Ravens on Decks: The Art of Trickster Skateboards

Cristina Olds, Indian Country Today Media Network

A couple of innovative young artists are melding the ancient tradition of formline drawing with the hip canvas of skateboard decks. “The demand for Native art skateboards was made very clear by the popularity of my early hand-painted decks,” Rico Lanáat’ Worl (Tlingit/Athabascan) of Trickster Company said in a recent interview.

Worl painted decks for himself and his family first, but soon saw the need for an affordable line of manufactured boards sporting his digitized designs. He also paints custom artboards, and says his clientele are split fairly evenly between skaters who actually ride the boards and collectors who hang them on their walls.

“I started painting on decks just for fun, just for myself,” Worl said. “It continues to be my canvas of choice while I study the old masters and the new masters of formline design, in the rich history of Tlingit and Athabascan art.” Flowing two dimensional formline designs featuring northwestern coastal sea creatures and other symbols have adorned totem poles and house posts for thousands of years.

Three box boards by Trickster Skateboards.
Three box boards by Trickster Skateboards.

 

The clan crest of Worl’s family is the sockeye salmon, which he recreated on his first deck. “We only manufacture designs if our relatives give us permission,” he explained, and the Tlingit culture property includes land, names, songs, stories, crests and more. To respect the clan protocol, Worl focuses on general designs including the eagle and the raven, or abstracts.

“My formline style takes after the Northern Tlingit style which varies as you go from Yakutat to Washington and across tribes, and the style is more bold, with heavier lines and is slightly blockier.” He especially loves the complexity of box designs, as well as the Chilkat weaving influences.

 

Trickster skateboards, Chilkat pattern.
Trickster skateboards, Chilkat pattern.

Artist Ronnie Fairbanks also designs skateboards for Trickster Company (tricksterskateboards.com) when not teaching Native art carving in Craig, Alaska. “My style is a cross between Tlingit and Tsimshian styles, since I was taught by Tsimshian carver Eli Milton,” Fairbanks said. When designing skateboards, he strives for balance over the entire area. “I have spent a lot of time drawing formline and I always try to think of unique ways to fill the space.”

Worl is the arts director at Sealaska Heritage Institute in Juneau, Alaska, and is currently visiting the Santa Fe Indian Market with a collection of archival art from SHI to promote the development of a northwest costal arts market.

Trickster Company issued a limited edition rocker snowboard deck last winter and plans to release another this year in collaboration with Chugach Flyer Snowboards who produce the manufactured boards.

Raven skateboard by Ronnie Fairbanks.
Raven skateboard by Ronnie Fairbanks.
Trickster skateboards. Photo by Klas Stolpe of the Juneau Empire.
Trickster skateboards. Photo by Klas Stolpe of the Juneau Empire.
Artist Rico Worl with Warrior skateboard. Photo by Klas Stolpe of the Juneau Empire.
Artist Rico Worl with Warrior skateboard. Photo by Klas Stolpe of the Juneau Empire.

 

Read more at http://indiancountrytodaymedianetwork.com/2013/08/16/ravens-decks-art-trickster-skateboards-150919

Celebrating Two Years of Accomplishments

Tulalip Hibulb Cultural Center is celebrating two years of sharing Coast Salish culture and highlighting the stories, people, art and history of Tulalip.

Saturday, August 17, 10 am to 5pm. Included in the activities are carving, beading and flute music demonstrations, storytelling, craft activities, a salmon lunch and a special performance by the Tulalip Lushootseed Language Camp students.

