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Posts Tagged ‘indigenous’

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Photo: Lex Talamo
Houma artist Lora Ann Chaisson works on palmetto stitch basketry at the Native American Crafts day at Northwestern University. Crafts using palmetto are threatened by climate change.

A recent interview conducted by Tegan Wendland on National Public Radio (NPR) provided new-to-me information on how climate change is jeopardizing an indigenous culture.

Lulu Garcia-Navarro introduced the story thus: “When storms like Hurricane Barry batter Louisiana’s coast and water replaces marshland, people move away. And that puts at risk a unique cultural mix — Europeans, Africans and Native Americans all living off Louisiana’s land and water. As Tegan Wendland of member station WWNO reports, the state is trying to preserve some of their traditions before they disappear.

“WENDLAND: Janie Luster walks through crunchy oak leaves in the humid Louisiana air to a stand of green palmetto in the shade. She reaches her arm deep down into the stems and starts hacking.

“JANIE LUSTER: Takes a sharp knife, pointed knife. And this is where you have to be careful, a little spider there. There’s also ants.

“WENDLAND: She pulls out a stem and unfolds it like a giant fan. … We’re in Houma, about an hour southwest of New Orleans. Luster will dry the leaves out and tear them into strips and use them to weave baskets — not just any basket — the Native American Houma half-hitch.

“LUSTER: We were the only tribe in the whole country to make this type of basket.

“WENDLAND: The art of the half-hitch has already been lost once before, generations ago, when tribal members were forced to assimilate. But Luster researched it and brought it back in the ’90s. Today, she’s brought a big stack of dried palmetto into a classroom in the offices of the United Houma Nation, where about 15 students of all ages are gathered around a table. … It’s a laborious process. It can take several days just to weave one basket. Pretty much everyone’s struggling. But 15-year-old Rhett Williams’ fingers dart fast. … He’s attended a few of these classes. Now his mom gets mad when she catches him weaving instead of doing his homework.

“RHETT: Growing up, you know, you’re not in touch with your elders. Now that I’m getting in more within the tribe and, like, learning culture and tradition, I’ve realized, like, I was, like, deprived of, like, the true tradition and culture.

“WENDLAND: Many in Williams’ family have moved north over the years, joining the exodus after every devastating coastal storm. Some areas have lost more than 40 percent of their population over the past several decades. Hurricanes and saltwater intrusion from rising seas are also killing off the palmetto and other plants sacred to the Houma. That worries Maida Owens, director of the Louisiana Folklife Program.

“MAIDA OWENS: When people move, you know, some things get left behind. And one of the things that frequently is left behind is something that relies on natural materials. … If it doesn’t move with the people, then the tradition may not continue.

“WENDLAND: The state estimates that thousands more will have to migrate as the coastal erodes. But Owens is happy to see that some young people, like Rhett Williams, are embracing these folk traditions.”

More at NPR here and at the Shreveport Times, here.

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Photo: WGBH Educational Foundation
In the PBS program
Molly of Denali, Alaska Native Molly Mabray helps her mom run a trading post in an Alaskan village.

In the old days, TV shows meant to educate children tended to be dry and clunky. Sesame Street began to move the bar, and now my grandkids and other children are learning a lot from shows that are fun, like Wild Kratts and the Octonauts. They amaze me with the facts they produce to correct my misperceptions about nature.

Now they are giving a thumbs up to a new show about indigenous people in Alaska.

Mandalit del Barco wrote about it at National Public Radio (NPR), “For decades, animated children’s stories included negative stereotypes of Indigenous people. …

“More recently, Disney and Pixar got kudos for more authentic representations of Native people in the films Moana and Coco. Now, TV networks and streaming services are reaching children with realistic portrayals on the small screen — where they consume most of their media.

“The new PBS show Molly of Denali is the first nationally distributed children’s series to feature an Alaska Native lead character. She’s 10 years old; her heritage is Gwich’in, Koyukon and Dena’ina Athabascan. She lives in the fictional village of Qyah, population 94. She goes fishing and hunting, and also looks up information on the Internet and on her smartphone.

“Molly is computer-savvy,’ says the show’s creative producer, Princess Daazhraii Johnson. ‘I think it’s really important for us to show that, because we are modern, living people that are not relegated to the past. That stereotype, that romanticized notion of who we are as Native people, is rampant.’

