Amerindian Arts Native American News & Information

Zuni Carver Jeff Tsalabutie, in memoriam

noreply@blogger.com (Amerindian Arts) — Sun, 28 Jun 2009 22:49:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

Jeff Tsalabutie, in memoriam

Zuni artist Jeff Tsalabutie died tragically in a truck accident on June 22, 2009, in Arizona. Jeff was one of the premier contemporary fetish carvers from the Zuni Pueblo. He had the rare ability to give a stone carving a personality that would speak to you in volumes. Balancing acts and dancing bears, he had an exceptional talent for revealing the spirit in the stone while giving you a glimpse of his own free spirit and attitude on aesthetic license.

I had known Jeff since the late 90s and for the last few years we had scouted and ran point for each other every February at the Tucson Gem and Mineral Show, searching for unique stones for carvings. He was intent as an artist to experience new materials and find the best stones for his carvings, always being conscientious towards providing his patrons with quality work and a unique experience that he could share with them. I regret that I will never be able to share that experience with him again.

An Outstanding young man and exceptional artist he will be missed immensely.

Idyllwild Summer Arts Program

Native American Arts Festival, will take place July 12-18

"More than Fry Bread"

Residents audition for role in American Indian movie

See full article

Saving Native American languages

Some 40 languages, mainly in California and Oklahoma, where thousands of Indians were forced to relocate as part of the notorious 19th Century Trail of Tears, have fewer than 10 native speakers.

See full article

Smithsonian’s National Museum of the American Indian

National Museum of the American Indian Awarded Accreditation by the American Association of Museums

See full article

Iroquois Indian Museum exhibition “Native Americans in the Performing Arts: From Ballet to Rock and Roll.�?

Start Date: March 30, 2009 - End Date: December 31, 2009
Location: Iroquois Indian Museum Howes Cave, N.Y.
Phone: (518) 296-8949

iroquoismuseum.org

DVD- American Experience: Last Stand at Little Big Horn (2005)

Narrated by Pulitzer Prize-winning Native American writer Scott Momaday, "Last Stand at Little Big Horn" is an examination of Custer's last stand from the viewpoints of the Lakota Sioux and the white settlers. The film is a collaboration of Native American novelist James Welch (Winter in the Blood, The Indian Lawyer) and white filmmaker Paul Stekler (Eyes on the Prize).

Order American Experience: Last Stand at Little Big Horn

Recent Books of Interest

''Canyon Gardens: The Ancient Pueblo Landscapes of the American Southwest (University of New Mexico Press: 2006). Editors V.B. Price and Baker H. Morrow have assembled 15 essays on the millennium-old Puebloan landscape.

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Zuni fetish updates from Amerindian Arts

Stewart Quandelacy, 4-6-2009, rare turtle carving
Chad Quandelacy, 4-4-2009, corn maiden pendants
Stewart Quandelacy, 4-4-2009, long necks and medicine bear pendants
Jeff Tsalabutie, 3-25-2009, an elephant, dancing bear, fox, frog, and a squirrel
Todd Westika, 3-23-2009, buffaloes, bears, and a bobcat
Stewart Quandelacy, 3-23-2009, various carvings
Chad Quandelacy, 3-23-2009, turquoise corn maidens
Stewart Quandelacy, 3-8-2009, various carvings
Todd Poncho, 2-19-2009, horse carvings
Albenita Yuni, 2-19-2009, various carvings
Brion Hattie, 2-17-2009, various carvings
Burt Awelagte, 2-17-2009, various carvings
Stuart Quandelacy, 2-17-2009, turquoise corn maidens
Chad Quandelacy, 2-17-2009, turquoise corn maidens
Jeff Tsalabutie, 2-15-2009, various carvings
Stewart Quandelacy, 2-15-2009, Mother of pearl buffaloes
Ernie Mackel, 2-15-2009, lions, horses, wolves, and geese
Jayne Quam, 2-13-2009, howling coyotes, various carvings
Brian Yuni, 2-13-2009, various carvings
Peter Gasper, 2-13-2009, various carvings
Lena Boone, 2-13-2009, various carvings
Faye Quandelacy, 2-13-2009, cornmaidens
Avery Quandelacy, 2-13-2009, various carvings
Lynn Quam, 2-13-2009, bears, buffaloes
Prudentia Quam and Vernon Lunasee, 2-13-2009, lions, bears, and horses
Claudia Peina, 2-13-2009, corn maidens and bears
Ricky Laahty, 2-3-2009, frogs
Ricky Laahty, 2-3-2009, bird fetish pendant
Andres Quandelacy, 2-3-2009, Zuni horse pendant and lion pendant
Dee Edaakie, 2-3-2009, ivory stone marble bears, lapis lion
Stewart Quandelacy and Priscilla Lasiloo, 2-2-2009, Zuni medicine bear fetish pendants and earrings, turquoise horse pendant
Duane Dishta, 2-2-2009, Kachina paintings
Albert Eustace, 2-2-2009, bear carvings
Herbert Him, 2-2-2009, bear and buffalo
Kateri Sanchez, 2-2-2009, corn maidens
Todd Westika, 2-2-2009, howling coyotes, bears, wolves
Todd Westika, 12-29-2008, bears, buffaloes
Jeff Tsalabutie, 11-28-2008, various carvings
Priscilla Lasiloo, 11-26-2008, lapis, rhodocrosite bears
Sandra Quandelacy, 8-31-2008, corn maidens
Sandra Quandelacy, 8-30-2008, Zuni mother of pearl butterfly maiden fetish pendants
Prophet's Rock, All new listings for 8-22-2007

Sentiments of Frank Hamilton Cushing and others on the Church and State, Zuni, and Assimilation

noreply@blogger.com (Amerindian Arts) — Sat, 23 May 2009 09:02:00 +0000

The following is evidenced for the most part based upon the research of others who had the opportunity to study the Zuni first-hand prior to the phenomenal acculturation that transpired in the last half of the twentieth century. It is also the introduction, or prelude, to a larger work concerning Cushing's notion of being (ontology) in the Zuni culture in contrast to Ruth Bunzel's analytic approach and accusations of Cushing's "metaphysical glossings" in his writings.

These writings may then be termed as dated or archaic in regard to certain aspects of the Zuni culture. To whatever extent that may be true, it is also true that the Zuni have resisted the offerings of the colonial cultures which sought to conquer them and which have been, as Frank Hamilton Cushing noted over a century previous, "as aught against the enduring genius of that ancient tongue and tone, and the philosophies and creeds framed in them a thousand years ago." (Green 1979: 175)

To that extent, the Zuni remain one of the most unique cultures on earth.

The plural inflection of the term "culture" as a signification of a set of customs and values relative to a certain group of people as a coherent entity in itself is a usage in anthropology which is wholly attributable to Cushing, and was distinct from the Victorian employment as an absolute which was current among his colleagues. The influence upon Cushing by the English anthropologist E.B. Tylor(1) on this matter is not disputed, but Tylor’s employment of the term "culture" was limited to a "concept of culture as accumulated customs" and he had "little or no sense of cultural pluralism…of cultural relativism, or of cultures as integrated coherent units." (Mark 1976: 466-467) The determinates of cultural plurality or relativism were notions added later by Cushing when he suggested "that a society is perhaps structured around what he called a guiding "Idea."" (Mark 1976: 468) As Mark indicates, Cushing's idea of cultures was reflected in the writings of his journalist friend, Sylvester Baxter. It was Baxter who referred to Cushing as the father of the Zuni Kultur in his article "The Father of the Pueblos," originally published in Harper's New Monthly Magazine in 1882, "indicating Baxter's awareness of the German origin and meaning of the term "culture" as Tylor and now Cushing were using it – as customs in general, not refinement and cultivation." (Mark, Ibid.)

That Cushing was also familiar with the German culture and language is evident, but to what extent he was knowledgeable in this area is uncertain. However, his conceptualization of the Zuni society and philosophy and the terminology he used to describe it bears an uncanny resemblance to that implemented in Kant's Anthropology from a Pragmatic Point of View. If Cushing had read this work it would have been in Kant's native German. Even if he had only secondary knowledge of the work it would explain his use of the terminology which was instrumental in Kant's explanation of the distinction between semblance (Schein) and the appearance (Erscheinung)(2) and his discussion of the confusion and conflict of subject and object in regard to primal thought as analogous to motive as a practical (moral) matter. This information can, for the most part, be found on a single page of the above title. (Kant 1798: 22)

The pragmatic point of view is that while morality is absolutely universal and a metaphysical body of moral principles must be a priori, the anthropologist can only deal with practical knowledge as an empirical science and therefore in anthropology there is no basis in the strict a priori for morality to become a science.

The anthropologist can, intensively and comparatively, analyze a culture, but a culture?s morality in particular cannot be a science of its own accord. A moral anthropology can only contain the subjective conditions in human nature which represent only that which is not attained because there can be no precepts founded upon a priori principles. (Kant 1797: 17) In other words, precepts are simple semblances of absolutes and are therefore "accidental." (See Cushing, 1966) It is the intent of the anthropologist then to analyze a group of people in its own terms as a culture in itself; yet explanation of the accidental dictates that absolutes must be kept in view, at least for the purpose of comparison. The accidental can only be accidental in contrast to universal. Since the absolute may also be grounded to a degree in the subjectivity of the observer, no culture can be considered as absolute. This is, in essence, the very spirit of Kultur. It was Cushing's belief that the culture of the Zuni was driven by the "Idea" and that it was completely self-determined.

Cushing's sentiments in regard to previous attempts at assimilation of the Zuni are opposed by several schools of thought. Andrew Knaut points out in his essay the school which is representative of Robert Ricard’s work La "Conquête Sprituelle" du Mexique (1933). This work is based upon the assumption that the success of the Spanish military virtually eliminated the pre-contact religion of the Pueblos and as a "classic interpretation" is one "of Pueblo-Spanish cultural interaction as one of complete native submission to the perceived superiority of a new faith promoted by European military might." (Knaut 1995: 54, 199 n.1) Knaut also specifies the school of thought where the Pueblo and Catholic belief systems merged into a synthesis which is practiced contemporaneously in the Pueblos (Ibid 53) and this view "permeates much of the anthropological work on the American Southwest." (Ibid, 200 n.2)

Knaut's position however is that in the first instance the Pueblos sought military protection, most notably from the nomadic Athapaskan groups, and were forced into the acceptance of Christian baptism primarily for this reason as well as the avoidance of hunger, for the Spanish had control of scarce resources and trade routes. This did not, however, prevent the Pueblos from practicing their rituals behind the "closed doors of native ceremonial chambers." (Ibid, 54) It is, in fact, these clandestine practices that are ignored by adherence to a view that contemporary Pueblo religious practices are a synthesis, "for such a perspective ignores the fact that…to engage in traditional ceremonies and practices behind a façade of Christian piety thus took on a deadly seriousness for those dedicated to preserving the old ways." (Ibid, 55) If there was a synthesis then perhaps there would be no motive for clandestine practices.

Knaut presents the thesis that the long time conflict between the colonial church and state provided many opportunities for the Pueblo traditionalists to continue the old ways. In the efforts of the state to maintain power over the church the natives were allowed to continue the old ways as the church was held in abeyance. The natives simply bided their time until the balance of power between the "Francescan missionaries, the bureaucratic authorities appointed by the crown, and the permanent settlers" deteriorated as a result of denunciation, accusation and greed, and these factors eventually discredited one another. It was the Pueblos who had everything to gain from the tension between the church and state.

Knaut's thesis is supportive of Cushing and the notion that it was the volition of Zuni to remain determinedly Zuni. Prior to 1924 the church and state within the Zuni Pueblo was indistinguishable. The only noticeable factions were the Catholic and Protestant appellations with the majority of the population being Zuni. When Frederick Hodge received permission in 1923 to photograph the Shalako from the progressives, or anti-Catholic faction, the Catholics opposed. This conservative faction and their opposition to outside interference clearly supports the notion that Roman Catholicism was accepted in the Pueblo in order to protect the natives from other European religions. The façade of Catholicism allows the natives to discreetly practice their "idolatry." (Eggan)

Other schools have advanced their thoughts on possible influences or the lack of influences as well. The Book of Mormon lectures by Nibley assert that the Spanish found Old and New Testament teachings pre-existing in the Pueblo rituals.

This is contrasted by the writings of Nancy Davis in The Zuni Enigma, a presentation of a distinctively Eastern, most likely Buddhist influence on the Zuni philosophy and religion and the claims of linguistic (3) and physical evidence. There are examples of pictorial symbolism of the Zuni and their possible religious significance and origins. Davis specifies the rosette (hepa’kinne) and its resemblance to the turning wheel of dharma in the Buddhist tradition whereas other anthropologists and ethnologists point to possible European origins where it was assimilated by the Zuni from Catholic alter cloths (4) . This symbol has also however, been recorded as decorations on St. John's polychrome which is in all probability pre-contact. There is also the resemblance of a set of Salado earrings (5) , c. 1200, which bear a strong resemblance to a Buddhist wheel of becoming. (Cerillo 1992: 11, plate 5)

It is unlikely that the Zuni, even in consideration of their remote western position in relation to the mainstream Spanish contact area of the eastern Pueblos, remained completely unaffected by the outside contact prior to Cushing's residency. But Cushing nonetheless detected a certain purity and in a letter to Frederick Ward Putnam, the director of Harvard's Peabody Museum, expressed his concern that the study of the Zuni could not be accomplished in a lifetime, but a lifetime was also too long a period of time for the study given his opinion that in the midst of vast acculturation the tribe and its culture would disappear. (Green 1990: 304) One can surmise the sense of urgency when he abandoned the tent he shared with Smithsonian photographer John Hillers and took up residence in the pueblo of the Zuni governor. (Cushing 1882)

Cushing was not a philosopher, but his participatory method and ability to understand the Zuni as "their own best interpreter" and his capacity to literally "translate the mind of the Zuni" (Green 1990, later quote from Alice Fletcher) enabled him to gain insights the value of which can be assessed as something more than merely "metaphysical glossings." It was his ambition to elucidate the primitive conception and polytheism, or at least to "record such facts as shall enable philosophers to do this." (Green 1990: 304)

Post Script- This essay was written as an introuduction to another essay regarding Bunzel remarking on Frank Hamilton Cushing's Zuni notes as "metaphysical glossings". Ruth Bunzel's analytic method and tendency to translate Zuni literally seems to reduce it to a body of folklore that left the Zuni mythology vaporous. It is a stark contrast to Cushing's interpretation of the Zuni's ontology, or concept of being, which gave substance to a complex hierarchy of "made being". To be published in future posts.

Notes

1) Primitive Culture (London, 1871), and Researches into the Early History of Mankind and the Development of Civilization (London, 1865)

2) These terms have been translated variously; Schein as "illusion" or "appearance" and Erscheinung as "phenomenon."

3) In Japanese, for example, anyone seeking enlightenment through vows to save all sentient beings is bosatsu. The Zuni name for the Ne-we-kwe, the highest of priests, is Bitsitsu. The phoneme 'b' is rare in Zuni. Bunzel, in several places, refers to bitsulia as the Zuni term for "circle". Newman’s orthography for "circle" is pizulliya. (1958) Bitsu is a term Davis cites for Buddha.

4) Matilda Stevenson proposes the sunflower as the source, and Bunzel seems to take this for granted. (Bunzel 1929:53)

5) These earrings resemble spoked wagon wheels, an object which is undoubtedly not what they were fashioned after.

References

Bunzel, Ruth L. The Pueblo Potter: A Study of Creative Imagination in Primitive Art. New York: Dover, 1929

______. "Introduction to Zuni Ceremonialism," (1932a); "Zuni Origin Myths," (1932b); "Zuni Ritual Poetry," (1932c). In Forty-Seventh Annual Report of the Bureau of American Ethnology. Pp. 467-835. Washington, D.C.: Government Printing Office, 1932. Reprint, Zuni Ceremonialism: Three Studies. Introduction by Nancy Pareto. University of New Mexico Press, 1992.

______. "Zuni Katcinas: An Analytic Study," (1932d). Forty-Seventh Annual Report of the Bureau of American Ethnology. Pp. 836-1086. Washington, D.C.: Government Printing Office, 1932. Reprint, Zuni Katcinas: 47th Annual Report. Albuquerque: Rio Grande Classics, 1984.

______. Zuni Texts. Publications of the American Ethnological Society, 15. New York: G.E. Steckert & Co., 1933.

Cushing, Frank Hamilton. My Adventures in Zuni. 1882. Palmer Lake, CO: Filter Press, 1999 reprint.

______. "Zuni Fetishes". Second Annual Report of the Bureau of American Ethnology, 1880-1881. Pp. 3-45. Washington D.C.: Government Printing Office, 1883. Reprint, KC Publications, 1966.

Davis, Nancy Yaw. The Zuni Enigma. Norton, 2000.

Eggan, Fred and T.N. Pandey. "Zuni History, 1855-1970." In Handbook of North American Indians, Southwest,. Vol. 9. Ed. by Alfonso Ortiz. Pp. 474-481. Washington D.C.: Government Printing Office, 1979.

Green, Jesse, ed. Zuni: Selected Writings of Frank Hamilton Cushing. Lincoln and London: University of Nebraska Press, 1979.

______. Cushing at Zuni: The Correspondence and Journals of Frank Hamilton Cushing, 1879-1884. Albuquerque: University of New Mexico Press, 1990.

Kant, Immanuel. Anthropology from a Pragmatic Point of View, 1798. Trans., Mary J. Gregor. The Hague, Netherlands: Martinus Nijhoff, 1974.

Knaut, Andrew L. Pueblo Revolt of 1680. Norman, OK: University Oklahoma Press, 1995

Mark, Joan. "Frank Hamilton Cushing and an American Science of Anthropology." In Perspectives in American History. 10: 444-486, 1976.

Newman, Stanley. Zuni Dictionary. Indiana University Research Center Publication Six. Bloomington: Indiana University, 1958.

Nibley, Hugh W. Teachings of the Book of Mormon. Transcripts of lectures presented to an Honors Book of Mormon Class at Brigham Young University, 1988-1990. Provo, UT: Foundation for Ancient Research and Mormon Studies, 1993.

Collecting Zuni Fetishes, the Changing Woman of the Navajo

noreply@blogger.com (Amerindian Arts) — Tue, 14 Apr 2009 05:58:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

Historical description of Zuni fetishes and collector's information

Zuni fetish carvings depict animals and reptiles such as the frog, turtle, buffalo, deer, ram, otter, and others. There are many more subjects of contemporary carvers that may include dinosaurs, for example, that would be considered non-traditional, or some insects and reptiles that are traditionally more integral to Zuni mythology and folklore, or to petroglyphs, symbolism, and the patterns of design in pottery, e.g. dragonflies and butterflies, water spiders, and lizards. There is also the corn maiden, a symbol of fertility and the hope of a good harvest. Other animals, such as the horse, ram, or sheep, were carved mainly for trade. The Zuni was not a horse culture but their horse carvings were considered by the Navajo and the horse cultures to the north as having great power for the protection of their herds. Each animal is believed to have inherent powers or qualities that may aid the owner. The Navajo, for example, treasured and bartered for figures of horses, sheep, cattle or goats to protect their herd from disease and to insure fertility.

Traditionally, the materials used by carvers were often indigenous to the region or procured by trade. The most important of these materials was turquoise, which is considered by the Zuni as the sacred stone. Jet, animal shell (primarily mother-of-pearl), and coral are also frequently used. These materials and their associated colors are principle in the Zuni sunface, a cultural symbol which is present in Zuni jewelry and fetish carvings and represents their sun father. It should be noted that different turquoise stones gained their name from the great peaks, or sacred mountains from which they are mined, while the other three principle materials of the Zuni sunface were at one time a living thing (See Zuni substance). The list of other materials used is extensive and includes Zuni rock, jaspers, pipestone, marbles, or organic items such as bone and deer or elk antler (there are some Zuni carvers that will not carve bone or antler, considering the practice as dangerous). Even artificial substances such as slag glass and casilica are used. In recent years Zuni carvings, or fetishes, have become popular collectibles and Zuni artisans have familiarized themselves with materials available from all parts of the world in order to serve the aesthetic tastes of collectors.

As a form of contemporary Native American art Zuni carvings are sold with non-religious intentions to collectors worldwide. The artist's styles are as unique as the artists themselves, and there are many whose works are highly sought after by collectors. Some collectors prefer a figure that is more realistic in appearance, while others prefer the more traditional styles that are intrinsic to Zuni belief. The traditional belief of the Zuni is that the least modification of the original material maintains, or heightens, the power of the fetish as a "natural concretion". Realism in carving style is a matter relative to the beliefs of its owner, and the realism in contemporary carving is a product of collector request and demand and the intent of Zuni carvers to raise the level of their art form through participation in the world of contemporary art. The enigma or apparent paradox relevant to Zuni belief and realism in art is resolved in the notion that carvings for sale and collection are produced without religious intent. For this reason some carvers prefer the term "carvings" rather than the term "fetishes" when referring to offerings for collectors.

A carving may be signed by the carver, or not. Personalization by signing a piece of art is a form of individualism that traditionally violates the Zuni notion of community purpose. Native American cultures in general traditionally viewed art objects as community property, and Native languages did not have a word translating to "art". The signing of artwork is a concept introduced to the Zuni by white collectors at the beginning of the twentieth century (ca. 1915) when artists began signing their paintings, and most Zuni carvers did not begin signing their carvings until the last part of the twentieth century. Often, though, a Zuni carver feels that their own unique style is readily identifiable and the fetish's style will be enough to identify the carver as surely as would any other mark. Some carvings are so intricate and small that it is impractical to sign it, and there always is the fear that the piece could be chipped, scratched, or otherwise damaged in the attempt. Most carvers are the recipients of a family tradition of style and have learned their skill from parents, grand parents, or siblings, and have passed the art to their own children as well.

Besides being made from various stones and other materials, the fetish may carry an offering of a smaller animal or a prayer bundle of carved arrowheads with small beads of heishe. It may be adorned with a heishe necklace, feathers, etchings representing ancient petroglyphs, or an etched or inlayed heartline representing the animal's Sa-ni-a-kia. These items are intended to protect and feed the fetish itself. In regard to feeding, it is believed from tradition that the Keeper of fetishes is required to feed a meal of cornmeal and ground turquoise periodically and provide the carving with access to water. Fetishes are often kept in and attached to clay pots adorned with ground turquoise. The corn maiden, an icon so important in Zuni mythology regarding fertility and a good harvest in an arid desert agricultural environment, is often portrayed holding a bowl of ground turquoise, sometimes trailing to the ground.

As far as describing the Zuni culture by the term "fetishism" it should, like any other culture, be considered carefully and as a matter of degree. According to modern anthropology's definition of "fetishism" every culture theoretically has its iconic worship of sacred things. As Cushing noted, to the Zuni a fetish is a "mediator" and represents the "roar of the animal". This is not a totemism or a strict fetishism as witnessed in, for example, some African cultures or Alaskan native tribes. The medicinal power of the fetish is a triadic relationship between the fetish, the owner, and Po-shai-an-kia. It is an idiosyncrasy shared by many cultures and as a matter of degree is always arguable..........Read the entire article here

PBS and Native American History

"The lack of historical storytelling about Native Americans is the best evidence I know to support the cynical cultural studies argument that history is merely the stories told by those who won the wars and hold the power."

See full article here

May 23-24, 2009:

Native Treasures - Presented by the Museum of Indian Arts and Culture, Native Treasures features over 140 Native American artists who are specially invited by the museum to represent the best and brightest of the Indian art world. At the Santa Fe Convention Center.

Museum website

14th Annual 2009 Wildcat Powwow

Festival included variety of tribes, showcased Native American food, crafts

See full article here

Little Rock Museum explores state's Native American history

Describes the history of the tribes through Native American voices
See full article here

"Red Man's View," a Native American Story

Remake of the original 1909 silent "Red man's View" about the plight of a Native American tribe during the mid 1800's
See full article here

Susan Peterson, ceramics artist studied Native American potters, dies at 83

Susan Peterson, a ceramics artist, educator and writer who revealed the lives and techniques of Native American women potters of the Southwest
See full notice here

Joanne Shenandoah

One of the nation’s leading American Indian recording artists
See article here

Three Native American musical performers at the Soaring Eagle Casino and Resort the weekend of April 24 and 25.

Brulée and American Indian Rock Opera will take the stage at the Entertainment Hall on Friday, April 24

On Saturday, April 25, Crystal Shawanda and 2006 Grammy Award and Native American Music Academy Award winner Star Nayea will perform. Tickets for the April 24 show and the April 25 show are available through the Soaring Eagle Box Office or by calling 800-585-3737

To obtain current information

Idyllwild Summer Arts Program

Native American Arts Festival, will take place July 12-18

"More than Fry Bread"

Residents audition for role in American Indian movie

See full article

Saving Native American languages

Some 40 languages, mainly in California and Oklahoma, where thousands of Indians were forced to relocate as part of the notorious 19th Century Trail of Tears, have fewer than 10 native speakers.

See full article

Smithsonian’s National Museum of the American Indian

National Museum of the American Indian Awarded Accreditation by the American Association of Museums

See full article

Iroquois Indian Museum exhibition “Native Americans in the Performing Arts: From Ballet to Rock and Roll.�?

Start Date: March 30, 2009 - End Date: December 31, 2009
Location: Iroquois Indian Museum Howes Cave, N.Y.
Phone: (518) 296-8949

iroquoismuseum.org

Cherokee Chiefs

Changing Woman

Changing Woman [Asdz nádleehé] comes closest to being the personification of the earth [Nahasdzáán] and of the natural order of the universe [Yádihi Bii' Bi Haz'ánígíí] as to any other brief way of describing her. She represents the cyclical path of the seasons [nináhágháhígíí], birth (spring [daan dgo]), maturing (summer [sh shgo]), growing old (fall ['ak'eed]) and dying (winter [haigo]), only to be reborn again in the spring [daan dgo].

The birth of Changing Woman [Asdz nádleehé] was planned by First Man [�?tsé hastiin] and First Woman [�?tsé asdzáán]. First Man [�?tsé hastiin] repeatedly held up his medicine bundle [jish] toward Gobernador Knob [Ch'óol''] at dawn [hayíík]. Somehow from this action Changing Woman [Asdz nádleehé] was born and found lying on top of Gobernador Knob [Ch'óol'']. She was found by Talking God [Haashch'éét'í] who was sent to investigate. First Man [�?tsé hastiin] then presented her to the diyinii, saying that you could see that this is the child of the young man and young woman of exceeding beauty who themselves had arisen from the same medicine bundle to become the inner form of the earth.{*}

First Man [�?tsé hastiin] raises and teaches Changing Woman [Asdz nádleehé]. She grew from infancy to puberty in four [d] days, thus acquiring the name Changing Woman [Asdz nádleehé]. This occasioned the first puberty ceremony. The Holy People [diyin diné] were called for and Talking God [Haashch'éét'í] officiated at the ceremony.

Changing Woman [Asdz nádleehé] was dressed in jewels (white shell [yoogaii], turquoise [doot'izhii], abalone [diichi] and jet [bááshzhinii]), blessed with pollen [tádídíín] from the dawn [hayíík] and from twilight [nahootsoii], and with “pollen�? from many jewels and soft fabrics, symbolizing her control over these articles. After this blessing, her hair was bathed with dews [dahtoo'] and she was instructed to run toward the dawn [hayíík] as far as she could see and then to return. As she ran, her dress of jewels jingled. She repeated this for four [d] nights [t'éé]. On these days [j], when not involved in ceremonies, she occupied herself with planning for the future of the earth [nahasdzáán]. By the end of the ceremony she had made millstones [tsédaashjéé and tsédaashch'íní], a whisk broom [bee nahalzhoohí], pots ['ásaa']and stirring sticks [ídístsiin]. The songs that were sung for Changing Woman [Asdz nádleehé] as she ran are sung today for young women at their puberty ceremonies [kinaaldá].

At Changing Woman’s [Asdz nádleehé] next menstration another puberty ceremony was held, similar to the first. But at this ceremony other procedures for the future were defined. These decree that no menstruating woman shall be present at any ceremonial. The order of songs at future Blessingway [hózhójí] ceremonies was thus determined.