For directions and more information visit HibulbCulturalCenter.org or call 360.716.2600

6410 23rd Avenue NE, Tulalip WA 98271

Anniversary Flier

Paul Frank To Unveil Fashion Collaboration with Native American Designers during Santa Fe Indian Market Week

The highly anticipated “Paul Frank Presents” Limited Edition collection will be revealed this week during a special event at the IAIA Museum of Contemporary Native Arts

PAUL FRANK NATIVE AMERICAN DESIGNERSSource: Paul Frank

LOS ANGELES, Aug. 12, 2013 /PRNewswire/ — Paul Frank, in partnership with the Institute of American Indian Arts (IAIA) Museum of Contemporary Native Arts (MoCNA), is pleased to announce the debut of its first ever collaboration with four Native American designers during Santa Fe Indian Market this week. The fashion collection will be showcased during a panel and event held at the Museum of Contemporary Native Arts in Santa Fe, New Mexico, on Friday, August 16 from 5:00 p.m. to 7:30 p.m. The “Paul Frank Presents” collection will also be available for purchase at the IAIA MoCNA store.

To kick off the event, MoCNA Director Patsy Phillips will introduce a panel entitled, Beyond the “Tribal Trend”: Developing Proactive Native American Collaboration in Fashion. The panel will feature Jessica Metcalfe of the Beyond Buckskin blog and Beyond Buckskin Boutique, Adrienne Keene of Native Appropriations and Tracy Bunkoczy, Paul Frank’s VP of Design as they discuss the brand collaboration, the background story and creation of the collection and the development of proactive Native partnerships in the fashion world.

After the panel, each of the designers will present their products and talk about their personal inspiration for the collaboration. These Native American designers include Louie Gong of Eighth Generation, Autumn Dawn Gomez of The Soft Museum, Candace Halcro of Brownbeaded, and Dustin Martin of S.O.L.O. The “Paul Frank Presents” fashion collection includes a printed tote, pillow and throw blanket by Louie Gong, five collections of Hama bead jewelry by Autumn Dawn Gomez, authentic Paul Frank hand-beaded sunglasses by Candace Halcro and a variety of tees, tanks and bandanas by Dustin Martin.

“This collaboration has been an opportunity for us to help raise awareness about cultural misappropriations, which unfortunately happen too often in product, promotion and fashion,” said Elie Dekel, President of Saban Brands. “Our partnership with these four talented Native American designers was the direct result of our own awakening to this issue from our Paul Frank Fashion’s Night Out event back in September of 2012. We hope this ‘Paul Frank Presents’ collaboration will demonstrate more appropriate ways to engage and celebrate the Native American communities.”

These products are now available for purchase at the IAIA MoCNA store, the websites of the contributing designers and also on shop.beyondbuckskin.com. For additional information about this collection, please visit www.paulfrank.com.

About Paul Frank

Acquired in 2010 by Saban Brands, Paul Frank began in 1997 as an independent accessories company in a Southern California beach town. The brand has steadily grown to become a globally recognized, iconic brand that features artistic and entertaining designs inspired by a love of avant-garde, modern influences and everyday objects. By creating relationships through exciting collaborations and strategic licensing partnerships, Paul Frank merchandise includes apparel and accessories for all ages, books, stationery, eyewear, home decor, bicycles and more. To see what’s new and exciting at Paul Frank, visit www.paulfrank.com.

About Saban Brands

Formed in 2010 as an affiliate of Saban Capital Group, Saban Brands (SB) was established to acquire and develop a world-class portfolio of properties and capitalize on the company’s experience, track record and capabilities in growing and monetizing consumer brands through content, media and marketing.  SB applies a global omni-channel management approach to enhancing and extending its brands in markets worldwide and to consumers of all ages.  The company provides full-service management, marketing, promotion and strategic business development for its intellectual properties including comprehensive strategies unique to each brand, trademark and copyright management and enforcement, creative design, retail development, direct-to-consumer initiatives and specialized property extensions.  SB is led by a superior management team with decades of experience in media, content creation, branding, licensing, marketing and finance. SB’s portfolio of properties currently includes Power Rangers, Paul Frank, Vortexx, Zui.com, The Playforge, Julius Jr., Digimon Fusion and Popples. For more information, visit www.sabanbrands.com.

