2011 ARTIST LEADERSHIP PROGRAM RECIPIENTS
Janet Rogers (Mohawk/Tuscarora from the Six Nations Indian reserve in Ontario), a writer who lives in British Columbia, will research the writings and cultural material of E. Pauline Johnson (Tekahionwake, 1861—1913). During the late 19th and early 20th century, Miss Johnson, a Mohawk/English poet from Six Nations, turned her poems into stage presentations. Janet's proposed community project is to provide a presentation of poetry readings and video projections of Miss Johnson's objects in Vancouver, where Johnson spent the last years of her life.
Angela Loft (Kahnawake) of Ontario, Canada, is focused on theater arts. Angela will research cultural material of the greater area of the Iroquois land base, with a particular interest in Kahnawake, established in 1719 as a Jesuit Mission. For her community project, Angela hopes to create a 30-minute multimedia theater piece involving youth from the Turtle Island Theatre Company. The project will draw on local story retrieval from community elders, geological and ecological research, and contemporary approaches to traditional mythology.
Leah White Horse-Mata (Northern Chumash), who lives in California, is looking to research and define cultural material specific to her native land of yak tityu tityu yak tilhini. Her goal is to support an effective dialogue between traditional and contemporary culture. Leah's community project will target members of the nonprofit organization yak tityu tityu yak tilhini Cultural Preservation Kinship to create regalia grounded in their distinct cultural ways as documented from her research trip, then to share their new creations at their tribal celebrations during the Spring Solstice gathering in 2012.
Angela Jean Babby (Oglala Lakota), a glass artist from Montana, is looking to research cultural material, photographs, documents, and military records of her tribal background. Angela often incorporates details of her research and findings into her art, infusing her work with deeper meaning. Angela's community project is to work with youth on the Pine Ridge Reservation to create artwork depicting their ancestors, relatives, or other influential people in their lives.
2010 ARTIST LEADERSHIP PROGRAM RECIPIENTS
Kelly Church (Grand Traverse Band Ottawa/Chippewa Indian), from Hopkins, Michigan, works in black ash, birch bark, sweet grass, and quill basketry. She plans to research basketry and mats made by the Ottawa (Odawa) and Chippewa (Ojibwe/Ojibway), and then return home to conduct a Community Arts Symposium to bring together Native Nations from the Northeast to discuss the effects of the Emerald Ash Borer, the loss of ash trees, and ways to sustain the tradition of black ash basketweaving for generations to come.
John Hudson (Metlakatla Indian Community), from Meetlakatla, Alaska, is a member of the Metlakatla dance community, and plans to study whistles, clappers, rattles, dance paddles, wands, and staffs that are often used as theatrical props in today's dance performances. Hudson also plans to conduct a Youth Public Art Project in the form of a public puppet show with youth from the Tsimshian art class in the Annette Island School District in Metlakatla. The performance would revolve around the telling of Tsimshian stories and legends.
Erica Lord (Athabascan/Inupiaq) is from Nenana Native Village just south of Fairbanks, Alaska, and is focused on researching interior Alaskan Athabascan groups, such as the Gwich'in, Canadian Dene, and the Inupiaq to the north. With her experience as a photographer and installation artists, Ms. Lord will study the material visual culture and history in film to gain a better understanding of Athabascan origins and how history is a basis for new methods and modes of creative expression. Erica selected the Youth Public Art Project to work with the Nenana youth in creating a wall mural that will give the youth an active role in their community in defining who they are, where they are from, and where they may go in the future.
Royce Manuel (Salt River Pima-Maricopa Indian Community), from near Scottsdale, Arizona, is focused on re-creating the tools and burden baskets (kia-ha) of yesterday using authentic materials and techniques. Royce has challenged himself to gather and record as much information as possible, such as weaving patterns and the size of agave fiber used to make carrying baskets, by studying kia-ha in the Smithsonian's collections at both the NMAI and the National Museum of Natural History. He then plans to teach people how to create traditional kia-ha in an Artist Community Workshop with the theme "Binding Our Future to the Past."
Dylan Miner (Metis) from East Lansing, Michigan, plans to study objects related to Native travel that may include canoes, carts, moccasins or shoes. Living in a (post) modern world, Mr. Miner will explore the Metis form of transportation and how Metis have traveled in sustainable ways. From the canoe, cart, automobile, the bicycle is a simple, two-wheeled, machine that leaves minimal affects on global ecological systems and Dylan will explore the Indigenous perspective of bicycle transportation as sustainable transportation in the guise of a lowrider bike. Mr. Miner's Youth Public Art Project will include the efforts of the Indigenous Youth Empowerment Program to produce 10 unique lowrider bicycles as the youth think critically about sustainable transportation, develop a lifelong interest in healthy activities and develop relationships to local Metis elders.
Jereldine Redcorn (Caddo and Potawatomi), from Norman, Oklahoma, is a potter and plans to study Caddo clay vessels. Since the removal from traditional lands, Caddo pottery traditions were lost. In teaching herself the art of Caddo pottery, Ms. Redcorn strives to revive this lost art and will conduct an Artist's Community Workshop where individuals will learn how to process clay, make pottery, decorate and fire with wood.
2009 ARTIST LEADERSHIP PROGRAM RECIPIENTS
Kelly Church (Grand Traverse Band Ottawa/Chippewa Indian), from Hopkins, Michigan, works in black ash, birch bark, sweet grass, and quill basketry. She plans to research basketry and mats made by the Ottawa (Odawa) and Chippewa (Ojibwe/Ojibway), and then return home to teach youth how to identify, properly harvest, process, and create baskets and cattail mats. Church hopes to ensure the continuation of traditional cultural arts and reintroduce some which are not often practiced.
John Hudson (Metlakatla Indian Community), from Portland, Oregon, is a member of the Metlakatla dance community, and plans to study whistles, clappers, rattles, dance paddles, wands, and staffs that are often used as theatrical props in today's dance performances. Hudson also plans to conduct an artist community workshop that will be aimed at furthering the dance and theatrical groups in Metlakatla, Alaska, by creating theatrical or musical props based upon his experience and new knowledge gained while conducting research in the collections.
Dennis White (Lac Courte Oreilles Ojibwe), from Hayward, Wisconsin, is a finger weaver—an artistry near extinction. As a second-degree member of the Midewiwin Society, the Grand Medicine Lodge, he plans to research the finger weaving of yarn bags and woven sashes used in Midewiwin ceremonies. White was selected to conduct a Community Artist Workshop on Ojibwe weaving and integration of Ojibwe language, culture, art, and mathematics in a unique cultural artistic expression for members of the Lac Courte Orellies Ojibwe Community.
Jim Yellowhawk (Lakota), from Rapid City, South Dakota, will research and document tipis, tipi and blanket strips, and study pictographic art in the museum's Photo Archives. Yellowhawk plans to share his new knowledge and collaborate with the Ateyapi youth group to construct a hand-painted canvas mural that serves to reflect and nurture youth visions of a healthy cultural identity.