After this ceremony Changing Woman [Asdz nádleehé] would go outside and walk on the trail which had been prepared for her. One day at noon a strange man walked up to her and spoke to her. He said “Prepare yourself for something that is going to happen, after a while I will visit you.�? This stranger was so dazzling that Changing Woman [Asdz& n nádleehé] had to look away. When she turned back, he was gone. She returned home and reported this encounter to First Woman [�?tsé asdz] and First Man [�?tsé hastiin]. It seems that First Man [�?tsé hastiin] was expecting this occurence, which happened twice again. On the third time Changing Woman [Asdz nádleehé] was told to fix her bed outside, with her head to the east. When she fell asleep a young man came and lay beside her. This happened again and she asked who he was. He replied, “Don’t you know me? Didn’t you ever see me? Don’t you know that you see me all the time? It is I that takes care of all things, whatever there is on earth. I am the Sun’s inner form. In my very presence you came into being, in my presence you were put into shape, even I was among them!�? He then indicated that First Man [�?tsé hastiin] had directed him to do this. The next day she decided to bathe because the young man might visit her again.

While bathing the young man appeared again and with the collaboration of the dripping water impregnated Changing Woman [Asdz nádleehé]. In nine [náhást'éí] days [j], twins were born to Changing Woman [Asdz nádleehé]. These twins were to become Monster Slayer and Born for Water. These two [nakii] also grew in four [d] day [j] periods and in twelve [nakits'áadah] days [j] they were grown young men.

At this point Changing Woman [Asdz nádleehé] asked for and receives the medicine bundle [jish] that First Man [�?tsé hastiin] had brought up from the previous worlds. She moves to a hooghan that was built for her at the base of Huerfano Mountain [Dzina'oodIII. Here she conducted the first wedding ceremony, the mating of corn. After this ceremony Changing Woman [Asdz nádleehé] leaves for the house that her sons have built for her, at the direction of their father, the Sun [Jóhonaa'éí], in the west ['e'e'aah], at or on the Pacific Ocean.

Here Changing Woman [Asdz nádleehé] grew lonely and created the Navajo People from skin rubbed off various parts of her body. The four [d] pairs of people created at this time are the ancestors of all Navajo today.

Changing Woman [Asdz nádleehé] also caused the abduction of the two children of Rock Crystal Talking God. They were taken to her house in the west ['e'e'aah] by way of a rainbow [nááts'íílid] and a sunbeam [shábit'óól]. Here they were taught the Blessingway [Hózhójí] ceremony. They returned home to teach the ceremony to all of their people (the original Navajos saw the ceremony being taught to these children). The diyinii all gathered to learn the ceremony and to construct the original Mountain Soil bundle, containing soil from each of the sacred mountains [dzi dadiyinígíí], with which the ceremony is still conducted. The Holy People then said that, after their departure from this ceremony, they would never be seen in person again but that their presence would be manifest in the sound of the wind [níyol], the feathers [ats'os] of an eagle ['atsá], in various birds [naat'a'gii], the growth of the corn [naad] and other aspects of the world surrounding the earth surface people.The two children who had been taught the Blessingway ceremony [Hózhójí] then departed to live with the Holy People.

{*} The parentage of Changing Woman [Asdz nádleehé] is described in several different ways by different informants; however these can be thought of as just different ways of saying the same thing. Some say that her father and mother are the Sky and the Earth. Others say her parents are sa’a naghái ashkii (boy) and bik’e hózh at’ééd (girl) as in this version. However the Sky is sometimes referred to as sa’a naghái and the Earth as bik’e hózh. In either case, Changing Woman is Earth’s child, the child of the Sky and the child of the mountain. As she was planned for by First Man [�?tsé hastiin] and First Woman [�?tsé asdz] and called forth by First Man [�?tsé hastiin], she is also their child.

Keeper of Stories

DVD- American Experience: Last Stand at Little Big Horn (2005)

Order American Experience: Last Stand at Little Big Horn

Recent Books of Interest

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Zuni fetish updates from Amerindian Arts

Stewart Quandelacy, 4-6-2009, rare turtle carving
Chad Quandelacy, 4-4-2009, corn maiden pendants
Stewart Quandelacy, 4-4-2009, long necks and medicine bear pendants
Jeff Tsalabutie, 3-25-2009, an elephant, dancing bear, fox, frog, and a squirrel
Todd Westika, 3-23-2009, buffaloes, bears, and a bobcat
Stewart Quandelacy, 3-23-2009, various carvings
Chad Quandelacy, 3-23-2009, turquoise corn maidens
Stewart Quandelacy, 3-8-2009, various carvings
Todd Poncho, 2-19-2009, horse carvings
Albenita Yuni, 2-19-2009, various carvings
Brion Hattie, 2-17-2009, various carvings
Burt Awelagte, 2-17-2009, various carvings
Stuart Quandelacy, 2-17-2009, turquoise corn maidens
Chad Quandelacy, 2-17-2009, turquoise corn maidens
Jeff Tsalabutie, 2-15-2009, various carvings
Stewart Quandelacy, 2-15-2009, Mother of pearl buffaloes
Ernie Mackel, 2-15-2009, lions, horses, wolves, and geese
Jayne Quam, 2-13-2009, howling coyotes, various carvings
Brian Yuni, 2-13-2009, various carvings
Peter Gasper, 2-13-2009, various carvings
Lena Boone, 2-13-2009, various carvings
Faye Quandelacy, 2-13-2009, cornmaidens
Avery Quandelacy, 2-13-2009, various carvings
Lynn Quam, 2-13-2009, bears, buffaloes
Prudentia Quam and Vernon Lunasee, 2-13-2009, lions, bears, and horses
Claudia Peina, 2-13-2009, corn maidens and bears
Ricky Laahty, 2-3-2009, frogs
Ricky Laahty, 2-3-2009, bird fetish pendant
Andres Quandelacy, 2-3-2009, Zuni horse pendant and lion pendant
Dee Edaakie, 2-3-2009, ivory stone marble bears, lapis lion
Stewart Quandelacy and Priscilla Lasiloo, 2-2-2009, Zuni medicine bear fetish pendants and earrings, turquoise horse pendant
Duane Dishta, 2-2-2009, Kachina paintings
Albert Eustace, 2-2-2009, bear carvings
Herbert Him, 2-2-2009, bear and buffalo
Kateri Sanchez, 2-2-2009, corn maidens
Todd Westika, 2-2-2009, howling coyotes, bears, wolves
Todd Westika, 12-29-2008, bears, buffaloes
Jeff Tsalabutie, 11-28-2008, various carvings
Priscilla Lasiloo, 11-26-2008, lapis, rhodocrosite bears
Sandra Quandelacy, 8-31-2008, corn maidens
Sandra Quandelacy, 8-30-2008, Zuni mother of pearl butterfly maiden fetish pendants
Prophet's Rock, All new listings for 8-22-2007

Historical description of Zuni fetishes and collector's information

noreply@blogger.com (Amerindian Arts) — Wed, 18 Mar 2009 13:27:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

Historical description of Zuni fetishes and collector's information

Zuni fetishes traditionally served a ceremonial purpose for their creators and depict animals and icons integral to their culture. According to the Second Annual Report of the Bureau of American Ethnology as submitted by Frank Hamilton Cushing in 1881, and posthumously published as "Zuni Fetishes" in 1966, the Zuni world is made up of six regions or directions. At the center of each region is a great mountain peak that is a very sacred place. Yellow mountain to the north, blue mountain to the west, red mountain to the south, white mountain to the east, the multi-colored mountain above, and the black mountain below.

Each direction is represented by a "Prey God", or guardian animal, and are listed by Cushing as follows: north - the yellow mountain lion, west - the Black Bear (represented by the color blue), south - the red badger, east - the white wolf, the sky or upper region - the multi-colored eagle, and the underground or lower region- the black mole. Each prey god is the "guardian and master" of their region with the yellow mountain lion being the elder brother of all animals and the master and guardian of all regions. Each one of these regions contains an order of the guardian animals, but the "guardian and master" of a particular region is the elder brother to all animals of that region. For example, the black bear is the guardian of the west and the elder brother of the prey god order in that region. These guardians are considered as having protective and healing powers. They are held by the priests of the medicine orders as if "in captivity" and act as mediators between the priests and the animals they represent. The Prey Gods are the "Makers of the Paths of Life". Medicinal powers emanate from them and their powers as mediators is given through their relationship to Po-shai-an-kia, the father of the medicine societies, the "Finisher of the Paths of Our Lives", the "auditor of the prayers".

A second group of fetishes, the "Prey Gods of the Hunt", belonging to the Hunter Order, or Society, are given in the "prayer songs of the Sa-ni-a-kia-kwe" (The Hunting Order). These guardian animals are the same as the original regions with the exception of the coyote, which replaces the bear; and the wildcat, which replaces the red badger. Sa-ni-a-kia is the power of the hunter; the voice, breath, and heart, of the animal, and represents its power over other animals. The Zuni hunter, or "Prey brother", was required to have his fetishes (prey gods of the hunt) with a custodian, or "Keeper", and practice a ceremony of worship when procuring a favorite or proper fetish to aid in a successful hunt. In the ceremony of the hunt the Keeper presented a clay pot containing the fetishes to the hunter. Facing in the direction appropriate to the chosen fetish the pot was sprinkled with medicine meal and a prayer was recited. The fetish was placed in a buckskin bag and carried by the hunter over his heart. The fetish aids in the chase and represents "the roar of the animal" and feeds upon the blood of the slain prey.

In addition to the Prey Gods of the Six Regions with their guardian and medicinal powers, and the Prey Gods of the Hunt that aid in the chase, Cushing names three Prey Gods of the Priesthood of the Bow.........Read the entire article here

The Smithsonian Institution's National Museum of the American Indian virtual gallery

The Museum is posting its 800,000 piece collection on the web. The project is expected to take four years

For more information

Interview With A Navajo Weaver

“It’s done with chants and prayers,�? Garnanez of Waterflow, 56, said while sitting at his loom on a recent Monday. “It’s about things that aren’t important to Western thought.�?

See full interview

Gorman estate sues Albuquerque galleries

See full article here

Fifth Big Spring Powwow

“The Southern Drum host this year is Robert Tehauno of Lawton, Okla.,�? said Lesser. “The Northern Drum host is Northern Vibe from Jemez Pueblo, N.M. The drum hosts are responsible for keeping the event flowing without interruptions, and the names indicate what type of music and songs the hosts perform.
See full article here

Four men arrested for killing eagles

The men are charged with alleged violations of the Bald and Golden Eagle Protection Act, the Migratory Bird Treaty Act, and the Lacey Act. Arrested were Ricky Sam Wahchumwah, of Granger, Wash., Alfred L. Hawk Jr., of White Swan, Wash., William Wahsise, also of White Swan, Wash., and Reginald Dale Akeen, also known as J.J. Lonelodge, of Anadarko, Okla.
See full article here

Native American comics

The National Museum of the American Indian in Washington DC has staged an exhibition about comic art and Native American culture.
See full notice here

Native American Events, Eastern, OK, March-July, 2009

March 22
Art Exhibit: Harvey Pratt Paintings Opening and reception 2-5p.m.
Gallery Talk 3:30 p.m. at Southern Plains Indian Museum, 715 E. Central, Anadarko, Okla. 405.247.6221

March 26-27
Indian Territory Days, Cherokee Heritage Center, Tahlequah, OK.
www.cherokeeheritage.org

April 11
4th Annual Azalea Powwow
at the Muskogee, Oklahoma Civic Center, Muskogee, Okla. Contact Charlene Allen at 918/687-1882
See full March-July, 2009 schedule here

Lawton Gallery seeks Native American art for fall 2010 exhibition

GREEN BAY, Wis. – The University of Wisconsin-Green Bay’s Lawton Gallery, located at 2420 Nicolet Dr., is seeking Native American art for an exhibition scheduled in the fall of 2010.

To obtain current information

MISSION, S.D. – Native Green, a certified Native American owned company

Launches new green products site and green job creation program

See full article

Arkansas Museum Opening Permanent Native American Exhibit

"We Walk in Two Worlds: The Caddo, Osage and Quapaw in Arkansas" opens March 27 in the museum's newly refurbished Cromwell Hall gallery.

See full article

Sherman Alexie, an award-winning Native American writer

Statler Auditorium lecture, “The Partially True Story of the True Diary of a Part-Time Indian.�?

See full article

Johnny Whitehorse/ Totemic Flute Chants

“All over the world man has relied on the mystery and power of animals to guide him.�?

Johnny Whitehorse is the creation of Robert Mirabel

Museum exhibit features Cheyenne/Arapaho artist

The artwork by Harvey Pratt will be on view through May 2, 2009. Gallery hours are 9:00 a.m. – 5:00 p.m., Tuesday through Saturday. On April 18, 2009 at 1:00 p.m., Harvey Pratt will return to the Southern Plains Indian Museum for a fascinating discussion of the great mystery of Bigfoot.

See full article

Cherokee Chiefs

Cherokee Chiefs

Big-mush. A noted western Cherokee, known to the whites also as Hard-mush and among his people as Gatiûñ’wa’li (’bread made into balls or lumps’), killed by the Texans in 1839-Mooney in 19th Rep. B. A. E., 1900.

Black Fox (Inâlĭ). A principal chief of the Cherokee who, under the treaty of Jan. 7, 1806, by which the Cherokee ceded nearly 7,000 sq. m. of their lands in Tennessee and Alabama, was given a life annuity of $100. He was then an old man. In 1810, as a member of the national council of his tribe, he signed an enactment formally abolishing the custom of clan revenge hitherto universal among the tribes, thus taking an important step toward civilization.-Mooney in 19th Rep. B. A. E., 87, 1900.

Little Carpenter, Attakullaculla (Ătă’-gûl’kălû’, from ătă’ wood,’ gûl’kălû’ a verb implying that something long is leaning, without sufficient support, against some other object; hence ‘Leaningwood.’-Mooney). A noted Cherokee chief, born about 1700, known to the whites as Little Carpenter (Little Cornplanter, by mistake, in Haywood). The first notice of him is as one of the delegation taken to England by Sir Alexander Cumming in 1730. It is stated that he was made second in authority under Oconostota in 1738. He was present at the conference with Gov. Glenn, of South Carolina, in July, 1753, where he was the chief speaker in behalf of the Indians, but asserted that he had not supreme authority, the consent of Oconostota, the war chief, being necessary for final action. Through his influence a treaty of peace was arranged with Gov. Glenn in 1755, by which a large cession of territory was made to the King of England; and it was also through his instrumentality that Ft Dobbs was built, in the year following, about 20 miles, west of the present Salisbury, N. C. When Ft Loudon, on Little Tennessee River, Tenn., was captured by the Indians in 1760, and most of the garrison and refugees were massacred, Capt. Stuart, who had escaped the tomahawk, was escorted safely to Virginia by Attakullaculla, who purchased him from his Indian captor, giving to the latter, as ransom, his rifle, clothes, and everything he had with him. It was again through the influence of Attakullaculla that the treaty of Charleston was signed i n 1761, and that Stuart, after peace had been restored, was received by the Cherokee as the British agent for the southern tribes; yet notwithstanding his friendship for Stuart, who remained a steadfast loyalist in the Revolution, and the fact that a large majority of the Cherokee espoused the British cause, Attakullaculla raised a force of 500 native warriors which he offered to the Americans. He is described by William Bartram (Travels, 482, 1792), who visited him in 1776, as “a man of remarkably small stature, slender and of a delicate frame, the only instance I saw in the nation, but he is a man of superior abilities.�? Although he had become sedate, dignified, and somewhat taciturn in mature years, Logan (Hist. Upper So. Car., 1, 490, 515, 1859) says that in his younger days he was fond of the bottle and often inebriate. The date of his death has not been recorded, but it was probably about 1780. See Mooney in 19th Rep. B. A. E., 1900.

John RossRoss, John. Chief of the Cherokee; Born in Rossville, Ga., Oct. 3, 1790; died in Washington, D. C., Aug. 1, 1866. He was the son of an immigrant from Scotland by a Cherokee wife who was herself three-quarters white. His boyhood name of Tsan-usdĭ, ‘Little John,’ was exchanged when he reached man’s estate for that of Guwisguwi, or Cooweescoowee, by which was known a large white bird of uncommon occurrence, perhaps the egret or the swan. He went to school in Kingston, Tenn. In 1809 he was sent on a mission to the Cherokee in Arkansas by the Indian agent, and thence forward till the close of his life he remained in the public service of his nation. At the battle of the Horseshoe, and in other operations of the Cherokee contingent against the Creeks in 1813-14, he was adjutant of the Cherokee regiment. He was chosen a member of the national committee of the Cherokee Council in 1817, and drafted the reply to the U. S. commissioners who were sent to negotiate the exchange of the Cherokee lands for others w. of the Mississippi. In the contest against the removal his talents found play and recognition. As president of the national committee from 1819 till 1826 he was instrumental in the introduction of school and mechanical training, and led in the development of the civilized autonomous government embodied in the republican constitution adopted in 1827. He was associate chief with William Hicks in that year, and president of the Cherokee constitutional convention. From 1828 till the removal to Indian Territory in 1839 he was principal chief of the Cherokee Nation, and headed the various national delegations that visited Washington to defend the right of the Cherokee to their national territory. After the arrival in Indian Territory, he was chosen chief of the united Cherokee Nation, and held that office until his death, although during the dissensions caused by the Civil War the Federal authorities temporarily deposed him. See Mooney, Myths of the Cherokee, 19th Rep. B. A. E., 122, 150, 224, 225, 1900.

Sequoya Inventor of the Cherokee alphabet, born in the Cherokee town of Taskigi, Tenn., about 1760; died near San Fernando, Tamaulipas, Mexico, in Aug. 1843. He was the son of a white man and a Cherokee woman of mixed blood, daughter of a chief in Echota. Besides his native name of Sikwayi, or Sequoya, he was known as George Gist, otherwise spelled Guest or Guess, the patronymic of his father, generally believed to have been a German trader. He has also been claimed as the son of Nathaniel Gist of Revolutionary note. Sequoya grew up in the tribe, quite unacquainted with English or civilized arts, becoming a hunter and trader in furs. He was also a craftsman in silverwork, an ingenious natural mechanic, and his inventive powers had scope for development in consequence of an accident that befell him in hunting and rendered him a cripple for life. The importance of the arts of writing and printing as instruments and weapons of civilization began to impress him in 1809, and he studied, undismayed by the discouragement and ridicule of his fellows, to elaborate a system of writing suitable to the Cherokee language. In 1821 he submitted his syllabary to the chief men of the nation, and on their approval the Cherokee of all ages set about to learn it with such zeal that after a few months thousands were able to read and write their language. Sequoya, in 1822, visited Arkansas to introduce writing in the Western division of the Cherokee, among whom he took up his permanent abode in 1823. Parts of the Bible were printed in Cherokee in 1824, and in 1828 The Cherokee Phoenix, a weekly newspaper in Cherokee and English , began to appear. Sequoya was sent to Washington in 1828 as an envoy of the Arkansas band, in whose affairs he bore a conspicuous part, and when the Eastern Cherokee joined the old settlers in the west his influence and counsel were potent in the organization of the reunited nation in Indian Territory. When, in his declining years, he withdrew from active political life, speculative ideals once again possessed his mind. He visited tribes of various stocks in a fruitless search for the elements of a common speech and grammar. He sought also to trace a lost band of the Cherokee that, according to tradition, had crossed the Mississippi before the Revolution and wandered to some mountains in the west, and while pursuing this quest in the Mexican sierras he met his death. See Mooney, Myths of the Cherokee, 19th Rep., B. A. E., 108 et seq., 147, 148, 1900, and the authorities therein cited.

Moytoy. A Cherokee chief of Tellico, Tenn., who became the so-called “emperor�? of the seven chief Cherokee towns. Sir Alexander Cuming, desirous of enlisting the Cherokee in the British interest, decided to place in control a chief of his own selection. Moytoy was chosen, the Indians were induced to accept him, giving him the title of emperor; and, to carry out the program, all the Indians, including their new sovereign, pledged themselves on bended knees to be the faithful subjects of King George. On the next day, April 4, 1730, “the crown was brought front Great Tennessee, which, with five eagle-tails and four scalps of their enemies, Moytoy presented to Sir Alexander, empowering him to lay the same at His Majesty’s feet.�? Nevertheless, Moytoy afterward became a bitter enemy of the whites, several of whom he killed without provocation at Sitico, Tenn. See Mooney in 19th Rep. B. A. E., pt. 1, 1900.

Tags: Cherokee, chiefs, North America, southeast

Keeper of Stories

DVD- American Experience: Last Stand at Little Big Horn (2005)

Order American Experience: Last Stand at Little Big Horn

Recent Books of Interest

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Zuni fetish updates from Amerindian Arts

Stewart Quandelacy, 3-8-2009, various carvings
Todd Poncho, 2-19-2009, horse carvings
Albenita Yuni, 2-19-2009, various carvings
Brion Hattie, 2-17-2009, various carvings
Burt Awelagte, 2-17-2009, various carvings
Stuart Quandelacy, 2-17-2009, turquoise corn maidens
Chad Quandelacy, 2-17-2009, turquoise corn maidens
Jeff Tsalabutie, 2-15-2009, various carvings
Stewart Quandelacy, 2-15-2009, Mother of pearl buffaloes
Ernie Mackel, 2-15-2009, lions, horses, wolves, and geese
Jayne Quam, 2-13-2009, howling coyotes, various carvings
Brian Yuni, 2-13-2009, various carvings
Peter Gasper, 2-13-2009, various carvings
Lena Boone, 2-13-2009, various carvings
Faye Quandelacy, 2-13-2009, cornmaidens
Avery Quandelacy, 2-13-2009, various carvings
Lynn Quam, 2-13-2009, bears, buffaloes
Prudentia Quam and Vernon Lunasee, 2-13-2009, lions, bears, and horses
Claudia Peina, 2-13-2009, corn maidens and bears
Ricky Laahty, 2-3-2009, frogs
Ricky Laahty, 2-3-2009, bird fetish pendant
Andres Quandelacy, 2-3-2009, Zuni horse pendant and lion pendant
Dee Edaakie, 2-3-2009, ivory stone marble bears, lapis lion
Stewart Quandelacy and Priscilla Lasiloo, 2-2-2009, Zuni medicine bear fetish pendants and earrings, turquoise horse pendant
Duane Dishta, 2-2-2009, Kachina paintings
Albert Eustace, 2-2-2009, bear carvings
Herbert Him, 2-2-2009, bear and buffalo
Kateri Sanchez, 2-2-2009, corn maidens
Todd Westika, 2-2-2009, howling coyotes, bears, wolves
Todd Westika, 12-29-2008, bears, buffaloes
Jeff Tsalabutie, 11-28-2008, various carvings
Priscilla Lasiloo, 11-26-2008, lapis, rhodocrosite bears
Sandra Quandelacy, 8-31-2008, corn maidens
Sandra Quandelacy, 8-30-2008, Zuni mother of pearl butterfly maiden fetish pendants
Prophet's Rock, All new listings for 8-22-2007

Monroe Tsatoke and the Art of the Kiowa Five; Southwest Indian Art Fair

noreply@blogger.com (Amerindian Arts) — Fri, 20 Feb 2009 06:49:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

The Smithsonian Institution's National Museum of the American Indian virtual gallery

The Museum is posting its 800,000 piece collection on the web. The project is expected to take four years

For more information

Tsatoke of The Kiowa Five

NORMAN — "Monroe Tsatoke and the Art of the Kiowa Five", continuing through March 29, 2009 at the Jacobson House Native Art Center at the University of Oklahoma. The exhibition features the artwork of Kiowa painter Monroe Tsatoke (1904-1937), as well as photographs chronicling the short life of this gifted artist who was also an accomplished beadworker and singer.

For additional details, visit www.jacobsonhouse.com or call 405-366-1667.

‘TALES OF AN URBAN INDIAN’

Opens on March 1. This semi-autobiographical solo show by the Canadian actor and comedian Darrell Dennis returns to the Public Theater after a successful run in the Native Theater Festival. Public Theater, 425 Lafayette Street, at Astor Place, East Village, NY, (212) 967-7555.

For additional details, call (212) 967-7555.

Traditional Native Art Materials: Decoding Wildlife and Migratory Bird Laws

Alaska Native artists who use traditional art materials in their handicrafts got some help decoding wildlife and migratory bird laws at a recent summit held in Anchorage.
See full article here

Judge rules that a federal ban on the possession of eagle feathers by non-Indians is too restrictive

U.S. District Judge said making non-tribal members ineligible to apply for feathers at a national repository and subjecting them to possible criminal prosecution puts a burden on the free exercise of religion.
See full article here

Southwest Indian Art Fair

The 15th annual show, Feb. 21-22, will present more than 200 renowned Native artists. Arizona State Museum in Tucson
See full notice here

Mount Taylor may be returned to the spiritual care of New Mexico’s Native American community.

Last June, in a 4-2 decision, the state’s Cultural Properties Review Committee granted an emergency one-year listing to Mount Taylor above 8,000 feet as a Traditional Cultural Property. This June the four Pueblos and the Navajo Nation will seek to make that status permanent.
See full article here

Heard Museum Guild Indian Fair and Market

Arizona's largest indian market, Saturday and Sunday, March 7-8 from 9:30 a.m. until 5 p.m. at the Heard Museum located at 2301 N. Central Ave. in Phoenix
*"Through the Lens -- Past and Present," features the traveling exhibition "Peoples of the Plateau: The Indian Photographs of Lee Moorhouse, 1898-1915," and current photographs by Heritage University students Kim Agiak, Nicole George, Kendall Mansfield, Brian Pinkham, Michael Sekaquaptewa and Mallorie Yates. Presented in conjunction with the citywide "Yakima Honors Peoples o Plateau" exhibition. Through March 7.

To obtain current information

See full article here

Saint Louis Art Museum, Plains Indian Artwork from the Donald Danforth Jr. Collection

The collection will be on view in Gallery 120 from February 27 through September 7, 2009

Saint Louis Art Museum

Rhonda LeValdo-the challenges of being a Native American journalist

A graduate student who is from the Pueblo of Acoma appeared on “Close Up at the Newseum�? on C-SPAN2 Friday.

See full article

New Mexico gets $1 million art collection

The state Department of Cultural Affairs has received a gift of 171 artworks valued at $1 million. The collection includes works by more than 100 artists, including Dan Namingha, Glenna Goodacre, Gregory Lomayesva, Kevin Red Star, R.C. Gorman, Ford Ruthling and Melissa Zink, and will be distributed among the Museum of Indian Arts and Culture, the New Mexico Museum of Art and the Museum of International Folk Art.

See full article

Michael Horse

Native American actor, artist and activist

A Man Called Horse

Utah Museum of Fine Arts"Splendid Heritage: Perspectives on American Indian Art"

Exhibit features 145 objects from the private collection of John and Marva Warnock, including such things as war shirts, dresses, moccasins, beaded tobacco bags, weapons, cradle boards, dolls and more. The exhibit will remain on display at UMFA through Jan. 3, 2010. It will then go to the Buffalo Bill Historical Center in Cody, Wyo., before embarking on a national tour.

See full article

The Story of Miracle Hill, Cabot Yerxa's Pueblo Museum

Built by Yerxa between 1941 and 1963, the museum houses Cabot’s collection of Native American pottery, early 20th century photographs and artifacts from his Alaskan adventures. The museum also houses a Pueblo Art Gallery, a bookstore, and the famed sculpture “Waokiye,�? a 43-foot-tall Indian monument carved from a 750-year-old Sequoia Redwood

Cabot’s Pueblo Museum

American Indian Ballerinas

Rosella Hightower, Yvonne Chouteau, Maria Tallchief, Marjorie Tallchief and Moscelyne Larkin, known as the "American Indian ballerinas," five Oklahoma natives of American Indian descent who rose to prominence in the ballet world from the 1940s through the 1960s.

Recalling the 'American Indian Ballerinas'

In 1991, artist Mike Larsen was commissioned to paint a permanent mural for the Oklahoma State Capitol that was a tribute to the American Indian Ballerinas. It is entitled "Flight of Spirit"

The lives of the Native American Ballerinas is chronicled in "American Indian Ballerinas", a book by Lili Cockerille Livingston

A Rattlesnake Kills the Chief’s Daughter

A Rip Van Winkle Story
A Red Man’s View of Evolution

ONE time, while we were camped on the Washita, said the agency farmer, we were visited by an old Kiowa, a dignified and serious old man.

I was introduced to him as the “white father,�? out there to help the red men work and to show them the white man’s road.