About the Museum of Contemporary Native Arts

The mission of the Museum of Contemporary Native Arts (MoCNA), a center of the Institute of American Indian Arts (IAIA), is to advance contemporary native art through exhibitions, collections, public programs and scholarship. MoCNA’s outreach through local and national collaborations allows us to continue to present the most progressive Native art and public programming. MoCNA’s exhibitions and programs continue the narrative of contemporary Native arts and cultures. MoCNA is located at 108 Cathedral Place, Santa Fe, NM 87501. For more information please contact: (505) 983-1666 or visit www.iaia.edu/museum. For the MoCNA store, please call (888) 922-4242 or email shop@iaia.edu.

About IAIA

For 50 years, the Institute of American Indian Arts has played a leading role in the direction and shape of Native expression. As it has grown and evolved into an internationally acclaimed college, museum and community and tribal support resource through the Center for Lifelong Education, IAIA’s dedication to the study and advancement of Native arts and cultures is matched only by its commitment to student achievement and the preservation and progress of the communities they represent. Learn more about our achievements and mission at www.iaia.edu.

 

15 Twitter Accounts Every Native Should Follow

 

Source: ICTMN, August 9, 2013

It’s Friday, a day also known in Twitterland as FollowFriday, when many faithful Tweeters take a moment to give a shoutout to the accounts they think others should follow. We hang out on Twitter quite a bit as @indiancountry (and there’s @ICTMN_Arts as well, kind of a kid-brother feed) and we could go on and on about all the great people Tweeting news, views, humor and miscellanea relevant to Native readers. But on this occasion we’ll keep it to 15 — here are our must-reads and must-follows:

1. Sherman Alexie @Sherman_Alexie

FILE UNDER: Native Cognoscenti

Indian country’s master Tweeter, Sherman Alexie has a ratio of original tweets to retweets-of-others that is off the charts — this is some real talk from a guy who has something to say every day and it’s often provocative. The fact that he’s a phenomenal, award-winning author helps. You know — the words thing.

RECENT TWEET: “Santa Fe leads the world in White People Trying to Look a Little Bit Indian.”

2. Wab Kinew @WabKinew

FILE UNDER: Native Cognoscenti

Just your average award-winning journalist who’s also an award-winning hip-hop artist. He hosted 8th Fire on CBC and has a degree in economics.

RECENT TWEET: “I am going for a long run now. I hope when I come back Canada will be a country which respects Anishinaabe people. A long run indeed”

3. Gyasi Ross @BigIndianGyasi

FILE UNDER: Native Cognoscenti

Lawyer, author, filmmaker, father, and the mad genius behind ICTMN’s Thing About Skins — Gyasi tweets a mixture of Native calls to action, political insight, banter with his influential friends in Indian country, and fond memories of growing up rez.

RECENT TWEET: “Our communities used to raise kids and shame parents that didn’t contribute to that uprbinging. Now we pretend we don’t see it.”

4. Lisa Charleyboy @UrbanNativeGirl

FILE UNDER: Native Cognoscenti

Toronto-based Lisa Charleyboy is the jet-setting maven of Native style, cool and entertainment. If it’s hip, hot, and Canadian-indigenous, she’s on it, and she never stops working. She’s the Native… Oprah-Gwyneth Paltrow-Martha Stewart? Something like that. Arch-enemy: Gluten.

RECENT TWEET: “So all you need to be a successful fashion blogger is to look like a model, have $ like a billionaire, and have a photog boyfriend? Easy.”

5. Jeff Corntassel @JeffCorntassel

FILE UNDER: Native Cognoscenti

Corntassel, a college professor, follows the news and sends out important links with thoughtful commentary. A walking and talking — and tweeting — cheat sheet.

