is offering a $500 reward to anyone who can provide information leading to the arrest and conviction.
Glenn Welker
Editor, List Manager, and Web Master
for
Indigenous Peoples Literature


Hero, Hawk, and Open Hand
Early tribal artifacts put in spotlight
Little-known items focus of exhibit in Chicago

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
Chinle, Arizona (Canyon DeChelly)- Seminars and workshops have limited capacity and usually require enrollment months in advance.

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.

Contact Teddy Draper at
dechelly2000@yahoo.com

Web Sites:
Native American Links Page
Indigenous Peoples Literature
Wisdom of the Old People
Native American Summer Camp Info
Native Village(117K)

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].

Indian band seeks to regain its birthright
By David Whitney

Wintu Indians
At War Against Dam, Tribe Turns to Old Ways
Petition in Support of the Winnemem Wintu Tribe


COURAGE

One time a little boy and his sister went to the reservation to stay with their grandfather on the old homestead. They loved to run free in the bushes, grass, and weeds. The days were so joyful and the evenings were so good. As one of their duties, grandfather asked them to do the dishes after supper each evening ... they were to take turns. Also living on the homestead was an old goose that was quite mean and would chase and squawk after them and try to bite them.

One day, as boys do, the little boy picked up a rock (and really not meaning to) threw it and hit the old goose right in the head and killed it. Scared and not knowing what to do he dragged the old goose behind the barn and buried it. That night when his sister went to do the dishes she peeked back around the door and beckoned her brother to come here. She said, "do the dishes." "No, it's your turn." "I'll tell grandfather about the goose." "O.K". And so the little boy wound up doing the dishes ... doing them night after night ... after night ... after night.

One day the little boy could stand it no more - he marched in from the yard to his grandfather. "Grandfather, do you know that goose?" "Yes, my boy." "Well, I picked up a rock, threw it, hit him in the head - killed him - dragged him around the barn and buried him. Grandfather picked the little boy into his lap, held him tight and spoke into his ear. "Yes, I know - I was sitting here by the window watching. You know, I just love the dickens out of you - I wish I had ten more just like you."

That night after supper, it came time to do the dishes his sister beckoned her brother, "do the dishes." "No, it's your turn." "I'll tell grandfather about that goose." The little boy lifted up his head, looked her right square in the eye and exclaimed, "WHAT GOOSE!!"

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3

Comments: Post a Comment
0 comments

Tuesday, January 25, 2005

Tuesday, Jan. 25, 2005

native american arts daily news, presented by
amerindianarts.us

Hire to aid Native Am studies
Yale Daily News - USA
... Amanda de Zutter '01 SOM '06, who serves as co-chair of Native American Yale Alumni, said she is pleased that the Faculty of Arts and Sciences is making the ...

Art, social causes inspired Anne Gerber, 94
Seattle Times - Seattle,WA,USA
... she preferred "artnik," a term she made up to describe her own particular passion for the arts. ... They also supported the work of Native American artists. ...
See all stories on this topic

Emphasizing Wisdom Instead of Utility
Home Educator's Family Times - Gray,ME,USA
... The remarkable Native American Chief Sitting Bull once reportedly spoke to this ... core concepts" of "science, mathematics, social studies, arts and humanities ...

Local news briefs
The Bozeman Daily Chronicle - Bozeman,MT,USA
... Africa, Oceania and the Americas, The Minneapolis Institute of Arts; Tony Incashola ... be made by Walter Fleming, head of MSU's Native American studies department ...

DAKOTA COUNTY
Pioneer Press (subscription) - St. Paul,MN,USA
... Centennial Elementary School Student Leadership Council is sponsoring an Arts & Academics Fair for 4:30 pm to 6:30 pm Feb. ... A Native American Cultures course ...

Summer Arts Brings One Of A Kind Experience To CSU Students
Fresno State News - Fresno,CA,USA
Aboriginal Australian, Native American, and Canadian First Nations' theatre artists come together ... The CSU's Summer Arts program has offered workshops since ...

Milwaukee Pow-Wow preparations in full swing
Tulsa Native American Times - Tulsa,OK,USA
... Native American Music Awards (Nammy) Nominee Michael Jacobs will perform ... While written to Native America, the themes also ... where 55 vendors offer arts and crafts ...

Arts grants to aid students with disabilities
Providence Journal (subscription) - Providence,RI,USA
... in visual arts and cartooning, and CITE -- the Center for Individualized Training and Education -- received money for a project in Native American folk arts. ...

 This once a day Google Alert is brought to you by Google.


From: "ghwelker"
Subject: Mohawk Creation Legends of the Iroquois (online movie clip) streaming video
Mohawk Creation Legends of the Iroquois
http://www.presenciataina.tv/CreationStory.mov

Presention by Dr. Tom Porter, sponsored by Lotus Music and Dance featuring the native traditional Areitos of the Iroquois Confederation of the Northeastern USA and Canadian frontier.


From: "ghwelker" Subject: 28th Annual California Conference on American Indian Education

CALL FOR STUDENT WRITING

The 28th Annual California Conference on American Indian Education is approaching quickly and, once again, we wish to showcase the writings of American Indian students from our state in a small booklet (chapbook) available to each participant who attends the conference. We are requesting poetry, short stories, and photography from all K-12 American Indian youths who reside in California. This is the fourth year we have requested photographs. If possible we would prefer black and white photographs but will accept color. All submissions should address the conference theme "Educating Tomorrows Leaders." Photographs and writings that demonstrate the power of intergenerational education, whether formal or cultural, are especially welcome. Please inform your youths about this opportunity to have their work published and encourage them to submit their writings to:

American Indian Education Program
1919 B Street,
Marysville, CA 95901
Phone: (530) 749-6196 Fax: (530) 741-7840
email: jgraham@mjusd.k12.ca.us

Copyright will remain with the authors. Works submitted for publication will not be returned, so please send copies only. Each youth who is published will receive two free chapbooks from the Conference Planning Committee. All works should be submitted for review by Monday, March 7, 2005. Along with each submission, please include the following information:
Student Name Tribal Affiliation
Age of Student
Phone Number
Address Sponsoring organization (i.e., Title IX, IEC, or school)

We are looking forward to publishing the writings and photographs of our California Native American youths. If you have any questions, please contact James Graham at (530)749-6196.

Thank you, The 28th Annual California Conference on American Indian Education


From: "ghwelker" Subject: INDIAN HISTORY - 8000 BC to Present (THE MIGRATION CONTINUES) INDIAN HISTORY - 8000 BC to Present
http://www.telusplanet.net/public/dgarneau/indian4.htm
CANADIAN HISTORY
http://www.telusplanet.net/public/dgarneau/direct.htm
METIS NATION A COMPLETE HISTORY 1600 - 1900
http://www.telusplanet.net/public/dgarneau/metis.htm
THE true CANADIAN HISTORY 128,000 BC - 2003 AD
http://www.telusplanet.net/public/dgarneau/indian.htm
GENEALOGY of CANADIAN ANCESTORS
http://www.telusplanet.net/public/dgarneau/gene.htm


Subject: Sundance Institute's commitment to supporting Native Cinema

From: George Lessard

The Sundance Institute's commitment to supporting Native Cinema is woven throughout the 23-year history of the Institute along with its support for the artistic vitality of American Cinema. Rooted in the recognition of a rich tradition of story telling and artistic expression by Native Peoples, the Institute established a Native Program as a means of supporting the development of Native filmmakers and the exhibition of their work. The Sundance Institute has supported nearly 45 Native writers and directors over the past 23 years, and showcased nearly 100 films by Native filmmakers. The Sundance Film Festival's Native Forum is a gathering of Indigenous filmmakers from around the world, and offers opportunities for them to share their expertise and knowledge with each other and the independent film community through workshops, panels, networking events, and special screenings.
http://festival.sundance.org/2005/?=native&107


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


Date: Sat, 01 Jan 2005 16:54:45 -0000
From: "ghwelker"
Subject: Museum loses Indian artifacts to burglary
Museum loses Indian artifacts to burglary
ASSOCIATED PRESS

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.

The historical society is offering a $500 reward to anyone who can provide information leading to the arrest and conviction.
Glenn Welker
Editor, List Manager, and Web Master
for
Indigenous Peoples Literature


Hero, Hawk, and Open Hand
Early tribal artifacts put in spotlight
Little-known items focus of exhibit in Chicago

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
Chinle, Arizona (Canyon DeChelly)- Seminars and workshops have limited capacity and usually require enrollment months in advance.

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.

Contact Teddy Draper at
dechelly2000@yahoo.com

Web Sites:
Native American Links Page
Indigenous Peoples Literature
Wisdom of the Old People
Native American Summer Camp Info

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].

Indian band seeks to regain its birthright
By David Whitney

Wintu Indians
At War Against Dam, Tribe Turns to Old Ways
Petition in Support of the Winnemem Wintu Tribe


Cottontail Boy and Snowshoe Rabbit - Nez Perce

There were Cottontail Boy [hayu' xtshatswal] and his friend Snowshoe Rabbit [palxts]. It was cold, very cold. Cottontail Boy lived by the river, in its warmth, and there he would say, "I wonder what my friend Snowshoe Rabbit could be doing there far yonder where the gray coldness looms?"

But there Snowshoe Rabbit was saying the same, "I wonder what my friend Cottontail Boy could be doing there where the blue haze of warmth looms?"

One day they met. "So, my friend, we meet." Is it that you are in good health?"

"Eh! I should be asked when you are the one! I used to think about you, 'What things can my friend be doing there where the blue haze of warmth looms?' "

"Is that so? Well, I am just living very, very comfortably," Cottontail Boy said to him. "Here I have such a good, very warm lodge under a beautiful overhanging cliff. There I kick up a hackberry bush by the roots, and I bring this home to bum. This burns so well; and then I take some root food over which I pour water, and the water is absorbed instantly. I recline comfortably there and eat very heartily, so heartily. But I thought of you often, and I would say to myself, 'What can my friend be doing there where the gray coldness looms?' "

"Oh, I, too, just live comfortably from day to day," Snowshoe Rabbit told him. I have a very comfortable living place. There is a big growth on a pine tree, and my home is there at the root. Here I kick apart fallen chunks of wood to bum. Oh, how this bums to coals and ashes. Then I take fatty dried-meat and toast it somewhat, just to a red crispness. There I lean back and eat so heartily, eat until I feel a complete and happy gustatory contentment."

"Yes, it seems that both of us are living very well." Then they said to each other, "Farewell. We will meet again sometime."

Taken from Tales of the Nez Perce by Donald M. Hines, Ye Galleon Press; Fairfield, Washington, 1999 [gathered from other source books dated between 1912 and 1949]

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3


Cottontail Shoots the Sun - Shoshoni

Cottontail (Rabbit) and his old mother lived in a house in Saline Valley. One day Cottontail went out to kill Sun. He took all the arrows he could carry. He started off toward the east and slept on a hillside that night. When Sun came up next morning, it poked Cottontail on his back to tease him. That is why Cottontail's back is yellow.

Cottontail saw that Sun had come up on a mountain farther to the east. He went over there. Next day he saw that Sun had come up on a mountain still farther to the east. He went over there. In this way Cottontail continued to go toward the east until he came to the edge of the ocean. He saw that Sun came up from the ocean and jumped up into a tree.

Cottontail went to the tree, and stayed under it to watch for Sun. He looked around for wood that would not burn (presumably to make his arrows). He was afraid that he would get burned and made a hole to hide in. Then he killed Sun with his bow and arrow, and jumped into his hole. When Sun fell to the earth, everything was burned.

After awhile, Cottontail reached out and felt the ground. It was still hot. He said, "tcuwa, tcuwa" and went back into his hole. He stayed there a long time.

When the ground was cool, Cottontail came out. He killed Sun, took its gall out, and threw it high up in the air. As Cottontail traveled home, people would tease him and say, "Look at Cottontail. He is a big man. He has killed Sun." They laughed at him. This made Cottontail so angry that he killed everyone he met.

Cottontail walked for many days and finally arrived home in Saline Valley where his mother was waiting for him. They lived in a big brown rock which today is called "Cottontail's house."

Saline Valley, California Some Western Shoshoni Myths by Julian H. Steward - Bureau of American Ethnology Bulletin 136 [1943]

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3

Comments: Post a Comment
0 comments

Monday, January 24, 2005

Monday, Jan. 24, 2005

native american arts daily news, presented by
amerindianarts.us

Around town
Coshocton Tribune - Coshocton,OH,USA
... train cars dating from 1947 making this exhibit of special interest to train buffs as well as people interested in Native American Culture and the arts. ...

Drumming and storytelling in the Great White North
Native Times - USA
... School Program for Alaska Native and American Indian students ... to include all the Alaska Native cultures ... the Vice-President of the Percussive Arts Society Alaska ...

Art, music classes shuffled for TAKS
Fort Worth Star Telegram (subscription) - Fort Worth,TX,USA
... touches of feathers on an intricate Hopi kachina -- a Native American doll -- that ... cradle to the grave," said Beverly Fletcher, who oversees arts education for ...
See all stories on this topic

ON THE HORIZON
Ann Arbor News - Ann Arbor,MI,USA
... an exhibition of work by 54 Native American artists ... show, a variety of Michigan-based native artists will ... Brighton Center for the Performing Arts, Brighton High ...

Kiowa folk songs reborn in new storybooks
Tulsa Native American Times - Tulsa,OK,USA
... For non-native speakers, a special CD-ROM is included that ... now USAO) with a Bachelor of Arts degree in ... In fact, visitors to the new American Indian-Smithsonian ...
See all stories on this topic

Two Honored With Franklin Fairbanks Award
Caledonian Record - Caledonian,VT,USA
... of the museum, recognize a person for contributions in the arts, humanities or ... Gallery is scheduled to open April 1 and a display of Native American crafts and ...