The old man said, “Aye, is that so!�? but didn’t seem very much impressed. After a moment’s silence he got out his buffalo-horn tinder-box, and, after carefully examining the punk with which it was filled, began pecking with his flint in an effort to light his tinder-box.

I watched him pecking away for a while, sometimes hitting the flint, oftener barking his leathery fingers, and at last I said to a Cheyenne: “Why doesn’t he use a match and done with it, not sit there pecking away all night?�?

This being translated to the old Kiowa, he began to speak, but never for a moment interrupted his play with the flint, and this is what he said:

“You white men think you are very wise [peck, peck]. You have made little fire-sticks, and you think the red men can’t get along without them [peck, peck]. I will tell you, we didn’t have so much trouble in the good old days as we do now [peck, peck. The old man's stroke grew a little vicious.] Before the red man had the white man’s fire-stick, we didn’t have so many fires and we didn’t have to move every few days on account of the prairie burning black.�? At this point he struck out his spark and hurriedly lighted his pipe. After puffing vigorously a few times, he continued calmly: “Now the red man uses the white man’s fire-stick; he lights his pipe, he throws away the end: the grass blazes up, and then the ponies grow hungry. It is all bad business.�?

The old man smoked in silence for a few moments, but at last resumed: “Yes, these white men think they are very clever, but they are really very foolish; they are very ridiculous [ puff, puff]. They think they are men, but look at them [ puff], see the hair on their faces; they are not men, they are only hair-covered animals.�?

At this everybody in the teepee cried out with delight, and I, in self-defense, joined in the laughter, but the old man remained as grave as a bronze image. Reaching up with his forefinger, he outlined the beard upon my face and said slowly, hopefully, as if to be gently encouraging: “But they are changing. You see, the hair is wearing away — in spots.�? Then settling back, he blew out a great cloud of smoke, and with patient paternal benignity concluded: “They’ll be men by and by.�?

A Red Man’s View of Evolution�? (Century Magazine 68 [1904]: 328-329). From the Univ. of Virginia E-Text Center. and is now in the public domain.

Tags: Great Plains, Kiowa, North America

Keeper of Stories

DVD- American Experience: Last Stand at Little Big Horn (2005)

Order American Experience: Last Stand at Little Big Horn

Recent Books of Interest

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Zuni fetish updates from Amerindian Arts

Todd Poncho, 2-19-2009, horse carvings
Albenita Yuni, 2-19-2009, various carvings
Brion Hattie, 2-17-2009, various carvings
Burt Awelagte, 2-17-2009, various carvings
Stuart Quandelacy, 2-17-2009, turquoise corn maidens
Chad Quandelacy, 2-17-2009, turquoise corn maidens
Jeff Tsalabutie, 2-15-2009, various carvings
Stewart Quandelacy, 2-15-2009, Mother of pearl buffaloes
Ernie Mackel, 2-15-2009, lions, horses, wolves, and geese
Jayne Quam, 2-13-2009, howling coyotes, various carvings
Brian Yuni, 2-13-2009, various carvings
Peter Gasper, 2-13-2009, various carvings
Lena Boone, 2-13-2009, various carvings
Faye Quandelacy, 2-13-2009, cornmaidens
Avery Quandelacy, 2-13-2009, various carvings
Lynn Quam, 2-13-2009, bears, buffaloes
Prudentia Quam and Vernon Lunasee, 2-13-2009, lions, bears, and horses
Claudia Peina, 2-13-2009, corn maidens and bears
Ricky Laahty, 2-3-2009, frogs
Ricky Laahty, 2-3-2009, bird fetish pendant
Andres Quandelacy, 2-3-2009, Zuni horse pendant and lion pendant
Dee Edaakie, 2-3-2009, ivory stone marble bears, lapis lion
Stewart Quandelacy and Priscilla Lasiloo, 2-2-2009, Zuni medicine bear fetish pendants and earrings, turquoise horse pendant
Duane Dishta, 2-2-2009, Kachina paintings
Albert Eustace, 2-2-2009, bear carvings
Herbert Him, 2-2-2009, bear and buffalo
Kateri Sanchez, 2-2-2009, corn maidens
Todd Westika, 2-2-2009, howling coyotes, bears, wolves
Todd Westika, 12-29-2008, bears, buffaloes
Jeff Tsalabutie, 11-28-2008, various carvings
Priscilla Lasiloo, 11-26-2008, lapis, rhodocrosite bears
Sandra Quandelacy, 8-31-2008, corn maidens
Sandra Quandelacy, 8-30-2008, Zuni mother of pearl butterfly maiden fetish pendants
Prophet's Rock, All new listings for 8-22-2007

American Indian Mural Painting, Note on Zuni Substance, Crackdown on Fake Art

noreply@blogger.com (Amerindian Arts) — Wed, 07 Jan 2009 05:50:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

American Indian Mural Painting in Oklahoma and the Southwest

National Cowboy and Western Heritage Museum, Oklahoma City, through May 3rd, 2009. This exhibit features mural studies and full-size murals by Archie Blackowl (Cheyenne), Acee Blue Eagle (Creek/Pawnee), Woody Crumbo (Potawatomi), Tonita Pena (San Ildefonso Pueblo) and others.

The exhibit draws on the museum’s extensive Silberman Collection of American Indian art.

Arthur Silberman also authored "100 years of Native American Painting" with the Oklahoma Museum of Art in 1978. The book provides many examples from museum collections as well as brief biographies of well known Native American artists.

For more information

"White Fawn's Devotion"

Library of Congress has added "White Fawn's Devotion," a 1910 film by James Young Deer, the first known Native American movie director, to its National archives.

"White Fawn's Devotion" (1910), is an 11-minute silent drama concerning a misunderstanding between a white settler and his Native American wife has been considered a "film of significance". Director James Young Deer, a member of the Winnebago Indian tribe, was believed to have written and directed more than 100 films between 1910 and 1913. (Courier-Journal, Louisville, KY and Southern Indiana)

To Honor and Comfort, Native American Quilting Traditions

Through Jan. 30, Comanche National Museum, 701 N.W. Ferris, Lawton. Showcasing the works of Native American quilters. Free admission. (940) 353-0404.

Comanche National Museum

See related article on Romelia Kassavanoid, Comanche quilt maker

Navajo flutist Vince Redhouse to Give Free Concert

FORT COLLINS — As part of an all-day American Indian festival hosted by the First United Methodist Church, Navajo flutist and double Grammy nominee Vince Redhouse will present a free concert in Fort Collins on Sunday, Jan 11. He will perform traditional Native American flute at 2:30 p.m. at the church, 1005 Stover St. He will also present worship music at the 8, 9:15 and 10:45 a.m. services. An offering will be collected to support American Indian youth leadership development scholarships.
See full article here

Harold Whitewolf Memorial Dance

Lawton, OK — Saturday, January 10th, 2009, Comanche Nation Complex, 2 pm.
See full notice here

celebration of local American Indian artists

Trinidad, CO — Through January and February, 2009. Hosted by the Westhaven Center for the Arts. An opening reception will be held from 1 to 4 p.m. Sunday, January 4th, at the Westhaven Center for the Arts, 501 S. Westhaven Drive.
See full schedule of events here

Eiteljorg Lands 800 Piece Southwest Art Collection

(INDIANAPOLIS) December 12, 2008, The Eiteljorg Museum of American Indians and Western Art is proud to announce the gift of the Helen Cox Kersting Collection of Southwestern Cultural Arts, a multi-million-dollar collection of nearly 800 objects, including the best of Southwestern pottery, jewelry and other objects. The collection will be the basis of a forthcoming book and an exhibition in 2010.

Inside Indiana Business

Mashantucket Pequot Museum and Research Center, A Native Treasure

(INDIANAPOLIS) Luring over 100,000 visitors a year, the Mashantucket Pequot Museum and Research Center is one of the largest Native American educational institutions, telling the story of 18,000 years of natural and Indian history, recounting the story of Native Americans in the area including a half-acre centerpiece of a Pequot village.

Pequot Museum and Research Center

Native American Indian Policy: Removal or Genocide?

"If this happened today, it would likely be considered genocide." "To a detached, objective outsider, America’s Indian Policy and Removal Acts were nothing short of racial genocide. Broken treaty after broken treaty. One lie after another."

See full article by Jack Wellman - OVI Magazine

Art: Review: Vanishing Frontier, Cincinnati Art Museum

An article examining the construction of the visual mythology of the American Indian

Exploring American Indian imagery

Gilcrease Museum, Tulsa, OK

"Between the Lines: Cheyenne and Arapaho Ledger Art from Fort Reno" is an exhibit drawn from Gilcrease's own archives, featuring examples of artwork by Indians who served as scouts for the soldiers of Fort Reno. The drawings these "warrior artists" created give an intriguing and intimate look at Cheyenne and Arapaho life in the 19th century. Closes March 22.

Gilcrease Museum

Philbrook Museum, Tulsa, OK

"The Eugene B. Adkins Collection" is a glimpse at the museum's recently acquired collection of American Indian art and crafts, assembled by Tulsan Eugene Adkins. The bulk of the collection is being reserved for Philbrook's new satellite location, which is to be constructed in the Brady Village area north of downtown. Ongoing.

The Eugene B. Adkins Collection

Philbrook Museum, Tulsa, OK

"Dancing Across the Page". Drawn from Philbrook’s acclaimed collection of Native American paintings, this exhibition explores traditional ceremonies and social activities in which dance plays an important role. Ends March 15th, 2009

Dancing Across the Page

American Indian Ballerinas

Recalling the 'American Indian Ballerinas'

In 1991, artist Mike Larsen was commissioned to paint a permanent mural for the Oklahoma State Capitol that was a tribute to the American Indian Ballerinas. It is entitled "Flight of Spirit"

The lives of the Native American Ballerinas is chronicled in "American Indian Ballerinas", a book by Lili Cockerille Livingston

Art by Woody Crumbo

Limited edition, silk-screen prints by the late artist Woodrow "Woody" Crumbo, a member of the Potawatomi Native American tribe of Oklahoma, are on display in the "On the Plains: The Art of Potawatomi Artist Woody Crumbo" exhibit. Crumbo was a man of all trades - he was not only an artist of Native American subjects, he was a dancer, a flute player and a mineral prospector.

Through Sunday, Jan. 4, at the Mitchell Museum of the American Indian, 3001 Central St., Evanston. 10 a.m. to 5 p.m. Tuesdays through Saturdays; 10 a.m. to 8 p.m. Thursdays and noon to 4 p.m. Sundays. Closed Mondays. Suggested donation $2.50-$5; family $10. (847)-475-1030,

Mitchell Museum of the American Indian

Native American Art- Fritz Scholder

More than 130 of Scholder's paintings, sculptures and prints have been assembled for Fritz Scholder: Indian/Not Indian at the the National Museum of the American Indian. In 1980, Scholder proclaimed he would paint no more Indians and took it as a compliment when one dealer said that in the traditional sense "Scholder has single-handedly destroyed Indian painting". Scholder remains a controversial figure and has changed the way Native Americans are portrayed.

Fritz Scholder

Abbe Museum in Bar Harbor

Bar Harbor, ME. “Twisted Path,�? a collection of Native American art now showing at the Abbe Museum in Bar Harbor. Finely crafted walrus tusk sculptures to crisp digital prints. Marie Watt’s Blanket Stories, Cheryl Savageau, and George Longfish.

Twisted Path

McCain pushes for crackdown on fake Native American art

Tuesday, Jan. 6th, 2009, McCain introduced a bill for expanding federal powers to investigate knock-off Native American crafts and art. That bill, co-sponsored by U.S. Sen. Jon Kyl, R-Ariz., would increase federal penalties for fraudulent sales of the counterfeit items.

(Through Feb 3, 2009) BEYOND TRADITION Beyond Tradition: The Pueblo Pottery of Tammy Garcia is on display at the National Museum of Women in the Arts through February. One of the most recognizable figures in Southwestern ceramics, Garcia is known for infusing a two-thousand year old tradition with modernity. Examples of her most important pots are featured, with intricate designs, and bold shapes delicately carved into the clay.

"Zuni Ontology and the Concept of Substance"

The term "substance" in Western metaphysics is commonly used to indicate the permanence of a substratum, whether extended or non-extended, which underlies and constitutes reality. Its extension is manifest in the appearances of the physical world, and its non-extension may refer to its coming to be and passing out of existence, i.e. the concept of change. Other terms which may be intimated in a discussion of substance may include but not be limited to "matter", "time", "space", "being", "cause and effect", etc. This synopsis of substance may seem to be overly generalized (actually, it is), but is intended here simply to illustrate a dichotomy in Western thought which is not intrinsically appropriate to the study of the Native Americans, except perhaps by contrast, and more particularly to the study of Native American languages, which have no means of expressing the distinction between, for lack of better terms, "spiritual" and "non-spiritual" matter

In the Zuni language, the noun /a means "stone" or "rock" (the "/" represents a glottal stop). As a transitive verb, /a refers to "being depressions in rocks", but as Newman noted, /a belongs to a class of verbs "which are statics referring to the existence of an entity or quality" and "English translation fails to demonstrate convincingly that a verb of this type is transitive". Thus, "being depressions in rocks" could be translated as "a depression is", or "there is a depression", or "it has a depression". This may predispose one to interpret an apparent confusion of the substantive and predicative (Cushing noted this in Zuni Fetishes). As an intransitive verb the meaning of /a is a demonstrative "be prone", or "be laying", indicating location, and belongs to the same class of verbs denoting static entities where the direct object of the verb becomes indefinitized.

The term /a has also been translated as "stone" when it appears as a prefix in the transitive verb -po/ya, a term which means "to cover". In Zuni Ceremonialism Bunzel translates /a -po/yanne as "stone cover" (meaning "sky"), a term which Newman translates as simply "sky". The suffix -nne means singularity.

This same term was translated by Cushing as a verb meaning "all covering" in reference to Apoyan Tatcu, which means "Father Sky". Cushing's intention was "all-covering Father". This later use is in accord with the presence of /a in the form of the inflectional prefix /a.w-, a verbal pronominal prefix for a plural absolutive, where .w- is dropped when appearing before a consonant. This use of inflection is also correct in referring to nominal particles indicating kinship terms, names of animals, demonstratives, numbers, and indefinites, and the presense of /a in this use is that of a word, not a syllable. /A -po/yanne would not be a particle, whereas /a -po/yan tatcu would be.

However, this use of inflection in a particle is in contrast to the translation of such particles as A pila shiwani, which means "bow priests". The correct inflection of pi/la is pi/la we/, but in the compound of the particle the inflection is denoted by the prefix /a which is a word meaning plurality of an indefinite number. As Miner notes, this is a rare use and the inflection is generally affixed to the head term, as in tehli-ya-ka /a-shiwani (night priests), or tehli-ya-ka /a-tatcu (night father, notice the convergence of plurality and singularity, i.e. there is but one night father and he exhausts a class).

One might interpret Bunzel's translation as being influenced by her considerable contact with Zuni folklore, and Cushing's translation due to his membership with the /A -pi/la shiwani and considerable knowledge of Zuni mythology. Bunzel had criticized Cushing's translations as "metaphysical glossing", but the accuracy of that claim in regard to /A pi/la shiwani remains unseen. It should be noted that Bunzel's translation of /a te-ona in Zuni Ceremonialism as "beings" is tantamount to translating it as "all (/a) those whom are (ona) terrestrial (te)", and was intended to exhaust the class, just as Cushing's translation of /A po/yan Tatcu was intended to exhaust the class (there can be only one father sky). It should also be noted that Cushing may have confounded (or compounded) his usage of the plural absolutive with the separate, derivational use of /a which pluralizes particles referring to persons (/a hoi).

In conclusion, the common usage and multi-referentiality of the word /a lends ambiquity to the interpretation of many words and may possibly represent preconceptions which semantically transcend any dichotomy of spiritual and non-spiritual matter.

Recent Books of Interest

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Zuni fetish updates from Amerindian Arts

Coming this month-Maw-sit-sit carvings by Gibbs Othole

Jeff Tsalabutie, 1-3-2009
Todd Westika, 12-28-2008, bears and buffaloes
Lynn Quam, 9-04-2008, buffaloes
Claudia Peina, 8-31-2008, bears
Claudia Peina, 8-31-2008, corn maidens
Sandra Quandelacy, 8-31-2008, corn maidens
Sandra Quandelacy, 8-30-2008, Zuni mother of pearl butterfly maiden fetish pendants
Avery Quandelacy, 8-30-2008, various carvings
Brian and Jeffrey Yuni, 8-30-2008, various carvings
Rhoda Quam necklace, 8-28-2008
Andres Quandelacy, 8-28-2008, various carvings including a large pipestone buffalo and rare rabbit and eagle carvings
Faye Quandelacy, 8-28-2008, cornmaidens
Nancy Westika necklace, 8-28-2008
Stewart Quandelacy and Priscilla Lasiloo, 8-28-2008, Zuni medicine bear fetish pendants
Stewart Quandelacy, 8-28-2008, Zuni turquoise medicine bear fetish pendant necklaces
Chad Quandelacy, Valerie Comosona 8-28-2008, corn maiden pendants, bumble bee earrings
Alonzo Esalio, 8-27-2008, turquoise carvings
Albert Eustace, 8-27-2008, various carvings
Gibbs Othole, 8-26-2008, various carvings
Jeff Tsalabutie, 8-26-2008, mountain lions
Dee Edaakie, 8-26-2008, large ivory stone marble bear
Stewart Quandelacy Medicine bear pendants, 8-8-2008
Stewart Quandelacy and Priscilla Lasiloo, 8-8-2008, Zuni medicine bear fetish pendants

Artist Fritz Scholder, Romelia Kassavanoid, Indian Educator of the Year Sydna Yellowfish

noreply@blogger.com (Amerindian Arts) — Thu, 25 Dec 2008 08:15:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

Putting tribal culture in school lessons on the Fort Belknap Indian Reservation

Mary G. Ross, Cherokee rocket scientist

Handcrafted Comanche Nevaquaya flutes stolen in Apache

Oklahoma Council for Indian Education Indian Parents of the Year

The Oklahoma Council for Indian Education awards Sydna Yellowfish the Indian Educator of the Year

Custer's Fall. The book describing the battle from the Native American perspective

Romelia Kassavanoid, Comanche quilt maker

Zuni Pueblo Helps Rare New Mexico Fish

The 33rd Annual American Indian Film Festival honors top films and talent

Printmaking students, Native artists to collaborate

Schools are keeping the Ojibwe language alive

The soon-to-open View is the first hotel in Monument Valley Navajo Tribal Park

Artist Fritz Scholder Changed the Way American Indians Are Portrayed

“Twisted Path,�? a collection of Native American art now showing at the Abbe Museum in Bar Harbor

Eiteljorg Lands 800 Piece Southwest Art Collection

Native Trails Kicks Off Seventh Season of Free Native American Performances

Indian murals featured

An exhibit titled "American Indian Mural Painting in Oklahoma and the Southwest�? is on view through May 3 at the National Cowboy & Western Heritage Museum, 1700 NE 63. The exhibit draws on the museum’s extensive Silberman Collection of American Indian art.

For more information, call 478-2250.

Exquisite clay pots in the exhibition "Born of Fire: The Life and Pottery of Margaret Tafoya," at Carnegie Museum of Natural History through Jan. 4th, 2009

Recent Books of Interest

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Zuni fetish updates from Amerindian Arts

Lynn Quam, 9-04-2008, buffaloes
Todd Westika, 9-1-2008, bears, buffaloes, wolf, and eagles
Claudia Peina, 8-31-2008, bears
Claudia Peina, 8-31-2008, corn maidens
Sandra Quandelacy, 8-31-2008, corn maidens
Sandra Quandelacy, 8-30-2008, Zuni mother of pearl butterfly maiden fetish pendants
Avery Quandelacy, 8-30-2008, various carvings
Brian and Jeffrey Yuni, 8-30-2008, various carvings
Rhoda Quam necklace, 8-28-2008
Andres Quandelacy, 8-28-2008, various carvings including a large pipestone buffalo and rare rabbit and eagle carvings
Faye Quandelacy, 8-28-2008, cornmaidens
Nancy Westika necklace, 8-28-2008
Stewart Quandelacy and Priscilla Lasiloo, 8-28-2008, Zuni medicine bear fetish pendants
Stewart Quandelacy, 8-28-2008, Zuni turquoise medicine bear fetish pendant necklaces
Chad Quandelacy, Valerie Comosona 8-28-2008, corn maiden pendants, bumble bee earrings
Alonzo Esalio, 8-27-2008, turquoise carvings
Albert Eustace, 8-27-2008, various carvings
Gibbs Othole, 8-26-2008, various carvings
Jeff Tsalabutie, 8-26-2008, mountain lions
Dee Edaakie, 8-26-2008, large ivory stone marble bear
Stewart Quandelacy Medicine bear pendants, 8-8-2008
Stewart Quandelacy and Priscilla Lasiloo, 8-8-2008, Zuni medicine bear fetish pendants
Gibbs Othole, 4-3-2008, maw-sit-sit frog
Andrew and Laura Quam, 6-16-2008, frog and turtle fetish jewelry
Lynn Quam, 6-8-2008, bearsand buffaloes
Jayne Quam, 6-8-2008, various carvings
Stewart Quandelacy, 5-10-2008, amber, chrysocholla, pipestone, variscite, rhodocrosite, fluorite medicine bears
Andres Quandelacy, 5-10-2008, various carvings
Gibbs Othole, 4-3-2008, maw-sit-sit frog
Priscilla Lasiloo, 3-27-2008, lapis, variscite, rhodocrosite, fluorite bears
Chad Quandelacy, 3-26-2008, large rhodocrosite corn maiden
Ernie Mackel, 2-25-2008, various carvings
Chad Quandelacy, 2-11-2008, turquoise corn maidens
Stewart Quandelacy and Priscilla Lasiloo, 2-11-2008, Zuni medicine bear fetish pendants
Amanda Quandelacy and Ernie Mackel Earrings, 2-11-2008
Chad Quandelacy, 2-11-2008, Zuni fetish pendants
Sandra Quandelacy, 2-11-2008, Zuni fetish pendants
Lynn Quam, 2--2008, bears
Jeff Tsalabutie, 2-9-2008, lapis parrot, various others
Albert Eustace, 2-9-2008, various carvings here and more at Prophet's Rock
Gibbs Othole, 2-9-2008, corn maiden
Todd Westika, 1-08-2008, bears and buffaloes
Jeff Tsalabutie, 12-21-2007
Gibbs Othole, 12-10-2007
Complete update at Prophet's Rock, numerous carvers

Fritz Scholder, Donald Montileaux

noreply@blogger.com (Amerindian Arts) — Tue, 18 Nov 2008 03:07:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

Bridging Sciences with Native American Perspective

The ‘Art’ of PostIndian Semiotic Warfare

Donald Montileaux uses Native materials to share culture

Richard Pearce, George Flett: Ledger Art (review), Studies in American Indian Literatures

Native American Heritage Month at Four Rivers Cultural Center in Ontario

Fourth Annual California's First Cultures program at Crafton Hills College

Grammy Award Winning Artist Bill Miller to Perform at PSC

The Heard Museum North Scottsdale

Nearly priceless pottery at Sun City auction

Artist Fritz Scholder Redefined Native American Art

Native American Author Sherman Alexie To Speak At Aurora University

Q&A with recording artist, photographer Eli Secody

Trickster Gallery Cliff Fragua Art Sculpture

Prominent Ballet Dancer Rosella Hightower

ADOT unearths ancient village at Cordes Lakes

Scholder show opens in Washington, New York

American Indian Ledger Art

In celebration of Native American Month, Phoenix College will host an event featuring Ross Frank, Ph.D., ethnic studies professor at University of California at San Diego. Frank will introduce American Indian Ledger Art, a genre of drawing on paper by Plains Native Americans during the 19th century, often in accountants’ ledger books, of historical, cultural, artistic, and religious importance.

Phoenix College - John Paul Theatre 1202 W. Thomas Road

Wednesday, November 19, 2008 11:00 a.m. Free and open to the public

For more information: Contact Carol Bolton at (602) 285-7194

Nov. 1-29

SISTERS OF THE THE GREAT LAKES: ART OF NATIVE AMERICAN WOMEN, an exhibit that visually addresses the complexities of being an American Indian in the modern world through diverse artwork including pottery, stained glass, paintings, sculpture, quill work and black ash basketry will show from 10 a.m. to 4 p.m. at the Mashantucket Pequot Museum. Free with museum admission, free to museum members. Guided tours offered at 2 p.m. Saturdays.

The exhibition “Fritz Scholder: Indian/Not Indian,�? featuring more than 130 pieces from the late artist of Luiseño, French and German descent, opened Nov. 1 at the National Museum of the American Indian in Washington and at its New York branch, the George Gustav Heye Center.

The Heye Center will focus on a narrow stretch of Scholder’s career, featuring works created at a loft in lower Manhattan. The New York show will be on view through May 17, 2009, The NMAI works, on display through Aug. 16, 2009.

Exquisite clay pots in the exhibition "Born of Fire: The Life and Pottery of Margaret Tafoya," at Carnegie Museum of Natural History through Jan. 4th, 2009

Recent Books of Interest

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Míkmaq Legend Of The Turtle – Micmac

As told by Michael Francis

In the long ago turtle was the great story teller of all the birds and animals of Kluskap's land. During the summer he had many friends, but when the cold Winter King came from the northland, most of the birds flew south to the home of the warm Summer Queen and many of the animals hibernated deep underground. Turtle did not know how to do this. He walked so slowly that the cold Winter King soon caught up with him. He nearly froze. He was so very cold and lonesome.

However, his great friendliness was his way to rescue. He talked to the geese about taking him to the warm south. They agreed to do so only if they could find some way to stop turtle from talking, for he was a bore to the geese who liked to honk their tales far and wide. The wiley geese found a way. They carried turtle by his mouth on a stick and, of course, once off the ground he didn't dare open his mouth.

He did not enjoy his stay in the land of the Summer Queen. It was too warm in his heavy shell and he missed many of his dear friends. The next summer the maidens of the Queen brought him back to Kluskap's land and taught him how to hibernate.

It is said that if you find a turtle hibernating from the cold of the great Winter King he will be deep under the soil telling stories all winter long to his many friends

Blue Panther Keeper of Stories

Zuni fetish updates from Amerindian Arts

Lynn Quam, 9-04-2008, buffaloes
Todd Westika, 9-1-2008, bears, buffaloes, wolf, and eagles
Claudia Peina, 8-31-2008, bears
Claudia Peina, 8-31-2008, corn maidens
Sandra Quandelacy, 8-31-2008, corn maidens
Sandra Quandelacy, 8-30-2008, Zuni mother of pearl butterfly maiden fetish pendants
Avery Quandelacy, 8-30-2008, various carvings
Brian and Jeffrey Yuni, 8-30-2008, various carvings
Rhoda Quam necklace, 8-28-2008
Andres Quandelacy, 8-28-2008, various carvings including a large pipestone buffalo and rare rabbit and eagle carvings
Faye Quandelacy, 8-28-2008, cornmaidens
Nancy Westika necklace, 8-28-2008
Stewart Quandelacy and Priscilla Lasiloo, 8-28-2008, Zuni medicine bear fetish pendants
Stewart Quandelacy, 8-28-2008, Zuni turquoise medicine bear fetish pendant necklaces
Chad Quandelacy, Valerie Comosona 8-28-2008, corn maiden pendants, bumble bee earrings
Alonzo Esalio, 8-27-2008, turquoise carvings
Albert Eustace, 8-27-2008, various carvings
Gibbs Othole, 8-26-2008, various carvings
Jeff Tsalabutie, 8-26-2008, mountain lions
Dee Edaakie, 8-26-2008, large ivory stone marble bear
Stewart Quandelacy Medicine bear pendants, 8-8-2008
Stewart Quandelacy and Priscilla Lasiloo, 8-8-2008, Zuni medicine bear fetish pendants
Gibbs Othole, 4-3-2008, maw-sit-sit frog
Andrew and Laura Quam, 6-16-2008, frog and turtle fetish jewelry
Lynn Quam, 6-8-2008, bearsand buffaloes
Jayne Quam, 6-8-2008, various carvings
Stewart Quandelacy, 5-10-2008, amber, chrysocholla, pipestone, variscite, rhodocrosite, fluorite medicine bears
Andres Quandelacy, 5-10-2008, various carvings
Gibbs Othole, 4-3-2008, maw-sit-sit frog
Priscilla Lasiloo, 3-27-2008, lapis, variscite, rhodocrosite, fluorite bears
Chad Quandelacy, 3-26-2008, large rhodocrosite corn maiden
Ernie Mackel, 2-25-2008, various carvings
Chad Quandelacy, 2-11-2008, turquoise corn maidens
Stewart Quandelacy and Priscilla Lasiloo, 2-11-2008, Zuni medicine bear fetish pendants
Amanda Quandelacy and Ernie Mackel Earrings, 2-11-2008
Chad Quandelacy, 2-11-2008, Zuni fetish pendants
Sandra Quandelacy, 2-11-2008, Zuni fetish pendants
Lynn Quam, 2--2008, bears
Jeff Tsalabutie, 2-9-2008, lapis parrot, various others
Albert Eustace, 2-9-2008, various carvings here and more at Prophet's Rock
Gibbs Othole, 2-9-2008, corn maiden
Todd Westika, 1-08-2008, bears and buffaloes
Jeff Tsalabutie, 12-21-2007
Gibbs Othole, 12-10-2007
Complete update at Prophet's Rock, numerous carvers

Margaret Tafoya pottery on display at Carnegie, Native American artist Rhonda Holy Bear

noreply@blogger.com (Amerindian Arts) — Tue, 07 Oct 2008 20:13:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

Ancient Way Festival offering variety for all

Dorothy Grant, one of five contemporary native fashion artists

Fifth annual Indigenous Film & Arts Festival

Heard Museum hosts 64th annual convention of the National Congress of American Indians

Sioux Falls to celebrate Native American Day

Family’s artistic talents shine at Santa Fe competition

Seminole Nation Residential Learning Center Dedicated At SSC

Margaret Tafoya pottery on display at Carnegie

CHEROKEE – Qualla Arts & Crafts Mutual Co-op will host the sixth annual fall Qualla Open Air Indian Art Market

Muskogee art calendar

Offended neighbors get Utah park statue moved

Native American artist Rhonda Holy Bear

Kansas City Indian Fest

Genes, Language and Culture in Tewa Ethnogenesis

Cowboys and Indians Show in Sedona

National Museum of the American Indian: Beauty Surrounds Us

Indian Art Market puts talent from tribes on display

American Indians 101

NEW YORK — An exhibit of 55 dresses from tribes in the Plains, Plateau and Great Basins regions opens Sept. 26 at the Smithsonian's National Museum of the American Indian.