RECENT TWEET: “Decolonization starts w realization: your vision for the future is radically different from those encroaching on your homelands”

6. Michelle Shining Elk @mshiningelk

FILE UNDER: Native Cognoscenti

She calls herself “a casting director for film, television, dance + print w/focus on American Indian talent only,” — her tweets keep you posted on current events in the entertainment industry, and much more. You get a little bit of everything with Michelle — which is the whole point of Twitter.

RECENT TWEET: “Seriously? The news is reporting on the outrage over Suri Cruise wearing heeled shoes. Why is this news?”

7. Idle No More @IdleNoMore4

FILE UNDER: News of the Struggle

Idle No More… you have heard of this, right? Tweets are a mixture of news links and networking — if you’re doing something Idle-No-More-ish in your community, the women behind this feed want to know about it and help spread the word.

RECENT TWEET: “If there are ACTIONS or events in your area related to: Indigenous issues, Environmental protection, Nation2Nation (treaty) etc. let us know”

8. Abiyomi Kofi @TheAngryIndian

FILE UNDER: News of the Struggle

Abiyomi Kofi tweets a smorgasbord of news and views on racism, colonialism, and injustice from his Afro-Indigenous perspective. These tweets serve as a reminder that the cause of indigenous rights and racial equality is a global effort.

RECENT TWEET: (sparring with another Tweeter) “Again, you assume that ‘truth’ is of European origin. That is cultural arrogance in spades. Europe is not the world.”

9. Indigeneity @Indigeneity

FILE UNDER: News of the Struggle

Straight-up news feed of stories of interest to Natives and indigenous peoples everywhere.

RECENT TWEET: “Mummified Maori head to be returned to NZ”

10. Adrienne K. @NativeApprops

FILE UNDER: Culture Watcher

The Native Appropriations blogger is always on the lookout for cultural wrongdoing in the public square. High-minded criticism you don’t need a Ph.D. to understand.

RECENT TWEET: “I’m trying to write a post that combines 200 million things I’ve been thinking about lately and it’s already not working. Trimming back.”

11. APACHE Skateboards @apachesk8boards

FILE UNDER: Culture Watcher

Douglas Miles is a gifted artist, and you’ll get a lot of that from his Tweets (which link to his Instagram and Tumblr blog) — but you’ll also get plenty of tough talk on issues of art, culture, and society. Everyone is fair game — if you’re Native and you’re doing it wrong, he’ll let you know.

RECENT TWEET: “Since when did Natives resort to using ‘authentic’ as some stamp of approval, are we sides of beef?”

12. Dee Jay NDN @DeeJayNDN

FILE UNDER: Culture Watcher

The voice of Turtle Island’s EDM heroes A Tribe Called Red doesn’t suffer fools — bring your half-baked ideas about race and culture onto his timeline and he will nail you for it. Repeatedly. You can practically hear him giggling as he demolishes ingrained bigotry and false equivalencies.

RECENT TWEET: “You’re right. Having to argue what’s important to your culture from someone NOT of the culture is a DUMB battle.”

13. Whiteskins.org @WhiteskinsOrg

FILE UNDER: Culture Watcher

Tirelessly fighting against the Washington NFL team’s racist name — an operation that may have begun as an effort to sell a few parody t-shirts is now the Twitter standard-bearer of a grassroots movement that is a topic of national debate.

RECENT TWEET: “can’t wait to see who’s the next high-profile personality to speak up against the Redskins racist name, quite an impressive list so far”

14. Ryan McMahon @RMComedy

FILE UNDER: Comedy

Actually, since Ryan dove head-first into Idle No More, he’s not only about the funny-haha. But there’s still plenty of funny-haha. Plus he used his feed to publish “Pow Wow Shades of Gray,” a novella, delivered in installments, about people fooling around at pow wows. Delivered in tiny, tiny installments.

RECENT TWEET: “I smell like camp fire, hot dog water & bug spray. And, no, Cree women, that’s not a pickup line. I just got home from camp.”

15. Robohontas @robohontas

FILE UNDER: WTF?