 This once a day Google Alert is brought to you by Google.


Date: Fri, 07 Jan 2005 01:56:00 -0000
From: "ghwelker"
Subject: Living in America: The American Indian Experience
The American Museum of Natural History
presents
Living in America: The American Indian Experience

Three Saturdays,
January 15, 22 and 29
1:00-5:30 p.m.
Kaufmann Theater, first floor

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
or
call 212-769-5315.
From: borreror@amnh.org


From: "ghwelker" Subject: 28th Annual California Conference on American Indian Education

CALL FOR STUDENT WRITING

The 28th Annual California Conference on American Indian Education is approaching quickly and, once again, we wish to showcase the writings of American Indian students from our state in a small booklet (chapbook) available to each participant who attends the conference. We are requesting poetry, short stories, and photography from all K-12 American Indian youths who reside in California. This is the fourth year we have requested photographs. If possible we would prefer black and white photographs but will accept color. All submissions should address the conference theme "Educating Tomorrows Leaders." Photographs and writings that demonstrate the power of intergenerational education, whether formal or cultural, are especially welcome. Please inform your youths about this opportunity to have their work published and encourage them to submit their writings to:

American Indian Education Program
1919 B Street,
Marysville, CA 95901
Phone: (530) 749-6196 Fax: (530) 741-7840
email: jgraham@mjusd.k12.ca.us

Copyright will remain with the authors. Works submitted for publication will not be returned, so please send copies only. Each youth who is published will receive two free chapbooks from the Conference Planning Committee. All works should be submitted for review by Monday, March 7, 2005. Along with each submission, please include the following information:
Student Name Tribal Affiliation
Age of Student
Phone Number
Address Sponsoring organization (i.e., Title IX, IEC, or school)

We are looking forward to publishing the writings and photographs of our California Native American youths. If you have any questions, please contact James Graham at (530)749-6196.

Thank you, The 28th Annual California Conference on American Indian Education


From: "ghwelker" Subject: INDIAN HISTORY - 8000 BC to Present (THE MIGRATION CONTINUES) INDIAN HISTORY - 8000 BC to Present
http://www.telusplanet.net/public/dgarneau/indian4.htm
CANADIAN HISTORY
http://www.telusplanet.net/public/dgarneau/direct.htm
METIS NATION A COMPLETE HISTORY 1600 - 1900
http://www.telusplanet.net/public/dgarneau/metis.htm
THE true CANADIAN HISTORY 128,000 BC - 2003 AD
http://www.telusplanet.net/public/dgarneau/indian.htm
GENEALOGY of CANADIAN ANCESTORS
http://www.telusplanet.net/public/dgarneau/gene.htm


AEQ Book Review of Making Dictionaries: Preserving Indigenous Languages of the Americas

From: George Lessard
Subject: Book Review - Making Dictionaries: Preserving Indigenous Languages of the Americas

Subject: 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.


Subject: Sundance Institute's commitment to supporting Native Cinema

From: George Lessard

The Sundance Institute's commitment to supporting Native Cinema is woven throughout the 23-year history of the Institute along with its support for the artistic vitality of American Cinema. Rooted in the recognition of a rich tradition of story telling and artistic expression by Native Peoples, the Institute established a Native Program as a means of supporting the development of Native filmmakers and the exhibition of their work. The Sundance Institute has supported nearly 45 Native writers and directors over the past 23 years, and showcased nearly 100 films by Native filmmakers. The Sundance Film Festival's Native Forum is a gathering of Indigenous filmmakers from around the world, and offers opportunities for them to share their expertise and knowledge with each other and the independent film community through workshops, panels, networking events, and special screenings.
http://festival.sundance.org/2005/?=native&107

Native American and indigenous films screening in the 2005 Sundance Film Festival:

Screening in the U.S. DOCUMENTARY COMPETITION :
TRUDELL /U.S.A (Director: Heather Rae - Western Cherokee; Screenwriter: B. Russell Friedenberg)

Screening in WORLD DOCUMENTARY COMPETITION :
DHAKIYARR VS. THE KING /Australia (Directors: Allan Collins and Tom Murray - Willi Willi Nation)

Screening in AMERICAN SPECTRUM :
5TH WORLD /U.S.A. (Director: BlackHorse Lowe - Din?; Screenwriter: BlackHorse Lowe)

Screening in the SHORTS COMPETITION : FROM CHERRY ENGLISH /Canada (Director: Jeff Barnaby - Mi'gMaq)
GOODNIGHT IRENE /U.S.A. (Director: Sterlin Harjo - Creek/Seminole Nations)
NATCHILIAGNIAQTUGUK AAPAGALU - SEAL HUNTING WITH DAD /U.S.A. (Director: Andrew Okpeaha MacLean - Inupiaq)
PLAINS EMPTY /Australia (Director: Beck Cole - Warramungu Nation) PURA LENGUA (ALL TONGUE) /U.S.A. (Director: Aurora Guerrero - Xicana)
TAMA TU /New Zealand (Director: Taika Waititi - Te Whanau a Apanui)

Screening in the SPECIAL SCREENINGS :
A THOUSAND ROADS /U.S.A. (Director: Chris Eyre - Cheyenne/Arapaho Tribes)
GREEN BUSH /Australia (Director: Warwick Thornton - Kaytetye Nation)


From: George Lessard
Subject: US National Tribal Justice Resource Center

This site is "dedicated to tribal justice systems, personnel and tribal law. The Resource Center is the central national clearinghouse of information for Native American and Alaska Native tribal courts." The site features history and information about tribal courts, model codes and related information for selected legal issues (such as criminal law, gaming, and sovereignty protection), information about court personnel, and more. Searchable. A project of the National American Indian Court Judges Association.

http://www.tribalresourcecenter.org
http://lii.org?recs=024653
Subjects:
* Indians of North America
* Indian courts
Created by: mcb

Via / By / Excerpted / From / Tip from / Thanks to:

Copyright 2004 by Librarians' Index to the Internet, LII.

We encourage you to cite our records, to forward all or part of New This Week to colleagues and other discussion or announcement lists, to include citations to our resources in your pathfinders and training materials, and to otherwise leverage this publicly-funded resource. If you use our content, please include our copyright notice.

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© info
http://members.tripod.com/~media002/disclaimer.htm Due to the nature of email & the WWW, check ALL sources. GEORGE LESSARD
Information & Media Specialist


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


Date: Sat, 01 Jan 2005 16:54:45 -0000
From: "ghwelker"
Subject: Museum loses Indian artifacts to burglary
Museum loses Indian artifacts to burglary
ASSOCIATED PRESS

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.

The historical society is offering a $500 reward to anyone who can provide information leading to the arrest and conviction.
Glenn Welker
Editor, List Manager, and Web Master
for
Indigenous Peoples Literature


Hero, Hawk, and Open Hand
Early tribal artifacts put in spotlight
Little-known items focus of exhibit in Chicago

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
Chinle, Arizona (Canyon DeChelly)- Seminars and workshops have limited capacity and usually require enrollment months in advance.

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.

Contact Teddy Draper at
dechelly2000@yahoo.com

Web Sites:
Native American Links Page
Indigenous Peoples Literature
Wisdom of the Old People
Native American Summer Camp Info

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].

Indian band seeks to regain its birthright
By David Whitney

Wintu Indians
At War Against Dam, Tribe Turns to Old Ways
Petition in Support of the Winnemem Wintu Tribe


MULLYANGAH- The Morning Star

When Mullyangah was a child, there was a great famine in the land that lasted many seasons. Things were so bad that whole tribes were forced to break up into small groups and go their separate ways in search of whatever food they could find.

One day, when the situation had reached its lowest, Mullyangah's parents gathered sufficient food to feed him alone. During that night they went to their Dreaming, leaving Mullyangah to fend for himself.

As time passed, each day Mullyangah was forced to travel great distances in search of food. He often crossed tribal boundaries and met other groups, however, as the situation was so desperate, inter-tribal confrontation seldom occurred because everybody suffered equally.

Often, Mullyangah would have an unusually successful hunt, in which case, he would gorge himself, then share the remainder with whoever happended along. This continued for a number of seasons, during which Mullyangah earned a reputation for his care and kindness. As time passed and the famine continued, his sole occupation was hunting and gathering food simply to feed himself, then leaving the remainder with a marker for any hungry travellers to share. Several groups would often gather together at known locations hoping that there was a cache of food left there by the solitary hunter, and there usually was.

In time, the self-imposed responsibility for providing for others began to have a profound effect on Mullyangah's health, because, as food became increasingly more difficult to find, he found himself eating less and less. Eventually, there came a time when Mullyangah's strength failed him and he was too weak to fend for himself.

That night, Mullyangah lay by his fire, alone, as always, because that was his way. He knew that he would soon go to his Dreaming, so he began to sing his song, never for one moment regretting what he had done throughout his life. For he remembered the day that his parents found their Dreaming by ensuring that he survived. Therefore, how could he have done less for others?

Seated in his sky-camp, Baiame, the Great Spirit, heard Mullyangah's song. He knew of the sacrifice that he had made, so he rewarded him.

The next morning, a bright new star appeared on the horizon. Brighter than any star that had ever shone. It was Mullyangah, commonly known a The Morning Star, watching over the people. And at the precise moment that it appeared, the famine ended.

Tales from the Dreamtime....Naiura.

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3

Origin of the Raven and the Macaw
(Totems of summer and winter)
Zuni (New Mexico)

The priest who was named Yanauluha carried ever in his hand a staff which now in the daylight was plumed and covered with feathers - yellow, blue-green, red, white, black, and varied. Attached to it were shells, which made a song-like tinkle. The people when they saw it stretched out their hands and asked many questions.

Then the priest balanced it in his hand, and struck with it a hard place, and blew upon it. Amid the plumes appeared four round things-mere eggs they were. Two were blue like the sky and two dun-red like the flesh of the Earth-mother.

Then the people asked many questions.

"These," said the priests, "are the seed of living beings. Choose which ye will follow. From two eggs shall come beings of beautiful plumage, colored like the grass and fruits of summer. Where they fly and ye follow, shall always be summer. Without toil, fields of food shall flourish. And from the other two eggs shall come evil beings, piebald, with white, without colors. And where these two shall fly and ye shall follow, winter strives with summer. Only by labor shall the fields yield fruit, and your children and theirs shall strive for the fruits. Which do ye choose?"

"The blue! The blue!" cried the people, and those who were strongest carried off the blue eggs, leaving the red eggs to those who waited. They laid the blue eggs with much gentleness in soft sand on the sunny side of a hill, watching day by day. They were precious of color; surely they would be the precious birds of the Summer-land. Then the eggs cracked and the birds came out, with open eyes and pin feathers under their skins.

"We chose wisely," said the people. "Yellow and blue, red and green, are their dresses, even seen through their skins." So they fed them freely of all the foods which men favor. Thus they taught them to eat all desirable food. But when the feathers appeared, they were black with white bandings. They were ravens. And they flew away croaking hoarse laughs and mocking our fathers.

But the other eggs became beautiful macaws, and were wafted by a toss of the priest's wand to the faraway Summer-land.

So those who had chosen the raven, became the Raven People. They were the Winter People and they were many and strong. But those who had chosen the macaw, became the Macaw People. They were the Summer People, and few in number, and less strong, but they were wiser because they were more deliberate. The priest Yanauluha, being wise, became their father, even as the Sun-father is among the little moons of the sky. He and his sisters were the ancestors of the priest-keepers of things.

"Myths and Legends of California and the Old Southwest"- Compiled and Edited by Katharine Berry Judson [1912]

DreamWalkerAye

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3

Comments: Post a Comment
0 comments

Sunday, January 23, 2005

Sunday, Jan. 23, 2005

native american arts daily news, presented by
amerindianarts.us

Stem cell seminar set Monday at UGA
Athens Banner-Herald (subscription) - Athens,GA,USA
... Award from the Indo-American Arts Council. "Dancing on Mother Earth" provides a behind-the-scenes look at Grammy-nominated Native American singer/songwriter ...

Granary crafting finish to story
Aberdeen American News - Aberdeen,SD,USA
... said Peter Carrels, who is working with the Groton-area arts center on the project. Two of the sculptures will depict the Native American existence and ...

Around Town: Local ag landmarks fit to be noted
Danville Advocate - Danville,KY,USA
... winners of an Al Smith Fellowship from the Kentucky Arts Council selected for ... his fellowship, Spake plans to create a series of Native American vessels working ...

Arts Administrator, Playwright Vantile Whitfield Dies
Washington Post - Washington,DC,USA
... Mr. Whitfield, a native Washingtonian, was a pioneer ... grants available to artists and arts organizations within the Appalachian, American Indian, Latino ...

 This once a day Google Alert is brought to you by Google.