The show is called "Identity by Design: Tradition, Change and Celebration in Native Women's Dresses."

Exquisite clay pots in the exhibition "Born of Fire: The Life and Pottery of Margaret Tafoya," at Carnegie Museum of Natural History through Jan. 4th, 2009

Storyteller Gene Tagaban, an Alaskan native of Tlingit and Cherokee heritage, uses traditional instruments, masks and dance, will appear at The Eiteljorg Museum of American Indians and Western Art from 7 to 8 p.m., and the 21st annual Printing Partners Hoosier Storytelling Festival, a program of Storytelling Arts of Indiana supported by the Indiana Historical Society, Oct. 8-11 at Military Park. Tickets may be purchased in advance at www.storytellingarts.org, at the Indiana Historical Society by calling (317) 232-1882. Advance tickets are $10 for adults and $5 for children per session. Cost (per session) at the gate is $12 for adults and $6 for children per session.

Additional information about the festival, including a detailed schedule of events, and related workshops offered on Saturday are available at www.storytellingarts.org or by calling the Indiana Historical Society at (317) 232-1882 or (800) 447-1830.

Recent Books of Interest

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Medicine Wheel - Cherokee

The Medicine Wheel is representative of American Indian Spirituality.

The Medicine Wheel symbolizes the individual journey we each must take to find our own path. Within the Medicine Wheel are The Four Cardinal Directions and the Four Sacred Colors. The Circle represents the Circle of Life and the Center of the Circle, the Eternal Fire. The Eagle, flying toward the East, is a symbol of strength, endurance and vision. East signifies the renewal of life and the rebirth of Cherokee unity.

East = Red = success; triumph North = Blue = defeat; trouble West = Black = death South = White = peace; happiness

There are three additional sacred directions: Up Above = Yellow Down Below = Brown Here in the Center = Green

Winter = go-la The color for North is Blue which represents sadness, defeat. It is a season of survival and waiting. The Cherokee word for North means "cold" u-yv-tlv.

Spring = gi-la-go-ge The color for East is Red which represents victory, power. Spring is the re-awakening after a long sleep, victory over winter; the power of new life. The Cherokee word for East is ka-lv-gv

Summer = go-ga The color for South is White for peace, happiness & serenity. Summer is a time of plenty. The Cherokee word for South means "warm" u-ga-no-wa.

Autumn = u-la-go-hv-s-di The color for West is Black which represents death. Autumn is the final harvest; the end of Life's Cycle. The Cherokee word for West is wu-de-li-gv. ."

Blue Panther Keeper of Stories

Zuni fetish updates from Amerindian Arts

Lynn Quam, 9-04-2008, buffaloes
Todd Westika, 9-1-2008, bears, buffaloes, wolf, and eagles
Claudia Peina, 8-31-2008, bears
Claudia Peina, 8-31-2008, corn maidens
Sandra Quandelacy, 8-31-2008, corn maidens
Sandra Quandelacy, 8-30-2008, Zuni mother of pearl butterfly maiden fetish pendants
Avery Quandelacy, 8-30-2008, various carvings
Brian and Jeffrey Yuni, 8-30-2008, various carvings
Rhoda Quam necklace, 8-28-2008
Andres Quandelacy, 8-28-2008, various carvings including a large pipestone buffalo and rare rabbit and eagle carvings
Faye Quandelacy, 8-28-2008, cornmaidens
Nancy Westika necklace, 8-28-2008
Stewart Quandelacy and Priscilla Lasiloo, 8-28-2008, Zuni medicine bear fetish pendants
Stewart Quandelacy, 8-28-2008, Zuni turquoise medicine bear fetish pendant necklaces
Chad Quandelacy, Valerie Comosona 8-28-2008, corn maiden pendants, bumble bee earrings
Alonzo Esalio, 8-27-2008, turquoise carvings
Albert Eustace, 8-27-2008, various carvings
Gibbs Othole, 8-26-2008, various carvings
Jeff Tsalabutie, 8-26-2008, mountain lions
Dee Edaakie, 8-26-2008, large ivory stone marble bear
Stewart Quandelacy Medicine bear pendants, 8-8-2008
Stewart Quandelacy and Priscilla Lasiloo, 8-8-2008, Zuni medicine bear fetish pendants
Gibbs Othole, 4-3-2008, maw-sit-sit frog
Andrew and Laura Quam, 6-16-2008, frog and turtle fetish jewelry
Lynn Quam, 6-8-2008, bearsand buffaloes
Jayne Quam, 6-8-2008, various carvings
Stewart Quandelacy, 5-10-2008, amber, chrysocholla, pipestone, variscite, rhodocrosite, fluorite medicine bears
Andres Quandelacy, 5-10-2008, various carvings
Gibbs Othole, 4-3-2008, maw-sit-sit frog
Priscilla Lasiloo, 3-27-2008, lapis, variscite, rhodocrosite, fluorite bears
Chad Quandelacy, 3-26-2008, large rhodocrosite corn maiden
Ernie Mackel, 2-25-2008, various carvings
Chad Quandelacy, 2-11-2008, turquoise corn maidens
Stewart Quandelacy and Priscilla Lasiloo, 2-11-2008, Zuni medicine bear fetish pendants
Amanda Quandelacy and Ernie Mackel Earrings, 2-11-2008
Chad Quandelacy, 2-11-2008, Zuni fetish pendants
Sandra Quandelacy, 2-11-2008, Zuni fetish pendants
Lynn Quam, 2--2008, bears
Jeff Tsalabutie, 2-9-2008, lapis parrot, various others
Albert Eustace, 2-9-2008, various carvings here and more at Prophet's Rock
Gibbs Othole, 2-9-2008, corn maiden
Todd Westika, 1-08-2008, bears and buffaloes
Jeff Tsalabutie, 12-21-2007
Gibbs Othole, 12-10-2007
Complete update at Prophet's Rock, numerous carvers

Crazy Horse Memorial, will it be completed?, 'Native artist' defined, Think ''Dances with Wolves'' with a Spanish accent

noreply@blogger.com (Amerindian Arts) — Mon, 08 Sep 2008 19:57:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

Surprising Portrait of Fritz Scholder

Crazy Horse Memorial, will it be completed?

American Indian festival benefits Boys & Girls Club

NightDancers Honored

Native American pow wow coming Oct 4th & 5th-Honolulu

Tiffany window depicting Minnehaha to be auctioned

'Native artist' defined

Missouri cave paintings give prehistoric timeline

Honoring great women of the Pueblos

Apache artist Craig Dan Goseyun

Think ''Dances with Wolves'' with a Spanish accent.

Forbes::AG accuses Santa Fe stores of lying about jewelry

Business is strong at Totah Festival

Native history shared at Green Corn Festival

Buying pottery

NEW YORK — An exhibit of 55 dresses from tribes in the Plains, Plateau and Great Basins regions opens Sept. 26 at the Smithsonian's National Museum of the American Indian.

The show is called "Identity by Design: Tradition, Change and Celebration in Native Women's Dresses."

Oka Kapassa: Return to ColdWater Indian Festival, Sept. 12-13. American Indian festival honors the original Americans with two days of traditional crafts demonstrations, Indian foods, arts, colorful dancers, games, storytelling. Tuscumbia, Ala., 800-344-0783, www.colbertcountytourism.org.

The Smithsonian's National Museum of the American Indian in New York, the George Gustav Heye Center opens "Remix: New Modernities in a Post Indian World," a spirited multimedia survey of 15 emerging Native artists June 7. A joint presentation from the museum and the Heard Museum in Phoenix, the exhibition closes Sunday, Sept. 21.

Recent Books of Interest

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Luther Standing Bear - Lakota

Chief of the Oglala, Lakota (1905-1939)

"We did not think of the great open plains, the beautiful rolling hills, the winding streams with tangled growth, as 'wild'. Only to the white man was nature a 'wilderness' and only to him was it 'infested' with 'wild' animals and 'savage' people. To us it was tame. Earth was bountiful and we were surrounded with the blessings of the Great Mystery."

"If today I had a young mind to direct, to start on the journey of life, and I was faced with the duty of choosing between the natural way of my forefathers and that of the... present way of civilization, I would, for its welfare, unhesitatingly set that child's feet in the path of my forefathers. I would raise him to be an Indian!"

"Praise, flattery, exaggerated manners and fine, high-sounding words were no part of Lakota politeness. Excessive manners were put down as insincere, and the constant talker was considered rude and thoughtless. Conversation was never begun at once, or in a hurried manner.

"No one was quick with a question, no matter how important, and no one was pressed for an answer. A pause giving time for thought was the truly courteous way of beginning and conducting a conversation."

"From Wakan Tanka, the Great Spirit, there came a great unifying life force that flowed in and through all things -- the flowers of the plains, blowing winds, rocks, trees, birds, animals -- and was the same force that had been breathed into the first man. Thus all things were kindred, and were brought together by the same Great Mystery.

"Kinship with all creatures of the earth, sky and water was a real and active principle. In the animal and bird world there existed a brotherly feeling that kept the Lakota safe among them. And so close did some of the Lakotas come to their feathered and furred friends that in true brotherhood they spoke a common tongue.

"The animals had rights -- the right of man's protection, the right to live, the right to multiply, the right to freedom, and the right to man's indebtedness -- and in recognition of these rights the Lakota never enslaved an animal and spared all life that was not needed for food and clothing. For the animal and bird world there existed a brotherly feeling that kept the Lakota safe among them."

"This concept of life and its relations was humanizing and gave to the Lakota an abiding love. It filled his being with the joy and mystery of living; it gave him reverence for all life; it made a place for all things in the scheme of existence with equal importance to all."

"The Lakota could despise no creature, for all were of one blood, made by the same hand, and filled with the essence of the Great Mystery. In spirit, the Lakota were humble and meek. 'Blessed are the meek, for they shall inherit the earth' -- this was true for the Lakota, and from the earth they inherited secrets long since forgotten. Their religion was sane, natural, and human."

"The old Lakota was wise. He knew that a man's heart away from Nature becomes hard; he knew that lack of respect for growing, living things soon lead to a lack of respect for humans too."

"The old people came literally to love the soil and they sat or reclined on the ground with a feeling of being close to a mothering power."

Blue Panther Keeper of Stories

Zuni fetish updates from Amerindian Arts

Lynn Quam, 9-04-2008, buffaloes
Todd Westika, 9-1-2008, bears, buffaloes, wolf, and eagles
Claudia Peina, 8-31-2008, bears
Claudia Peina, 8-31-2008, corn maidens
Sandra Quandelacy, 8-31-2008, corn maidens
Sandra Quandelacy, 8-30-2008, Zuni mother of pearl butterfly maiden fetish pendants
Avery Quandelacy, 8-30-2008, various carvings
Brian and Jeffrey Yuni, 8-30-2008, various carvings
Rhoda Quam necklace, 8-28-2008
Andres Quandelacy, 8-28-2008, various carvings including a large pipestone buffalo and rare rabbit and eagle carvings
Faye Quandelacy, 8-28-2008, cornmaidens
Nancy Westika necklace, 8-28-2008
Stewart Quandelacy and Priscilla Lasiloo, 8-28-2008, Zuni medicine bear fetish pendants
Stewart Quandelacy, 8-28-2008, Zuni turquoise medicine bear fetish pendant necklaces
Chad Quandelacy, Valerie Comosona 8-28-2008, corn maiden pendants, bumble bee earrings
Alonzo Esalio, 8-27-2008, turquoise carvings
Albert Eustace, 8-27-2008, various carvings
Gibbs Othole, 8-26-2008, various carvings
Jeff Tsalabutie, 8-26-2008, mountain lions
Dee Edaakie, 8-26-2008, large ivory stone marble bear
Stewart Quandelacy Medicine bear pendants, 8-8-2008
Stewart Quandelacy and Priscilla Lasiloo, 8-8-2008, Zuni medicine bear fetish pendants
Gibbs Othole, 4-3-2008, maw-sit-sit frog
Andrew and Laura Quam, 6-16-2008, frog and turtle fetish jewelry
Lynn Quam, 6-8-2008, bearsand buffaloes
Jayne Quam, 6-8-2008, various carvings
Stewart Quandelacy, 5-10-2008, amber, chrysocholla, pipestone, variscite, rhodocrosite, fluorite medicine bears
Andres Quandelacy, 5-10-2008, various carvings
Gibbs Othole, 4-3-2008, maw-sit-sit frog
Priscilla Lasiloo, 3-27-2008, lapis, variscite, rhodocrosite, fluorite bears
Chad Quandelacy, 3-26-2008, large rhodocrosite corn maiden
Ernie Mackel, 2-25-2008, various carvings
Chad Quandelacy, 2-11-2008, turquoise corn maidens
Stewart Quandelacy and Priscilla Lasiloo, 2-11-2008, Zuni medicine bear fetish pendants
Amanda Quandelacy and Ernie Mackel Earrings, 2-11-2008
Chad Quandelacy, 2-11-2008, Zuni fetish pendants
Sandra Quandelacy, 2-11-2008, Zuni fetish pendants
Lynn Quam, 2--2008, bears
Jeff Tsalabutie, 2-9-2008, lapis parrot, various others
Albert Eustace, 2-9-2008, various carvings here and more at Prophet's Rock
Gibbs Othole, 2-9-2008, corn maiden
Todd Westika, 1-08-2008, bears and buffaloes
Jeff Tsalabutie, 12-21-2007
Gibbs Othole, 12-10-2007
Complete update at Prophet's Rock, numerous carvers

Muskogee does have a very good Native American museum, The Indians of Indiana

noreply@blogger.com (Amerindian Arts) — Mon, 11 Aug 2008 18:38:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

Alfonso Roybal, also known as Awa Tsireh or Cattail Bird (1898-1955)

Buffy Sainte-Marie, singer, artist, speaker

Preserving the History of Cherokee Basketry

Navajo Artist Chester Kahn named Living Treasure

Traditional Shoshone Ways Week

Bacone extends enrollment, scholarships

American Indian Art? That's Baskets, Right?

Do statues dishonor American Indians?

Native art store opens in Sioux Falls area

Monument Valley a tribute to Navajo people

Jimmy Abeita: Navajo artist made history by changing genre’s style

The Abbe Museum is celebrating its 80th anniversary of promoting Maine Native American culture, history and archaeology

Arthur Amiotte at Crazy Horse Memorial on August 14th

Hubbell Trading Post Fall Auction Moved to Oct. 4th

South Carolina modifies turkey feather law for Native artists

Award-winning artist Robert Freeman will teach free art classes for young people

Members of Cherokee Nation Meet to Celebrate Native American Tradition

Muskogee does have a very good Native American museum

Mark Yale Harris learned his craft from the masters of contemporary, Native American art: Bill Prokopiof (Aleut) and Doug Hyde (Nez Perce).

Teenage Mohawk artist wins national contest

Museum of the Plains Indian offers demonstrating artists for the summer season

'Mediating Knowledges: Origins of a Tribal Museum"

The Indians of Indiana

Santa Fe Indian Market- Aug. 23-24, 2008

Schedule of Events

Earthwood Gallery The works of Native American sculptor Cliff Fragua; wine tasting during the opening hosted by DFV Wines, reception 5 p.m. today, through Aug. 31, 1412 Pearl St., Boulder, CO; 303-444-3838.

Albuquerque, NM- The Indian Pueblo Cultural Center�s current exhibition, "Timeless Beauty: Pueblo Women Artists of the 20th Century," is extended through August 31 due to the overwhelming response to the exhibit.

20th Annual Trail of Tears Pow Wow

September 6 & 7, 2008, Hopkinsville, Kentucky

Recent Books of Interest

American Indian Mafia

An FBI Agent's True Story about Wounded Knee, Leonard Peltier, and the American Indian Movement (AIM)

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Creation Myth – Luiseño

JAFL Vol. XVII, No. 66, pp. 185-8. [1904]

THE following creation myth is that of the San Luiseños, and was translated from the Spanish as related by an old man of La Jolla Indian reservation by Mary C. B. Watkins.

In the beginning Tú-co-mish (night) and Ta-nó-wish (earth) sat crouching, brooding, silent. Then Tú-co-mish said, "I am older than you." Ta-nó-wish said, "No, I am stronger than you." So they disputed. Then Tú-co-mish caused Ta-nó-wish to go to sleep. When she woke she knew that something had happened, and that she was to be the Mother. She said, "What have you done?" "Nothing. You have slept." "No," she said. "I told you that I am stronger (morally) than you."

Soon within her grew all things and she sat erect and round. Wy-ót was her first born, the father (in a care-taking sense) of all things. The grasses, trees, birds, all things were born of Ta-nó-wish.

Then Evil, Tó-wish, wished to be born. He tried to escape by the ears, eyes, and nose, but at last passed from the mouth with a t-s-i-z (hissing noise). He is nothing but spirit. He has no form whatsoever.

Tá-quish is a ball of light, and is a witch. He was the third son.

The frog was beautifully made, white and red, with great eyes. Wy-ót said, "Oh, my daughter, you are so beautiful." But her lower limbs were thin and ugly. When she saw men walk she was jealous, and hated Wy-ót, cursing him with terrible words.

Then Wy-ót said, "In ten months I shall die. When the great star rises and the grass is high, I shall go." (Here the narrator named all the large stars, counting ten months in that way.) Wy-ót said to his people, "You have never killed anything; now you may kill the deer. Make an awl, gather shoots of bushes and grasses and make a basket to contain my ashes." Then he taught them how to make baskets, redas, ollas, and all their arts. He died in the spring (May).

They burned his body, but his spirit became the moon. His ashes were placed in a long basket, and for this reason they pass the basket in front of the chief dancer and mourn. They sing "Wy-ót, Wy-ót," nine times, then "Ne-yónga (My head) Ne-cháya, tomáve."

The (lances were to please the moon and prevent his waning.

Another old man of the San Luiseños gave his version of the story in a different way.

The Death Of Wy-Ót.

Wy-ót went every day to a clear, cold spring, so large (spreading his arms). The frog saw him day after day and hated him more, though Wy-ót always saluted him kindly. One day the frog, Wa-há-wut, said, "I will spit in the water and curse him because he made my legs so miserably." So he spit three times in the water. Then Wy-ót became sick, and in ten months, counted by the rising of the brightest stars, he died. He gave them wise laws and taught them all their arts. Before his death he said, "From my ashes shall spring the most precious gift to all my children."

Then the oak-tree grew from his ashes. Very fast it grew, very lovely, with acorns hanging like apples so thick and fine. All the birds and animals and men watched it day and night that not a seed should be lost.

Then after a while the acorns were ripe. The men said to the crow,

Go to the large star (possibly Vega) and find Wy-ót."

The crow flew high and higher, but returned. The eagle was sent, but without result. All the birds were sent. No one could find Wy-ót.

Then the hummingbird went like the arrow from the strong man's bow. After days of waiting he returned with this message from Wy-ót: "Eat of the seeds of my tree, all birds and animals. Men must make flour out of them, and make little cakes." So all men were glad and made the fiesta of the bellota (acorn, still used by the Mission Indians for food).

This myth of the San Luiseños is doubly important at present when, for the first time since pioneer days, attention is directed to the folk-lore of the Mission Indians.

In the first place it corrects an error in my translation of the mythology of the Diegueños, as published in the journal of American Folk-Lore.

In old Cinon Duro's version of the myth there was a confusion in his account of the frog's action as producing the death of the hero-god (Tu-chai-pai). By a mistake in pronouns it was made to appear that the frog by poisoning the water brought about his own death as well as that of Tu-chai-pai. The sentence on page 183 of the journal of American Folk-Lore, vol. xiv. No. liv. should read as corrected, "By that time the frog had planned a wrong deed; he meant to exude poison into the water that Tu-chai-pai might swallow it and die."

In the second place, and especially, this San Luiseño version of the myth is valuable as proving its primitive character, and its freedom from what might be imagined to be traces of Christian influence in the account of the death of a hero-god. Father Boscana, an early Franciscan missionary, with a breadth of mind unfortunately lacking in most of his co-workers, transcribed and recorded as of interest and value the primitive myths current among the Indians when he first went among them.

"Father Geronimo Boscana," says Bancroft, "gives us the following relation of the faith and worship of the Agagchemem nations in the valley and neighborhood of San Capistrano. We give first the version held by the highlanders of the interior country three or four leagues inland from San Juan Capistrano."

And it is this version which is still preserved in the Diegueño and San Luiseño myths which I have given, as told by Indians dwelling in the highlands within twelve miles of each other, and almost in a direct line back sixty miles or so from San Juan Capistrano on the coast.

As Boscana's story is important in itself and for comparison, I quote part of it herewith. It is interesting to note its similarity even as to the name of the hero-god, with the San Luiseño story.

"Before the material world at all existed there lived two beings, brother and sister, of a nature that cannot be explained, the brother living above and his name signifying the heavens, and the sister living below and her name signifying Earth. From the union of these two there sprang a numerous offspring. Earth and sand were the first-fruits of this marriage; then were born rocks and stones; then trees both great and small; then grass and herbs; then animals; lastly was born a great personage called Ouiot, who was a great captain.

"By some unknown mother many children of a medicine race were born to this Ouiot. All these things happened in the north, but as the people multiplied they moved toward the south, the earth growing larger also, and extending itself in the same direction.

"In process of time, Ouiot growing old, his children plotted to kill him, alleging that the infirmities of age made him unfit to govern them or attend to their welfare. So they put a strong poison in his drink, and when he drank of it a sore sickness came upon him. He rose up and left his home in the mountains and went down to what is now the seashore, though at that time there was no sea there. His mother, whose name is Earth, mixed him an antidote in a large shell and set it out in the sun to brew; but the fragrance of it attracted the Coyote, who came and overset the shell.

"So Ouiot sickened to death, and though he told his children that he would shortly return and be with them again, he has never been seen since. All the people made a great pile of wood and burned his body there, and just as the ceremony began, the Coyote leaped upon the body saying that he would burn with it; but he only tore a piece of flesh from the stomach and escaped. After that the title of the Coyote was changed from Eyacque which means Sub-Captain, to Eno, that is to say, Thief and Cannibal."

From the time of Father Boscana to the present day, the mythology of the Indians of the interior of southern California has remained overlooked and unrecorded; and the fact that there still exist fragments of primitive myths of so superior a character should lead the exertions of scientists in this direction, since all that is of value in this sort is hanging on a thread as precarious as a spider's web, and will perish in less than ten years, with the passing of the centenarians who still cherish as sacred the heritage of myths and legends from the past.

Constance Goddard Du Bois. WATERBURY, CONN.

Mythology Of The Mission Indians, Constance Goddard Du Bois, From The Journal of the American Folk-Lore Society (JAFL), JAFL Vol. XVII, No. 66, pp. 185-8. [1904] ,JAFL Vol. XIX. No. 72, pp. 52-60. [1906] ,JAFL Vol. XIX. No. 73. pp. 145-64. [1906], and is now in the public domain.

Blue Panther Keeper of Stories

Zuni fetish updates from Amerindian Arts

Stewart Quandelacy Medicine bear pendants, 8-8-2008
Stewart Quandelacy and Priscilla Lasiloo, 8-8-2008, Zuni medicine bear fetish pendants
Gibbs Othole, 4-3-2008, maw-sit-sit frog
Andrew and Laura Quam, 6-16-2008, frog and turtle fetish jewelry
Lynn Quam, 6-8-2008, bearsand buffaloes
Jayne Quam, 6-8-2008, various carvings
Stewart Quandelacy, 5-10-2008, amber, chrysocholla, pipestone, variscite, rhodocrosite, fluorite medicine bears
Andres Quandelacy, 5-10-2008, various carvings
Gibbs Othole, 4-3-2008, maw-sit-sit frog
Priscilla Lasiloo, 3-27-2008, lapis, variscite, rhodocrosite, fluorite bears
Chad Quandelacy, 3-26-2008, large rhodocrosite corn maiden
Ernie Mackel, 2-25-2008, various carvings
Chad Quandelacy, 2-11-2008, turquoise corn maidens
Stewart Quandelacy and Priscilla Lasiloo, 2-11-2008, Zuni medicine bear fetish pendants
Amanda Quandelacy and Ernie Mackel Earrings, 2-11-2008
Chad Quandelacy, 2-11-2008, Zuni fetish pendants
Sandra Quandelacy, 2-11-2008, Zuni fetish pendants
Lynn Quam, 2--2008, bears
Jeff Tsalabutie, 2-9-2008, lapis parrot, various others
Albert Eustace, 2-9-2008, various carvings here and more at Prophet's Rock
Gibbs Othole, 2-9-2008, corn maiden
Todd Westika, 1-08-2008, bears and buffaloes
Jeff Tsalabutie, 12-21-2007
Gibbs Othole, 12-10-2007
Complete update at Prophet's Rock, numerous carvers

Frybread, Emil Her Many Horses, The Zuni Way, JoAnne Bird, Ted Draper, Sr.

noreply@blogger.com (Amerindian Arts) — Wed, 23 Jul 2008 09:23:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

Frybread-simple food, complicated symbol in Navajo culture

Emil Her Many Horses, An Indian artist's traditional tribute honors Native American soldiers who served in Vietnam

200 Native American languages are dying out and with them valuable history

Beadworker Joyce Growing Thunder Fogarty

The Zuni Way

Virginia Morell, author of "The Zuni Way,"

Ted Draper, Sr., Code talker.

Red Earth

41st Red Cloud art show

Artist JoAnne Bird

Native American scholar Siva honored as ‘Cultural Guardian'

Weekend powwow first on acquired site

Native American magazine coming

Native American beliefs clash with rural district's dress code

Frank Liske Park Powwow: 15th annual two-day powwow to include Native American dances, arts and craft, and food. George Hoyt, 704-786-5705 or gehoyt@carolina.rr.com. 12 p.m. Aug. 1; 12 p.m. Aug. 2. Free. Frank Liske Park, 4001 Stough Road, Concord, NC.

Special exhibit centers around museum's American Indian collection

COSHOCTON, OH - The Johnson-Humrickhouse Museum will present the special exhibit Weaving Traditions beginning May 10 and continuing through Aug. 3.

Jamestown, North Dakota Culture Festival is slated for Aug. 1-3.