Part indigenous woman, part robot, part golden Barbie doll — we are not quite sure we understand what Robohontas is or wants to be, but she tweets good links and daily wise quotes from her blog. And we hope there is a Robohontas movie someday, with lots of action and ass-kicking. And we hope it is not produced by Jerry Bruckheimer.

RECENT TWEET: “Robohontas’ Facebook Page – Can she get to 200 page “likes” by the end of the week? Currently at 192…”

 

Read more at http://indiancountrytodaymedianetwork.com/2013/08/09/15-twitter-accounts-every-native-should-follow-150811

Native American Skills: Making Rope Out of Agave or Yucca

Yucca-for-rope-JillRSource: obrag.org

Remember in the old days before rope was made out of plastic? Back then (and sometimes even now), it was made from sisal. Sisal, Agave sisalana, is a type of agave. I saw it growing in Kenya during my visit. It’s still used there to make rope.

Here in San Diego, we don’t have sisal – but we do have plenty of agave. We’ve also got a few species of yucca, which are also in the Agave family (Agavaceae). So it’s no surprise that the Native Americans here use both yucca and agave to make their cordage.

They also use a plant called Dogbane (Apocynum cannabinum a.k.a. Indian hemp), which is related to Milkweed, and I prefer dogbane to agave or yucca. But dogbane is toxic to livestock, so once the Europeans arrived they did what they could to eliminate it. Today, you don’t see too much dogbane around.

Over the past few weeks, I’ve learned to make cordage from agave. Once the cordage is made, Native Americans used it to make everything from nets and fishing poles to bags and shoes. Join me below to see how it’s done.

Yuccas and agaves are in the Agave family, as I noted earlier, but they used to be classified in the Lily family. Like lilies, they are monocots. (Monocots are flowering plants that have one cotyledon, no taproot, flowers with petals typically in multiples of threes, and parallel leaf veins. Grasses, palms, lilies, and irises are also monocots.)

I’m more familiar with our local yucca species than I am with the local agave. We’ve got Hesperoyucca whipplei, a.k.a. Our Lord’s Candle or Chaparral Yucca, and we’ve got Mojave yucca. Both produce edible stalks and flowers, and the roots of the Mojave yucca can be used for soap. And, of course, both can be used for fiber.

It is hard to tell the difference between H. whipplei and Mojave yucca. When they are flowering, it’s easy to tell what’s what, because H. whipplei has a tall stalk with flowers on top, and Mojave yucca flowers are on such a short stalk that they appear adjacent to the leaves. But the leaves are actually quite different. H. whipplei leaves are very thin, and it’s easy to expose the fibers within them using a blunt tool like a rock. Mojave yucca leaves are thick and fleshy, with a thick skin and lots of flesh inside. You can scrape them with a rock all day and it won’t do a thing to them.

One of my Native American instructors told me that H. whipplei fibers are easier to obtain, but Mojave yucca fibers are better. I’d heard that one way to obtain the fibers from these plants was via soaking, so I soaked a Mojave yucca leaf for weeks and weeks. It worked, once the outer parts of the leaf rotted away, but it smelled so bad that I’d never want to use that fiber for anything other than compost. I’d never bothered with agave before because I heard that it can irritate your skin (and it can).

In my tool-making class, I was eager to find out how we would go about obtaining fiber for cordage. The class would be using agave, not yucca. And to get the fiber from the leaves, we would burn them.

One common agave is the Century Plant (Agave americana) but it’s non-native. There’s a native coastal agave that’s somewhat rare. For abundant, native agave, you need to head east into the desert. The instructor for my class, a Kumeyaay Indian, took a few students on a field trip out to the desert – nearly to the city of Borrego Springs, which is smack in the middle of Anza Borrego Desert State Park. There, they found Desert Agave (Agave deserti) and they brought a bunch of it back.