“Johnson says when she travels, she still meets people who assume all Alaskans live in igloos and are Eskimos — ‘which isn’t a term that people really even use anymore up here,’ she says. ‘We have 229 federally recognized tribes in Alaska; we have 20 officially recognized Alaska Native languages here. We are so diverse and dynamic.’ …

“In one episode, Molly learns that her grandfather stopped drumming and singing as a child when he was taken away to a Bureau of Indian Affairs boarding school. ‘At the school we weren’t allowed to sing the songs from our people,’ an elder tells her. ‘We were made to feel bad about who we were.’

“Johnson says this storyline really happened to one of the elders on the show’s advisory board. It’s a kid’s show, so it has a happy ending: Molly and her grandfather sing together.

” ‘We’re just over the moon about Molly of Denali, because this is exactly the type of thing that can really began to shift perceptions in this country,’ [Crystal Echo Hawk, CEO of the media watchdog group IllumiNative] says.

“Echo Hawk says that for years, Hollywood didn’t produce stories about or by Native people because it didn’t think a market existed for them. But that, she says, was shortsighted. Her organization polled more than 13,000 Americans, and found that nearly 80% of them said they want to learn more about Native peoples. …

“For several decades, the Australian and Canadian Broadcasting Corporations have spotlighted shows by and about their indigenous populations. Now, Netflix is partnering with three Indigenous cultural organizations to develop the next generation of First Nation creators across Canada.

“And in the U.S. and in Latin America, Netflix is running the animated film Pachamama. The story centers on a 10-year-old boy in an Andean village who dreams of becoming a shaman. His people suffer under both the Spanish conquest and the Incan Empire.

” ‘It’s told from the point of view of the Indigenous people,’ says Juan Antin, who wrote and directed the film. … Antin, who is from Argentina, says he was inspired by his travels with his anthropologist wife in Bolivia and Peru. ‘There, I fell in love with the culture of Pachamama, which is how the indigenous people call Mother Earth, having respect, love to the Earth,’ he says.

“The Cartoon Network series Victor and Valentino features two half-brothers in a fictitious Mesoamerican village, exploring myths that come to life. For example, they follow the dog Achi into the land of the dead, where they encounter a chupacabra and other legends.

“Animator Diego Molano, whose heritage is Mexican, Colombian and Cuban, … says it’s about time networks began showing cartoons with Indigenous characters and themes. He just hopes it’s not just a fad.”

More at NPR, here, and at the New York Times, here.

 

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Photo: Matt Barnes
Jeremy Dutcher is a First Nations tenor and pianist who is getting a lot of attention in Canada and beyond.

Bit by bit we’re all learning more about the people around us, people who may have very different lives and who in the past we knew nothing about. Even those we thought we knew well sometimes have lives that are veiled to us, as I learned this summer when our niece sent me her story, a heartbreaking tale of a childhood that I had only perceived on the surface. You just can’t know what is going on behind someone’s eyes.

Among the kinds of people I am learning more about are indigenous people, both in the United States and elsewhere. This story is about a young tenor who belongs to a Canadian tribe.

Jeff Kaliss writes at San Francisco Classical Voice, “Interviews with Jeremy Dutcher figure among the new demands on a Canadian First Nations (indigenous) singer-pianist who’s risen rapidly to international attention. The 28-year-old Toronto resident needs now and then to take a break from the clamor, to return to something like the pastoral pace of his raising in the Maritime province of New Brunswick, as a member of the Wolastoqiyik [pronounced Wuh-last-o-key-yik] tribe.

“I first witnessed Dutcher a year ago, at the Festival International de Jazz de Montréal, performing on piano and singing in his tribe’s native Wolastoq language (the word denotes ‘the beautiful river’; renamed by the colonizers of New Brunswick as the St. John), in the basement of a church, a beautiful historical landmark. He hadn’t yet won Canada’s prestigious Polaris Prize, nor its Grammy-equivalent Juno Awards. Both of these wins would recognize his debut self-produced album, Wolastoqiyik Lintuwakonawa, translated as Songs of the People of the Beautiful River. …

“Dutcher incorporates in his live and recorded music an unusual and affecting act of legacy, playing transcribed wax recordings from 1911 by an early anthropologist of a tribal elder singing and speaking, and following the melodies with his own heldentenor voice and mellifluous keyboard compositions. The method and quality of his approach derive from his training, including classical voice with Marcia Swanston at Dalhousie University in Halifax, Nova Scotia.