One special guest will be Hidatsa storyteller Mary Louise Defender Wilson. She is a winner of the NEA National Heritage Fellowship and the only fellow living in North Dakota. Marvin Bald Eagle Youngman will be teaching different Ojibwa games. Storyteller Keith Bear has also been invited to participate.

“The Native American component of the festival will include artists, music, dancing, storytelling, games and food,�? said Taylor Barnes, Arts Center director. “This festival is primarily about how traditions are shared through games and food.

20th Annual Trail of Tears Pow Wow

September 6 & 7, 2008, Hopkinsville, Kentucky

Recent Books of Interest

American Indian Mafia

An FBI Agent's True Story about Wounded Knee, Leonard Peltier, and the American Indian Movement (AIM)

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Local Legends Of North Carolina – Cherokee

Owing chiefly to the fact that the Cherokee still occupy western North Carolina, the existing local legends for that section are more numerous than for all the rest of their ancient territory. For the more important legends see the stories: Agân-unitsi's Search for the Uktena, Atagâ'hï, Hemp-carrier, Herbert's Spring, Käna'sta, The Great Leech of Tlanusi'yï, The Great Yellow-jacket ' The Nûñnë'hï, The Raid on Tïkwali'tsï, The Removed Townhouses, The Spirit Defenders of Nïkwäsï', The Uw`tsûñ'ta, Tsul`kälû', Tsuwe'nähï, The U`tlûñ'tä.

AKWË`TI'Y�?: A spot on Tuckasegee river, in Jackson county, between Dick's creek and the upper end of Cowee tunnel. According to tradition there was a dangerous water monster in the river there. The meaning of the name is lost.

ATSI'LA-WA'�?: "Fire's relative," a peak, sometimes spoken of as Rattlesnake knob, east of Oconaluftee river and about 2 miles northeast of Cherokee or Yellow Hill, in Swain county. So called from a tradition that a ball of fire was once seen to fly through the air from the direction of Highlands, in Macon county, and alight upon this mountain. The Indians believe it to have been an ulûñsû'tï which its owner had kept in a hiding place upon the summit, from which, after his death, it issued nightly to search for him.

BLACK ROCK: A very high bald peak toward the head of Scott's creek, northeast of Webster, on the line of Jackson and Haywood counties. Either this peak or the adjacent Jones knob, of equal height, is known to the Cherokee as Ûñ'wädâ-tsu`gilasûñ', "Where the storehouse was taken off," from a large flat rock, supported by four other rocks, so as to resemble a storehouse (ûñwädâ'lï) raised on poles, which was formerly in prominent view upon the summit until thrown down by lightning some fifty years ago.

BUFFALO CREEK, WEST: A tributary of Cheowa river, in Graham county. The Cherokee name is Yûnsâ'ï, "Buffalo place," from a tradition that a buffalo formerly lived under the water at its mouth (see Tsuta'tsinasûñ'yï).

CHEOWA MAXIMUM: A bald mountain at the head of Cheowa river, on the line between Graham and Macon counties. This and the adjoining peak, Swim bald, are together called Sehwate'yï, "Hornet place," from a monster hornet, which, according to tradition, formerly had its nest there, and could be seen flying about the tree tops or sunning itself on the bald spots, and which was so fierce that it drove away every one who came near the mountain. It finally disappeared.

DÄKWÂ'�?: "Däkwä' place," in French Broad river, about 6 miles above Warm Springs, in Madison county, and 30 miles below Asheville. A däkwä' or monster fish is said to have lived in the stream at that point.

DA'`NAWA-(A) SA'`TSÛÑY�?: "War crossing," a ford in Cheowa river about 3 miles below Robbinsville, in Graham county. A hostile war party from the North, probably Shawano or Iroquois, after having killed a man on Cheowa, was pursued and crossed the river at this place.

DATLE'YÄSTA'�?: "Where they fell down," on Tuckasegee river, at the bend above Webster, in Jackson county, where was formerly the old town of Gänsâ'gï (Conasauga). Two large uktenas, twined about each other as though in combat, were once seen to lift themselves from a deep hole in the river there and fall back into the water.

DÂTSI'Y�?: "Dâtsï place," just above Eagle creek, on Little Tennessee river, between Graham and Swain counties. So called from a traditional water monster of that name, said to have lived in a deep hole in the stream.

DEGAL`GÛÑ'Y�?: "Where they are piled up," a series of cairns on both sides of the trail down the south side of Cheowa river, in Graham county. They extend along the trail for several miles, from below Santeetla creek nearly to Slick Rock creek, on the Tennessee line (the first being just above Disgâ'gisti'yï, q. v.), and probably mark the site of an ancient battle. One at least, nearly off Yellow creek, is reputed to be the grave of a Cherokee killed by the enemy. Every passing Indian throws an additional stone upon each heap, believing that some misfortune will befall him should he neglect this duty. Other cairns are on the west side of Slick Rock creek about a mile from Little Tennessee river, and others south of Robbinsville, near where the trail crosses the ridge to Valleytown, in Cherokee county.

DIDA'SKASTI'Y�?: "Where they were afraid of each other," a spot on the east side of Little Tennessee river, near the mouth of Alarka creek, in Swain county. A ball game once arranged to take place there, before the Removal, between rival teams from Qualla and Valleytown, was abandoned on account of the mutual fear of the two parties.

DISGÂ'GISTI'Y�?: "Where they gnaw," a spot where the trail down the south side of Cheowa river crosses a small branch about half way between Cockram creek and Yellow creek, in Graham county. Indians passing gnaw the twigs from the laurel bushes here, in the belief that if they should fail to do so they will encounter some misfortune before crossing the next. ridge. Near by is a cairn to which each also adds a stone (see Degal`gûñ'yï).

DUDUÑ'LËKSÛÑ'Y�?: "Where its legs were broken off," a spot on the east side of Tuckasegee river, opposite the mouth of Cullowhee river, a few miles above Webster, in Jackson county. The name suggests a tradition, which appears to be lost.

DULASTÛÑ'Y�?: "Potsherd place," a former settlement on Nottely river, in Cherokee county, near the Georgia line. A half-breed Cherokee ball captain who formerly lived there, John Butler or Tsan-uga'sïtä (Sour John), having been defeated in a ball game; said, in contempt of his men, that they were of no more use than broken pots.

DUNIDÛ'LALÛÑY�?: "Where they made arrows," on Straight creek, a bead-stream of Oconaluftee river, near Cataluchee peak, in Swain county. A Shawano war party coming against the Cherokee, after having crossed the Smoky mountains, halted there to prepare arrows.

FRENCH BROAD RIVER: A magazine writer states that the Indians called this stream "the racing river." This is only partially correct. The Cherokee have no name for the river as a whole, but the district through which it flows about Asheville is called by them Un-ta'kiyasti'yï, "Where they race." The name of the city they translate as Kâsdu'yï, "Ashes place."

GAKATI'Y�?: "Place of setting free," a south bend in Tuckasegee river about 3 miles above Bryson City, in Swain county. It is sometimes put in the plural form, Diga'katiyï, "Place of setting them free." In one of their old wars the Cherokee generously released some prisoners there.

GATUTI'Y�?: "Town-building place," near the head of Santeetla creek, southwest from Robbinsville, in Graham county. High up on the slopes of the neighboring mountain, Stratton bald, is a wide "bench," where the people once started to build a settlement, but were frightened off by a strange noise, which they thought was made by an uktena.

GI`L�?'-DINËHÛÑ'Y�?: "Where the dogs live," a deep place in Oconaluftee river, Swain county, a short distance above Yellow Hill (Cherokee) and just below the mound. It is so named from a tradition that two "red dogs" were once seen there playing on the bank. They were supposed to live under the water.

GISEHÛÑ'Y�?: "Where the Female lives," on Tuckasegee river, about 2 miles above Bryson City, Swain county. There is a tradition that some supernatural "white people" were seen there washing clothes in the river and hanging them out upon the bank to dry. They were probably supposed to be the family of the Agis'-e'gwa, or "Great Female," a spirit invoked by the conjurers.

GREGORY BALD: A high peak of the Great Smoky mountains on the western border of Swain county, adjoining Tennessee. The Cherokee call it Tsistu'yï, "Rabbit place." Here the rabbits had their townhouse and here lived their chief, the Great Rabbit, and in the old times the people could see him. He was as large as a deer, and all the little rabbits were subject to him.

JOANNA BALD: A bald mountain near the head of Valley river, on the line between Graham and Cherokee counties. Called Diyâ'häli'yï, "Lizard place," from a traditional great lizard, with glistening throat, which used to haunt the place and was frequently seen sunning itself on the rocky slopes.

JUTACULLA OLD FIELDS: A bald spot of perhaps a hundred acres on the slope of Tennessee bald (Tsul`kälû' Tsunegûñ'yï), at the extreme bead of Tuckasegee river, in Jackson county, on the ridge from which the lines of Haywood, Jackson, and Transylvania counties diverge. The giant Tsul`kälû', or Jutaculla, as the name is corrupted by the whites, had his residence in the mountain (see story), and according to local legend among the whites, said to be derived from the Indians, this bald spot was a clearing which he made for a farm. Some distance farther to the west, on the north bank of Cany fork, about 1 mile above Moses creek and perhaps 10 miles above Webster, in the same county, is the Jutaculla rock, a large soapstone slab covered with rude carvings, which, according to the same tradition, are scratches made by the giant in jumping from his farm on the mountain to the creek below.

JUTACULLA ROCK: See Jutaculla old fields.

KÂL-DETSI'YÛÑY�?: "Where the bones are," a ravine on the north side of Cheowa river, just above the mouth of East Buffalo creek, in Graham county. In the old time two Cherokee were killed here by the enemy, and their fate was unknown until, long afterward, their friends found their bones scattered about in the ravine.

NANTAHALA: A river and ridge of very steep mountains in Macon county, the name being a corruption of Nûñ'däye'`lï, applied to a former settlement about the mouth of Briertown creek, the townhouse being on the west side of the river, about the present Jarretts. The word means "middle sun, i.e., "midday sun," from nûñdä', "sun, and aye'`lï, "middle," and refers to the fact that in places along the stream the high cliffs shut out the direct light of the sun until nearly noon. From a false idea that it is derived from unûtï, "milk," it has been fancifully rendered, "Center of a woman's breast," "Maiden's bosom," etc. The valley was the legendary haunt of the Uw`tsûñ'ta. As illustrating the steepness of the cliffs along the ,stream it was said of a noted hunter, Tsasta'wï, who lived in the old town, that he used to stand on the top of the bluff overlooking the settlement and throw down upon the roof of his house the liver of the freshly killed deer, so that his wife would have it cooked and waiting for him by the time he got down the mountain.

NUGÄTSA'N�?: A ridge below Yellow Hill (Cherokee), on Oconaluftee river, in Swain county, said to be a resort of the Nûñnë'hï fairies. The word is an archaic form denoting a high ridge with a long, gradual slope.

QUALLA: A post-office and former trading station in Jackson county, on the border of the present East Cherokee reservation, hence sometimes called the Qualla reservation. The Cherokee form is Kwalï, or Kwalûyï in the locative. According to Captain Terrell, the former trader at that place, it was named from Kwalï, i.e., Polly, an old Indian woman who lived there some sixty years ago.

SÄLIGU'G�?: "Turtle place," a deep hole in Oconaluftee river, about half a mile below Adams creek, near Whittier, in Swain county, said to be the resort of a monster turtle.

SKWAN'-DIGÛ`GÛÑ'Y�?: For Askwan'-digû`gûñ'yï, "Where the Spaniard is in the water," on Soco creek, just above the entrance of Wright's creek, in Jackson county. According to tradition a party of Spaniards advancing into the mountains was attacked here by the Cherokee, who threw one of them (dead?) into the stream.

SOCO GAP: Ähälu'na, Ä'hälunûñ'yï, or Uni'hälu'na, "Ambush," or "Where they ambushed"; at the bead of Soco creek, on the line between Swain and Haywood counties. The trail from Pigeon river crosses this gap, and in the old times the Cherokee were accustomed to keep a lookout here for the approach of enemies from the north. On the occasion which gave it the name, they ambushed here, just below the gap, on the Haywood side, a large party of invading Shawano, and killed all but one, whose ears they cut off, after which, according to a common custom, they released him to carry the news back to his people.

STANDING INDIAN: A high bald peak at the extreme head of Nantahala river, in Macon county. The name is a rendering of the Cherokee name, Yûñ'wï-tsulenûñ'yï "Where the man stood" (originally Yû'ñwï-dïkatâgûñ'yï, "Where the man stands"), given to it on account of a peculiarly shaped rock formerly jutting out from the bald summit, but now broken off. As the old memory faded, a tradition grew up of a mysterious being once seen standing upon the mountain top.

STEKOA: A spot on Tuckasegee river, just above Whittier, in Swain county, better known as the Thomas farm, from its being the former residence of Colonel W. H. Thomas, for a long time the agent of the East Cherokee. The correct form is Stikâ'yï, the name of an ancient settlement at the place, as also of another on a creek of the same name in Rabun county, Georgia. The word has been incorrectly rendered "little grease," from usdi'ga or usdi', "little," and ka'ï, "grease" or "oil," but the true meaning is lost.

SWANNANOA: A river joining the French Broad at Asheville, and the gap in the Blue ridge at its head. A magazine writer has translated this name "the beautiful." The word, however, is a corruption of Suwa'li-nûñnâ'(-hï) "Suwali trail," the Cherokee name, not of the stream, but of the trail crossing the gap toward the country of the Ani'-Suwa'lï or Cheraw.

SWIM BALD OR WOLF CREEK BALD. See Cheowa Maximum.

TSI'SKWUNSDI'-ADSISTI'Y�?: "Where they killed Little-bird," a place near the head of West Buffalo creek, southwest of Robbinsville, in Graham county. A trail crosses the ridge near this place, which takes its name from a man who was killed here by a hostile war party in the old fighting days.

TSU'DINÛÑTI'Y�?: "Throwing down place," the site of a former settlement in a bend on the west side of Nantahala river, just within the limits of Macon county. So called from a tradition that a Cherokee pursued by the enemy threw away his equipment there.

TSUKILÛÑNÛÑ'Y�?: "Where he alighted," two small bald spots on the side of the mountain at the head of Little Snowbird creek, southwest of Robbinsville, in Graham county. A mysterious being, having the form of a giant, with head blazing like the sun, was once seen to fly through the air, alight at this place, and stand for some time looking out over the landscape. It then flew away, and when the people came afterward to look, they found the herbage burned from the ground where it had stood. They do not know who it was, but some think it may have been the Sun.

TSULÂ'SINÛÑ'Y�?: "Where the footprint is," on Tuckasegee river, about a mile above Deep creek, in Swain county. From a rock now blasted out to make way for the railroad, on which were impressions said to have been the footprints of the giant Tsul`kälû' (see story) and a deer.

TSUNDA`NILTI'Y�?: "Where they demanded the debt from him," a fine camping ground, on the north side of Little Santeetla creek, about half way up, west from Robbinsville, Graham county. Here a hunter once killed a deer, which the others o f the party demanded in payment of a debt due them. The Cherokee commonly give the creek the same name.

TSÛTA'GA UWEYÛÑ'�?: "Chicken creek," an extreme eastern head-stream of Nantahala river, entering about 4 miles above Clear branch, in Macon county. So called from a story that some hunters camping there for the night once heard a noise as of chickens constantly crowing upon a high rock farther up the stream.

TSUTA'TSINÂSÛÑ'Y�?: "Where it eddies," a deep hole at the mouth of Cockram creek of Cheowa river, in Graham county, where is an eddy said to be caused by a buffalo which lives under the water at this spot, and which anciently lived at the mouth of West Buffalo creek, farther up the river.

TUSQUITTEE BALD: A bald mountain at the head of Tusquittee creek, eastward from Hayesville, in Clay county. The Cherokee name is Tsuwä'-uniyetsûñ'yï, "Where the water-dogs laughed," the water-dog of the southern Alleghenies, sometimes also called mud-puppy or hell-bender, being a large amphibious lizard or salamander of the genus Menopoma, frequenting muddy waters. According to the story, a hunter once crossing over the mountain in a very dry season, heard voices, and creeping silently toward the place from which the sound proceeded, peeped over a rock and saw two water-dogs walking together on their hind legs along the trail and talking as they went. Their pond had dried up and they were on the way over to Nantahala river. As he listened one said to the other, "Where's the water? I'm so thirsty that my apron (gills) hangs down," and then both water-dogs laughed.

UKTE'NA-TSUGANÛÑ'TATSÛÑ'Y�?: "Where the uktena got fastened," a spot on Tuckasegee river, about 2 miles above Deep creek, near Bryson City, in Swain county. There is a tradition that an uktena, trying to make his way upstream, became fastened here, and in his struggles pried up some large rocks now lying in the bed of the river, and left deep scratches upon other rocks along the bank.

UKTE'NA-UTANSI'NASTÛÑ'Y�?: "Where the uktena crawled," a large rock on the Hyatt farm, on the north bank of Tuckasegee river, about four miles above Bryson City, in Swain county. In the rock bed of the stream and along the rocks on the side are wavy depressions said to have been made by an uktena in going up the river.

UNTLASGÂSTI'Y�?: "Where they scratched," at the head of Hyatt creek, of Valley river, in Cherokee county. According to hunting tradition, every animal on arriving at this spot was accustomed to scratch the ground like a turkey.

VENGEANCE CREEK: A south tributary of Valley river, in Cherokee county. So called by the first settlers from an old Indian woman who lived there and whom they nicknamed "Vengeance," on account of her cross looks. The Cherokee call the district Gänsa`ti'yï, "Robbing place," from their having robbed a trader there in the Revolution.

WAYA GAP: A gap in the Nantahala mountains, in Macon county, where the trail crosses from Laurel creek of Nantahala river to Cartoogaja creek of the Little Tennessee. The Cherokee call it A`tâhi'ta, "Shouting place." For the tradition see number 13. It was the, scene of a stubborn encounter in the Revolution The name Waya appears to be from the Cherokee wä'`ya, "wolf."

WEBSTER: The county seat of Jackson county, on Tuckasegee river. Known to the Cherokee as Unadanti'yï, "Where they conjured." The name properly belongs to a gap 3 miles east of Webster, on the trail going up Scotts creek. According to tradition, a war party of Shawano, coming from the direction of Pigeon river, halted here to "make medicine" against the Cherokee, but while thus engaged were, surprised by the latter, who came up from behind and killed several, including the conjurer.

YÂ'NÛ-DINËHÛÑ'Y�?: "Where the bears live," on Oconaluftee river, about a mile above its junction with Tuckasegee, in Swain county. A family of "water bears" is said to live at the bottom of the river in a deep hole at this point.

YÂ'NÛ-U'NÄTAWASTI'Y�?: "Where the bears wash," a small pond of very cold, purple water, which has no outlet and is now nearly dried up, in a gap of the Great Smoky mountains, at the extreme head of Raven fork of Oconaluftee, in Swain county. It was said to be a favorite bear wallow, and according to some accounts its waters had the same virtues ascribed to those of Atagâ'hï.

YAWÂ'�?: "Yawa place," a spot on the south side of Yellow creek of Cheowa river, in Graham county, about a mile above the trail crossing near the mouth of the creek. The legend is that a mysterious personage, apparently a human being, formerly haunted a round knob near there, and was sometimes seen walking about the top of the knob and crying, Yawâ! Yawâ'! while the sound of invisible guns came from the hill, so that the people were afraid to go near it.

Myths of the Cherokee by James Mooney. From the Nineteenth Annual Report of the Bureau of American Ethnology 1897-98, Part I. [1900] and is now in the public domain

Blue Panther Keeper of Stories

Zuni fetish updates from Amerindian Arts

Gibbs Othole, 7-21-2008, 21 new carvings
Andrew and Laura Quam, 6-16-2008, frog and turtle fetish jewelry
Lynn Quam, 6-8-2008, bearsand buffaloes
Jayne Quam, 6-8-2008, various carvings
Stewart Quandelacy, 5-10-2008, amber, chrysocholla, pipestone, variscite, rhodocrosite, fluorite medicine bears
Andres Quandelacy, 5-10-2008, various carvings
Gibbs Othole, 4-3-2008, maw-sit-sit frog
Priscilla Lasiloo, 3-27-2008, lapis, variscite, rhodocrosite, fluorite bears
Chad Quandelacy, 3-26-2008, large rhodocrosite corn maiden
Ernie Mackel, 2-25-2008, various carvings
Chad Quandelacy, 2-11-2008, turquoise corn maidens
Stewart Quandelacy and Priscilla Lasiloo, 2-11-2008, Zuni medicine bear fetish pendants
Amanda Quandelacy and Ernie Mackel Earrings, 2-11-2008
Chad Quandelacy, 2-11-2008, Zuni fetish pendants
Sandra Quandelacy, 2-11-2008, Zuni fetish pendants
Lynn Quam, 2--2008, bears
Jeff Tsalabutie, 2-9-2008, lapis parrot, various others
Albert Eustace, 2-9-2008, various carvings here and more at Prophet's Rock
Gibbs Othole, 2-9-2008, corn maiden
Stewart Quandelacy, 2-9-2008, pipestone, malachite, turquoise medicine bears, old style eagles
Todd Westika, 1-08-2008, bears and buffaloes
Jeff Tsalabutie, 12-21-2007
Stewart Quandelacy, 12-21-2007
Gibbs Othole, 12-10-2007
Complete update at Prophet's Rock, numerous carvers

Sacagawea dollar mandated by Congress; Focus on Indian ledger art

noreply@blogger.com (Amerindian Arts) — Wed, 02 Jul 2008 23:35:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

Sacagawea dollar mandated by Congress

Riding Shotgun: Women Write About Their Mothers, anthology by Native American female authors

Pamplin Cheyenne/Arapaho Ledger

Cheyenne warrior Making Medicine, focus on Indian ledger art

Sacred Canyons of Arizona

Blast from the Past Cahokia Mounds State Historic Site

TUSCARORA NATION: Field Days

"Spirited Daughters," the first-annual celebration of art by young American Indian women and girls

New film appeals to visitors to treat Ancestral Puebloan sites with care

Author interview--'Trickster' - a Native anthology of tales

(James Gilbert, II) also: Hánga Ciyéta (Hun-gah chi-eta) or Flying Eagle-Jazz Musician

Sharing Native American culture

Beyond Stereotypes: 21st-Century Indian Artists

Weaving my Navajo history --Kristina L. Adelzadeh

The Vulnerability of Extant Ledger Books

Q&A with potter Jody Naranjo

Festival of Native Peoples, July 17-19. Culturally-inspired exposition of native dance, song, storytelling, art, culture, traditions and foods of the indigenous peoples of the Americas. Cherokee, N.C. 828-259-9910, www.cherokee-nc.com.

Sedona, AZ: The 11th Annual Prescott Indian Art Market (PIAM) will be held on the tree shaded grounds of the Sharlot Hall Museum on July 12 and 13. The Museum’s flower-lined walkways and commemorative rose garden provide an inviting backdrop for the impressive display of Indian art.

Cahokia Mounds State Historic Site will host a juried art event, the Choctaw Indian Art show with American Indian style art, from 9 a.m. to 5 p.m., Saturday, July 12, and 5 p.m. Sunday, July 13. Attendees can view and buy art.

Performances by Grammy-caliber performing artists will be among the highlights of the International Native American Flute Association (INAFA) 2008 convention set for July 9-13 at the Haas Fine Arts Center at the University of Wisconsin-Eau Claire.

The National Folk Festival from July 11-13 in Butte, Mont., will have what organizers believe will be the largest Native American representation in the event's history. A featured element of the 2008 National Folk Festival will be the First Peoples' Marketplace Aug. 1

Special exhibit centers around museum's American Indian collection

COSHOCTON, OH - The Johnson-Humrickhouse Museum will present the special exhibit Weaving Traditions beginning May 10 and continuing through Aug. 3.

Jamestown, North Dakota Culture Festival is slated for Aug. 1-3.

Recent Books of Interest

American Indian Mafia

An FBI Agent's True Story about Wounded Knee, Leonard Peltier, and the American Indian Movement (AIM)

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Storytelling - Lenape

...it is winter, it is cold, and there is much snow...

The Storyteller walks down the river valley now, after having spent a few days at a small village upstream, telling stories and partaking of the generosity and hospitality of the villagers. A few young warriors escort him in his journey downriver a few miles to another village. Though the snow is deep, the going is easy with the help of snowshoes. The warriors escort him to provide him with protection, to see that he gets safely to his destination. For the Storyteller is considered to be very special, bringing good luck and the powerful medicine of his stories to the people. Lachimo, the Storyteller, keeps the lifeways of the people alive through the telling of his stories, bringing the customs and traditions to bear on the minds of the young and old alike. Upon reaching the next village, he is greeted warmly and openly, being excitedly expected by everyone. He is invited to spend the night in the wikwàm of the Chief, and to eat with his family. So he goes there, enters, is introduced to all in the household, and is given a bowl of food to eat. After he is finished, he is given a place to rest, for it is clear that he is tired from his journey.

When he awakes from his sleep it is now evening, just beginning to get dark outside, so he eats some food which is offered to him, and then he prepares in silence, alone, for what he has come for, to tell the stories to the people.

The Chief interrrupts his contemplation, inviting him to the Council House. The Storyteller follows the Chief, and is led to a long bark-covered building which he enters; he sits down before the fire. People are coming from the whole village, and they gather around the large fire with him. The grandmothers and mothers are telling the children to be on their best behavior in the presence of the Lachimo. They are told not to interrupt him at any time or leave while he is speaking, and that they may ask questions after each story or may then leave to play for a bit. If these things are not followed, the Storyteller may become angry at such disrespect and refuse to tell anymore stories. Bad luck may come as a result of such rude behavior.

Everyone has gathered round now, all is quiet, and the Storyteller begins. First, as always, he tells the story that began all stories, Kishelamàwa'kàn, the Story of the Creation.

"Kàlès'ta! Listen!" he says. "Kunakwat, lowat, nuchink...Long, long ago, in the beginning..." It is a long story, and a few times during its telling he says, "Kàlès'ta! Listen! Ho!" to keep the attention of those around him who are listening. Finally the Storyteller says, "Juke lachimu kishaloke!...Now the story is finished!"

The people are saying, "Wanishi! Thank you! Wulihìle! It is good!"

Some people get up to stretch, others are asking questions, some children go out to play and the women talk. The men fill their pipes to smoke, the smoke from each pipe mingling together into one smoke, symbolizing the coming together of the people and their thoughts, bringing the Spirits near to them, to listen and give them blessings. A child shouts, "Tell us another! Tell us another! Kàtèlinin ta'kàn! Kàtèlinin ta'kàn!" Another child follows quickly repeating the cry, then another. The women admonish the children saying, "Se he! Se he! Hush! Hush!" The Storyteller looks on amused, a smile on his face.

Now the Storyteller says "Kàlès'ta! Listen!" Everyone gives their attention to him respectfully, and all is quiet.

The Lachimo puts his hand into a deerskin bag at his side. It is decorated with dyed porcupine quills and deer hair with figures of men and animals. Inside his story bag (lachimumenu'tez) are mnemonic devices, natural objects (acorns, feathers, etc.) and carved figures, which serve to represent different stories. Now the Lachimo grabs onto the first object he feels in his story bag. It is an acorn, representing a tale of the Little People, the Wematekàn'is. So he begins his tale...but it is short and it is not long before he is heard to say, "Juke lachimu kishaloke! Now the story is finished!"

The people are laughing, for this story was very funny! The people give thanks, saying, "Wanishi! Thank you! Wulilìsap! It was good!" The children are saying "Lapixsi! Tell it over again!" Again, the women admonish the children, "Se he! Hush!" The Story teller smiles, for a story is only told once; there are many more to tell. The tales continue on through the night and occasionally the Lachimo can be heard to say, "Ho! Kàlès'ta! Listen!", to keep the people alert. But finally some begin to drift off to sleep and the Storyteller knows it is time to stop for now. "Juke nishix'ten! Now I am finished!" he tells them.

There are more tales to be told, but these must wait for another night...