I was not present the day they burned the leaves, so I tried to ask a lot of questions to find out how they did it. The answer was simple: they tossed the leaves in the fire. Completely into the fire. And they let them burn. Not 100%, of course. But they were pretty charred up and burnt by the time they came out of the fire. Then they put them in a bucket of water to keep them moist until we would work with them.

I don’t know if burning the agave solved the problem of skin irritation, but I never had any skin problems with using the agave aside from when I accidentally touched it to a scab on my skin. That didn’t feel very good, but the irritation was pretty minor.

Yucca rope JR 02

 

There are other methods besides burning one can use. I’ve heard boiling the leaves for hours can also work well. For the H. whipplei leaves, I’ve simply scraped them with a rock and that worked fine for me. I think the more elaborate processes are required for the fleshier species of yucca and agave.

Once that’s done, you remove everything but the fibers from the leaves. To start, you need a burnt agave leaf and a blunt knife, rock, or seashell.

You need to scrape the leaf with the shell to remove everything except for the fibers. The inside has a consistency almost like aloe, and the outside is a skin that can almost peel off. Scrape the skin and the gel and try not to break the fibers as you go. After I’ve got most of it done with the shell, I find it’s easiest to start pulling out small bundles of fibers and getting the goo off by hand.

Ultimately, you’ll end up with a big, bunch of fibers that can become your cordage:

Yucca rope JR 03

 

Now you’re ready to actually make your cordage. Here’s a ball of cordage I made from 5 agave leaves. It took me a week, working a little each day:

So how do you do that? There are many other details that I can share, but the main thing is this: You are individually twisting two groups of fibers in one direction, then you twist them together in the opposite direction.

I am left handed, so I hold the two small bundles of fibers – maybe 5-10 fibers per bundle? – in my right hand between my thumb and my fingers. I have one group (let’s call it A) on the top and one group (B) on the bottom. With my left hand, I twist the top group (A) of fibers away from me. Then I twist both groups toward me a half twist. Now the B group is on top. I twist the B group away from me, and I twist both groups together toward me. Just keep repeating that.

Yucca rope JR 04

 

This way, each bundle of fibers will be twisted in one direction (away from you) individually, and in the opposite direction (toward you) together. I hold them together with my right hand to prevent them from untwisting, but you’ll find that when you’ve done a little bit of this and you let go, it barely unravels.

The first problem you’ll encounter is when you do a bit of twisting and you’ve got an inch or two of cordage – but the agave or yucca fibers you’re working with are short and you’ve come to the end of them. How do you make a longer piece of cordage?

When you’re a few inches from the end of the fibers you’re working with, you add more and just twist them right in. Believe it or not, the cordage is so strong with all of your twisting, that the new fibers you’ve twisted in will stay put.

As noted above, the small ball made from five agave leaves took me a week. I didn’t work on it full-time of course, just a little every day. If you do more than that, you’ll chafe the skin on your fingers.

I am sorry that I don’t have better photos or a better description of how to do this. I’ve found instructions on the internet here and I think it confused me more than it helped me. But they’ve got good diagrams so you might like to take a look at it. There are more details I can provide but I’m afraid that without decent pictures to go along with them, more details would just serve to make readers more confused. So instead,

 

Cherokee Fire Dancers Leap Into Northern California Blazes

Source: Indian Country Today Media Network

The Cherokee Nation has sent its elite squad of firefighters to Oregon to help fight wildfires in northern California.

The dozen-member team, the Cherokee Fire Dancers, deployed to the Northwestern state on Tuesday July 23 to “work 16-hour days, hiking up to seven miles per day to cut down timber to create fire breaks to help battle the flames,” the tribe said in a statement.

“It’s a thrill watching a fire as it’s contained and know you’ve helped,” said Danny Maritt, of Tahlequah, who has been a Fire Dancer for 23 years, in the tribe’s statement. “We’re glad we’re out there making a difference.”

Fire Dancers are on call from the U.S. Forestry Department, the tribe said. Their last mission was assisting in cleanup efforts from Superstorm Sandy in New Jersey.