“Two semesters before completing his music degree, Dutcher enrolled in a class in Social Anthropology, and decided to stick around Dalhousie for an additional year, completing a second major and an honors thesis on the subject of Traditional Music in a Contemporary Moment: Musical Pan-Indigeneity as Revitalization in the Wabanaki Region. The region is a confederacy of five indigenous nations including the Wolastoq and extending across the current provinces of New Brunswick, Nova Scotia, Prince Edward Island, and Quebec, and the state of Maine. The thesis title took the form of a mission statement for Dutcher, who was led to the wax recordings by a living tribal elder, sweat lodge keeper, and First Nations ambassador, Maggie Paul.

“ ‘I made my way to Ottawa [the site of the Canadian Museum of History] and went down into the basement archives there and threw on some headphones and started a journey,’ Dutcher recalled for an NPR presentation last year.

“ ‘To not just hear the songs, but also to hear the background noise and to hear them laughing and telling jokes — there was a sense of entering into that space through these voices. And that was something that changed my life.’

“The Dalhousie anthropology faculty have declared in writing their admiration for where their alumnus has taken his education and his life. … ‘Dutcher honors intergenerational connections, his voice singing on with the voices of his elders … It disrupts widespread expectations of indigenous music as a thing of the past, and shows instead how it lives in the present, fully capable of working and remixing in contemporary idioms. This has a decolonizing effect, in that it unsettles public conceptions that all too often primordialize and essentialize indigenous art forms.’ ”

I love the idea of a decolonizing effect. I never thought about that — about not only promoting healthier relations between indigenous people and others going forward but actually starting to undo harm that was done in the past. How great if we could apply that idea to all kinds of wrongs the world has seen!

More at San Francisco Classical Voice, here.

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Photo: Portland (Maine) Museum of Art
The quilts of artist Gina Adams tell the tale of broken treaties.

Lately, I’ve been reading books that have given me a deeper, more disturbing understanding of American history. Of course I knew about slavery and broken Indian treaties and adventurism abroad, but I tended to slink away from knowing too many details. You can hide only so long. Two books I would recommend are the novel Underground Railroad and the history Ramp Hollow.

Artist Gina Adams found her metier in quilts about broken treaties. There are no shortage of those, she says. This article by Indian County Today recounts the evolution of her work “Broken Treaties Quilts.”

“Gina Adams’ journey to becoming a political artist began as she probed deeper into her Native roots. Trained as a painter and printmaker, Gina Adams made apolitical art for many years. …

“While studying the effects of post-Colonial trauma and assimilation at the University of Kansas, Adams identified feelings of remorse and grief in her own life, stemming from her Ojibwe-Lakota grandfather’s forced boarding at the Carlisle Indian Industrial School in Pennsylvania. Her art began to change.

“ ‘I realized how powerful it was to be able to speak about all of those feelings,’ said Adams, who lives in Longmont, Colorado. …

“ ‘Broken Treaties Quilts,’ involves sewing text from Indian treaties onto antique quilts. … Sewing the words of injustice, letter by letter, onto objects of comfort and beauty represents the turmoil that Indians have suffered. …

“Adams, 52, recently finished quilts about both the 1851 and 1868 Fort Laramie treaties, which she made in response to the Dakota Access Pipeline standoff at Standing Rock. She has made 18 quilts so far, and shown them from Maine to the Midwest. Wherever she shows her work, she makes a new quilt that’s relevant to the treaty history of that geographic area.

Her goal is to create a quilt for every U.S. state.

“There’s no shortage of broken treaties, she said, and all were populated with twisting, confusing language that purposefully misled people and subjected the treaties to misunderstanding and different interpretations.

“Adams has spent most of the past three years reading the treaties, word for word.

” ‘In cutting up these letters and reading and re-reading these treaties, you begin to realize how the language was meant to be confusing when they were written. They are still confusing today. They’re very duplicitous in their meaning,’ she said. ‘You can understand why the misunderstandings happened. …

“In Native cultures, the quilt transcends modern timekeeping. It’s been around forever, serving as a source of warmth and comfort, as well as a feeling of home and family. Quilting is also thoroughly American, she notes, and both the quilt and quilting bees symbolize community and the idea of working together. …

“Adams begins with antique quilts that she finds at flea markets and elsewhere. Many people also give them to her. She prefers quilts that are a century old or older, so they reflect the general vintage of the treaties she represents. …

“The process of making the quilts is time-consuming and labor intensive, and enjoyable, Adams said.