Taken from "The Grandfathers Speak", by Hìtakonanu'laxk Interlink Books, New York, 1994

The above is from Pathfinder's wonderful website at http://www.geocities.com/shabak_waxtju/

Blue Panther Keeper of Stories

Zuni fetish updates from Amerindian Arts

Andrew and Laura Quam, 6-16-2008, frog and turtle fetish jewelry
Lynn Quam, 6-8-2008, bearsand buffaloes
Jayne Quam, 6-8-2008, various carvings
Stewart Quandelacy, 5-10-2008, amber, chrysocholla, pipestone, variscite, rhodocrosite, fluorite medicine bears
Andres Quandelacy, 5-10-2008, various carvings
Gibbs Othole, 4-3-2008, maw-sit-sit frog
Priscilla Lasiloo, 3-27-2008, lapis, variscite, rhodocrosite, fluorite bears
Chad Quandelacy, 3-26-2008, large rhodocrosite corn maiden
Ernie Mackel, 2-25-2008, various carvings
Chad Quandelacy, 2-11-2008, turquoise corn maidens
Stewart Quandelacy and Priscilla Lasiloo, 2-11-2008, Zuni medicine bear fetish pendants
Amanda Quandelacy and Ernie Mackel Earrings, 2-11-2008
Chad Quandelacy, 2-11-2008, Zuni fetish pendants
Sandra Quandelacy, 2-11-2008, Zuni fetish pendants
Lynn Quam, 2--2008, bears
Jeff Tsalabutie, 2-9-2008, lapis parrot, various others
Albert Eustace, 2-9-2008, various carvings here and more at Prophet's Rock
Gibbs Othole, 2-9-2008, corn maiden
Stewart Quandelacy, 2-9-2008, pipestone, malachite, turquoise medicine bears, old style eagles
Todd Westika, 1-08-2008, bears and buffaloes
Jeff Tsalabutie, 12-21-2007
Stewart Quandelacy, 12-21-2007
Gibbs Othole, 12-10-2007
Complete update at Prophet's Rock, numerous carvers

Indian Market at Eiteljorg Museum, Native American flute convention, Legend of the White Bear

noreply@blogger.com (Amerindian Arts) — Fri, 13 Jun 2008 14:01:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

National Cowboy & Western Heritage Museum to host annual Prix de West art event

UW-Eau Claire to host Native American flute convention

Indians in the Mist

Woody Kipp nominated for the Blackfoot Art Awards

Museum of Northern Arizona Hosts a Navajo Rug Auction Near Sedona Arizona

Navajo Artist R.C. Gorman's Estate Auction Set for August 2008 in Taos, New Mexico

"Rance Hood: Mystic Painter" , book by Rance Hood and James Hester

Sharlot Hall Museum Presents Indian Art Market Near Sedona Arizona

University of South Dakota is displaying the nationally touring art exhibit "Impacted Nations"

22nd annual Red Earth Native American Cultural Festival links cultures

Native Americans Hold Powwow In Brooklyn Park

16th annual Indian Market and Festival in Indianapolis

Paula Gunn Allen, 68; advocated for the inclusion of Indian voices in the mainstream of American literature.

Honored Pawnee sculptor fires clay into saga

Jack Lenor Larsen Speaks at Native American Design Benefit

16th annual Indian Market and Festival in Indianapolis-National and internationally known Native American performers are scheduled to perform as part of the festival, held June 21-22. Sponsored by the Eiteljorg Museum of American Indians and Western Art, the Indian Market and Festival will be housed in big white tents in tree-shaded Military Park, just across the canal from the museum in White River State Park.

Barbara Gerard Mitchell is the featured artist for the month of June at the Blackfeet Heritage Center and Art Gallery. She is a native of Montana and a member of the Blackfeet Tribe. She gained her technical skills by studying master painters and attending workshops. Most recently she graduated from the Institute of American Indian Arts in Santa Fe, N.M., receiving the highest honors of her graduating class.

Her exhibit is now on display through the month of June. The Blackfeet Heritage Center and Art Gallery is open from 9 a.m. to 5 p.m., Monday through Friday in Browning

Quintana Galleries: You'll find glass works by several Native American artists this month at galleries -- Preston Singletary, for example, in the group show at Butters Gallery. And Joe Feddersen's pieces at Froelick.

Quintana's "Glass Arts of Native America" more fully explores the relationship between Native artists and glass merely hinted at in those other shows. In "Glass Arts," Lillian Pitt, Marvin Oliver, Alano Edzerza and Lawrence Ahvakana contribute glass sculptures that reflect the influence of their respective tribal heritage. One of the philosophical conceits of the show is that the Native American glass art movement began in 1970 with Ahvakana, an Inupiaq who studied glass at the Rhode Island School of Design. His teacher there? Dale Chihuly. (120 N.W. Ninth Ave., Portland Oregon)

Special exhibit centers around museum's American Indian collection

COSHOCTON, OH - The Johnson-Humrickhouse Museum will present the special exhibit Weaving Traditions beginning May 10 and continuing through Aug. 3.

Jamestown, North Dakota Culture Festival is slated for Aug. 1-3.

Recent Books of Interest

American Indian Mafia

An FBI Agent's True Story about Wounded Knee, Leonard Peltier, and the American Indian Movement (AIM)

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Legend of the White Bear – Ojibwa

Once upon a time there was a White Bear whose nephew, Black Bear, lived with him along with several other animals, including Fox. Because Fox was always up to mischief, the White Bear took away Fox's right shoulder. Consequently Fox became ill. White Bear tied Fox's right shoulder to a bunch of claws that he always carried with him. Now Fox became very sick and unable to get along very well without his right shoulder. He sent for Crow, who seemed always full of cunning, to devise some scheme to get back Fox's right shoulder. After a long talk, Crow left to visit White Bear, who was old and infirm and troubled with rheumatism. He found White Bear sitting by his fire warming himself, and saw the bunch of claws and Fox's shoulder hanging from the cave top. Crow began to talk with White Bear who nodded now and then. Crow touched the bag of claws, explaining he was only curious to see what they were made of.

At last, White Bear took no notice of what Crow was doing, as he was half-asleep. Crow saw his chance, and pulled down Fox's shoulder and ran out of the camp. White Bear waked and asked his nephew Black Bear, "What has happened?" Black Bear stuttered and took so long to tell White Bear that Crow had run away with Fox's right shoulder that White Bear became ferociously angry with Black Bear.

He told Black Bear to go away and find himself a new home and never come back again. White Bear in his rage took down the Sun and put it alongside of the claws. Outside, everything was in darkness. Animals could not hunt and were starving. So they appealed to Crow to get them out of their present trouble, caused by White Bear. In the meantime, White Bear's daughter went for water. She took a drink and saw something black; but it was too late. She had swallowed the black speck. Sometime later a child was born to her, and the infant grew so fast he could walk about. When he noticed the bright Sun hanging beside the bunch of claws, the child began to cry for it. After much frustration and begging, White Bear gave the Sun to the child to play with inside their cave. Soon he wished to play outside with the Sun, but at first White Bear would not allow it. Because the child continually begged, White Bear relented and said yes, but only close to their home. If the child saw anyone coming, he was to run inside at once and bring the Sun with him.

All of these commandments the child promised to do as White Bear directed. But as soon as the boy ran outside, he threw the Sun up into the sky, for the child was the scheming Crow in yet another disguise. When White Bear discovered how he was cheated again by Crow, he was doubly furious, driving away everyone.

Ever since then, White Bears always have been more ferocious and bad-tempered toward other species, as well as man

Blue Panther Keeper of Stories

Zuni fetish updates from Amerindian Arts

Lynn Quam, 6-8-2008, bearsand buffaloes
Jayne Quam, 6-8-2008, various carvings
Stewart Quandelacy, 5-10-2008, amber, chrysocholla, pipestone, variscite, rhodocrosite, fluorite medicine bears
Andres Quandelacy, 5-10-2008, various carvings
Gibbs Othole, 4-3-2008, maw-sit-sit frog
Priscilla Lasiloo, 3-27-2008, lapis, variscite, rhodocrosite, fluorite bears
Chad Quandelacy, 3-26-2008, large rhodocrosite corn maiden
Ernie Mackel, 2-25-2008, various carvings
Chad Quandelacy, 2-11-2008, turquoise corn maidens
Stewart Quandelacy and Priscilla Lasiloo, 2-11-2008, Zuni medicine bear fetish pendants
Amanda Quandelacy and Ernie Mackel Earrings, 2-11-2008
Chad Quandelacy, 2-11-2008, Zuni fetish pendants
Sandra Quandelacy, 2-11-2008, Zuni fetish pendants
Lynn Quam, 2--2008, bears
Jeff Tsalabutie, 2-9-2008, lapis parrot, various others
Albert Eustace, 2-9-2008, various carvings here and more at Prophet's Rock
Gibbs Othole, 2-9-2008, corn maiden
Stewart Quandelacy, 2-9-2008, pipestone, malachite, turquoise medicine bears, old style eagles
Todd Westika, 1-08-2008, bears and buffaloes
Jeff Tsalabutie, 12-21-2007
Stewart Quandelacy, 12-21-2007
Gibbs Othole, 12-10-2007
Complete update at Prophet's Rock, numerous carvers

A campaign to save American Indian languages, "Rance Hood: Mystic Painter" , book by Rance Hood and James Hester

noreply@blogger.com (Amerindian Arts) — Wed, 04 Jun 2008 18:37:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

Wisconsin’s endangered native languages receive no real government support

A campaign to save American Indian languages, as languages fade, so do the keys to worldviews

Gregory Lomayesva, Hopi artist- There is no rule

Pueblo Storytellers- Global Explorers Kids' Blog

36th annual Dartmouth Pow-wow draws thousands

The 12th annual Standing Bear Powwow

"Rance Hood: Mystic Painter" , book by Rance Hood and James Hester

Tlingit helmet sells at auction for nearly $2.2 million

Unfinished Crazy Horse Memorial turns 60

Oklahoma City, OK: Red Earth Festival, June 6-8, 2008

Portrait of a thief-With art sales setting records, burglars are more savvy of artworks' value

Seneca statue site selected

Native art highlighted at Acoma

ACOMA PUEBLO - Tina Garcia-Francis

Art thefts leave us all poorer

Special exhibit centers around museum's American Indian collection

COSHOCTON, OH - The Johnson-Humrickhouse Museum will present the special exhibit Weaving Traditions beginning May 10 and continuing through Aug. 3.

Jamestown, North Dakota Culture Festival is slated for Aug. 1-3.

Recent Books of Interest

American Indian Mafia

An FBI Agent's True Story about Wounded Knee, Leonard Peltier, and the American Indian Movement (AIM)

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Legend Of The Sleeping Bear

Long, long ago, on the other shore of this great lake, there lived a mother bear. One spring the mother bear gave birth to two cubs. When they were old enough, she showed them where to drink from the creek, how to use their claws to dig in the rotten trees for ants, how to follow the honeybees back to their hives. So the cubs grew strong in the woods that spring.

But that summer was so hot. The sun seemed closer to the earth, no clouds were in the sky, there was no rain. The woods grew dry.

One morning the mother bear said, "Our creek has dried up. We must follow the dry creek bed to the great lake and drink from there."

That night, as often happens in this area, a powerful storm stuck, with thunder and lightning from the sky. And when the lightning hit the dry woods, a terrible fire started. As the wind pushed the fire,

"Run, children, run! Down the dry creek bed to the great lake! RUN!"

The fire and wind chased the family down the dry creek bed. But once they were in the great lake, they felt safe. Then one of the cubs looked back at the shore.

"Mother, where are we going to live? Our whole home is on fire!"

"It’s alright, my children. I have heard of a land, much like this, on the other shore of this great lake. We will swim to it."

So they turned their backs on the fire, and started swimming. When the sun came up the next morning, they were swimming straight toward it. The other cub looked around and cried,

"Mother! I can’t see any land. Not our old home, not our new home. I only see water. How do you know which way to swim?"

"My children, we swim toward the rising sun. And last night I used the stars to guide me. But even before that storm stopped, I knew which way to swim. The wind comes across the water, pushing us toward our new home."

So they swam all that day and all that night. The next morning, one cub said,

"Mother, do you see our new home yet?"

"Not yet, my children. We must keep swimming."

"But we’re so tired, Mother. "

"I know you are. Just try to keep up."

But the cubs fell behind. And that night, when another terrible storm blew up, and the waves stood tall,

"Children? Children? Where are you? Children? Children??"

The mother bear tried to stay where she was, as the waves batted her around. When the sun rose the next morning, she searched all around.

"Children? Children? Where are you? Children? Children?? They must be ahead of me. They are lighter than I am and the storm must have pushed them ahead of me. As I swim to our new home, I will find them."

So the mother bear starting swimming again toward the rising sun. She swam all that day and all that night. Finally, in the morning, she could see the shore up ahead.

"I will find them when I get to the shore. They will be there waiting for me, or I will find their paw prints and track them down."

But when she dragged her sopping body from the lake, her cubs were not there, and there were no paw prints in the sand.

"They must have landed somewhere else. I will find them."

She searched up and down that shore, but the only paw prints she found were her own.

"Then they must be behind me. They know the way. I will lay down here and wait for them."

So she lay down on the edge of the shore, always watching the great lake, only sleeping when it was too dark to see. But her cubs did not come.

Finally one day, the Great Spirit Manido, who is wise and created all things, took pity on her. He brought her up to the spirit world where she was reunited with her cubs.

"Mother! Mother! We tried to follow you! We did! But the waves were too tall, they pushed us under the water!"

"My children, I know you did your best. And now it is I who have followed you to our new home. Everything is alright now."

The Great Spirit Manido was so moved by the love and faithfulness that he saw that he raised the bodies of the cubs from the deep water and made them into islands, North Manido and South Manido Islands. To honor the mother, he placed pile after pile of sand on the place where she had waited, so that forever all people and animals would know the greatness of Sleeping Bear.

Oh, the wind blows across the water,
And the sand dunes change over time.
Still the people come back to the great lake
Where the Legend of Sleeping Bear lives,
Where the Legend of Sleeping Bear lives.

The Sleeping Bear Dunes are located in Leelanau County,
in the northwest corner of the lower part of Michigan, near
Traverse City, the Cherry Capital of the World. The Leelanau
Peninsula juts out into the waters with Lake Michigan on
the sun-set side and Lake Leelanau on the sun-rise side

Blue Panther Keeper of Stories

Zuni fetish updates from Amerindian Arts

Lynn Quam, 6-8-2008, bearsand buffaloes
Jayne Quam, 6-8-2008, various carvings
Stewart Quandelacy, 5-10-2008, amber, chrysocholla, pipestone, variscite, rhodocrosite, fluorite medicine bears
Andres Quandelacy, 5-10-2008, various carvings
Gibbs Othole, 4-3-2008, maw-sit-sit frog
Priscilla Lasiloo, 3-27-2008, lapis, variscite, rhodocrosite, fluorite bears
Chad Quandelacy, 3-26-2008, large rhodocrosite corn maiden
Ernie Mackel, 2-25-2008, various carvings
Chad Quandelacy, 2-11-2008, turquoise corn maidens
Stewart Quandelacy and Priscilla Lasiloo, 2-11-2008, Zuni medicine bear fetish pendants
Amanda Quandelacy and Ernie Mackel Earrings, 2-11-2008
Chad Quandelacy, 2-11-2008, Zuni fetish pendants
Sandra Quandelacy, 2-11-2008, Zuni fetish pendants
Lynn Quam, 2--2008, bears
Jeff Tsalabutie, 2-9-2008, lapis parrot, various others
Albert Eustace, 2-9-2008, various carvings here and more at Prophet's Rock
Gibbs Othole, 2-9-2008, corn maiden
Stewart Quandelacy, 2-9-2008, pipestone, malachite, turquoise medicine bears, old style eagles
Todd Westika, 1-08-2008, bears and buffaloes
Jeff Tsalabutie, 12-21-2007
Stewart Quandelacy, 12-21-2007
Gibbs Othole, 12-10-2007
Complete update at Prophet's Rock, numerous carvers

First Americans for Barack Obama, Indigenous Australia and native America unite in Brisbane

noreply@blogger.com (Amerindian Arts) — Wed, 14 May 2008 22:10:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

First Americans for Barack Obama

Indian educator honored

Indian Market grows to two days

Indigenous Australia and native America unite in Brisbane

Search on for Native art fund director

Paul Durand's life work unearthed hundreds of American Indian names for area landmarks

Virginia Dooley, 1943-2008: force behind Navajo artist R C Gorman, dies

Languages too beautiful to lose- Native American languages are dying out with the elders

The Women's Museum Premieres Native American Crafts

A Native American take on comic art

Laurie Weahkee newest Native American Superdelegate

Zuni arts festival planned at NAU

Sequoyah comes to Oologah

CIR ETC Arts Studio hosts Native American artist

Noted scholar helms Gilcrease

MaChis Indian Festival and Pow Wow hosted dancers, drummers

Modern and contemporary art and traditional Southwestern art- Blending art genres

Penobscot launches $6M endowment fund for youth club

Event lines up Native American talent

Smithsonian’s National Museum of the American Indian Native Arts Program To Host Community Arts Symposium

Buffy Sainte-Marie to Lecture at Zimmerman

Sotheby’s-An auction of American Indian art on May 23 offers deep-hued handspun Navajo blankets, a miniature Haida totem pole, and a profusion of beautiful and enigmatic polychromed wooden masks. (York Ave. at 72nd St. 212-606-7000.)

FLAGSTAFF — The 18th Annual Zuni Festival of Arts and Culture will be held at the Museum of Northern Arizona in Flagstaff on May 24-25.

Special exhibit centers around museum's American Indian collection

COSHOCTON, OH - The Johnson-Humrickhouse Museum will present the special exhibit Weaving Traditions beginning May 10 and continuing through Aug. 3.

Cultural Arts Council Fine Art Gallery "Native Visions,", May 4-24, 2008, a collection of work by Native American artist William Sitting Bull, great-great grandson of Chief Sitting Bull; 304 E. Elkhorn Ave., Estes Park; CO. 970-577-9900

(SCOTTSDALE, Ariz.) - Scottsdale Center for the Performing Arts will present An Evening with R. Carlos Nakai, William Eaton and William Clipman with special guest Cliff Sarde on May 10, 2008, at 8 p.m. The performance is presented with support from the National Endowment for the Arts.

Single tickets are available for $38 from the Scottsdale Center for the Performing Arts Web site at www.scottsdaleperformingarts.org or the box office at (480) 994-ARTS (2787).

Jamestown, North Dakota Culture Festival is slated for Aug. 1-3.

Recent Books of Interest

American Indian Mafia

An FBI Agent's True Story about Wounded Knee, Leonard Peltier, and the American Indian Movement (AIM)

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Legend Of The Crazy Dog Society – Blackfoot

Many years ago, the Pikanii (Blackfoot) were making the plains their domain. During the mid-seventeen hundreds, this incident took place and the result was the formation of the Crazy Dog Society of the Pikanii. This legend has been passed down for many generations.

The Pikanni were going on a war raid to the east. Many warriors had prepared for a long time to go on this war raid. One of the warrior Chief's had a son that was about ten years old and he wanted to go on this war raid with the other warriors more than anything.

The young man had an uncle that was always ridiculing and teasing him. The uncle had a real good laugh when the young man told him that he wanted to go on the war raid. The warriors departed before the sun lit in the east. It was when the moon casts no shadows and only sound guided your moves in the dark. The trail was already cold when the young man decided to follow. He figured that when he caught up to the warriors they would be too far along to send him back to camp and he would be allowed to stay with them.

The sun had climbed about half way to the center and the wind had changed direction to the north, when the young man caught up to the warriors. The overjoyed young man let his presence be known by giving a loud war cry and the sound of the coyote welcoming the moon. The young man's war chief father was very concerned and told his brother, "I will give the responsibility to make sure that my young son is returned to camp to you."

The young man's uncle was very upset with having to escort his nephew back to the camp and possibly miss the battle. One that he had planned to gain much prestige and bring back many scalps, possible gaining a chieftainship. The uncle told the young man that he was going to bring him halfway back and that he was to return to the camp by himself. The little boy was told by his uncle that if he did not return to camp and he had to be escorted again that was going to kill him and throw him into the coulee for the coyotes to eat. The young man waited for his uncle to get out of sight and he began to follow again.

The uncle was traveling at a very fast pace and as he was going over the ridge he looked back and saw the young man following him. Very angry, the uncle hid himself behind a large rock and as the young man passed by he hit the boy with his war club many times. The young man was thrown into the coulee and considered to be dead. The uncle continued on and upon reaching the warriors he told his brother that he had returned his nephew to the camp.

The sun cast a dark red glow on the rim of the coulee as the young man listened to the yipping of the coyotes. The young man remembered his encounters with the Little People when he was about three snows and how they always had some coyotes with them. The moans of the young man could be heard down the coulee. The hungry coyotes were anxious for their meal and rushed down the coulee. As they approached the young man he lifted his head and told them, "I am Little One that used to feed you and play with you many snows ago at my camp near the mountains."

The leader of the coyotes stopped and looked at the young man, and remembered his kindness to the coyote cousins. The old man coyote sang a song, and when he finished he turned into a little man about two feet from the ground. He turned to the rest of the pack and told them, "I will doctor this young man and make him well. We will find out what happened to him.

While the old man coyote was doctoring the young man, the rest of the pack turned into Little People and began to sing. After four songs, the young man sat up and was healed of his wounds and injuries. He told the Little People about how badly he had wanted to go on the war party and how his uncle had tried to kill him.

The Little People felt very sorry for the young man and told him that they would help him get his wish. The old man coyote told the young man, "When I finish singing my song, I want you to begin to howl and sound like a coyote." As the young man started to howl and make coyote sounds, the turned into a coyote.

We will make good time as coyotes and will be able catch up with the warriors sooner. While they were running, the old man coyote told the young man the plan that he made for the battle.

The Little People, disguised as coyotes, came over the ridge just as the enemy, who had the Pikanii completely surrounded and out-numbered ten to one began to make their charge. The warrior chief of the Pikanii began to sing and said to the other warriors "sing your songs and prepare for death as a warrior."

The coyotes suddenly turned into Little People and with their little spears and arrows started to stick the horses in the stomach and knocking the enemy off of their horses and killing them as they fell off. The warrior chief of the Pikanii watched as he saw the enemy falling off of their horses and laying on the ground bleeding and dying. Only a few of the enemy made it to the Pikanii, and they were killed. The warriors ran among the enemy and collected their prizes and took scalps. The Little People turned back into coyotes and retreated to the top of the ridge and watched as the warriors took their scalps and acted like they had done the fighting. The young man's uncle was already boasting about the many scalps that he had earned.

The warriors returned to camp singing their songs of praise and telling of their triumph over the enemy. The war raid had been a very significant victory for the Pikanii. The head chief of the Pikanii called for a gathering and victory celebration. He invited all of the society chiefs and warrior chiefs to join him in giving praise to the warriors that had just won a very significant battle. The head warrior chief told the gathering, "I don't know how we won the battle with the situation that we were in." He told of the way they were so badly outnumbered and totally surrounded when the enemy started to drop from their horses and lay bleeding and dying on the ground. The young man's uncle stood up and told the gathering that he was responsible for the victory because of his strong medicine, and the enemy just dropped over dead. He suggested he should be the ne w warrior chief.

This was a time when the young man decided to tell the gathering the truth about how the Pikanii won the victory. The chief of the Little People, the young man and the rest of the Little People were at the edge of the camp watching the gathering and celebration. They were still coyotes at this time.

The chief of the Little People told the young man, "tell them the story and if you need some help just sing a song." the young man turned back into a little boy and he walked into the center of the gathering. The young man's father, the warrior chief was very happy to see his son and greeted him with much happiness because he had worried about his son getting harmed by the enemy. The warrior chief turned to his brother and thanked him for returning his son to camp and keeping him safe.

The young man told his father, " I am no longer a young boy. I am a warrior and a member of the Little People that saved all of you during the battle." The young man's uncle started laughing and making fun of the young man and calling him a liar and a fool. The young man told the gathering what his uncle had done to him and how he was lying about using his medicine to win the victory. Again, the uncle laughed and made fun of the young man.

The head chief of the Pikanii stood up and told the gathering, "this young man has made a very strong statement and I am going to let him prove that what he says is the truth." The young man told the story about what had happened to him and how the Little People had helped him and how they had killed the enemy from the ground.

When the young man finished his story the gathering was trying to imagine how such a story could be the truth. The young man started to sing a song and as he was singing the coyotes moved toward the center of the gathering and joined him in his song. The coyotes began to turn back into Little People.

The chief of the Little People told the gathering about the bravery that the young man had shown and that the story that he had told was the truth. The chief of the Little People told of how the young man had tied himself to a bush to insure that he couldn't leave the battle until was all over. The chief of the Little People said that he went and cut the bush and proclaimed that battle over and the victory won and the final retreat of the Little People back to the ridge as coyotes again. The young man stood before the chief of the Little People and was proclaimed a warrior chief of the Little People. The head chief of the Pikanii stood up and proclaimed the young as the head chief of all warriors and a place of prestige among the Pikanii.

The Little People were invited to join in the celebration and dance. They started to sing their songs and dance and as they did began to turn back into coyotes, brushing against each and dancing in a bunch. The chief of the Little People told the gathering "I will give a ceremony to you that will help to heal your sick and protect your people." The chief of the Pikanii told the gathering these are the "Khan nat tso mii tah (Crazy Dogs).

The Crazy Dog Society is still a very active and important society among the Blackfoot people today.

This is a story as told to me by my elders, grandfathers, medicine, Phillip Wells and Chief Coward..........Thank you,

pi ta sa popa

Eagle Plume

December 31, 2001

Blue Panther Keeper of Stories

Zuni fetish updates from Amerindian Arts

Stewart Quandelacy, 3-27-2008, amber, chrysocholla, variscite, rhodocrosite, fluorite medicine bears
Andres Quandelacy, 10-20-2007, various carvings
Gibbs Othole, 4-3-2008, maw-sit-sit frog
Priscilla Lasiloo, 3-27-2008, lapis, variscite, rhodocrosite, fluorite bears
Chad Quandelacy, 3-26-2008, large rhodocrosite corn maiden
Ernie Mackel, 2-25-2008, various carvings
Chad Quandelacy, 2-11-2008, turquoise corn maidens
Stewart Quandelacy and Priscilla Lasiloo, 2-11-2008, Zuni medicine bear fetish pendants
Amanda Quandelacy and Ernie Mackel Earrings, 2-11-2008
Chad Quandelacy, 2-11-2008, Zuni fetish pendants
Sandra Quandelacy, 2-11-2008, Zuni fetish pendants
Lynn Quam, 2--2008, bears
Jeff Tsalabutie, 2-9-2008, lapis parrot, various others
Albert Eustace, 2-9-2008, various carvings here and more at Prophet's Rock
Gibbs Othole, 2-9-2008, corn maiden
Stewart Quandelacy, 2-9-2008, pipestone, malachite, turquoise medicine bears, old style eagles
Todd Westika, 1-08-2008, bears and buffaloes
Jeff Tsalabutie, 12-21-2007
Stewart Quandelacy, 12-21-2007
Gibbs Othole, 12-10-2007
Complete update at Prophet's Rock, numerous carvers

Becoming Aware of a Growing Problem of Bogus Native American art

noreply@blogger.com (Amerindian Arts) — Sun, 04 May 2008 12:24:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

Cibola County opposes Mount Taylor cultural listing- Uranium mining could return to the area

Virginia Dooley, 1943-2008: force behind Navajo artist R C Gorman, dies

Will Moreau Goins, Cherokee, received prestigious Jean Laney Harris Folk Heritage Award

Judge likely to award money in mismanaged Indian trust case

Red Drum Women Society Singers

Bill Miller, a Mohican Native American, and a symphony titled “The Last Stand�?

42nd Spring Powwow offers taste of American Indian culture

SKINNER HOSTS AUCTION OF AMERICAN INDIAN ART

Medicine Dream, an intertribal band that mixes rock with powwow music

Red Feather Woman, Rose Red Elk/Wieka Luta Win at the Pakistan-American Cultural Centre

Rochester Native American Film Festival

Buffalo Field Campaign works to return animals to historic range

Special exhibit centers around museum's American Indian collection

New Native American Center at UM to be the first of its kind

Native American fashion show a hit

Crow Tribe member joins Obama to woo American Indian voters

Becoming Aware of a Growing Problem of Bogus Native American art

Special exhibit centers around museum's American Indian collection

COSHOCTON, OH - The Johnson-Humrickhouse Museum will present the special exhibit Weaving Traditions beginning May 10 and continuing through Aug. 3.