Date: Fri, 07 Jan 2005 01:56:00 -0000
From: "ghwelker"
Subject: Living in America: The American Indian Experience
The American Museum of Natural History
presents
Living in America: The American Indian Experience

Three Saturdays,
January 15, 22 and 29
1:00-5:30 p.m.
Kaufmann Theater, first floor

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
or
call 212-769-5315.
From: borreror@amnh.org


From: "ghwelker" Subject: 28th Annual California Conference on American Indian Education

CALL FOR STUDENT WRITING

The 28th Annual California Conference on American Indian Education is approaching quickly and, once again, we wish to showcase the writings of American Indian students from our state in a small booklet (chapbook) available to each participant who attends the conference. We are requesting poetry, short stories, and photography from all K-12 American Indian youths who reside in California. This is the fourth year we have requested photographs. If possible we would prefer black and white photographs but will accept color. All submissions should address the conference theme "Educating Tomorrows Leaders." Photographs and writings that demonstrate the power of intergenerational education, whether formal or cultural, are especially welcome. Please inform your youths about this opportunity to have their work published and encourage them to submit their writings to:

American Indian Education Program
1919 B Street,
Marysville, CA 95901
Phone: (530) 749-6196 Fax: (530) 741-7840
email: jgraham@mjusd.k12.ca.us

Copyright will remain with the authors. Works submitted for publication will not be returned, so please send copies only. Each youth who is published will receive two free chapbooks from the Conference Planning Committee. All works should be submitted for review by Monday, March 7, 2005. Along with each submission, please include the following information:
Student Name Tribal Affiliation
Age of Student
Phone Number
Address Sponsoring organization (i.e., Title IX, IEC, or school)

We are looking forward to publishing the writings and photographs of our California Native American youths. If you have any questions, please contact James Graham at (530)749-6196.

Thank you, The 28th Annual California Conference on American Indian Education


From: "ghwelker" Subject: INDIAN HISTORY - 8000 BC to Present (THE MIGRATION CONTINUES) INDIAN HISTORY - 8000 BC to Present
http://www.telusplanet.net/public/dgarneau/indian4.htm
CANADIAN HISTORY
http://www.telusplanet.net/public/dgarneau/direct.htm
METIS NATION A COMPLETE HISTORY 1600 - 1900
http://www.telusplanet.net/public/dgarneau/metis.htm
THE true CANADIAN HISTORY 128,000 BC - 2003 AD
http://www.telusplanet.net/public/dgarneau/indian.htm
GENEALOGY of CANADIAN ANCESTORS
http://www.telusplanet.net/public/dgarneau/gene.htm


AEQ Book Review of Making Dictionaries: Preserving Indigenous Languages of the Americas

From: George Lessard
Subject: Book Review - Making Dictionaries: Preserving Indigenous Languages of the Americas

Subject: 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.


Subject: Sundance Institute's commitment to supporting Native Cinema

From: George Lessard

The Sundance Institute's commitment to supporting Native Cinema is woven throughout the 23-year history of the Institute along with its support for the artistic vitality of American Cinema. Rooted in the recognition of a rich tradition of story telling and artistic expression by Native Peoples, the Institute established a Native Program as a means of supporting the development of Native filmmakers and the exhibition of their work. The Sundance Institute has supported nearly 45 Native writers and directors over the past 23 years, and showcased nearly 100 films by Native filmmakers. The Sundance Film Festival's Native Forum is a gathering of Indigenous filmmakers from around the world, and offers opportunities for them to share their expertise and knowledge with each other and the independent film community through workshops, panels, networking events, and special screenings.
http://festival.sundance.org/2005/?=native&107

Native American and indigenous films screening in the 2005 Sundance Film Festival:

Screening in the U.S. DOCUMENTARY COMPETITION :
TRUDELL /U.S.A (Director: Heather Rae - Western Cherokee; Screenwriter: B. Russell Friedenberg)

Screening in WORLD DOCUMENTARY COMPETITION :
DHAKIYARR VS. THE KING /Australia (Directors: Allan Collins and Tom Murray - Willi Willi Nation)

Screening in AMERICAN SPECTRUM :
5TH WORLD /U.S.A. (Director: BlackHorse Lowe - Din?; Screenwriter: BlackHorse Lowe)

Screening in the SHORTS COMPETITION : FROM CHERRY ENGLISH /Canada (Director: Jeff Barnaby - Mi'gMaq)
GOODNIGHT IRENE /U.S.A. (Director: Sterlin Harjo - Creek/Seminole Nations)
NATCHILIAGNIAQTUGUK AAPAGALU - SEAL HUNTING WITH DAD /U.S.A. (Director: Andrew Okpeaha MacLean - Inupiaq)
PLAINS EMPTY /Australia (Director: Beck Cole - Warramungu Nation) PURA LENGUA (ALL TONGUE) /U.S.A. (Director: Aurora Guerrero - Xicana)
TAMA TU /New Zealand (Director: Taika Waititi - Te Whanau a Apanui)

Screening in the SPECIAL SCREENINGS :
A THOUSAND ROADS /U.S.A. (Director: Chris Eyre - Cheyenne/Arapaho Tribes)
GREEN BUSH /Australia (Director: Warwick Thornton - Kaytetye Nation)

George Lessard

Date: Sat, 1 Jan 2005 11:57:03 -0700
From: George Lessard
Subject: Our Land - Contemporary Art from the Arctic
Our Land - Contemporary Art from the Arctic
THROUGH JANUARY 30, 2005

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
Peabody Essex Museum
[excerpt]

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
GEORGE LESSARD
Information & Media Specialist


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


Date: Sat, 01 Jan 2005 16:54:45 -0000
From: "ghwelker"
Subject: Museum loses Indian artifacts to burglary
Museum loses Indian artifacts to burglary
ASSOCIATED PRESS

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.

The historical society is offering a $500 reward to anyone who can provide information leading to the arrest and conviction.
Glenn Welker
Editor, List Manager, and Web Master
for
Indigenous Peoples Literature


Hero, Hawk, and Open Hand
Early tribal artifacts put in spotlight
Little-known items focus of exhibit in Chicago

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
Chinle, Arizona (Canyon DeChelly)- Seminars and workshops have limited capacity and usually require enrollment months in advance.

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.

Contact Teddy Draper at
dechelly2000@yahoo.com

Web Sites:
Native American Links Page
Indigenous Peoples Literature
Wisdom of the Old People
Native American Summer Camp Info

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].

Indian band seeks to regain its birthright
By David Whitney

Wintu Indians
At War Against Dam, Tribe Turns to Old Ways
Petition in Support of the Winnemem Wintu Tribe


Cottontail Boy and Bluejay - Nez Perce

Many people were assembling nearby. Bear [xa' xats] and her friends, the Killdeer Sisters, went out from camp going somewhere. They traveled along. Cottontail Boy [hayu' xtshatswal] and Bluejay [quya' squyas] saw them pass by and said to each other, "Oh, there they go. Let us banter with Bear as she passes." Cottontail Boy said to him, "Then you speak up to her."

Now he scoffed at her. He said, "You there who goes along hindmost. It is said of you that your vulva distends as large as the land that extends up the valley."

She came to a sudden stop. "Whom are you addressing?"

"You, of course."

"You should never say such things. Have a care, nephew. The eagles and sparrow hawks might hear you. They who want me for a wife, they might hear you. They will be the ones with whom you will trade at the marriage visit. Who would ever say such things of anyone, nephew?" Thus she cajoled Cottontail Boy, as he sat there, and Blue jay, perched in a pine tree above.

Bear just talked and came up closer to them at the same time. Cottontail Boy reclined at the entrance of his lodge. But he craved Bear for eating. (It was for that reason they had shouted at her in the first place.) Now she came up close and cajoled them. At that moment she very quickly tried to catch Cottontail Boy, but he eluded her grasp by jumping away suddenly. She groaned with disappointment. "I missed him.

Nevertheless, I will never let him escape." Now she dug into Cottontail Boy's lodge.

But she grew tired presently and Blue jay said to her from above, "Aunt, I said nothing to you. I respect you. Cottontail Boy is given to saying things like that. I was even angry at him myself. Wait a moment and let me advise you, for you are just to avenge yourself. Build a fire there at the entrance. Build a fire there; and when you hear him cough ["lik, " 'lik", 'lik"" - - sound of choking cough] and choke, you will know that he is suffocating. Then you will smear yourself with pitch all around the crotch of your legs and squat over the fire. Then, just as Cottontail Boy dashes out, he will run squarely into this and stick."

"Yes, yes nephew; it is well you have advised me." Now Bear did this. She carried wood and built a fire at the door. Then she smeared with pitch that part about which she had become indignant. She smeared it with pitch well and squatted over the fire. The fire burned good and warm. Presently she heard the sound of coughing [""lik", 'lik", 'lik""].

"Now he is suffocating," Blue jay said to her from above. By this time the pitch had melted on her. Now, from inside, Cottontail Boy just poured forth coals and fire, showered fire on that part of her which was smeared with pitch. Oh! How she burst into flame because she was smeared with pitch. She leaped away and writhed about in agony, going this way and that. Then she fell dead. Cottontail Boy and Blue jay now barbecued Bear

Taken from Tales of the Nez Perce by Donald M. Hines, Ye Galleon Press; Fairfield, Washington, 1999 [gathered from other source books dated between 1912 and 1949]

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3

Comments: Post a Comment
0 comments

Saturday, January 22, 2005

Saturday, Jan. 22, 2005

native american arts daily news, presented by
amerindianarts.us

Cinema Diaspora Launches ReelYouth Cultural Media Awareness ...
PR Leap (press release) - Chula Vista,CA,USA
... Native-American and African-American youth ages 14-18 a year long self-examination experience utilizing historical studies, cultural awareness, science, arts, ...

Pint-size therapist, poetic giant crown art happenings in 2004
The Saginaw News - Saginaw,MI,USA
... year Saginaw, Midland and Bay City are graced with arts and cultural ... Earl Jones, violinist Midori, best-selling author James McBride, Native American flutist R ...

 This once a day Google Alert is brought to you by Google.


Date: Fri, 07 Jan 2005 01:56:00 -0000
From: "ghwelker"
Subject: Living in America: The American Indian Experience
The American Museum of Natural History
presents
Living in America: The American Indian Experience

Three Saturdays,
January 15, 22 and 29
1:00-5:30 p.m.
Kaufmann Theater, first floor

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
or
call 212-769-5315.
From: borreror@amnh.org


From: "ghwelker" Subject: 28th Annual California Conference on American Indian Education

CALL FOR STUDENT WRITING

The 28th Annual California Conference on American Indian Education is approaching quickly and, once again, we wish to showcase the writings of American Indian students from our state in a small booklet (chapbook) available to each participant who attends the conference. We are requesting poetry, short stories, and photography from all K-12 American Indian youths who reside in California. This is the fourth year we have requested photographs. If possible we would prefer black and white photographs but will accept color. All submissions should address the conference theme "Educating Tomorrows Leaders." Photographs and writings that demonstrate the power of intergenerational education, whether formal or cultural, are especially welcome. Please inform your youths about this opportunity to have their work published and encourage them to submit their writings to:

American Indian Education Program
1919 B Street,
Marysville, CA 95901
Phone: (530) 749-6196 Fax: (530) 741-7840
email: jgraham@mjusd.k12.ca.us

Copyright will remain with the authors. Works submitted for publication will not be returned, so please send copies only. Each youth who is published will receive two free chapbooks from the Conference Planning Committee. All works should be submitted for review by Monday, March 7, 2005. Along with each submission, please include the following information:
Student Name Tribal Affiliation
Age of Student
Phone Number
Address Sponsoring organization (i.e., Title IX, IEC, or school)

We are looking forward to publishing the writings and photographs of our California Native American youths. If you have any questions, please contact James Graham at (530)749-6196.

Thank you, The 28th Annual California Conference on American Indian Education


From: "ghwelker" Subject: INDIAN HISTORY - 8000 BC to Present (THE MIGRATION CONTINUES) INDIAN HISTORY - 8000 BC to Present
http://www.telusplanet.net/public/dgarneau/indian4.htm
CANADIAN HISTORY
http://www.telusplanet.net/public/dgarneau/direct.htm
METIS NATION A COMPLETE HISTORY 1600 - 1900
http://www.telusplanet.net/public/dgarneau/metis.htm
THE true CANADIAN HISTORY 128,000 BC - 2003 AD
http://www.telusplanet.net/public/dgarneau/indian.htm
GENEALOGY of CANADIAN ANCESTORS
http://www.telusplanet.net/public/dgarneau/gene.htm


AEQ Book Review of Making Dictionaries: Preserving Indigenous Languages of the Americas

From: George Lessard
Subject: Book Review - Making Dictionaries: Preserving Indigenous Languages of the Americas

Subject: 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.


Subject: Sundance Institute's commitment to supporting Native Cinema

From: George Lessard

The Sundance Institute's commitment to supporting Native Cinema is woven throughout the 23-year history of the Institute along with its support for the artistic vitality of American Cinema. Rooted in the recognition of a rich tradition of story telling and artistic expression by Native Peoples, the Institute established a Native Program as a means of supporting the development of Native filmmakers and the exhibition of their work. The Sundance Institute has supported nearly 45 Native writers and directors over the past 23 years, and showcased nearly 100 films by Native filmmakers. The Sundance Film Festival's Native Forum is a gathering of Indigenous filmmakers from around the world, and offers opportunities for them to share their expertise and knowledge with each other and the independent film community through workshops, panels, networking events, and special screenings.
http://festival.sundance.org/2005/?=native&107

Native American and indigenous films screening in the 2005 Sundance Film Festival:

Screening in the U.S. DOCUMENTARY COMPETITION :
TRUDELL /U.S.A (Director: Heather Rae - Western Cherokee; Screenwriter: B. Russell Friedenberg)

Screening in WORLD DOCUMENTARY COMPETITION :
DHAKIYARR VS. THE KING /Australia (Directors: Allan Collins and Tom Murray - Willi Willi Nation)

Screening in AMERICAN SPECTRUM :
5TH WORLD /U.S.A. (Director: BlackHorse Lowe - Din?; Screenwriter: BlackHorse Lowe)

Screening in the SHORTS COMPETITION : FROM CHERRY ENGLISH /Canada (Director: Jeff Barnaby - Mi'gMaq)
GOODNIGHT IRENE /U.S.A. (Director: Sterlin Harjo - Creek/Seminole Nations)
NATCHILIAGNIAQTUGUK AAPAGALU - SEAL HUNTING WITH DAD /U.S.A. (Director: Andrew Okpeaha MacLean - Inupiaq)
PLAINS EMPTY /Australia (Director: Beck Cole - Warramungu Nation) PURA LENGUA (ALL TONGUE) /U.S.A. (Director: Aurora Guerrero - Xicana)
TAMA TU /New Zealand (Director: Taika Waititi - Te Whanau a Apanui)

Screening in the SPECIAL SCREENINGS :
A THOUSAND ROADS /U.S.A. (Director: Chris Eyre - Cheyenne/Arapaho Tribes)
GREEN BUSH /Australia (Director: Warwick Thornton - Kaytetye Nation)

George Lessard

Date: Sat, 1 Jan 2005 11:57:03 -0700
From: George Lessard
Subject: Our Land - Contemporary Art from the Arctic
Our Land - Contemporary Art from the Arctic
THROUGH JANUARY 30, 2005

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
Peabody Essex Museum
[excerpt]

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
GEORGE LESSARD
Information & Media Specialist


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


Date: Sat, 01 Jan 2005 16:54:45 -0000
From: "ghwelker"
Subject: Museum loses Indian artifacts to burglary
Museum loses Indian artifacts to burglary
ASSOCIATED PRESS

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.