“ ‘It’s very contemplative. It’s very mindful,’ she said. ‘I so look forward to every single aspect of it, even when I am doing the detailed stitching on the quilt. It’s a really focused time. I am lost in my thoughts and just focusing on the work itself. I find it to be so rewarding.’

“Adams … descended from indigenous and colonial Americans. Her grandfather was Ojibwe and Lakota, and Adams has always identified with her Native roots. ‘I remember being 3 and 4 years old and going on hikes with my grandfather. He would talk to me and introduce me to plants and animals and things in nature in the Ojibwe language,’ she said. ‘He would tell me everything in Ojibwe and then translate it. It was a wonderful connecting point that stuck in my heart and soul and has been there my whole entire life.’

“Adams, who is not an enrolled tribal member, plans to take Ojibwe language classes this fall, to deepen her cultural immersion.”

Read about Adams’s quilting process here.

Hat tip: @WomensArt1 on twitter.

 

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Photo: Minot Daily News
Norma Baker-Flying Horse is owner of Red Berry Woman, a fashion designing business that was accepted into Paris Fashion Week.

Yesterday I mentioned that APiermanSister was a blogger whose writing I admired. She says she is shy, but as far as I can tell, one of her personal characteristics is fearlessness.

As a regular visitor to and connoisseur of Paris, she had always wanted to attend Fashion Week. In a recent post, she describes how she wrangled an invitation — finding a publication back in the US that would take an article and help to justify her admission to the show as a writer.

This is from Alison’s February Minot Daily News report on designer Red Berry Woman, an enrolled member of the Mandan Hidatsa Arikara (MHA) Nation and member of the Dakota Sioux and Assiniboine tribes.

“Norma Baker-Flying Horse has been having a whirlwind of fashion success.

“ ‘I recently had a dress walk the red carpet at the Grammy’s earlier this month and I’m also preparing to show in France,’ said Baker-Flying Horse of Mandaree, Oklahoma.

“Baker-Flying Horse said she will be the only Native American who will be showing in a show for the opening of Paris Fashion Week. …

“Baker-Flying Horse’s fashion line, Red Berry Woman, incorporates Native American traditional garment styles into contemporary couture garments for both men and women. She also creates different types of Native American traditional-style garments,’ according to her Red Berry Woman website at redberrywoman.com. …

“Baker-Flying Horse also was an invited designer for the international fashion showing in Vancouver, British Columbia, during Vancouver Fashion Week this past September.

“Another event in past months includes being the designer for a fashion show in Cornwall, Ontario, where actor Adam Beach was a guest. His wife, Summer, was Baker-Flying Horse’s guest runway model. One of Baker-Flying Horse’s creations also was worn by Alice Brownotter, an activist from the Standing Rock Reservation, for an event held by actress Jane Fonda who invited young people to participate who have had leadership rolls in their community. …

“Last March Baker-Flying Horse had the special honor of having one of her fashion designs worn at the Academy Awards show, the Oscars. She was the first contemporary Native American fashion designer to have a gown worn at the Oscars.”

More on Red Berry Woman at the Minot Daily News, here, and at the Smithsonian, here. But the most fun piece to read is Alison’s blog post about crashing Paris Fashion Week, here.

Photo: kfyrtv.com
The 2018 Native American Cultural Celebration closed with a Red Berry Woman Fashion Show.

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Photo: Andrew Vaughan / The Canadian Press
A former refugee who founded the Nova Scotia chocolate company Peace by Chocolate has committed to hiring 50 refugees by 2022 and to mentor 10 refugee-run start-ups over the next few years.

Refugees that a country takes in are often the most grateful people on the planet. Most are highly motivated to succeed and not be a burden. Some start their own businesses, and then, as soon as they get established, look for ways to give back to others.

The Canadian Press reports on one example. “A one-time Syrian refugee who founded a thriving Nova Scotia chocolate company has announced plans to hire and mentor other refugees. Peace by Chocolate of Antigonish, N.S., has committed to hiring 50 refugees by 2022, and to mentor 10 refugee-run start-ups over the next few years.

“The now-famous company was founded by the Hadhad family, who fled their home in war-torn Damascus in 2012. They arrived in Nova Scotia with next to nothing in 2016. …

“Tareq Hadhad, CEO of the company, said Peace by Chocolate aims to give back to the country that welcomed his family when so many nations were closing their borders to the Syrian plight. Now he plans to expand on that vision by giving back to other refugees looking to start new lives — as Canadians did for his family when they needed it most. …

“Hadhad said in an interview, ‘Being a refugee is not a choice, it’s not a decision, it’s not a life goal. These people are fleeing their homes because of war, because of persecution.’ …

“Hadhad’s father, Assam, ran a chocolate business in Damascus for decades but it was destroyed in a 2012 bombing.”