Cultural Arts Council Fine Art Gallery "Native Visions," a collection of work by Native American artist William Sitting Bull, great-great grandson of Chief Sitting Bull; 304 E. Elkhorn Ave., Estes Park; CO. 970-577-9900

Single tickets are available for $38 from the Scottsdale Center for the Performing Arts Web site at www.scottsdaleperformingarts.org or the box office at (480) 994-ARTS (2787).

Jamestown, North Dakota Culture Festival is slated for Aug. 1-3.

Recent Books of Interest

American Indian Mafia

An FBI Agent's True Story about Wounded Knee, Leonard Peltier, and the American Indian Movement (AIM)

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Legend Of Standing Rock – Lakota

A Dakota had married an Arikara woman, and by her had one child. By and by he took another wife. The first wife was jealous and pouted. When time came for the village to break camp she refused to move from her place on the tent floor. The tent was taken down but she sat on the ground with her babe on her back The rest of the camp with her husband went on.

At noon her husband halted the line. "Go back to your sister-in-law," he said to his two brothers. "Tell her to come on and we will await you here. But hasten, for I fear she may grow desperate and kill herself."

The two rode off and arrived at their former camping place in the evening. The woman still sat on the ground. The elder spoke:

"Sister-in-law, get up. We have come for you. The camp awaits you."

She did not answer, and he put out his hand and touched her head. She had turned to stone!

The two brothers lashed their ponies and came back to camp. They told their story, but were not believed. "The woman has killed herself and my brothers will not tell me," said the husband. However, the whole village broke camp and came back to the place where they had left the woman. Sure enough, she sat there still, a block of stone.

The Indians were greatly excited. They chose out a handsome pony, made a new travois and placed the stone in the carrying net. Pony and travois were both beautifully painted and decorated with streamers and colors. The stone was thought "wakan" (holy), and was given a place of honor in the center of the camp. Whenever the camp moved the stone and travois were taken along. Thus the stone woman was carried for years, and finally brought to Standing Rock Agency, and now rests upon a brick pedestal in front of the Agency office. From this stone Standing Rock Agency derives its name.

Myths and legends of the Sioux, , by Mrs. Marie L. McLaughlin, Bismarck N.D. : Bismarck Tribune Co., 1916, and is now in the public domain. [Lakota]

Blue Panther Keeper of Stories

Legend of Stone Coat – Nvyvnuwi – Cherokee

http://thewhitewolf.net/stonecoat.html

Once, long ago, when all the people were out in the mountains on a great hunt one man who had gone on ahead climbed to the top of a high ridge and found a large river on the other side. While he was looking across he saw an old man walking about on the opposite ridge, with a cane that seemed to be made of some bright, shining rock.The hunter watched and saw that every little while the old man would point his cane in a certain direction, then draw it back and smell the end of it. At last he pointed it in the direction of the hunting camp on the other side of the mountain, and this time when he drew back the staff he sniffed it several times as if it smelled very good and then started along the ridge straight for the camp. He moved very slowly, with the help of the cane, until he reached the end of the ridge, when he threw the cane out into the air and it became a bridge of shining rock stretching across the river.After he had crossed over upon the bridge it became a cane again, and the old man picked it up and started over the mountain toward the camp.

The hunter was frightened and felt sure that it meant mischief, so he hurried on down the mountain and took the shortest trail back to the camp to get there before the old man.When he got there and told his story the Dida:hnvwi:sgi said the old man was a wicked cannibal monster called Nvyvnuwi-Dressed In Stone, who lived in that part of the country and was always going about the mountains looking for some hunter to kill and eat. It was very hard to escape from him, because his stick guided him like a dog and it was nearly as hard to kill him, because his whole body was covered with a skin of solid rock. If he came he would kill and eat them all, there was only one way to save themselves. He could not bear to look upon a menstrual woman and if they could find seven menstrual women to stand in the path as he came along the sight would kill him. So they asked among all the women, and found seven who were in that way and with one it had just begun.By the order of the Dida:hnvwi:sgi they stripped themselves and stood along the path where the old man would come. Soon they heard Nvyvnuwi coming through the woods, feeling his way with the stone cane. He came along the trail to where the first woman was standing and as he saw her he started and cried out: "Yu! My grandchild; you are in a very bad state!" He hurried past her, but in a moment he met the next woman, and cried out again: "Yu! My child; you are in a terrible way," and hurried past her, but now he was vomiting blood. He hurried on and met the third and the fourth and the fifth woman, but with each one that he saw his step grew weaker until when he came to the last one, with whom it had just begun, the blood poured from his mouth and he fell down the trail.

The the Dida:hnvwi:sgi drove seven sourwood stakes through his body and pinned him to the ground and when night came they piled great logs over him and set fire to them, and all the people gathered around to see.

Nvyvnuwi was a great Adawe:hi and knew many secrets, and now as the fire came close to him he began to talk and told them the medicine for all kinds of sickness. At midnight he began to sing and sang the hunting songs for calling up deer, bear and all the animals of the woods and mountains. As the blaze grew hotter his voice sank lower and lower, until at last when daylight came, the logs were a heap of white ashes and the voice was still.

The Dida:hnvwi:sgi told them to rake off the ashes and where the body had lain they found only a large lump of wa'di paint and a magic Ulvnsuti stone. He kept the stone for himself and calling the people around him he painted them, on face and breast, with the red wa'di, and whatever each person prayed for while the painting was being done-whether for hunting success, for working skill or for long life-that gift was his.

Blue Panther Keeper of Stories

Zuni fetish updates from Amerindian Arts

Andres Quandelacy, 4-25-2008, various carvings
Gibbs Othole, 4-3-2008, maw-sit-sit frog
Priscilla Lasiloo, 3-27-2008, lapis, variscite, rhodocrosite, fluorite bears
Stewart Quandelacy, 3-27-2008, amber, chrysocholla, variscite, rhodocrosite, fluorite medicine bears
Chad Quandelacy, 3-26-2008, large rhodocrosite corn maiden
Ernie Mackel, 2-25-2008, various carvings
Chad Quandelacy, 2-11-2008, turquoise corn maidens
Stewart Quandelacy and Priscilla Lasiloo, 2-11-2008, Zuni medicine bear fetish pendants
Amanda Quandelacy and Ernie Mackel Earrings, 2-11-2008
Chad Quandelacy, 2-11-2008, Zuni fetish pendants
Sandra Quandelacy, 2-11-2008, Zuni fetish pendants
Lynn Quam, 2--2008, bears
Jeff Tsalabutie, 2-9-2008, lapis parrot, various others
Albert Eustace, 2-9-2008, various carvings here and more at Prophet's Rock
Gibbs Othole, 2-9-2008, corn maiden
Stewart Quandelacy, 2-9-2008, pipestone, malachite, turquoise medicine bears, old style eagles
Todd Westika, 1-08-2008, bears and buffaloes
Jeff Tsalabutie, 12-21-2007
Stewart Quandelacy, 12-21-2007
Gibbs Othole, 12-10-2007
Complete update at Prophet's Rock, numerous carvers

Gathering Of Nations, Red Drum Women Society Singers, Nominations for 2008 Eagle Awards Open, Kokopelli-The trickster

noreply@blogger.com (Amerindian Arts) — Sat, 19 Apr 2008 05:24:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

Northeastern State University Symposium on the American Indian

Gathering Of Nations

Hippies, Indians: Picking through the rubble

UM to break ground on Native center

Indian spiritual walkers passing through Newton, Kansas

American Indian sorority recruits downtown for first time

Native American Flutist R. Carlos Nakai to Perform with Fellow Canyon Records Artists

Gerard Tsonakwa featured presenter at Biosphere 2 in Oracle

Kalyn Free speaks at democratic meeting

Red Drum Women Society Singers heal through the drum

Nominations for 2008 Eagle Awards Open

Pow wow: 'Honor the Youth'

Touring exhibition "People of the Plateau and the Plains: Native American Photography by Edward S. Curtis"

Legislature announces Folk Heritage and honors Native American artist

SPIRIT Parade celebrates culture, protests historical treatment

Native American Activists Walk 3,000 Miles

Powwow passes on Native culture

California Indian country

Native American, Indigenous Scholars Form New Interdisciplinary Association

Native Green Energy working with the Passamaquoddy tribe

Gathering of Nations in Albuquerque, April 24-26, 2008

Single tickets are available for $38 from the Scottsdale Center for the Performing Arts Web site at www.scottsdaleperformingarts.org or the box office at (480) 994-ARTS (2787).

Works of art from the Eugene B. Adkins Collection -- a private collections featuring the Taos artists as well as Native American art -- will open to the public March 7 at the Fred Jones Jr. Museum of Art on the University of Oklahoma campus.

More on the Adkins Collection

Jamestown, North Dakota Culture Festival is slated for Aug. 1-3.

Recent Books of Interest

American Indian Mafia

An FBI Agent's True Story about Wounded Knee, Leonard Peltier, and the American Indian Movement (AIM)

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Kokopelli - Trickster - Hopi

Kokopelli is a fertility deity, usually depicted as a humpbacked flute player (often with a huge phallus and antenna-like protrusions on his head), who is worshipped by many Native American tribes in the Southwestern United States.

Like most fertility deities, Kokopelli presides over both childbirth and agriculture. He is also a trickster god.

Because of his influence over human sexuality, Kokopelli is often depicted with an inhumanly large phallus. Among the Ho-Chunk, this penis is detachable, and he sometimes leaves it in a river in order to have sex with girls who bathe there.

Among the Hopi, Kokopelli carries unborn children on his back and distributes them to women (for this reason, young girls are often deathly afraid of him). He often takes part in rituals relating to marriage, and Kokopelli himself is sometimes depicted with a consort, a woman called Kokopelli-mana by the Hohokam and Hopi.

Kokopelli also presides over the reproduction of game animals, and for this reason, he is often depicted with animal companions such as rams and deer. Other common creatures associated with him include sun-bathing animals such as snakes, or water-loving animals like lizards and insects. Because of this, some scholars believe that Kokopelli's flute is actually a blowgun (or started out as one), but this is a minority opinion.

In his domain over agriculture, Kokopelli's fluteplaying chases away the Winter and brings about Spring. Many tribes, such as the Zuni, also associate Kokopelli with the rains. He frequently appears with Paiyatamu, another flautist, in depictions of maize-grinding ceremonies. Some tribes say he carries seeds and babies on his back.

Origins and Development

Kokopelli has been worshipped since at least the time of the Ancient Pueblo Peoples. The first known images of him appear on Hohokam pottery dated to sometime between AD 750 and AD 850.

Kokopelli may have originally been a representation of ancient Aztec traders, known as pochtechas, who traveled to the Southwest from Mexico. Such traders brought their goods in sacks slung across their backs, and this sack may have evolved into Kokopelli's familiar hump (in fact, many tribes make Kokopelli a trader in this way). These men also used flutes to announce themselves as friendly as they approached a settlement. This origin is still in doubt, however, since the first known images of Kokopelli predate the major era of Aztek-Anasazi trade by several hundred years.

Another theory is that Kokopelli is actually an anthropomorphic insect. Many of the earliest depictions of Kokopelli make him very insect-like in appearance. The name "Kokopelli" may be a combination of "Koko", another Hopi and Zuni deity, and "pelli", the Hopi and Zuni word for the desert robber fly, an insect with a prominent proboscis and a rounded back, which is also noted for its zealous sexual proclivities. A more recent etymology is that Kokopelli means literally "kachina hump".

Because the Hopi were the tribe from whom the Spanish explorers first learned of the god, their name is the one most commonly used.

Kokopelli is one of the most easily recognized figures found in the petroglyphs and pictographs of the Southwest. The earliest known petroglyph of the figure dates to about A.D. 1000. Kokopelli was one of several kachina dolls sold to tourists. The Spanish missionaries in the area convinced the Hopi craftsmen to omit the phallus from their representations of the figure. As with most kachina dolls, the Hopi Kokopelli was often represented by a human dancer. These dancers apparently had great fun with missionaries and tourists by making obscene and sexual gestures that the foreigners did not understand.

In recent years, the emasculated version of Kokopelli has been adopted as a broader symbol of the Southwestern United States as a whole. His image adorns countless tourist items such as T-shirts, ball caps, and keychains. A bicycle trail between Grand Junction, Colorado and Moab, Utah is now known as the Kokopelli Trail.

Kokopelli bears a passing resemblance to Bradshaw Paintings of North-est Australia (examples), which could be mere coincidence or sign of a common origin; some have suggested that ancient astronaut theories in the model of Erich von D䮩ken have attributed both to a common celestial source.

Blue Panther Keeper of Stories

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Zuni fetish updates from Amerindian Arts

Gibbs Othole, 4-3-2008, maw-sit-sit frog
Priscilla Lasiloo, 3-27-2008, lapis, variscite, rhodocrosite, fluorite bears
Stewart Quandelacy, 3-27-2008, amber, chrysocholla, variscite, rhodocrosite, fluorite medicine bears
Chad Quandelacy, 3-26-2008, large rhodocrosite corn maiden
Ernie Mackel, 2-25-2008, various carvings
Chad Quandelacy, 2-11-2008, turquoise corn maidens
Stewart Quandelacy and Priscilla Lasiloo, 2-11-2008, Zuni medicine bear fetish pendants
Amanda Quandelacy and Ernie Mackel Earrings, 2-11-2008
Chad Quandelacy, 2-11-2008, Zuni fetish pendants
Sandra Quandelacy, 2-11-2008, Zuni fetish pendants
Lynn Quam, 2--2008, bears
Jeff Tsalabutie, 2-9-2008, lapis parrot, various others
Albert Eustace, 2-9-2008, various carvings here and more at Prophet's Rock
Gibbs Othole, 2-9-2008, corn maiden
Stewart Quandelacy, 2-9-2008, pipestone, malachite, turquoise medicine bears, old style eagles
Todd Westika, 1-08-2008, bears and buffaloes
Jeff Tsalabutie, 12-21-2007
Stewart Quandelacy, 12-21-2007
Gibbs Othole, 12-10-2007
Complete update at Prophet's Rock, numerous carvers
Andres Quandelacy, 10-20-2007, Zuni fetish necklaces

Native American language, cuisine, art fairs

noreply@blogger.com (Amerindian Arts) — Mon, 07 Apr 2008 19:10:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

'Legend of Timpanogos' dance performance

Art reveals history-Five Civilized Tribes Museum Art Under the Oaks Art Show

'Pocahontas' star Irene Bedard delights crowd at Schaumburg gallery

Henry Roe Cloud’s legacy inspires continued Native American spirit

Ancient carvings tell of life along the Susquehanna River

Native Americans celebrate first powwow in 10 years

NATIVE TONGUES- If They're Lost, Who Are We?

1st Annual Native Public Radio Art Auction, April 19, 2008

U. of Mich. program seeks to preserve Ojibwe native language

Eastern Shoshone Language to be Taught at UW

Native American Jewelry on Display at GIA

Native American Cuisine Program

Stomp dance celebrates American Indian culture

A salute to Native baseball players

One of the last of the Navajo Code Talkers receives medal

Butterfly: Miss Native American SUU claims crown

'The Original Patriots,' by Chag Lowry

Southwest Indian Art Fair breaks down barriers

More on the Adkins Collection

Jamestown, North Dakota Culture Festival is slated for Aug. 1-3.

Recent Books of Interest

American Indian Mafia

An FBI Agent's True Story about Wounded Knee, Leonard Peltier, and the American Indian Movement (AIM)

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

K[)U]T-O'-Yis – Blackfoot

Released 17 June 2004
Blackfoot Lodge Tales

Long ago, down where Two Medicine and Badger Creeks come together, there lived an old man. He had but one wife and two daughters. One day there came to his camp a young man who was very brave and a great hunter. The old man said: "Ah! I will have this young man to help me. I will give him my daughters for wives." So he gave him his daughters. He also gave this son-in-law all his wealth, keeping for himself only a little lodge, in which he lived with his old wife. The son-in-law lived in a lodge that was big and fine.

At first the son-in-law was very good to the old people. Whenever he killed anything, he gave them part of the meat, and furnished plenty of robes and skins for their bedding and clothing. But after a while he began to be very mean to them.

Now the son-in-law kept the buffalo hidden under a big log jam in the river. Whenever he wanted to kill anything, he would have the old man go to help him; and the old man would stamp on the log jam and frighten the buffalo, and when they ran out, the young man would shoot one or two, never killing wastefully. But often he gave the old people nothing to eat, and they were hungry all the time, and began to grow thin and weak.

One morning, the young man called his father-in-law to go down to the log jam and hunt with him. They started, and the young man killed a fat buffalo cow. Then he said to the old man, "Hurry back now, and tell your children to get the dogs and carry this meat home, then you can have something to eat." And the old man did as he had been ordered, thinking to himself: "Now, at last, my son-in-law has taken pity on me. He will give me part of this meat." When he returned with the dogs, they skinned the cow, cut up the meat and packed it on the dog travois, and went home. Then the young man had his wives unload it, and told his father-in-law to go home. He did not give him even a piece of liver. Neither would the older daughter give her parents anything to eat, but the younger took pity on the old people and stole a piece of meat, and when she got a chance threw it into the lodge to the old people. The son-in-law told his wives not to give the old people anything to eat. The only way they got food was when the younger woman would throw them a piece of meat unseen by her husband and sister.

Another morning, the son-in-law got up early, and went and kicked on the old man's lodge to wake him, and called him to get up and help him, to go and pound on the log jam to drive out the buffalo, so that he could kill some. When the old man pounded on the jam, a buffalo ran out, and the son-in-law shot it, but only wounded it. It ran away, but at last fell down and died. The old man followed it, and came to where it had lost a big clot of blood from its wound. When he came to where this clot of blood was lying on the ground, he stumbled and fell, and spilled his arrows out of his quiver; and while he was picking them up, he picked up also the clot of blood, and hid it in his quiver. "What are you picking up?" called out the son-in-law. "Nothing," said the old man; "I just fell down and spilled my arrows, and am putting them back." "Curse you, old man," said the son-in-law, "you are lazy and useless. Go back and tell your children to come with the dogs and get this dead buffalo." He also took away his bow and arrows from the old man.

The old man went home and told his daughters, and then went over to his own lodge, and said to his wife: "Hurry now, and put the kettle on the fire. I have brought home something from the butchering." "Ah!" said the old woman, "has our son-in-law been generous, and given us something nice?" "No," answered the old man; "hurry up and put the kettle on." When the water began to boil, the old man tipped his quiver up over the kettle, and immediately there came from the pot a noise as of a child crying, as if it were being hurt, burnt or scalded. They looked in the kettle, and saw there a little boy, and they quickly took it out of the water. They were very much surprised. The old woman made a lashing to put the child in, and then they talked about it. They decided that if the son-in-law knew that it was a boy, he would kill it, so they resolved to tell their daughters that the baby was a girl. Then he would be glad, for he would think that after a while he would have it for a wife. They named the child K[)u]t-o'-yis (Clot of Blood).

The son-in-law and his wives came home, and after a while he heard the child crying. He told his youngest wife to go and find out whether that baby was a boy or a girl; if it was a boy, to tell them to kill it. She came back and told them that it was a girl. He did not believe this, and sent his oldest wife to find out the truth of the matter. When she came back and told him the same thing, he believed that it was really a girl. Then he was glad, for he thought that when the child had grown up he would have another wife. He said to his youngest wife, "Take some pemmican over to your mother; not much, just enough so that there will be plenty of milk for the child."

Now on the fourth day the child spoke, and said, "Lash me in turn to each one of these lodge poles, and when I get to the last one, I will fall out of my lashing and be grown up." The old woman did so, and as she lashed him to each lodge pole he could be seen to grow, and finally when they lashed him to the last pole, he was a man. After K[)u]t-o'-yis had looked about the inside of the lodge, he looked out through a hole in the lodge covering, and then, turning round, he said to the old people: "How is it there is nothing to eat in this lodge? I see plenty of food over by the other lodge." "Hush up," said the old woman, "you will be heard. That is our son-in-law. He does not give us anything at all to eat." "Well," said K[)u]t-o'-yis, "where is your pis'kun?" The old woman said, "It is down by the river. We pound on it and the buffalo come out."

Then the old man told him how his son-in-law abused him. "He has taken my weapons from me, and even my dogs; and for many days we have had nothing to eat, except now and then a small piece of meat our daughter steals for us."

"Father," said K[)u]t-o'-yis, "have you no arrows?" "No, my son," he replied; "but I have yet four stone points."

"Go out then and get some wood," said K[)u]t-o'-yis. "We will make a bow and arrows. In the morning we will go down and kill something to eat."

Early in the morning K[)u]t-o'-yis woke the old man, and said, "Come, we will go down now and kill when the buffalo come out." When they had reached the river, the old man said: "Here is the place to stand and shoot. I will go down and drive them out." As he pounded on the jam, a fat cow ran out, and K[)u]t-o'-yis killed it.

Meantime the son-in-law had gone out, and as usual knocked on the old man's lodge, and called to him to get up and go down to help him kill. The old woman called to him that her husband had already gone down. This made the son-in-law very angry. He said: "I have a good mind to kill you right now, old woman. I guess I will by and by."

The son-in-law went on down to the jam, and as he drew near, he saw the old man bending over, skinning a buffalo. "Old man," said he, "stand up and look all around you. Look well, for it will be your last look." Now when he had seen the son-in-law coming, K[)u]t-o'-yis had lain down and hidden himself behind the buffalo's carcass. He told the old man to say to his son-in-law, "You had better take your last look, for I am going to kill you, right now." The old man said this. "Ah!" said the son-in-law, "you make me angrier still, by talking back to me." He put an arrow to his bow and shot at the old man, but did not hit him. K[)u]t-o'-yis told the old man to pick up the arrow and shoot it back at him, and he did so. Now they shot at each other four times, and then the old man said to K[)u]t-o'-yis: "I am afraid now. Get up and help me." So K[)u]t-o'-yis got up on his feet and said: "Here, what are you doing? I think you have been badly treating this old man for a long time."

Then the son-in-law smiled pleasantly, for he was afraid of K[)u]t-o'-yis. "Oh, no," he said, "no one thinks more of this old man than I do. I have always taken great pity on him."

Then K[)u]t-o'-yis said: "You lie. I am going to kill you now." He shot him four times, and the man died. Then K[)u]t-o'-yis told the old man to go and bring down the daughter who had acted badly toward him. He did so, and K[)u]t-o'-yis killed her. Then he went up to the lodges and said to the younger woman, "Perhaps you loved your husband." "Yes," she said, "I love him." So he killed her, too. Then he said to the old people: "Go over there now, and live in that lodge. There is plenty there to eat, and when it is gone I will kill more. As for myself, I will make a journey around about. Where are there any people? In what direction?" "Well," said the old man, "up above here on Badger Creek and Two Medicine, where the pis'kun is, there are some people."

K[)u]t-o'-yis went up to where the pis'kun was, and saw there many lodges of people. In the centre of the camp was a large lodge, with a figure of a bear painted on it. He did not go into this lodge, but went into a very small one near by, where two old women lived; and when he went in, he asked them for something to eat. They set before him some lean dried meat and some belly fat. "How is this?" he asked. "Here is a pis'kun with plenty of fat meat and back fat. Why do you not give me some of that?" "Hush," said the old women. "In that big lodge near by, lives a big bear and his wives and children. He takes all those nice things and leaves us nothing. He is the chief of this place."

Early in the morning, K[)u]t-o'-yis told the old women to get their dog travois, and harness it, and go over to the pis'kun, and that he was going to kill for them some fat meat. He reached there just about the time the buffalo were being driven in, and shot a cow, which looked very scabby, but was really very fat. Then he helped the old women to butcher, and when they had taken the meat to camp, he said to them, "Now take all the choice fat pieces, and hang them up so that those who live in the bear lodge will notice them."

They did this, and pretty soon the old chief bear said to his children: "Go out now, and look around. The people have finished killing by this time. See where the nicest pieces are, and bring in some nice back fat." A young bear went out of the lodge, stood up and looked around, and when it saw this meat close by, at the old women's lodge, it went over and began to pull it down. "Hold on there," said K[)u]t-o'-yis. "What are you doing here, taking the old women's meat?" and he hit him over the head with a stick that he had. The young bear ran home crying, and said to his father, "A young man has hit me on the head." Then all the bears, the father and mother, and uncles and aunts, and all the relations, were very angry, and all rushed out toward the old women's lodge.

K[)u]t-o'-yis killed them all, except one little child bear, a female, which escaped. "Well," said K[)u]t-o'-yis, "you can go and breed bears, so there will be more."

Then said K[)u]t-o'-yis to the old women: "Now, grand-mothers, where are there any more people? I want to travel around and see them." The old women said: "The nearest ones are at the point of rocks (on Sun River). There is a pis'kun there." So K[)u]t-o'-yis traveled off toward this place, and when he reached the camp, he entered an old woman's lodge.

The old woman set before him a plate of bad food. "How is this?" he asked. "Have you nothing better than this to set before a stranger? You have a pis'kun down there, and must get plenty of fat meat. Give me some pemmican." "We cannot do that," the old woman replied, "because there is a big snake here, who is chief of the camp. He not only takes the best pieces, but often he eats a handsome young woman, when he sees one." When K[)u]t-o'-yis heard this he was angry, and went over and entered the snake's lodge. The women were cooking up some sarvis berries. He picked up the dish, and ate the berries, and threw the dish out of the door. Then he went over to where the snake was lying asleep, pricked him with his knife, and said: "Here, get up. I have come to see you." This made the snake angry. He partly raised himself up and began to rattle, when K[)u]t-o'-yis cut him into pieces with his knife. Then he turned around and killed all his wives and children, except one little female snake, which escaped by crawling into a crack in the rocks. "Oh, well," said K[)u]t-o'-yis, "you can go and breed young snakes, so there will be more. The people will not be afraid of little snakes." K[)u]t-o'-yis said to the old woman, "Now you go into this snake's lodge and take it for yourself, and everything that is in it."

Then he asked them where there were some more people. They told him that there were some people down the river, and some up in the mountains. But they said: "Do not go there, for it is bad, because Ai-sin'-o-ko-ki (Wind Sucker) lives there. He will kill you." It pleased K[)u]t-o'-yis to know that there was such a person, and he went to the mountains. When he got to the place where Wind Sucker lived, he looked into his mouth, and could see many dead people there, some skeletons and some just dead. He went in, and there he saw a fearful sight. The ground was white as snow with the bones of those who had died. There were bodies with flesh on them; some were just dead, and some still living. He spoke to a living person, and asked, "What is that hanging down above us?" The person answered that it was Wind Sucker's heart. Then said K[)u]t-o'-yis: "You who still draw a little breath, try to shake your heads (in time to the song), and those who are still able to move, get up and dance. Take courage now, we are going to have the ghost dance." So K[)u]t-o'-yis bound his knife, point upward, to the top of his head and began to dance, singing the ghost song, and all the others danced with him; and as he danced up and down, the point of the knife cut Wind Sucker's heart and killed him. K[)u]t-o'-yis took his knife and cut through Wind Sucker's ribs, and freed those who were able to crawl out, and said to those who could still travel to go and tell their people that they should come here for the ones who were still alive but unable to walk.

Then he asked some of these people: "Where are there any other people? I want to visit all the people." They said to him: "There is a camp to the westward up the river, but you must not take the left-hand trail going up, because on that trail lives a woman, a handsome woman, who invites men to wrestle with her and then kills them. You must avoid her." This was what K[)u]t-o'-yis was looking for. This was his business in the world, to kill off all the bad things. So he asked the people just where this woman lived, and asked where it was best to go to avoid her. He did this, because he did not wish the people to know that he wanted to meet her.

He started on his way, and at length saw this woman standing by the trail. She called out to him, "Come here, young man, come here; I want to wrestle with you." "No," replied the young man, "I am in a hurry. I cannot stop." But the woman called again, "No, no, come now and wrestle once with me." When she had called him four times, K[)u]t-o'-yis went up to her. Now on the ground, where this woman wrestled with people, she had placed many broken and sharp flints, partly hiding them by the grass. They seized each other, and began to wrestle over these broken flints, but K[)u]t-o'-yis looked at the ground and did not step on them. He watched his chance, and suddenly gave the woman a wrench, and threw her down on a large sharp flint, which cut her in two; and the parts of her body fell asunder.