The historical society is offering a $500 reward to anyone who can provide information leading to the arrest and conviction.
Glenn Welker
Editor, List Manager, and Web Master
for
Indigenous Peoples Literature


Hero, Hawk, and Open Hand
Early tribal artifacts put in spotlight
Little-known items focus of exhibit in Chicago

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
Chinle, Arizona (Canyon DeChelly)- Seminars and workshops have limited capacity and usually require enrollment months in advance.

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.

Contact Teddy Draper at
dechelly2000@yahoo.com

Web Sites:
Native American Links Page
Indigenous Peoples Literature
Wisdom of the Old People
Native American Summer Camp Info

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].

Indian band seeks to regain its birthright
By David Whitney

Wintu Indians
At War Against Dam, Tribe Turns to Old Ways
Petition in Support of the Winnemem Wintu Tribe


Cottontail and Wind - Shoshoni

Cottontail lived with the people on the side of Olancha Peak. The people had no wind; there was none in the whole valley. They could hear it up on the top of the mountain, but it never came down. Cottontail said, "I can bring the wind down the valley." He took a flute and went way up on the mountain side, blowing it "tu hú du dù du dù, mi áh" and singing "tavotsikita wo bü hai yuvü" (in effect, "I am Cottontail"). By means of his flute playing and his singing, Cottontail brought the wind down to the people in the valley.

Saline Valley, California Some Western Shoshoni Myths by Julian H. Steward - Bureau of American Ethnology Bulletin 136 [1943]

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3

Comments: Post a Comment
0 comments

Friday, January 21, 2005

Friday, Jan. 21, 2005

native american arts daily news, presented by
amerindianarts.us

New Mexico Natives plan American Indian Day
Tulsa Native American Times - Tulsa,OK,USA
... A Native American Casting Call will be sponsored by the Film Department. A reception will follow that evening at the Museum of Indian Arts and Culture from 5 ...

Five picks for the 'People'
OregonLive.com - Portland,OR,USA
... Arts of the Oregon Territory," is the biggest and perhaps longest-brewing exhibit of Bill Mercer's career. Mercer, the museum's curator of Native American art ...
See all stories on this topic

Museum and Gallery listings
Long Beach Press-Telegram - Long Beach,CA,USA
... metalwork, textiles and works on paper showcasing the arts and crafts ... The museum's permanent collection includes artifacts of the Native American tribes of the ...

13 distinguished individuals to lecture for Assembly Series
Washington University Record - Washington,USA
... Afro-American Studies and of American Culture Studies, all in Arts & Sciences ... books of poetry, novels and short fiction address the Native American experience. ...

Guest Column: Essex County offers array of winter activities
Danvers Herald - Beverly,MA,USA
... in fine arts, decorative arts, fisheries and ... wide collections of maritime, American decorative, Korean ... African, Chinese, Japanese and Native American art along ...

Out & About
Press-Enterprise (subscription) - Riverside,CA,USA
... FENDER MUSEUM OF MUSIC AND THE ARTS, "The 50th Anniversary of the ... MUSEUM, "Death Valley is Alive" ; exhibits on natural, local and Native American history, 9 am ...

Get Out Guide
OregonLive.com - Portland,OR,USA
... indoor exhibit areas that include "By Hand Through Memory," a permanent exhibit of Native American artistry by Doris Swayze Bounds; visual-arts displays; and ...
See all stories on this topic

John Hope Franklin: 90 years of making history
The Duke Chronicle - Durham,N.C,USA
... his career by receiving his Masters of Arts degree in ... family's history as he is in American history ... man growing up in the former Native American territory of ...

Whose Culture Is It?
The Jewish Journal - Los Angeles,CA,USA
... in 1988 by two non-Jews, it has become a major arts festival that ... West (Gruber's next book is about how Europeans have taken up Native American and cowboy ...

 This once a day Google Alert is brought to you by Google.



Date: Fri, 07 Jan 2005 01:56:00 -0000
From: "ghwelker"
Subject: Living in America: The American Indian Experience
The American Museum of Natural History
presents
Living in America: The American Indian Experience

Three Saturdays,
January 15, 22 and 29
1:00-5:30 p.m.
Kaufmann Theater, first floor

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
or
call 212-769-5315.
From: borreror@amnh.org


From: "ghwelker" Subject: 28th Annual California Conference on American Indian Education

CALL FOR STUDENT WRITING

The 28th Annual California Conference on American Indian Education is approaching quickly and, once again, we wish to showcase the writings of American Indian students from our state in a small booklet (chapbook) available to each participant who attends the conference. We are requesting poetry, short stories, and photography from all K-12 American Indian youths who reside in California. This is the fourth year we have requested photographs. If possible we would prefer black and white photographs but will accept color. All submissions should address the conference theme "Educating Tomorrows Leaders." Photographs and writings that demonstrate the power of intergenerational education, whether formal or cultural, are especially welcome. Please inform your youths about this opportunity to have their work published and encourage them to submit their writings to:

American Indian Education Program
1919 B Street,
Marysville, CA 95901
Phone: (530) 749-6196 Fax: (530) 741-7840
email: jgraham@mjusd.k12.ca.us

Copyright will remain with the authors. Works submitted for publication will not be returned, so please send copies only. Each youth who is published will receive two free chapbooks from the Conference Planning Committee. All works should be submitted for review by Monday, March 7, 2005. Along with each submission, please include the following information:
Student Name Tribal Affiliation
Age of Student
Phone Number
Address Sponsoring organization (i.e., Title IX, IEC, or school)

We are looking forward to publishing the writings and photographs of our California Native American youths. If you have any questions, please contact James Graham at (530)749-6196.

Thank you, The 28th Annual California Conference on American Indian Education


From: "ghwelker" Subject: INDIAN HISTORY - 8000 BC to Present (THE MIGRATION CONTINUES) INDIAN HISTORY - 8000 BC to Present
http://www.telusplanet.net/public/dgarneau/indian4.htm
CANADIAN HISTORY
http://www.telusplanet.net/public/dgarneau/direct.htm
METIS NATION A COMPLETE HISTORY 1600 - 1900
http://www.telusplanet.net/public/dgarneau/metis.htm
THE true CANADIAN HISTORY 128,000 BC - 2003 AD
http://www.telusplanet.net/public/dgarneau/indian.htm
GENEALOGY of CANADIAN ANCESTORS
http://www.telusplanet.net/public/dgarneau/gene.htm


From: "ghwelker" Subject: EARLY INDIAN CULTURE PHOTO GALLERY

Photo Index http://members.tripod.com/photo1999/dir.htm

EARLY INDIAN CULTURE PHOTO GALLERY http://members.tripod.com/photo1999/photo-a.htm

IF THERE APPEARS TO BE A BIAS TOWARDS THE OJIBWA PEOPLE, THERE IS

THESE ARE MY DIRECT METIS ANCESTORS

EARLY INDIAN CULTURE Photo is of pictograph before 6,000 B.C. The early people hunted the Woods Bison (buffalo) and the Mastodon or possibly a Mammoth?

VIKING EXPLORERPhoto is of Viking about 1,000 A.D. The Viking explored and settled in Canada. Some information suggests they reached Manitoba via the Hudson Bay and the Great Lakes.

EARLY ALGONKIAN and WENDAT TRADING SITE Photo is of Indian trade site 17 century This depicts a traditional Indian trading camp. During the early European trading period, the Wendat (Huron) were the middlemen in the Peoples trade with the Europeans.

INDIAN IN CANOEPhoto is of Indians in canoe 2,500 B.C. to modern times The Algonkian were the canoe builders and were the main supplier to the Iroquois Nations to the south of Canada. The canoe has been in use from before 2,500 B.C.

OJIBWA DOMED LODGEPhoto is of OJIBWA DOMED LODGE The Ojibwa lodge is of framed construction covered with Black Ash and Birch Bark. It is noteworthy that frame construction was not used by the European Canadians until much later. The domed construction appears to be used by semi-sedentary peoples where as the tipi is used by those engaged primarily in hunting.

OJIBWA SHAMANPhoto is of OJIBWA SHAMAN IN DOMED LODGE The Ojibwa Shaman is in a domed lodge, you can see the framed construction. The Shaman is using the sucking tube to withdraw the cause of the illness. These tubes are also used to extract foreign objects from his patients. These 'Shaman Medicine Men' had to apprentice longer than the Medicine men of Europe.

1608 OJIBWA WILD RICE HARVESTPhoto is of Ojibwa harvesting wild rice The Ojibwa are harvesting wild rice by knocking it into their canoe. The rice heads are tied to protect against wind and wildfowl and are looped in such a way that each family can identify its own rice. Iroquois nations to the south are not known to harvest rice. Their grain mainstay is corn.

1536 DOM AGAYA AND CARTIER Photo is Dom Agaya Dom Agaya saved the French Cartier expedition in 1536

1720 IROQUOIS VILLAGE FORTPhoto is of Iroquois fort This Iroquois village fort layout is from 1720.

WENDAT PALISADED VILLAGEPhoto is of an Indian Village A palisade Wendat village

EARLY IROQUOIS HARVESTPhoto is of Indian harvest The Iroquois had a communal harvest presentation ceremony.

OJIBWA FISHING AT THE SAULTPhoto is of Sault Ste Marie The Ojibwa and other nations gathered at the Sault (Sault Ste. Marie) since about 1500 to fish the rapids.

1785 CREE AT TRADING POSTPhoto is of HBC TRADING POAST The Cree at a unnamed Hudson Bay Trading post 1785.

TYPICAL PLAINS BUFFALO JUMPPhoto is of Indian buffalo jump The Great Plains People used the same buffalo jump for thousands of years. Great organization and leadership was required to co-ordinate these extensive hunts on foot. Evidence suggests 150-200 People are used to co-ordinate the hunt.

ALGONKIAN CARIBOU SKIN COATPhoto is of Indians coat The people were very innovative and freely adopted other cultural attributes that appealed to them. Most Natives attribute the innovation of the decorative design to the Metis. The functional design is a mix of European influence of fashion with Native influence of practicality.

LAKE HURONPhoto is of INDIAN ENCAMPMENT Indian encampment on Lake Huron. Lake Huron is named after the Wendat People who occupied the area when the French penetrated into this Region.

1857 INDIAN FAMILY IN CANOE. These are likely an Ojibwa family painted near Grand Portage by Eastman Johnson. Removed at the request of the St. Louis Country Historical Society - Bryan P Lean

1857 OJIBWA CAMP An Ojibwa camp near Grand Portage painted by Eastman Johnson. Removed at the request of the St. Louis Country Historical Society - Bryan P Lean

1857 OJIBWA WOMEN This painting by Eastman Johnson is of Ojibwa women near Grand Portage. Removed at the request of the St. Louis Country Historical Society - Bryan P Lean

1858 INDIAN PORTAGINGPhoto is of Indian portaging This painting by Cornelius Kriegnoff is of Indians portaging furs, location is not known.

MODERN INDIAN CULTUREPhoto is of Indian tipi The early tipi was made from animal skins this modern version of the tipi uses canvas.

BlackfootPhoto is of a Blackfoot A painting of a Blackfoot Indian by Zach


AEQ Book Review of Making Dictionaries: Preserving Indigenous Languages of the Americas

From: George Lessard
Subject: Book Review - Making Dictionaries: Preserving Indigenous Languages of the Americas

Subject: 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.