The Fire Dancers have traveled back and forth across the United States since 1988 to help suppress wildfires, earning “an outstanding reputation and the respect of wildland management agencies throughout the United States,” the tribe’s website says.

Information on specific fires that the Cherokee team will help with was not available, but there were several fires burning in northern California earlier in the week. Many have been contained, but others, such as the Aspen fire, were still being suppressed. That was at 2,000 acres in hard-to-access territory in the High Sierra Ranger District of the Sierra National Forest, where it was discovered burning on July 23, according to Inciweb. As of late morning on July 25, the fire had burned about 2,000 acres and remained active.

 

Read more at http://indiancountrytodaymedianetwork.com/2013/07/25/cherokee-fire-dancers-leap-northern-california-blazes-150587

Native Presence Added to Commission on White House Fellowships

 Rion Joaquin Ramirez, left, was named by President Barack Obama to the President's Commission on White House Fellowships on July 12.
Rion Joaquin Ramirez, left, was named by President Barack Obama to the President’s Commission on White House Fellowships on July 12.

By Richard Walker, Indian Country Today Media Network

Rion Joaquin Ramirez is general counsel for the Suquamish Tribe’s Port Madison Enterprises, which has expanded the tribe’s economic diversity and made it one of the largest employers in Kitsap County, west of Seattle.

Ramirez is soon to take on another significant responsibility: Helping select men and women who work for a year as full-time, paid assistant to senior White House staff, the vice president, Cabinet secretaries and other top-ranking government officials.

Ramirez, Pascua Yaqui/Turtle Mountain Chippewa, was named by President Obama to the President’s Commission on White House Fellowships July 12. He was not available for comment; technically, the president has only announced his intent to appoint Ramirez to the commission, so Ramirez can’t speak to the media until the appointment is official, which should be within two weeks, according to the White House Communications Office.

There are 27 commission members. Other current members include Keith Harper, Cherokee, who represented the plaintiff class of 500,000 individual Indians in Cobell v. Salazar and is Obama’s nominee for representative to the United Nations Human Rights Council; retired four-star Gen. Wesley Clark; Peabody and Emmy award-winning broadcast journalist John Hockenberry; eBay founder Pierre Omidyar; former U.S. Sen. Paul Sarbanes of Maryland; and Brown University president Ruth J. Simmons.

Ramirez is the second presidential appointee associated with the Suquamish Tribe this year. In May, Obama appointed Suquamish Tribe Chairman Leonard Forsman to the Advisory Council on Historic Preservation.

The president appoints members of hundreds of federal agencies and commissions, but each has considerable influence over its area of focus. For example, the Advisory Council on Historic Preservation manages the federal historic preservation review process and promotes historic preservation as a means of promoting job creation, economic recovery, energy independence, sustainability, and resource stewardship. In March, it endorsed the United Nations Declaration on the Rights of Indigenous Peoples, saying it was “an opportunity to promote better stewardship and protection of Native American historic properties and sacred sites and in doing so … ensure the survival of indigenous cultures.”

Speaking as chairman of the Suquamish Tribe, Forsman said Ramirez has helped formulate Indian policy on the federal level and helped develop the legal infrastructure needed for tribes to expand their economies. “He’s been a part of our growth for quite a long time,” Forsman said. “He’s interested in the community, in the social aspects of the tribe, and he’s very familiar with families here and from other tribes.”

Ramirez is the son of Larry Ramirez, an American Indian Athletic Hall of Fame inductee who pitched for Cal State Northridge’s 1970 NCAA Division II national championship team and was the first Native American to pitch a winning complete game in the College World Series.

The younger Ramirez earned a B.A. from the University of Washington and a J.D. from the University of Washington School of Law. He was an associate at Dorsey & Whitney LLP and Schwabe, Williamson & Wyatt, P.C., and served as counsel for the University of Washington’s Child Advocacy Clinic. He joined Port Madison Enterprises in 2004.