Another article, by Fadila Chater at the National Post, notes that the “chocolate company founded by Syrian refugees has produced its first chocolate bar — and given it an Indigenous name. [Its] new milk chocolate and hazelnut bar is to be called Wantaqo’ti (pronounced Wan-tahk-oo-di), the Mi’kmaq word for peace. …

“Founder Tareq Hadhad said via email … it is his company’s mission to translate the family’s concept of peace to all Canadians, starting with the Mi’kmaq of his home province. … Other versions of the bar will be sold using the Arabic, French and Mandarin words for peace.

‘Peace is beautiful in every language,’ Hadhad said. …

“ ‘When we came here as newcomers to this country, we really wanted to support this country to grow and prosper,’ he said.”

The Peace by Chocolate bars are available online, here.

Read more at the National Post, here and at the Canadian Press, here.

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Photo: Annie Tritt for the New York Times
Muriel Miguel, a founder of the feminist Native American collective Spiderwoman Theater, is considered a grandmother of the Indigenous theater movement in the United States and Canada.

I’ve been interested to read how indigenous peoples around the world are reaching out to one another and starting to benefit from the strength of numbers. One result has been the emergence of international festivals staking out a place for native people in the arts world. I’m late with this story, but I wanted you to know about one such festival. It took place in January in New York City.

Siobhan Burke at the New York Times noted in particular that a grandmother of the Indigenous theater movement in the United States and Canada, Brooklyn-born playwright Muriel Miguel, was scheduled to be “among the 30 or so artists participating in this year’s First Nations Dialogues New York/Lenapehoking. (Lenapehoking is the homeland of the Lenape, the original inhabitants of the area encompassing New York City.) Taking place at multiple downtown theaters, the Dialogues bring together Indigenous performing artists from Australia, Canada and the United States for a week of performances, discussions and other gatherings, beginning Jan. 5. …

“In drawing attention to the breadth of contemporary Indigenous performance — with works spanning dance, theater, performance art and genres in between — the Dialogues are something rare for New York, if not unprecedented. Describing what to expect is not easy and not intended to be. In deciding what to program, the chief organizers — [Merindah Donnelly, an organizer of the series and the executive producer of BlakDance in Australia], the choreographer Emily Johnson, and Vallejo Gantner, the former director of Performance Space — set out to challenge a notion they often come across, that Indigenous performance fits any single description. …

“Ms. Donnelly said. ‘The people making it are Indigenous, but Indigenous is not a genre.’ …

The offerings here — many of which deal with themes of trauma, grief and healing — include Ms. Miguel’s Pulling Threads Fabric Workshop, in which storytelling and quilting serve as tools for mending old wounds. …

“While the tone may be somber at times, there is also much to celebrate. SJ Norman, an Australian artist of Wiradjuri and Wonnaruah heritage, said in an email that the opportunity to gather in New York ‘feels like an honoring of the continued existence of our peoples in the big city, as well as the dynamism and globalism of our peoples, which is absolutely vast.’ …

“A Native Alaskan artist of Yupik ancestry, Ms. Johnson has been working tirelessly to counter what she calls ‘the perceived invisibility’ of Indigenous performing artists, particularly in the United States. …

“One approach to bringing the United States up to speed is an ambitious pilot program, the Global First Nations Performance Network, which will be in development during this year’s Dialogues. … The network also requires, of each presenter, a commitment to undergoing what Mr. Gantner calls ‘a kind of decolonization process.’ …

“Ms. Johnson sees this year’s Dialogues as a microcosm of what the network may eventually accomplish, including opening up international exchange. For the Australian choreographer Mariaa Randall, whose ‘Footwork/Technique,’ [explores] the footwork of Aboriginal dances, a highlight of the Dialogues is the chance to simply talk and listen with peers from around the world.

“ ‘In our countries we can become kind of siloed,’ she said. ‘I want to be able to sit with and see and hear from other First Nations females: what their struggles are, their achievements, and how they continue to keep their culture and their practice together, to keep moving forward, because sometimes it is really hard.’ ”

More at the New York Times, here.

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