Subject: Sundance Institute's commitment to supporting Native Cinema

From: George Lessard

The Sundance Institute's commitment to supporting Native Cinema is woven throughout the 23-year history of the Institute along with its support for the artistic vitality of American Cinema. Rooted in the recognition of a rich tradition of story telling and artistic expression by Native Peoples, the Institute established a Native Program as a means of supporting the development of Native filmmakers and the exhibition of their work. The Sundance Institute has supported nearly 45 Native writers and directors over the past 23 years, and showcased nearly 100 films by Native filmmakers. The Sundance Film Festival's Native Forum is a gathering of Indigenous filmmakers from around the world, and offers opportunities for them to share their expertise and knowledge with each other and the independent film community through workshops, panels, networking events, and special screenings.
http://festival.sundance.org/2005/?=native&107

Native American and indigenous films screening in the 2005 Sundance Film Festival:

Screening in the U.S. DOCUMENTARY COMPETITION :
TRUDELL /U.S.A (Director: Heather Rae - Western Cherokee; Screenwriter: B. Russell Friedenberg)

Screening in WORLD DOCUMENTARY COMPETITION :
DHAKIYARR VS. THE KING /Australia (Directors: Allan Collins and Tom Murray - Willi Willi Nation)

Screening in AMERICAN SPECTRUM :
5TH WORLD /U.S.A. (Director: BlackHorse Lowe - Din?; Screenwriter: BlackHorse Lowe)

Screening in the SHORTS COMPETITION : FROM CHERRY ENGLISH /Canada (Director: Jeff Barnaby - Mi'gMaq)
GOODNIGHT IRENE /U.S.A. (Director: Sterlin Harjo - Creek/Seminole Nations)
NATCHILIAGNIAQTUGUK AAPAGALU - SEAL HUNTING WITH DAD /U.S.A. (Director: Andrew Okpeaha MacLean - Inupiaq)
PLAINS EMPTY /Australia (Director: Beck Cole - Warramungu Nation) PURA LENGUA (ALL TONGUE) /U.S.A. (Director: Aurora Guerrero - Xicana)
TAMA TU /New Zealand (Director: Taika Waititi - Te Whanau a Apanui)

Screening in the SPECIAL SCREENINGS :
A THOUSAND ROADS /U.S.A. (Director: Chris Eyre - Cheyenne/Arapaho Tribes)
GREEN BUSH /Australia (Director: Warwick Thornton - Kaytetye Nation)

George Lessard

Date: Sat, 1 Jan 2005 11:57:03 -0700
From: George Lessard
Subject: Our Land - Contemporary Art from the Arctic
Our Land - Contemporary Art from the Arctic
THROUGH JANUARY 30, 2005

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
Peabody Essex Museum
[excerpt]

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
GEORGE LESSARD
Information & Media Specialist


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


Date: Sat, 01 Jan 2005 16:54:45 -0000
From: "ghwelker"
Subject: Museum loses Indian artifacts to burglary
Museum loses Indian artifacts to burglary
ASSOCIATED PRESS

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.

The historical society is offering a $500 reward to anyone who can provide information leading to the arrest and conviction.
Glenn Welker
Editor, List Manager, and Web Master
for
Indigenous Peoples Literature


Hero, Hawk, and Open Hand
Early tribal artifacts put in spotlight
Little-known items focus of exhibit in Chicago

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
Chinle, Arizona (Canyon DeChelly)- Seminars and workshops have limited capacity and usually require enrollment months in advance.

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.

Contact Teddy Draper at
dechelly2000@yahoo.com

Web Sites:
Indigenous Peoples Literature
Wisdom of the Old People

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].

Indian band seeks to regain its birthright
By David Whitney

Wintu Indians
At War Against Dam, Tribe Turns to Old Ways
Petition in Support of the Winnemem Wintu Tribe


Costanoan Family

A linguistic family on the coast of central California. In 1877 Powell (Cont. N. A. Ethnol., In, 535) established a family which he called Mutsun, extending from San Francisco to Soledad and from the sea inland to the Sierras, and including an area in the Marin County peninsula, north of San Francisco bay, and gave vocabularies from various parts of this territory. In 1891 (7th Rep. B. A. E., 70, 92, map) Powell divided this area between two families, Moquelumnan and Costanoan. The Moquelumnan family occupied the portion of the old Mutsun territory east of San Joaquin river and north of San Francisco bay.

The territory of the Costanoan family extended from the Pacific ocean to San Joaquin river, and from the Golden Gate and Suisun bay on the north to Pt Sur on the coast and a point a short distance south of Soledad in the Salinas valley on the south. Farther inland the south boundary is uncertain, though it was probably near Big Panoche creek. The Costanoan Indians lived mainly on vegetal products, especially acorns and seeds, though they also obtained fish and mussels, and captured deer and smaller game. Their clothing was scant, the men going naked. Their houses were tule or grass huts, their boats balsas or rafts of tules. They made baskets, but no pottery, and appear to have been as primitive as most of the tribes of California. They burned the dead. The Rumsen of Monterey looked upon the eagle, the humming bird, and the coyote as the original Inhabitants of the world, and they venerated the redwood. Their languages were simple and harmonious. Seven missions-San Carlos, Soledad, San Juan Bautista, Santa Cruz, Santa Clara, San Jose, and Dolores (San Francisco)-were established in Costanoan territory by the Franciscans subsequent to 1770, and continued until their confiscation by the Mexican government in 1834, when the Indians were scattered. The surviving individuals of Costanoan blood may number today 25 or 30, most of them "Mexican" in life and manners rather than Indian.

True tribes did not exist in Costanoan territory, the groups mentioned below being small and probably little more than village communities, without political connection or even a name other than that of the locality they inhabited. The following divisions or settlements have been recognized: Ahwaste, Altahmo, Ansaime, Aulintac, Chalone, Costanos, Kalindaruk, Karkin, Mutsun, Olhon, Romonan, Rumsen, Saklan, Thomien, Tulomo, and Wacharon (?).

Handbook of American Indians (1906) ~ Frederick W. Hodge

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3

Comments: Post a Comment
0 comments

Thursday, January 20, 2005

Thurs., Jan. 20, 2005

native american arts daily news, presented by
amerindianarts.us

Community calendar
Cambridge Chronicle - Somerville,MA,USA
... RINDGE SCHOOL OF TECHNICAL ARTS EIGHTH-GRADE CAREER AND INFORMATION NIGHT - 6:30 pm ... "The Peacemaker: Lessons from an Ancient Native American Spiritual Teacher ...

Carson & Douglas Roundup for Jan. 20, 2005
Reno Gazette Journal - Reno,NV,USA
... Training focuses on the museum's historic mint, mine and Nevada's Native American heritage exhibits. The Brewery Arts Center in Carson City has two new ...

Arlington High School guidance notes
Arlington Advocate - Lexington,MA,USA
... School of Visual Arts Silas H. Rhodes Scholarships are available for ... of African American, Asian American, Hispanic American and Native American backgrounds. ...

Cambridge people
Cambridge Chronicle - Somerville,MA,USA
English is a Native American and African-American woman working as a ... English earned her bachelor of arts degree in community service management from the ...

Coshocton artist's work on exhibit across US
Coshocton Tribune - Coshocton,OH,USA
... Joan currently teaches at the Pomerene Center for the Arts and will show her ... is traveling the United States with an exhibit of contemporary Native American Art ...

Harjo: My New Year's resolution: No more fat 'Indian' food
Indian Country Today - Canastota,NY,USA
... is ''specifically aimed at our Native American community,'' said ... them a toss and let the Native manufacturers know ... to promote history or the arts with federal ...

Art calendar
Monterey County Herald - Monterey,CA,USA
"Ancient Echoes: Native American Rock Art," photographs by ... Reception 5-7 pm Friday, Jan. 21 at the Carl Cherry Center for the Arts, 4th and Guadalupe, Carmel. ...

Expert Sources on Black History Month
UC Davis (press release) - Davis,CA,USA
... Contact: Jack Forbes, Native American Studies, (530) 752 ... Grapevine: Rumor in African American Culture." Contact ... Turner, Division of Humanities, Arts and Cultural ...

Regional festivals
SunHerald.com - Biloxi,MS,USA
... Feb. 19, 14th Annual Native American Pow Wow, Durham, NC - This pow wow is a day of native American music, dance, food and arts and crafts. ...

IAIA HAS HOPES FOR CENTER
ABQ Journal (subscription) - Albuquerque,NM,USA
... on strengthening native communities by supporting tribal self-determination.". IAIA-- chartered by Congress in 1962 and dedicated to American Indian arts and ...

 This once a day Google Alert is brought to you by Google.



Date: Fri, 07 Jan 2005 01:56:00 -0000
From: "ghwelker"
Subject: Living in America: The American Indian Experience
The American Museum of Natural History
presents
Living in America: The American Indian Experience

Three Saturdays,
January 15, 22 and 29
1:00-5:30 p.m.
Kaufmann Theater, first floor

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
or
call 212-769-5315.
From: borreror@amnh.org


Date: Thu, 06 Jan 2005 02:21:54 -0000
From: "ghwelker"
Subject: ~LEONARD PELTIER’s Magnificent ‘Political Platform’

~LEONARD PELTIER's Magnificent `Political Platform'~ from the brand new book ~HAVE YOU THOUGHT of LEONARD PELTIER LATELY?~

Also please visit Leonard's own website: www.leonardpeltier.org

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:
Have You Thought
1410 Blalock Road, #420
Houston, TX 77055


AEQ Book Review of Making Dictionaries: Preserving Indigenous Languages of the Americas

From: George Lessard
Subject: Book Review - Making Dictionaries: Preserving Indigenous Languages of the Americas

Subject: 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.


Subject: Sundance Institute's commitment to supporting Native Cinema

From: George Lessard

The Sundance Institute's commitment to supporting Native Cinema is woven throughout the 23-year history of the Institute along with its support for the artistic vitality of American Cinema. Rooted in the recognition of a rich tradition of story telling and artistic expression by Native Peoples, the Institute established a Native Program as a means of supporting the development of Native filmmakers and the exhibition of their work. The Sundance Institute has supported nearly 45 Native writers and directors over the past 23 years, and showcased nearly 100 films by Native filmmakers. The Sundance Film Festival's Native Forum is a gathering of Indigenous filmmakers from around the world, and offers opportunities for them to share their expertise and knowledge with each other and the independent film community through workshops, panels, networking events, and special screenings.
http://festival.sundance.org/2005/?=native&107

Native American and indigenous films screening in the 2005 Sundance Film Festival:

Screening in the U.S. DOCUMENTARY COMPETITION :
TRUDELL /U.S.A (Director: Heather Rae - Western Cherokee; Screenwriter: B. Russell Friedenberg)

Screening in WORLD DOCUMENTARY COMPETITION :
DHAKIYARR VS. THE KING /Australia (Directors: Allan Collins and Tom Murray - Willi Willi Nation)

Screening in AMERICAN SPECTRUM :
5TH WORLD /U.S.A. (Director: BlackHorse Lowe - Din?; Screenwriter: BlackHorse Lowe)

Screening in the SHORTS COMPETITION : FROM CHERRY ENGLISH /Canada (Director: Jeff Barnaby - Mi'gMaq)
GOODNIGHT IRENE /U.S.A. (Director: Sterlin Harjo - Creek/Seminole Nations)
NATCHILIAGNIAQTUGUK AAPAGALU - SEAL HUNTING WITH DAD /U.S.A. (Director: Andrew Okpeaha MacLean - Inupiaq)
PLAINS EMPTY /Australia (Director: Beck Cole - Warramungu Nation) PURA LENGUA (ALL TONGUE) /U.S.A. (Director: Aurora Guerrero - Xicana)
TAMA TU /New Zealand (Director: Taika Waititi - Te Whanau a Apanui)

Screening in the SPECIAL SCREENINGS :
A THOUSAND ROADS /U.S.A. (Director: Chris Eyre - Cheyenne/Arapaho Tribes)
GREEN BUSH /Australia (Director: Warwick Thornton - Kaytetye Nation)

George Lessard

Date: Sat, 1 Jan 2005 11:57:03 -0700
From: George Lessard
Subject: Our Land - Contemporary Art from the Arctic
Our Land - Contemporary Art from the Arctic
THROUGH JANUARY 30, 2005

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
Peabody Essex Museum
[excerpt]

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
GEORGE LESSARD
Information & Media Specialist


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


Date: Sat, 01 Jan 2005 16:54:45 -0000
From: "ghwelker"
Subject: Museum loses Indian artifacts to burglary
Museum loses Indian artifacts to burglary
ASSOCIATED PRESS

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.

The historical society is offering a $500 reward to anyone who can provide information leading to the arrest and conviction.
Glenn Welker
Editor, List Manager, and Web Master
for
Indigenous Peoples Literature


Hero, Hawk, and Open Hand
Early tribal artifacts put in spotlight
Little-known items focus of exhibit in Chicago

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
Chinle, Arizona (Canyon DeChelly)- Seminars and workshops have limited capacity and usually require enrollment months in advance.

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.

Contact Teddy Draper at
dechelly2000@yahoo.com

Web Sites:
Indigenous Peoples Literature
Wisdom of the Old People

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].

Indian band seeks to regain its birthright
By David Whitney

Wintu Indians
At War Against Dam, Tribe Turns to Old Ways
Petition in Support of the Winnemem Wintu Tribe


Corncob Boy Intercedes For His People - Cochiti

The people sinned and Heluta withheld the rains. Only to his son, Corncob Boy, he gave stores for the four years of the drought. Corncob Boy lived in a large house with his two wives, daughters of the cacique. All kinds of corn were in his house and in the center was an inexhaustible bowl of water. All of the summer birds lived with him in his house during the time there was no rain. Heluta told him, "When the people are dying of hunger and thirst and come to you for food, give it to them; do not be stingy." For four years the crops failed and the people were starving. They came to Corncob Boy and said, "We are sorry for what we have done. Send messengers to your father Heluta and ask him to forgive us." Corncob Boy sent Coyote to take word to Heluta to ask him to forgive them: "Come back and bring them good fortune." Heluta was sorry for the people and he gave them the ceremony of the Giant Society. He brought it to Cochiti. When it was over, Heluta said to the people, "Wait till I get back to Shipap and you will have rain." When he had reached there, the clouds came up with thunder and lightning. It began to rain and wet the fields, and the people had water to drink.

Tales of the Cochiti Indians by Ruth Benedict, Bureau of American Ethnology Bulletin No. 98 [1932]

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3

Comments: Post a Comment
0 comments

Wednesday, January 19, 2005

Weds., Jan 19, 2005

native american arts daily news, presented by
amerindianarts.us

Exhibit hosts rare Northwest artifacts
Salem Statesman Journal - Salem,OR,USA
... "People of the River: Native Arts of the Oregon ... "People of the River" was curated by Bill Mercer, the museum's curator of Native American art, in consultation ...
See all stories on this topic

Aye, Burns-ing for You
Riverfront Times - St. Louis,MO,USA
... on through tributes like the Native American Flute Concert ... If it's the American Visual Culture Lecture Series ... the Pulitzer Foundation for the Arts, the Sheldon ...