Then K[)u]t-o'-yis went on, and after a while came to where a woman kept a sliding place; and at the far end of it there was a rope, which would trip people up, and when they were tripped, they would fall over a high cliff into deep water, where a great fish would eat them. When this woman saw him coming, she cried out, "Come over here, young man, and slide with me." "No," he replied, "I am in a hurry." She kept calling him, and when she had called the fourth time, he went over to slide with her. "This sliding," said the woman, "is a very pleasant pastime." "Ah!" said K[)u]t-o'-yis, "I will look at it." He looked at the place, and, looking carefully, he saw the hidden rope. So he started to slide, and took out his knife, and when he reached the rope, which the woman had raised, he cut it, and when it parted, the woman fell over backward into the water, and was eaten up by the big fish.

Again he went on, and after a while he came to a big camp. This was the place of a man-eater. K[)u]t-o'-yis called a little girl he saw near by, and said to her: "Child, I am going into that lodge to let that man-eater kill and eat me. Watch close, therefore, and when you can get hold of one of my bones, take it out and call all the dogs, and when they have all come up to you, throw it down and cry out, 'K[)u]t-o'-yis, the dogs are eating your bones!'"

Then K[)u]t-o'-yis entered the lodge, and when the man-eater saw him, he cried out, "O'ki, O'ki," and seemed glad to see him, for he was a fat young man. The man-eater took a large knife, and went up to K[)u]t-o'-yis, and cut his throat, and put him into a great stone kettle to cook. When the meat was cooked, he drew the kettle from the fire, and ate the body, limb by limb, until it was all eaten up.

Then the little girl, who was watching, came up to him, and said, "Pity me, man-eater, my mother is hungry and asks you for those bones." So the old man bunched them up together and handed them to her. She took them out, and called all the dogs to her, and threw the bones down to the dogs, crying out, "Look out, K[)u]t-o'-yis; the dogs are eating you!" and when she said that, K[)u]t-o'-yis arose from the pile of bones.

Again he went into the lodge, and when the man-eater saw him, he cried out, "How, how, how! the fat young man has survived," and seemed surprised. Again he took his knife and cut K[)u]t-o'-yis' throat, and threw him into the kettle. Again, when the meat was cooked, he ate it up, and again the little girl asked for the bones, which he gave her; and, taking them out, she threw them to the dogs, crying, "K[)u]t-o'-yis, the dogs are eating you!" and K[)u]t-o'-yis again arose from the bones.

When the man-eater had cooked him four times, he again went into the lodge, and, seizing the man-eater, he threw him into the boiling kettle, and his wives and children too, and boiled them to death.

The man-eater was the seventh and last of the bad animals and people who were destroyed by K[)u]t-o'-yis.

Blackfoot lodge tales; Grinnell, George Bird, New York, C. Scribner's sons, 1903, and is now in the public domain.

Blue Panther Keeper of Stories

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Zuni fetish updates from Amerindian Arts

Gibbs Othole, 4-3-2008, maw-sit-sit frog
Priscilla Lasiloo, 3-27-2008, lapis, variscite, rhodocrosite, fluorite bears
Stewart Quandelacy, 3-27-2008, amber, chrysocholla, variscite, rhodocrosite, fluorite medicine bears
Chad Quandelacy, 3-26-2008, large rhodocrosite corn maiden
Ernie Mackel, 2-25-2008, various carvings
Chad Quandelacy, 2-11-2008, turquoise corn maidens
Stewart Quandelacy and Priscilla Lasiloo, 2-11-2008, Zuni medicine bear fetish pendants
Amanda Quandelacy and Ernie Mackel Earrings, 2-11-2008
Chad Quandelacy, 2-11-2008, Zuni fetish pendants
Sandra Quandelacy, 2-11-2008, Zuni fetish pendants
Lynn Quam, 2--2008, bears
Jeff Tsalabutie, 2-9-2008, lapis parrot, various others
Albert Eustace, 2-9-2008, various carvings here and more at Prophet's Rock
Gibbs Othole, 2-9-2008, corn maiden
Stewart Quandelacy, 2-9-2008, pipestone, malachite, turquoise medicine bears, old style eagles
Todd Westika, 1-08-2008, bears and buffaloes
Jeff Tsalabutie, 12-21-2007
Stewart Quandelacy, 12-21-2007
Gibbs Othole, 12-10-2007
Complete update at Prophet's Rock, numerous carvers
Andres Quandelacy, 10-20-2007, Zuni fetish necklaces

Know what you're buying with Indian crafts, JoAnne Bird, Women's leadership conference

noreply@blogger.com (Amerindian Arts) — Sat, 15 Mar 2008 17:22:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

The Eye Of An Artist- JoAnne Bird

2nd celebration of Indian artists

Native American Center breaking new grounds

From the bottom of the education barrel

Mary Kay Hall was a friend of Jacobson House

Congress working on apology to Indians

Plans for American Indian center at Central Wyoming College advance

Indian life depicted at Nanticoke Museum

Hopi woman is first American Indian on Az regents board

Grammy Award-Winning Musician To Give March 19 Talk In Boulder

Women's leadership conference to bring female tribal leaders together

Exhibition features early Native American art and images

American Indian Pow Wow kicks up celebrational sand at The Beach

Cal State pow-wow

Willamette Social Powwow honors tribe member

Know what you're buying with Indian crafts

Osage Nation chief earns American Indian Tribal Leadership Award

Mike Williams, member of the Fallon Paiute-Shoshone Tribe, is being recognized for excellence in folk and traditional arts

Library to feature month-long series exploring American Indian culture

Indigenous cultures to converge in festival at Peabody Essex

Pawnee professor named first Gipp Scholar at Haskell

More on the Adkins Collection

SCOTTSDALE - The sixth season of Native Trails kicked off a 4-month series of free entertainment and Native American culture Tuesday at Scottsdale's Civic Center Mall. Through April 5th, 2008
Details

Jamestown, North Dakota Culture Festival is slated for Aug. 1-3.

Recent Books of Interest

American Indian Mafia

An FBI Agent's True Story about Wounded Knee, Leonard Peltier, and the American Indian Movement (AIM)

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Keepers of Light - Squaxin

A long time back, back when du'kWibahL had finished creating all the animals, he noticed different ones were complaining about how dark it was. There was no light - just darkness! So du'kWibahL decided he would create light. After he had done this some complained that it was too bright and too hot, so he started looking around for someone to take the light up to the Sky World. He had to find just the right one because whoever he chose had to be able to fly very fast, and had to be very strong. Well some time passed and he came to Raven, and he watched him for a long while. He saw that he was both strong and fast. So du'kWibahL asked Raven if he would take the light and place it in the sky. Raven was honored, and told du'kWibahL that he would be happy to do this for him.

When Crane heard about this he was jealous. He decided to follow Raven and try to take the light from him so that he would be the hero who would place the light in the sky.

Just then, Raven picked up the light and made ready to fly. Crane said, "I will fly with you so you won't be lonely or afraid." Everyone heard him say this, and knew that Crane would not be able to keep up with Raven because Crane was a little chubby boy! But this didn't stop Crane, and they took off together.

After they got up in the air and were flying for a while, Crane decided to try to take the light from Raven. Every time he tried to take the light he could grab only a small piece , so he spat it out and let it drop in the water. Just before Raven placed the light in the sky Crane's feet got caught on a mountain, but he was flying so fast he didn't realize this. He just kept on flying, not knowing that he wasn't going anywhere and his body was stretching out. All of a sudden his feet were free and he was able to fly very fast! But it was too late ... Raven had already placed the light where du'kWibahL wanted it.

They flew back to du'kWibahL.

Later that day du'kWibahL was walking around checking on how everyone was doing. He came to Crane, who was just sitting by the water, looking very sad. du'kWibahL asked him what was wrong and Crane told him he had really wanted to put the light in the sky. du'kWibahL, being the wise man that he was, decided to make another ball of light and ask Crane to be the one to place it in the sky. This made Crane very happy! He flew up and put it right where du'kWibahL wanted it, then he returned and tolddu'kWibahL that it was done. du'kWibahL was very pleased - but there was still one more thing left to do: he needed someone to gather up all the pieces of light that had been dropped into the water.

When everyone gathered around they noticed that Loon had little pieces of light all over his back. du'kWibahL asked Loon how far down into the water he could dive. "Very far," said Loon, "I am a great diver!" So du'kWibahL asked Loon to go down and gather all the light in the water and bring it to him. And Loon did this.

As Loon was flying back to du'kWibahL some of the light pieces fell of his back and were flying through the area. du'kWibahL thought this was very beautiful, and he gave Loon some more and had him fly all over the sky. Then, when everyone had returned and were gathered around du'kWibahL, he explained these things:

Raven's light would be known as Sun, and would rule the day.

Crane's light would be known as Moon, and would rule the night.

Loon's lights would be known as Stars, and would provide directions to travel by at night.

du'kWibahL was very pleaesd with what he had created, and so was everyone else. And today the Keepers of Light still fly around, making sure that everything is just as it should be.

(Squaxin Island, Pacific Northwest)

Blue Panther Keeper of Stories

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Zuni fetish updates from Amerindian Arts

Chad Quandelacy, 2-11-2008, turquoise corn maidens
Stewart Quandelacy and Priscilla Lasiloo, 2-11-2008, Zuni medicine bear fetish pendants
Amanda Quandelacy and Ernie Mackel Earrings, 2-11-2008
Chad Quandelacy, 2-11-2008, Zuni fetish pendants
Sandra Quandelacy, 2-11-2008, Zuni fetish pendants
Lynn Quam, 2--2008, bears
Jeff Tsalabutie, 2-9-2008, lapis parrot, various others
Albert Eustace, 2-9-2008, various carvings here and more at Prophet's Rock
Gibbs Othole, 2-9-2008, corn maiden
Stewart Quandelacy, 2-9-2008, pipestone, malachite, turquoise medicine bears, old style eagles
Todd Westika, 1-08-2008, bears and buffaloes
Jeff Tsalabutie, 12-21-2007
Stewart Quandelacy, 12-21-2007
Gibbs Othole, 12-10-2007
Complete update at Prophet's Rock, numerous carvers
Andres Quandelacy, 10-20-2007, Zuni fetish necklaces

R C Gorman- Artexpo New York Hall of Fame Inductee, Cherokee tear dresses, First female Cherokee leader to headline Purdue’s Project Respect

noreply@blogger.com (Amerindian Arts) — Tue, 12 Feb 2008 19:32:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

Museum of Northern Arizona Announces Native American Festivals

New site proposed for Rapid City powwow grounds

R C Gorman- Artexpo New York Hall of Fame Inductee

Was Museum Director W. Richard West Jr. Treated Fairly?

20th annual Grossmont College Pow-Wow

Letting the paint speak

American Indian pageant returns

Tucson Museum of Art hosts the creative spirit

Art contest and powwow combat tobacco use

First female Cherokee leader to headline Purdue’s Project Respect

22nd annual Tulsa Indian Art Festival

Native American art at the Metropolitan Museum of Art.

San Francisco State To Become Third California University To Offer Bachelor's in American Indian Studies

Funding sought to preserve native languages

Nations Native American Dance Theater performs

Cherokee tear dresses, a passion

Local Native American art show opens Saturday

Art Review: James Lavadour at Hallie Ford

Exhibit: Color it turquoise

SCOTTSDALE - The sixth season of Native Trails kicked off a 4-month series of free entertainment and Native American culture Tuesday at Scottsdale's Civic Center Mall. Through April 5th, 2008
Details

Jamestown, North Dakota Culture Festival is slated for Aug. 1-3.

Recent Books of Interest

American Indian Mafia

An FBI Agent's True Story about Wounded Knee, Leonard Peltier, and the American Indian Movement (AIM)

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

The Jicarilla genesis - Apache / Jicarilla

In the beginning the earth was covered with water, and all living things were below in the underworld. Then people could talk, the animals could talk, the trees could talk, and the rocks could talk. It was dark in the underworld, and eagle plumes were used for torches. The people and the animals that go about by day wanted more light, but the night animals - the bear, the panther, and the owl - wanted darkness. After a long argument they agreed to play the thimble-and-button game, and if the day animals won there would be light, but if the night animals won it would always be dark. The game began. The magpie and the quail, who love the light and have sharp eyes, watched until they could see the button through the thin wood of the hollow stick that served as a thimble. This told the people where the button was, and in the first round, the people won. The morning star came out and the black bear ran and hid in the darkness. They played again, and the people won. It grew bright in the east and the brown bear ran and hid in a dark place. They played a third time, and the people won. It grew brighter in the east and the mountain lion slunk away into the darkness. They played a fourth time, and again the people won. The sun came up in the east, and it was day, and the owl flew away and hid. Even though it was light now, the people still didn't see much because they were underground. But the sun was high enough to look through a hole and discover that there was another world - this earth. He told the people, and they all wanted to go up there. They built four mounds to help them reach the upper world. In the east they mounded the soil and planted it with all kinds of fruits and berries that were colored black. In the south they heaped up another mound and planted all kinds of fruits that were blue. In the west they built a mound that they planted with yellow fruits. In the north they planted the mound with fruits of variegated colors. The mounds grew into mountains and the bushes blossomed, fruited, and produced ripened berries. One day two girls climbed up to pick berries and gather flowers to tie in their hair. Suddenly the mountains stopped growing. The people wondered, and they sent Tornado to learn the cause. Tornado went everywhere and went into every corner, and at last he found the two girls and brought them back to their people. But the mountains did not grow anymore, and this is why a boy stops growing when he goes with a woman for the first time. If he never did, he would continue to grow taller.

The mountains had stopped growing while their tops were still a long way from the upper world. So the people tried laying feathers crosswise to make a ladder, but the feathers broke under weight. The people made a second ladder of larger feathers, but again they were too weak. They made a third ladder of eagle feathers, but even these would not bear much weight. Then a buffalo came and offered his right horn, and three others also contributed their right horns. The horns were strong and straight, and with them the people were able to climb up through the hole to the surface of the earth. But the weight of all those humans bent the buffalo horns, which have been curved ever since.

Now the people fastened the sun and the moon with spider threads so that they could not get away, and sent them up into the sky to give light. And since water covered the whole earth, four storms went to roll the waters away. The black storm blew to the east and rolled up the waters into the eastern ocean. The blue storm blew to the south and rolled up the waters in that direction. The yellow storm rolled up the waters in the west, and the varicolored storm went to the north and rolled up the waters there. So the tempests formed the four oceans in the east, the south, the west, and the north. Having rolled up the waters, the storms returned to where the people were waiting, grouped around the mouth of the hole. The Polecat first went out, when the ground was still soft, and his legs sank in the black mud and have been black ever since. They sent the Tornado to bring him back, because it wasn't time. The badger went out, but he too sank in the mud and got black legs, and Tornado called him back. Then the beaver went out, walking through the mud and swimming through the water, and at once began to build a dam to save the water still remaining in pools. When he did not return, Tornado found him and asked why he had not come back. "Because I wanted to save the water for the people to drink," said the beaver. "Good," said Tornado, and they went back together. Again the people waited, until at last they sent out the gray crow to see if the time had come. The crow found the earth dry, and many dead frogs, fish, and reptiles lying on the ground. He began picking out their eyes and did not return until Tornado was sent after him. The people were angry when they found he had been eating carrion, and they changed his color to black. But now the earth was all dry, except for the four oceans and the lake in the center, where the beaver had dammed up the waters. All the people came up. They traveled east until they arrived at the ocean; then they turned south until they came again to the ocean; then they went west to the ocean, and then they turned north. And as they went, each tribe stopped where it wanted to. But the Jicarillas continued to circle around the hole where they had come up from the underworld. Three times they went around it, when the Ruler became displeased and asked them where they wished to stop. They said, "In the middle of the earth." So he led them to a place very near Taos and left them, and there near the Taos Indians, the Jicarillas made their home.

- Based on a tale reported by James Mooney in the 1890s

Blue Panther Keeper of Stories

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Zuni fetish updates from Amerindian Arts

Chad Quandelacy, 2-11-2008, turquoise corn maidens
Stewart Quandelacy and Priscilla Lasiloo, 2-11-2008, Zuni medicine bear fetish pendants
Amanda Quandelacy and Ernie Mackel Earrings, 2-11-2008
Chad Quandelacy, 2-11-2008, Zuni fetish pendants
Sandra Quandelacy, 2-11-2008, Zuni fetish pendants
Lynn Quam, 2--2008, bears
Jeff Tsalabutie, 2-9-2008, lapis parrot, various others
Albert Eustace, 2-9-2008, various carvings here and more at Prophet's Rock
Gibbs Othole, 2-9-2008, corn maiden
Stewart Quandelacy, 2-9-2008, pipestone, malachite, turquoise medicine bears, old style eagles
Todd Westika, 1-08-2008, bears and buffaloes
Jeff Tsalabutie, 12-21-2007
Stewart Quandelacy, 12-21-2007
Gibbs Othole, 12-10-2007
Complete update at Prophet's Rock, numerous carvers
Andres Quandelacy, 10-20-2007, Zuni fetish necklaces

White Buffalo calf born, Branigan exhibit features World War II heroes, Ledger art project

noreply@blogger.com (Amerindian Arts) — Tue, 15 Jan 2008 19:45:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

White Buffalo calf born to Cheyenne tribal member

Advocate for American Indian tribes is hosting a free small-business information seminar

Judge: Gorman estate case 'wholly inadequate'

Ledger art preserved by digitalization project

A code of honor: Branigan exhibit features World War II heroes

Ogopogo the Chameleon- N’ha-a-itk of Indian Myths

American Indian Mafia

Remains of 12,000 American Indians stored under UC Berkeley gym

Shan Gray says 21-story American Indian monument still planned

Patrice H. Kunesh appointed director of USD’s Institute of American Indian Studies

Crystal Frazier, subject of director Billy Luther's film "Miss Navajo,"

Native American art at the Metropolitan Museum of Art.

American Indian dancers broaden awareness of tribal cultures

The Delaware tribe still seeking official status

An exhibition of work by James Lavadour, a Native American painter and printmaker

Miccosukee Indian Village

Native American Jack Peel untwists history of Natives

Tohono O’odham open Village Trading Post

Remembering Native Americans Imprisoned at the St. Augustine Fort

Tim Ryan, environmental educator, teaches ways of his Native American ancestors

Culture by Momaday at the Rasmuson Theater

The sixth season of Native Trails kicks off at Scottsdale's Civic Center Mall

The Transformation of Native American artist Rick Bartow

Tribal groups call Indiana home

SCOTTSDALE - The sixth season of Native Trails kicked off a 4-month series of free entertainment and Native American culture Tuesday at Scottsdale's Civic Center Mall. Through April 5th, 2008
Details

Recent Books of Interest

American Indian Mafia

An FBI Agent's True Story about Wounded Knee, Leonard Peltier, and the American Indian Movement (AIM)

PORTLAND - Two January events at Portland Community College will provide entertainment and help to those in financial need.

The free 9th annual Portland Community College Traditional Winter Powwow (Wacipi), from 10 a.m. to 11 p.m. Saturday, Jan. 19, in the HT Building on the Sylvania Campus, 12000 SW 49th Ave., attracts more than 1,000 visitors each year, according to Crystal Rogers, student event coordinator and a member of the Tlingit Tribe in northwest Alaska.

For more information about the powwow, call the PCC Multicultural Center at 503-977-4112

MESA, AZ -- The Symphony of the Southwest (SSW) is excited to feature Native American Flutist Carlos Nakai and the Chuck Maronhic trio in the Made in the USA concert at the Ikeda Theater of the Mesa Arts Center, January 26, 2008 at 8:00 p.m. An All-American evening celebrates our country's rich musical tradition.
Tickets prices range from $45-$15 and are available through the Mesa Arts Center box office, www.mesaartscenter.com, 480-644-6500

Recent Books of Interest

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

Itsayaya and the Otter - Nez Perce

After Itsayaya, the coyote, had changed the animals, he went on down the great river. After a day of travel he came to a place where the river spread out and ran into a lake, the biggest lake he had ever seen.

This must be the lake my cousin told me about, he thought. I can't see the other shore. Well, I'm thirsty. Maybe I'll have a drink. And Itsayaya put his head down to drink. But when he tasted the water, hejumped back.

"What's this?" he shouted. "This is no lake, but some kind of poisoned water. It tastes bitter and salty. What a trick for my cousin to play on me! I came all this way to find a salty poisoned lake!" Of course, Itsayaya had come to the ocean, but since he had never seen the ocean be-fore, he didn't know that it contained salty water.

Suddenly the coyote felt very homesick for his own valleys and mountains and the beautiful meadow of Simini-kum, so he turned right around and started home. "I'll go back where the water is good," he said.

Itsayaya traveled for many days up the river, over hills, through the hot desert and over the Seven Devils, and at last came to the place where the roaring river Te-well-ka-koos and the clear Koos-koos-ki run together in the meadow of Siminikum. Then the coyote knew that he was home. He lay down in the shade of a huge pine tree and slept for two whole days and nights.

When Itsayaya awoke he was wonderfully refreshed. He stretched, shook himself, and trotted up the Koos-koos-ki to look for his family who had gone to camp beside Lapwai, the place of the butterflies. On his way he passed Hoonee, a great rock jutting out into the river. On this rock sat a family of little spotted dogs. Long long ago they had disobeyed the law of Simini-kum and chased the deer in the magic meadow. For this misdeed Itsayaya had called down his magic medicine and turned them to stone as they sat on the rock in the sun. You can see them there to this day.

As Itsayaya traveled up the river, he met a big salmon, who called to him from the water, "You, there, Itsayaya, I'm certainly glad you came home. We need your help."

"Good morning, Natsoh," said Itsayaya. "And what is the trouble?"

"Well, you see, Itsayaya, there is an old otter at the entrance to Yehyeh Creek. He lies on the bottom and every time some of us salmon start up the creek he grabs us and eats us. I've lost a number of my family to him in the past few days." Tears rolled down the old salmon's slippery cheeks as he spoke.

"I'll see what can be done," said Itsayaya. "You come with me, Natsoh, and we'll talk to this mean fellow."

"Very well," said the salmon. "Let's hurry before he eats another of my family."

So the salmon swam up the river and Itsayaya trotted along the bank. When they came to Yehyeh, the salmon swam up to the mouth of the little creek and said to the coyote, "Now watch and see what Kilosk, the otter, does."

Then Natsoh, the salmon, started up the little creek. Very suddenly Kilosk darted from the bottom, shouting as he came, "Just what do you think you're doing swimming up my stream, Natsoh?"

"Your stream? Ha!" said the salmon. "This stream be-longs to me and to all my brothers and sisters. We were born here."

"Don't go up that creek, Natsoh!" said Kilosk, the otter. "This water is warm and will be bad for you. Be-sides, if you try it, I shall eat you."

Now Itsayaya, the coyote, had hidden himself behind a big boulder so that he could see and hear what was happening. He stepped out and said in his sternest tones, That will be quite enough, Kilosk. I heard you threatening Natsoh. That is not the way to treat anyone, especially close neighbors like the salmon."

Kilosk was frightened and surprised to see the great king of Simmikum on the little stream Yehyeh. He stammered in embarrassment, "I-I-was only fooling The salmon may use the creek. I won't bother them again "

"Fooling? How silly!" said Natsoh. "You are lying Kilosk, because you are afraid of what Itsayaya with his magic medicine might do to you." Kilosk, the otter, made no reply.

Then Itsayaya, the coyote, waved his paws and called down his magic medicine. "There must be justice for all my subjects," he said. "I shall turn you, Kilosk, into a stone so that you can no longer harm the salmon." And the otter became a stone. You can see him still, sitting by the little stream, a useless guard to keep the salmon from swimming up Yehyeh.

Taken from Tales of the Nimipoo - From the Land of the Nez Perce Indians, Eleanor B. Heady, 1969

Blue Panther Keeper of Stories

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Zuni fetish updates from Amerindian Arts

Todd Westika, 1-08-2008, bears and buffaloes
Jeff Tsalabutie, 12-21-2007
Stewart Quandelacy, 12-21-2007
Gibbs Othole, 12-10-2007
Complete update at Prophet's Rock, numerous carvers
Andres Quandelacy, 10-20-2007, Zuni fetish necklaces

Dallin Maybee- children's books inspired by ledger art, Biography Acee Blue Eagle

noreply@blogger.com (Amerindian Arts) — Sun, 30 Dec 2007 17:51:00 +0000

Native American arts daily news, presented by
amerindianarts.us

Headlines, exhibits, powwows listed below: (access past headline archives for 2004-2006 here)

Arts and crafts taught at Indian Skills Workshop

Native American Abstract Expressionist Artist Joe Maktima

Blue Winds Dancing: The Whitecloud Collection of Native American Art

Apache language-Second in five-part series

Native-carved poles will adorn Tulalip Tribes' new hotel

Salute to pioneers in Native American journalism: Tim Giago, Elizabeth Gray, Amanda Takes War Bonnet, Avis Little Eagle

Protecting Native American Languages and Culture

"Broken Promises"-the movie

Governor's Heritage Award goes to S'Klallam elder

Floyd Red Crow Westerman, actor, singer, dead at 71

Floyd Red Crow Westerman-'He was a survivor of everything that the government has tried to do to Native Americans.

New Biography examines life, works of Indian artist Acee Blue Eagle

History Tree honors native traditions

Native American Student Journalists Organize

Sanford to donate up to $5 million to Crazy Horse

UA anthropologist Emory Sekaquaptewa- Hopi’s “Noah Webster�?, Dies

Harjo: 2007 Mantle of Shame Awards

Browning captures essence of Native Americans

Dallin Maybee- children's books inspired by ledger art

The sounds of American Indian Rock Opera will fill the air as Brule and Airo bring their music to Council Bluffs

PORTLAND - Two January events at Portland Community College will provide entertainment and help to those in financial need.

For more information about the powwow, call the PCC Multicultural Center at 503-977-4112

A Kiowa's Odyssey: A sketchbook from Fort Marion, images by Etahdleuh Doanmoe, an American Indian who more than 125 years ago was taken from his home in Oklahoma and imprisoned in an Army fort in Florida along with 71 other Indians. The Trout Gallery, Dickinson College, Carlisle, PA. Runs until early 2008.

Recent Books of Interest

"Being Lakota", Book by Larissa Petrillo

"American Indian Nations: Yesterday, Today and Tomorrow", Book by George Horse Capture

How Tolba (turtle got his name) – Wabanaki

Well, plawinno (the slow one) was down near the river one day like he always was. But this day turtle saw several phahanamak wli (good looking young woman) near the water's edge without cloths as they were bathing. Plawinno thought, hola! These human woman are really attractive! Oh how I would like to "be" with them.

Just then crow was flying about and heard plawinno's desires. Crow said to plawinno, "hey slow one, I know how you can have your pleasure with those human woman". Eagerly, Plawinno responded; "How mkaza sibs (crow)". Crow answered "Well I will give you the power to detatch your weiner so that it will be able to swim across the sibo (river) and have your way with Phahanamak wli". "Wligen! (its good!)", responded plawinno.

At this point mkaza sibs detatched plawinno's weiner and it swam under water, and across the river, and the whole time plawinno could still feel everything! Plawinno thought that this was truly a wonderful skill! Plawinno was successful in pleasing himself with a couple of the confused phanamak wli. So after he was done, plawinno summoned his unit back to his body, and it was nearly half way back across the sibo when mkaza sibs swooped down and ate it right out of the water!!!

Plawinno could still feel everything, and he sqirmed with pain! Mkaza sibs kept his weiner in his stomach for a while then puked it back out at plawinno. In great pain plawinno then painfully struggled and sqirmed to fit his shriveled partially digested manhood back on in a real hurry! Finally plawinno succeeded in refitting it to his body.

After the pain subsided and poor plawinno rested he looked down to admire his member, when to his dismay he realized that it was all shrivled up and put on (Tolba) backwards!!!!! His weiner was backwards!

If you were to look at a turtle's male anatomy you would see that the penis does appear to be backwards. So the word Tolba refers to backwards. However, human people who belonged to Turtle lineage, (when clan systems were still really understood) were called Plawinnoak or the slow people. But Turtle was called Tolba.

As told by a Honored Grandfather

Blue Panther Keeper of Stories

Spokane artist George Flett, well kown for his depictions of ledger art, announcing forthcoming book "The Ledger Art of George Flett"

Po'pay, Leader of the First American Revolution, Clear Light Publishing, 2006, new book by Herman Agoyo (Ohkay Owingeh)

Zuni fetish updates from Amerindian Arts

Gibbs Othole, 12-10-2007
Complete update at Prophet's Rock, numerous carvers
Todd Westika, 10-20-2007, bears and buffaloes
Andres Quandelacy, 10-20-2007, Zuni fetish necklaces