Local artist's original works draw celebrity attention
Black Mountain News - Black Mountain,NC,USA
... Demi Moore purchased a Native American man and little daughter. ... The shop caters to showcasing local arts and crafts, and contains a bead shop where Housley ...

Priceless cultural events
AZ Central.com - AZ,USA
... by the Fort McDowell Yavapai Nation, features Native American tribal dances ... Tribes from all over Arizona are featured, and native foods, arts, crafts and ...

VISUAL ARTS CALENDAR
Seattle Weekly - Seattle,WA,USA
... family heirlooms, baskets, carvings, or beadwork--and the Burke's curators and Native American art experts ... Greg Kucera Katy Stone (see visual arts spotlight). ...

Panel debates merits of 'race'
Penn State Digital Collegian - University Park,PA,USA
... into percentages of European, sub-Saharan African, East Asian and Native American. ... Ron Jackson, associate professor of communication arts and sciences, said ...

IAIA HAS HOPES FOR CENTER
ABQ Journal (subscription) - Albuquerque,NM,USA
... on strengthening native communities by supporting tribal self-determination.". IAIA-- chartered by Congress in 1962 and dedicated to American Indian arts and ...

 This once a day Google Alert is brought to you by Google.



Date: Fri, 07 Jan 2005 01:56:00 -0000
From: "ghwelker"
Subject: Living in America: The American Indian Experience
The American Museum of Natural History
presents
Living in America: The American Indian Experience

Three Saturdays,
January 15, 22 and 29
1:00-5:30 p.m.
Kaufmann Theater, first floor

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
or
call 212-769-5315.
From: borreror@amnh.org


Date: Thu, 06 Jan 2005 02:21:54 -0000
From: "ghwelker"
Subject: ~LEONARD PELTIER’s Magnificent ‘Political Platform’

~LEONARD PELTIER's Magnificent `Political Platform'~ from the brand new book ~HAVE YOU THOUGHT of LEONARD PELTIER LATELY?~

Also please visit Leonard's own website: www.leonardpeltier.org

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:
Have You Thought
1410 Blalock Road, #420
Houston, TX 77055


AEQ Book Review of Making Dictionaries: Preserving Indigenous Languages of the Americas

From: George Lessard
Subject: Book Review - Making Dictionaries: Preserving Indigenous Languages of the Americas

Subject: 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


Subject: Sundance Institute's commitment to supporting Native Cinema

From: George Lessard

The Sundance Institute's commitment to supporting Native Cinema is woven throughout the 23-year history of the Institute along with its support for the artistic vitality of American Cinema. Rooted in the recognition of a rich tradition of story telling and artistic expression by Native Peoples, the Institute established a Native Program as a means of supporting the development of Native filmmakers and the exhibition of their work. The Sundance Institute has supported nearly 45 Native writers and directors over the past 23 years, and showcased nearly 100 films by Native filmmakers. The Sundance Film Festival's Native Forum is a gathering of Indigenous filmmakers from around the world, and offers opportunities for them to share their expertise and knowledge with each other and the independent film community through workshops, panels, networking events, and special screenings.
http://festival.sundance.org/2005/?=native&107

Native American and indigenous films screening in the 2005 Sundance Film Festival:

Screening in the U.S. DOCUMENTARY COMPETITION :
TRUDELL /U.S.A (Director: Heather Rae - Western Cherokee; Screenwriter: B. Russell Friedenberg)

Screening in WORLD DOCUMENTARY COMPETITION :
DHAKIYARR VS. THE KING /Australia (Directors: Allan Collins and Tom Murray - Willi Willi Nation)

Screening in AMERICAN SPECTRUM :
5TH WORLD /U.S.A. (Director: BlackHorse Lowe - Din?; Screenwriter: BlackHorse Lowe)

Screening in the SHORTS COMPETITION : FROM CHERRY ENGLISH /Canada (Director: Jeff Barnaby - Mi'gMaq)
GOODNIGHT IRENE /U.S.A. (Director: Sterlin Harjo - Creek/Seminole Nations)
NATCHILIAGNIAQTUGUK AAPAGALU - SEAL HUNTING WITH DAD /U.S.A. (Director: Andrew Okpeaha MacLean - Inupiaq)
PLAINS EMPTY /Australia (Director: Beck Cole - Warramungu Nation) PURA LENGUA (ALL TONGUE) /U.S.A. (Director: Aurora Guerrero - Xicana)
TAMA TU /New Zealand (Director: Taika Waititi - Te Whanau a Apanui)

Screening in the SPECIAL SCREENINGS :
A THOUSAND ROADS /U.S.A. (Director: Chris Eyre - Cheyenne/Arapaho Tribes)
GREEN BUSH /Australia (Director: Warwick Thornton - Kaytetye Nation)

George Lessard

Date: Sat, 1 Jan 2005 11:57:03 -0700
From: George Lessard
Subject: Our Land - Contemporary Art from the Arctic
Our Land - Contemporary Art from the Arctic
THROUGH JANUARY 30, 2005

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
Peabody Essex Museum
[excerpt]

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
GEORGE LESSARD
Information & Media Specialist


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


Date: Sat, 01 Jan 2005 16:54:45 -0000
From: "ghwelker"
Subject: Museum loses Indian artifacts to burglary
Museum loses Indian artifacts to burglary
ASSOCIATED PRESS

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.

The historical society is offering a $500 reward to anyone who can provide information leading to the arrest and conviction.
Glenn Welker
Editor, List Manager, and Web Master
for
Indigenous Peoples Literature


Hero, Hawk, and Open Hand
Early tribal artifacts put in spotlight
Little-known items focus of exhibit in Chicago

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
Chinle, Arizona (Canyon DeChelly)- Seminars and workshops have limited capacity and usually require enrollment months in advance.

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.

Contact Teddy Draper at
dechelly2000@yahoo.com

Web Sites:
Indigenous Peoples Literature
Wisdom of the Old People

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].

Indian band seeks to regain its birthright
By David Whitney

Wintu Indians
At War Against Dam, Tribe Turns to Old Ways
Petition in Support of the Winnemem Wintu Tribe


An old woman was traveling about. She was covered with sores and was very dirty, so that wherever she went people did not want to see her. Finally she came to where some orphan children were living and remained thereto take care of them. They said, "Stay with us." Then the old woman said, "Set out the things you use when you cook," and they set them before her. She was Corn. She rubbed herself as one rubs roasting ears and made bread of what came off, which they continued to eat.

By and by she said, "The corn is now getting hard." An old corncrib stood near, and she said, "Sweep this out, shut it up, and go to sleep. I am your mother. You can eat bread made out of white corn." When night came they lay down, and they heard a rapping noise in the corncrib, which presently ceased. Next day they went to it and opened the door and it was full of corn.

Myths and Tales of the Southeastern Indians by John R. Swanton. [1929] (Bureau of American Ethnology Bulletin, No. 88.)

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3

Comments: Post a Comment
0 comments

Weds., Jan 19, 2005

native american arts daily news, presented by
amerindianarts.us

Exhibit hosts rare Northwest artifacts
Salem Statesman Journal - Salem,OR,USA
... "People of the River: Native Arts of the Oregon ... "People of the River" was curated by Bill Mercer, the museum's curator of Native American art, in consultation ...
See all stories on this topic

Aye, Burns-ing for You
Riverfront Times - St. Louis,MO,USA
... on through tributes like the Native American Flute Concert ... If it's the American Visual Culture Lecture Series ... the Pulitzer Foundation for the Arts, the Sheldon ...

Local artist's original works draw celebrity attention
Black Mountain News - Black Mountain,NC,USA
... Demi Moore purchased a Native American man and little daughter. ... The shop caters to showcasing local arts and crafts, and contains a bead shop where Housley ...

Priceless cultural events
AZ Central.com - AZ,USA
... by the Fort McDowell Yavapai Nation, features Native American tribal dances ... Tribes from all over Arizona are featured, and native foods, arts, crafts and ...

VISUAL ARTS CALENDAR
Seattle Weekly - Seattle,WA,USA
... family heirlooms, baskets, carvings, or beadwork--and the Burke's curators and Native American art experts ... Greg Kucera Katy Stone (see visual arts spotlight). ...

Panel debates merits of 'race'
Penn State Digital Collegian - University Park,PA,USA
... into percentages of European, sub-Saharan African, East Asian and Native American. ... Ron Jackson, associate professor of communication arts and sciences, said ...

IAIA HAS HOPES FOR CENTER
ABQ Journal (subscription) - Albuquerque,NM,USA
... on strengthening native communities by supporting tribal self-determination.". IAIA-- chartered by Congress in 1962 and dedicated to American Indian arts and ...

 This once a day Google Alert is brought to you by Google.



Date: Fri, 07 Jan 2005 01:56:00 -0000
From: "ghwelker"
Subject: Living in America: The American Indian Experience
The American Museum of Natural History
presents
Living in America: The American Indian Experience

Three Saturdays,
January 15, 22 and 29
1:00-5:30 p.m.
Kaufmann Theater, first floor

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
or
call 212-769-5315.
From: borreror@amnh.org


Date: Thu, 06 Jan 2005 02:21:54 -0000
From: "ghwelker"
Subject: ~LEONARD PELTIER’s Magnificent ‘Political Platform’

~LEONARD PELTIER's Magnificent `Political Platform'~ from the brand new book ~HAVE YOU THOUGHT of LEONARD PELTIER LATELY?~

Also please visit Leonard's own website: www.leonardpeltier.org

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:
Have You Thought
1410 Blalock Road, #420
Houston, TX 77055


AEQ Book Review of Making Dictionaries: Preserving Indigenous Languages of the Americas

From: George Lessard
Subject: Book Review - Making Dictionaries: Preserving Indigenous Languages of the Americas

Subject: 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


Subject: Sundance Institute's commitment to supporting Native Cinema

From: George Lessard

The Sundance Institute's commitment to supporting Native Cinema is woven throughout the 23-year history of the Institute along with its support for the artistic vitality of American Cinema. Rooted in the recognition of a rich tradition of story telling and artistic expression by Native Peoples, the Institute established a Native Program as a means of supporting the development of Native filmmakers and the exhibition of their work. The Sundance Institute has supported nearly 45 Native writers and directors over the past 23 years, and showcased nearly 100 films by Native filmmakers. The Sundance Film Festival's Native Forum is a gathering of Indigenous filmmakers from around the world, and offers opportunities for them to share their expertise and knowledge with each other and the independent film community through workshops, panels, networking events, and special screenings.
http://festival.sundance.org/2005/?=native&107

Native American and indigenous films screening in the 2005 Sundance Film Festival:

Screening in the U.S. DOCUMENTARY COMPETITION :
TRUDELL /U.S.A (Director: Heather Rae - Western Cherokee; Screenwriter: B. Russell Friedenberg)

Screening in WORLD DOCUMENTARY COMPETITION :
DHAKIYARR VS. THE KING /Australia (Directors: Allan Collins and Tom Murray - Willi Willi Nation)

Screening in AMERICAN SPECTRUM :
5TH WORLD /U.S.A. (Director: BlackHorse Lowe - Din?; Screenwriter: BlackHorse Lowe)

Screening in the SHORTS COMPETITION : FROM CHERRY ENGLISH /Canada (Director: Jeff Barnaby - Mi'gMaq)
GOODNIGHT IRENE /U.S.A. (Director: Sterlin Harjo - Creek/Seminole Nations)
NATCHILIAGNIAQTUGUK AAPAGALU - SEAL HUNTING WITH DAD /U.S.A. (Director: Andrew Okpeaha MacLean - Inupiaq)
PLAINS EMPTY /Australia (Director: Beck Cole - Warramungu Nation) PURA LENGUA (ALL TONGUE) /U.S.A. (Director: Aurora Guerrero - Xicana)
TAMA TU /New Zealand (Director: Taika Waititi - Te Whanau a Apanui)

Screening in the SPECIAL SCREENINGS :
A THOUSAND ROADS /U.S.A. (Director: Chris Eyre - Cheyenne/Arapaho Tribes)
GREEN BUSH /Australia (Director: Warwick Thornton - Kaytetye Nation)

George Lessard

Date: Sat, 1 Jan 2005 11:57:03 -0700
From: George Lessard
Subject: Our Land - Contemporary Art from the Arctic
Our Land - Contemporary Art from the Arctic
THROUGH JANUARY 30, 2005

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
Peabody Essex Museum
[excerpt]

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
GEORGE LESSARD
Information & Media Specialist


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


Date: Sat, 01 Jan 2005 16:54:45 -0000
From: "ghwelker"
Subject: Museum loses Indian artifacts to burglary
Museum loses Indian artifacts to burglary
ASSOCIATED PRESS

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.

The historical society is offering a $500 reward to anyone who can provide information leading to the arrest and conviction.
Glenn Welker
Editor, List Manager, and Web Master
for
Indigenous Peoples Literature


Hero, Hawk, and Open Hand
Early tribal artifacts put in spotlight
Little-known items focus of exhibit in Chicago

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
Chinle, Arizona (Canyon DeChelly)- Seminars and workshops have limited capacity and usually require enrollment months in advance.

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.

Contact Teddy Draper at
dechelly2000@yahoo.com

Web Sites:
Indigenous Peoples Literature
Wisdom of the Old People

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].

Indian band seeks to regain its birthright
By David Whitney

Wintu Indians
At War Against Dam, Tribe Turns to Old Ways
Petition in Support of the Winnemem Wintu Tribe


An old woman was traveling about. She was covered with sores and was very dirty, so that wherever she went people did not want to see her. Finally she came to where some orphan children were living and remained thereto take care of them. They said, "Stay with us." Then the old woman said, "Set out the things you use when you cook," and they set them before her. She was Corn. She rubbed herself as one rubs roasting ears and made bread of what came off, which they continued to eat.

By and by she said, "The corn is now getting hard." An old corncrib stood near, and she said, "Sweep this out, shut it up, and go to sleep. I am your mother. You can eat bread made out of white corn." When night came they lay down, and they heard a rapping noise in the corncrib, which presently ceased. Next day they went to it and opened the door and it was full of corn.

Myths and Tales of the Southeastern Indians by John R. Swanton. [1929] (Bureau of American Ethnology Bulletin, No. 88.)

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3

Comments: "
July 16, 2005 -- American Indian Film Music Review (freely re-print)

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 >
 
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Tuesday, January 18, 2005

Tues., Jan 18, 2005

native american arts daily news, presented by
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Biotech firm going public on a budget through merger
Boston Globe - Boston,MA,USA
... roots that were originally used in annual Native American ceremonies promoting ... stores, and we attended the Marin County American Indian Arts Show.". ...

Cedar flutist highlight of Cal Symphony
Contra Costa Times (subscription) - Contra Costa County,CA,USA
... concert at the Dean Lesher Regional Center for the Arts was an ... World Concerto," which fuses traditional Western musical forms with Native American themes and ...

The face of the Columbia is like no other
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By JILL SPITZNASS Issue date: Tue, Jan 18, 2005. "People of the River: Native American Arts of the Oregon Territory" is the stunning premiere of more than ...

Brenda Norrell Indian Country -- John Trudell
Indian Country Today - Canastota,NY,USA
... At Sundance 2005, American Indian events include the Native ... The highlights include the Native Forum Reception Jan. ... the Sundance House at the Kimball Arts Center ...

Open house at wastewater plant
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... Project at the National Museum of American History at ... officials discussing the empowerment of Native Hawaiians in ... the Wai'anae Coast Culture & Arts Society Inc ...

Officials Eye Casino Moratorium Initiative By RICHARD BRENNEMAN
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... All Native American casinos are required to send annual audits to the National Indian ... pm Saturday in San Pablo at the Knox Center for Performing Arts at Contra ...

IAIA HAS HOPES FOR CENTER
ABQ Journal (subscription) - Albuquerque,NM,USA
... on strengthening native communities by supporting tribal self-determination.". IAIA-- chartered by Congress in 1962 and dedicated to American Indian arts and ...

 This once a day Google Alert is brought to you by Google.



Date: Fri, 07 Jan 2005 01:56:00 -0000
From: "ghwelker"
Subject: Living in America: The American Indian Experience
The American Museum of Natural History
presents
Living in America: The American Indian Experience

Three Saturdays,
January 15, 22 and 29
1:00-5:30 p.m.
Kaufmann Theater, first floor

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
or
call 212-769-5315.
From: borreror@amnh.org


Date: Thu, 06 Jan 2005 02:21:54 -0000
From: "ghwelker"
Subject: ~LEONARD PELTIER’s Magnificent ‘Political Platform’

~LEONARD PELTIER's Magnificent `Political Platform'~ from the brand new book ~HAVE YOU THOUGHT of LEONARD PELTIER LATELY?~

Also please visit Leonard's own website: www.leonardpeltier.org

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:
Have You Thought
1410 Blalock Road, #420
Houston, TX 77055


AEQ Book Review of Making Dictionaries: Preserving Indigenous Languages of the Americas

From: George Lessard
Subject: Book Review - Making Dictionaries: Preserving Indigenous Languages of the Americas

Subject: 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


Subject: Sundance Institute's commitment to supporting Native Cinema

From: George Lessard

The Sundance Institute's commitment to supporting Native Cinema is woven throughout the 23-year history of the Institute along with its support for the artistic vitality of American Cinema. Rooted in the recognition of a rich tradition of story telling and artistic expression by Native Peoples, the Institute established a Native Program as a means of supporting the development of Native filmmakers and the exhibition of their work. The Sundance Institute has supported nearly 45 Native writers and directors over the past 23 years, and showcased nearly 100 films by Native filmmakers. The Sundance Film Festival's Native Forum is a gathering of Indigenous filmmakers from around the world, and offers opportunities for them to share their expertise and knowledge with each other and the independent film community through workshops, panels, networking events, and special screenings.
http://festival.sundance.org/2005/?=native&107

Native American and indigenous films screening in the 2005 Sundance Film Festival:

Screening in the U.S. DOCUMENTARY COMPETITION :
TRUDELL /U.S.A (Director: Heather Rae - Western Cherokee; Screenwriter: B. Russell Friedenberg)

Screening in WORLD DOCUMENTARY COMPETITION :
DHAKIYARR VS. THE KING /Australia (Directors: Allan Collins and Tom Murray - Willi Willi Nation)

Screening in AMERICAN SPECTRUM :
5TH WORLD /U.S.A. (Director: BlackHorse Lowe - Din?; Screenwriter: BlackHorse Lowe)

Screening in the SHORTS COMPETITION : FROM CHERRY ENGLISH /Canada (Director: Jeff Barnaby - Mi'gMaq)
GOODNIGHT IRENE /U.S.A. (Director: Sterlin Harjo - Creek/Seminole Nations)
NATCHILIAGNIAQTUGUK AAPAGALU - SEAL HUNTING WITH DAD /U.S.A. (Director: Andrew Okpeaha MacLean - Inupiaq)
PLAINS EMPTY /Australia (Director: Beck Cole - Warramungu Nation) PURA LENGUA (ALL TONGUE) /U.S.A. (Director: Aurora Guerrero - Xicana)
TAMA TU /New Zealand (Director: Taika Waititi - Te Whanau a Apanui)

Screening in the SPECIAL SCREENINGS :
A THOUSAND ROADS /U.S.A. (Director: Chris Eyre - Cheyenne/Arapaho Tribes)
GREEN BUSH /Australia (Director: Warwick Thornton - Kaytetye Nation)

George Lessard

Date: Sat, 1 Jan 2005 11:57:03 -0700
From: George Lessard
Subject: Our Land - Contemporary Art from the Arctic
Our Land - Contemporary Art from the Arctic
THROUGH JANUARY 30, 2005

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
Peabody Essex Museum
[excerpt]

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
GEORGE LESSARD
Information & Media Specialist


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


Date: Sat, 01 Jan 2005 16:54:45 -0000
From: "ghwelker"
Subject: Museum loses Indian artifacts to burglary
Museum loses Indian artifacts to burglary
ASSOCIATED PRESS

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.

The historical society is offering a $500 reward to anyone who can provide information leading to the arrest and conviction.
Glenn Welker
Editor, List Manager, and Web Master
for
Indigenous Peoples Literature


Hero, Hawk, and Open Hand
Early tribal artifacts put in spotlight
Little-known items focus of exhibit in Chicago

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
Chinle, Arizona (Canyon DeChelly)- Seminars and workshops have limited capacity and usually require enrollment months in advance.

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.

Contact Teddy Draper at
dechelly2000@yahoo.com

Web Sites:
Indigenous Peoples Literature
Wisdom of the Old People

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].

Indian band seeks to regain its birthright
By David Whitney

Wintu Indians
At War Against Dam, Tribe Turns to Old Ways
Petition in Support of the Winnemem Wintu Tribe


Corn Mother - Apache / Jicarilla

An Apache who was an inveterate gambler had a small tame turkey, which followed its master about everywhere. One day the Turkey told him that the people were tired of supporting him, as he gambled until he lost everything that they gave him.

They had decided to give him one more stock of supplies, and if he made away with that he should be killed.

Knowing that he could not resist the temptation to gamble if he had any property in his possession, he decided to leave the tribe before their wrath should overtake him.

The next day he began to chop down a tree from which to build a boat. The Woodpecker, Tsitl-ka-ta, commanded him not to cut the tree; the woodpeckers must do that for him.

They also cut out the inside of the trunk, so that he could get into the cylinder, after which the spider sealed him in by making a web over each end. The woodpeckers carried the log, thus prepared, to the Rio Grande River, and threw it in. The faithful Turkey followed along the shore.

In the whirlpool above San Juan the log left the main current, and spun round and round until the Turkey pushed it on into the channel again. Farther down the river the log caught in the rocks in an upright position above a fall, but the Turkey again started it on its journey. At the pueblo of Isleta, the boys hauled out the log with others for fuel. The Turkey' rescued the log and placed it in the water, and again, at another pueblo far down the river, the log was returned to the stream.

Far to the southward the log drifted out of the channel into a grove of cottonwoods. The man came out of the log and found a large quantity quantity of duck feathers lying about. That night he had no blanket in which to sleep, so he covered himself with duck feathers. He killed a duck, and with the sinews of its legs made a bowstring.

After he landed, the Turkey soon overtook him, and they remained there for four days. During this time the man cleared a small space and leveled it.

"Why do you clear this place?" said the Turkey. "if you wish to plant something you must make a larger field."

Then the Turkey ran toward the east, and the field was extended in that direction: toward the south, the west, and the north he ran, until the field was large enough. Then he ran into the field from the east side, and the black corn lay behind him; from the south side, and the blue corn appeared; from the west, and the yellow corn was made; from the north, and the seeds of every kind of cereal and vegetable lay upon the ground.

The Turkey told the man to plant all these seeds in rows. In four days the growing plants appeared. The Turkey helped his master tend the crops, and in four more days everything was ripe. Then the man took an ear of corn and roasted it, and found it good.

As told by Joseph Nicolar, collected in Frank Russell’s Myths of the Jicarilla Apaches, 1898

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3

Corn Mother - Huron

The old ones tell us that in the "First World", "Corn Mother" came with us into the "Circle of Life". And as we began to move away from Balance and Harmony of Life, we did not know her. In the last world, "Corn Mother" lived with her two Grandsons in the Mountains.

She was old and very wise. She sang and made the world around her very beautiful. One day, "Corn Mother" watched her grandsons preparing to hunt. She thought of the days long ago when People and the Creatures of the woods all spoke a common language and understood each other. There was respect for all Life. It was a world of peace and happiness. There was abundance and respect. All was appreciated. People sat in the "Circle of Wisdom Keepers" and was honored and respected by all.

It was a good for "Earth Mother" and all Creation. People began to have greed. The balance was lost. "Corn Woman" remembered the "Great Council" of the last world, where the animals had determined not to allow people to kill them all off with their hunting game. That peoples relentless hunger was a threat to their cycles of life. People over hunted and killed many "Relations" in the food chain. Many, such as the Deer, put forth a punishment to all who would eat their flesh. And this was the first disease of man. And thus came, "Medicine". "Corn Mother" remembered how terrible it was for the animals in the woods when they could smell people and knew had come to kill them. "Corn Mothers" heart was heavy, it was a long time ago, she thought.

It is time to begin again and seek the "Harmony" and regain the "Balance". People need to return to the "Wisdom Fires Above". People need to be "Honorable". "Creator" combined all the Creations into People. People hold all the patterns of principles within their "Body", "Mind" and "Spirit". "Corn Mother" saw how the "Creator" had given people all the gifts and how they had lost them with all their greed. "Corn Mother" saw her grandsons getting ready for the kill. She knew there was more than enough food in their home to feed everyone. She went to her grandson and spoke, you are going out today? The oldest replied, yes, we prepare to hunt. "Corn Mother" said, We have so much already. Let me cook you a wonderful dinner. The younger grandson answered, no, we must hunt. "We are hunters". We will bring you many Turkeys. "Corn Mother" tried again, But we have many "Turkeys" already and I will make you Corn and you will feel full and not have the need to hunt. The grandsons continued to get ready to hunt. We will be back by evening and you will see, we will bring you fresh meat.

"Corn Mother" wished them well and asked them to respect all, and show appreciation to the animals. The grandsons laughed and went into the forest. "Corn Mother" cooked and made a meal that tempted all. She sang and blessed the meal. Soon her grandsons came into the clearing around their lodge. They had smelled the meal for miles and were happy to see it came from their lodge. "Corn Mother" was happy to see them, and as she put the food on the table, she saw they had killed a boar pig. They ate and could not say enough about how good the meal was and how good it was to have the corn stuffing and spices, with the Turkeys. "Corn Mother" have so much to eat, we do not need to kill the animals. They said they were tired and needed to sleep, so they could get up early and be out before the deer. "Corn Mother" listened and she asked them again how they liked the food she had made. They told her they loved the food and never had they eaten so much and tasted anything as good as the corn. They asked her where she had gotten the corn, and she did not answer.

She was happy they loved the meal and was planning the feast for the next day. She sang as the night moved over the lands. The next morning, very early, they were up and went for their weapons. She went to them again and said, we have so much left from yesterday, and a fresh boar from the hunt also, we have so much. Do you really have to go hunting? Yes, they said, we are hunters, today we will bring you a big deer. "Corn Mother" looked at her grandsons. She loved them very much and she knew they loved her also. They went to hunt and she cooked. The meal was even more wonderful than the day before. The smells went throughout the woods. Everyone knew "Corn Mother" was cooking a feast. Her grandsons smelled the sweet of corn while they were hunting. They remembered the taste, and that they had never tasted anything that good ever before. As evening came, the grandsons came home with their kill. It was a fine deer. They were very good hunters, the kill had been quick and the deer did not suffer. For this, "Corn Mother" appreciated the skill of her grandsons. They followed the wonderful smells of corn and sat down to a feast like none ever before. They gave her the deer as their token of thanks. She knew it was an honorable act to them, she thanked them and took the deer. After dark, she returned it to the forest. "Corn Mother" sang her song as the hunters drifted into dreams of laughter and play. In the dreams, they saw their grandmother as a beautiful young woman, more beautiful then any they had seen. She sang throughout the night. They awakened early and felt so good. They felt strong and youthful again. They were laughing and felt playful as they were children. The Sun came up in glorious colors. As they prepared to hunt, they realized they were not in such a hurry to go to the forest and hunt. They asked "Corn Mother" to make them breakfast, and she did. Fried corn mush and sweet honey, as they ate, it tasted so good they ate more than they needed and were so full, they needed to nap. They noticed that "Corn Mother" looked younger, and was so happy, she sang and sang. The Sun was high by the time they were ready to go hunt.

As they were leaving, "Corn Mother" asked them not to go, "We have so much food now, more than we will ever be able to eat. "No", they said, we must go hunt, we are hunters. Today we will hunt "Turkeys." "Corn Mother" watched as they left to go hunt and called out after them to remember to appreciate the animals. While out on the hunt, the youngest brother said to the older one, where does "Corn Mother" get this corn that she is cooking? The older brother said he didn't and that it did not matter to him. It was good and"Corn Woman" would only feed them what was good, that was what he knew.

All that day, the young man thought about the corn, as evening came, they returned home with the turkeys. They were eager to sit down and again eat the good corn. They told her how much they liked how she fixed their meal and how beautiful she was and how happy the home was because of her beauty and grace. The "Hunters" went to sleep to gained strength for the next days hunt. They awakened to the soft humming of "Corn Mother" as she prepared the breakfast, of grits and butter, with sweet maple syrup. "Corn Mother" looked even younger and happier than yesterday. The younger grandson was very curious and kept asking "Corn Mother" where she got the corn. She would smile and say, I make the corn, it is my gift to my Grandchildren. Another time she answered, "I am the corn."

He was not satisfied and he began to annoy the older brother with his questions. "Let us go hunt and stop all these questions now. She told you she makes the corn and that is enough for me. "Corn Mother" beamed her heart upon her oldest Grandson and he felt her love. It gave peace to have her in his home. The younger brother was not satisfied. He said, Yes, it is good, and yes, I have never had anything better, but I want to know where it comes from, and I will find out. Off they went to hunt and "Corn Mother" sang as she cleaned and cared for the home and land. She gave appreciation for all the relations and sang to them all. While the hunters were hunting, the younger brother kept insisting that they needed to know where she gets the corn. The older brother ask him why and he said he just must know. Are we not happier than ever before? Can you ask for more? Just be thankful and happy she has given this to us, and how fortunate we are to have her. The young man could not accept this, and said I will go watch and see where she goes and gets this corn. He left the older brother and sneaked back home to spy on "Corn Mother". He watched her take a huge basket and go to the root cellar. There he watched her through a small hole as she stood in the basket and slapped her sides. Each time she slapped her sides, corn would fall into the basket. She continued until her basket was filled to the top. He was terrified and ran to find his brother in the forest hunting. "Corn Mother" gave some of the corn pollen to the bees for honey and to the Earth for some tasty roots and herbs and salad greens. She fed corn pollen to the birds for singing as she worked and was generous to all the relations. Everyone was happy and the world was a better place. She cooked for her Grandsons and sang of beauty and happiness. The Grandson ran back to the older brother and said what he saw and that the corn was "Corn Mother" body. The older brother was heavy in his heart. And he said to his brother, if what you say is true, then it is not a good thing we do. We cannot eat our Grandmother. How is this that she can make her body turn to corn? This is strange and unsafe and not of this world. Something is not good here and I cannot understand this thing. We must be careful, something has taken our Grandmother.

It grew dark and they started home. The smell was so tempting and they could feel their stomachs ache for the corn. They heard music all around their lands and "Corn Mother" singing. Their hearts were in pain as they knew they feared her for all she was. At dinner, she heaped up their plates with all the delicious things of the lands and watched as they picked at it and ate little or nothing. She grew sad as she watched and realized they knew what they could not live with and know. The Knowledge was too much for them and it had destroyed the balance between them and the world. "Corn Mother" asked them, do you not love me? Have I not given you all of myself? Have you not felt the peace and happiness in my life with you?

As "Corn Mother" spoke, she grew very old and became very ill and her life began to leave her body. The Earth grew cold and all was silent. A long night fell upon the Forest and the Grandsons cried for what had happened. The youngest was unhappy for his loss and asked for forgiveness. "Corn Mother" asked them to come to her side and listen well. I have much to tell you, she said, "and we have but a little time now as I am. I am as old as the soil, and first man. I am the Corn. I was given to you as your substances and as "Abundance", "Happiness", "Health" and "Peace". I am "Corn Mother", I am the "Corn Mother". She told them to take her form when she passed over to pure Spirit, place it in the soil, and make a circle around it. I will return to you in a cycle as a plant, that grows tall and strong. I will have golden hair at the top, and I will have ears of golden seeds at my sides that will also have hair. When it turns brown, you will pick it, and peel back its sweet leaves and dry the seeds. There will be seven ears of the corn, do not eat them, use all of them as seeds. When the spring comes, make mounds as the woman in her birthing place, and make a planting stick as your own seed planter is shaped and insert it into the mounds, you cultivate and place two seeds in each hole. Go to the "Old River Man" and ask his children the fish, to come and bring the "Water Spirits" to the land, so the corn can grow. Place a fish in each hole and add the seeds. This corn you will not eat. You will use as offerings and seeds for the sacred ways of the "Land" and "Waters." "Corn Mother" told them many things to make "Life" good again. She told them when to plant and how to speak and hear the Moon. She told them to sing and dance and what the "Ancients" had given us. She told them she loved them and that they were to keep well and safe. She was given to show us how to keep the joy of life and to maintain the balance. The wisdom was much and the Grandsons were happy that "Corn Mother" was their Grandmother and that her love lived in all things.

When she passed to "Spirit World" to wait for her return, they would not hunt unless they were nearly starving and they did as she had instructed. They became wise. When the Spring came after "Corn Mother" had passed, the youngest brother went for a wife. When he came home, his wife was given the "Wisdom of "Corn Mother", and she had memory of the "Old One's Ways" and they planted and harvested the corn as it was to them and happiness was with their children.

"Corn Mother" says to us to come home and open to the "Wisdom" of the "First World".

Submitted by Karenshadowdancer

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3

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Monday, January 17, 2005

Monday, January 17, 2005

native american arts daily news, presented by
amerindianarts.us

Married couple tabbed for internship
Native Times - USA
... Approximately 100 Native American students are selected nationally each year to participate ... a member of the Cherokee Nation, is a communications arts major and ...

This Week: Caravan today honors slain civil rights leader
Reno Gazette Journal - Reno,NV,USA
... s Under One Sky: Nevada's Native American Heritage exhibit ... The American Association of University Women's Reno branch ... and at the Church Fine Arts Complex at ...

IAIA HAS HOPES FOR CENTER
ABQ Journal (subscription) - Albuquerque,NM,USA
... on strengthening native communities by supporting tribal self-determination.". IAIA-- chartered by Congress in 1962 and dedicated to American Indian arts and ...

 This once a day Google Alert is brought to you by Google.



Date: Fri, 07 Jan 2005 01:56:00 -0000
From: "ghwelker"
Subject: Living in America: The American Indian Experience
The American Museum of Natural History
presents
Living in America: The American Indian Experience

Three Saturdays,
January 15, 22 and 29
1:00-5:30 p.m.
Kaufmann Theater, first floor

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
or
call 212-769-5315.
From: borreror@amnh.org


Date: Thu, 06 Jan 2005 02:21:54 -0000
From: "ghwelker"
Subject: ~LEONARD PELTIER’s Magnificent ‘Political Platform’

~LEONARD PELTIER's Magnificent `Political Platform'~ from the brand new book ~HAVE YOU THOUGHT of LEONARD PELTIER LATELY?~

Also please visit Leonard's own website: www.leonardpeltier.org

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:
Have You Thought
1410 Blalock Road, #420
Houston, TX 77055


AEQ Book Review of Making Dictionaries: Preserving Indigenous Languages of the Americas

From: George Lessard
Subject: Book Review - Making Dictionaries: Preserving Indigenous Languages of the Americas

Subject: 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


Subject: Sundance Institute's commitment to supporting Native Cinema

From: George Lessard

The Sundance Institute's commitment to supporting Native Cinema is woven throughout the 23-year history of the Institute along with its support for the artistic vitality of American Cinema. Rooted in the recognition of a rich tradition of story telling and artistic expression by Native Peoples, the Institute established a Native Program as a means of supporting the development of Native filmmakers and the exhibition of their work. The Sundance Institute has supported nearly 45 Native writers and directors over the past 23 years, and showcased nearly 100 films by Native filmmakers. The Sundance Film Festival's Native Forum is a gathering of Indigenous filmmakers from around the world, and offers opportunities for them to share their expertise and knowledge with each other and the independent film community through workshops, panels, networking events, and special screenings.
http://festival.sundance.org/2005/?=native&107

Native American and indigenous films screening in the 2005 Sundance Film Festival:

Screening in the U.S. DOCUMENTARY COMPETITION :
TRUDELL /U.S.A (Director: Heather Rae - Western Cherokee; Screenwriter: B. Russell Friedenberg)

Screening in WORLD DOCUMENTARY COMPETITION :
DHAKIYARR VS. THE KING /Australia (Directors: Allan Collins and Tom Murray - Willi Willi Nation)

Screening in AMERICAN SPECTRUM :
5TH WORLD /U.S.A. (Director: BlackHorse Lowe - Din?; Screenwriter: BlackHorse Lowe)

Screening in the SHORTS COMPETITION : FROM CHERRY ENGLISH /Canada (Director: Jeff Barnaby - Mi'gMaq)
GOODNIGHT IRENE /U.S.A. (Director: Sterlin Harjo - Creek/Seminole Nations)
NATCHILIAGNIAQTUGUK AAPAGALU - SEAL HUNTING WITH DAD /U.S.A. (Director: Andrew Okpeaha MacLean - Inupiaq)
PLAINS EMPTY /Australia (Director: Beck Cole - Warramungu Nation) PURA LENGUA (ALL TONGUE) /U.S.A. (Director: Aurora Guerrero - Xicana)
TAMA TU /New Zealand (Director: Taika Waititi - Te Whanau a Apanui)

Screening in the SPECIAL SCREENINGS :
A THOUSAND ROADS /U.S.A. (Director: Chris Eyre - Cheyenne/Arapaho Tribes)
GREEN BUSH /Australia (Director: Warwick Thornton - Kaytetye Nation)

George Lessard

Date: Sat, 1 Jan 2005 11:57:03 -0700
From: George Lessard
Subject: Our Land - Contemporary Art from the Arctic
Our Land - Contemporary Art from the Arctic
THROUGH JANUARY 30, 2005

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
Peabody Essex Museum
[excerpt]

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
GEORGE LESSARD
Information & Media Specialist


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


Date: Sat, 01 Jan 2005 16:54:45 -0000
From: "ghwelker"
Subject: Museum loses Indian artifacts to burglary
Museum loses Indian artifacts to burglary
ASSOCIATED PRESS

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.

The historical society is offering a $500 reward to anyone who can provide information leading to the arrest and conviction.
Glenn Welker
Editor, List Manager, and Web Master
for
Indigenous Peoples Literature


Hero, Hawk, and Open Hand
Early tribal artifacts put in spotlight
Little-known items focus of exhibit in Chicago

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
Chinle, Arizona (Canyon DeChelly)- Seminars and workshops have limited capacity and usually require enrollment months in advance.

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.

Contact Teddy Draper at
dechelly2000@yahoo.com

Web Sites:
Indigenous Peoples Literature
Wisdom of the Old People

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].

Indian band seeks to regain its birthright
By David Whitney

Wintu Indians
At War Against Dam, Tribe Turns to Old Ways
Petition in Support of the Winnemem Wintu Tribe


Corn Mill Coyote - Caddo

A woman pounded corn in a favorite corn mill made from a tree trunk. Smooth with age, it was about two feet wide and three or four feet tall. She dropped corn inside and pounded it with a pole into fine meal.

As she pounded she noticed the corn disappeared faster than meal was ground. She pounded harder and faster, but she still lost more corn than she made meal. After pounding all her corn, she gathered her small portion of meal.

She waited for the next woman to pound her corn to see if the same thing happened. This woman pounded her corn but made very little meal. Now both were suspicious. They waited for the next woman. She pounded her corn, then gathered a small amount too. Now three women waited to watch the next one. This woman pounded and pounded, but the corn disappeared and little meal replaced it.

They discussed the situation, then decided something must be wrong with the corn mill. They turned the mill this way and that, and then realized it was not the same old mill they always used.

One woman called for an axe to split the mill in half so they could see inside. As a woman ran to get it, the mill fell on its side and rolled around on the ground. The women jumped back in astonishment.

Coyote leaped up from what had been the corn mill and ran away. All the women laughed. Now they understood that Coyote had hidden the old corn mill and then turned into a mill to eat all their corn.

Texas Indian Myths and Legends by Jane Archer

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3

Corn Meal Mush - se-lu i-sa a-ni-s-ta - Cherokee

corn meal
boiling water

(1 part corn meal to 4 parts water)

Add to pot of boiling water enough cornmeal to thicken. Add slowly, but stir briskly to keep from making lumps. Cook until meal is thoroughly done and mushy.

From Blue Panther Keeper of Stories

http://groups.msn.com/KeeperofStories
http://www.smartgroups.com/groups/keeper_of_stories_3

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Sunday, January 16, 2005

Sunday, Jan. 16, 2005

native american arts daily news, presented by
amerindianarts.us