He is a past president of the Northwest Indian Bar Association and a former appellate court justice for the Turtle Mountain Band of Chippewa Indians, where he is enrolled.

In 2012, Ramirez was a member of the Obama for America National Finance Committee and co-chairman of the Obama Native Outreach Group. He raised between $200,000 and $500,000 for Obama’s reelection campaign.

President Lyndon B. Johnson established the White House Fellows Program in October 1964, declaring that “a genuinely free society cannot be a spectator society.” His intent was to draw individuals of exceptionally high promise to Washington for one year of personal involvement in the process of government “and to increase their sense of participation in national affairs.” Fellows are expected to employ post-fellowship what they learned by “continuing to work as private citizens on their public agendas.”

Johnson hoped Fellows would contribute to the nation as future leaders. Indeed, most if not all have: Past Fellows include Tom Johnson, who later became publisher of the Los Angeles Times and chairman of CNN; Robert C. McFarlane, who served as national security adviser to President Ronald Reagan; Colin Powell, who became an Army general, chairman of the Joint Chiefs of Staff, and U.S. Secretary of State; Timothy E. Wirth, who became U.S. senator from Colorado and an Under Secretary of State; and numerous authors, elected officials, journalists, military leaders, and assistant Cabinet secretaries.

The current class includes civic leaders, doctors, lawyers, military officers, public policy specialists, and a journalist.

According to the commission website, commissioners met in Washington, D.C. the first week of June and interviewed 30 White House Fellowship finalists. Commissioners will recommend 11-19 for appointment; fellows are paid at GS level 14, step 3 – currently $90,343 – and benefits, and cannot receive any other compensation during their Fellowship.

 

Read more at https://indiancountrytodaymedianetwork.com/2013/07/17/native-presence-added-commission-white-house-fellowships-150445

Science vs. Traditional Knowledge in Climate Change: Can’t We All Just Get Along?

M. Kalani Souza, Native Hawaiian, head of the nonprofit Olohana Foundation, played the guitar for attendees of the Rising Voices of Indigenous People in Weather and Climate Science Workshop July 1 – 2 at the National Center for Atmospheric Research in Boulder, Colorado. He is also with the Federal Emergency Management Agency , University of Hawaii, where he is national director of population centers, working on Native community capacity for climate change.
M. Kalani Souza, Native Hawaiian, head of the nonprofit Olohana Foundation, played the guitar for attendees of the Rising Voices of Indigenous People in Weather and Climate Science Workshop July 1 – 2 at the National Center for Atmospheric Research in Boulder, Colorado. He is also with the Federal Emergency Management Agency , University of Hawaii, where he is national director of population centers, working on Native community capacity for climate change.

By Carol Berry, Indian Country Today Media Network

The hydrologist had carefully studied the scientific data and knew for a fact that water would be present if he drilled. So sure was he that he ignored a Hawaiian elder’s warning against drilling for water in that spot. The scientist did indeed hit water—but it was red, brackish and undrinkable.

He had drilled on a hill that had been named, millennia ago, Red Water. Nearby was another site that had carried the name Water for Man for thousands of years. That is where the drinkable water could be found, but it did not take a hydrologist with fancy instruments.

“We assume contemporary knowledge displaces that of the past, but it’s not true,” said Ramsay Taum, Native Hawaiian, board director of the Pasifika Foundation and on the faculty of the University of Hawaii, after giving this example of science’s potential to erroneously override indigenous knowledge.

Taum’s comments were among several themes aired in a workshop, Rising Voices of Indigenous Peoples in Weather and Climate Science, sponsored partly by the National Center for Atmospheric Research (NCAR) on July 1–2 in Boulder, Colorado. Also backing it were the Intertribal Council On Utility Policy, South Dakota; the Olahana Foundation, Big Island, Hawai’i; the Indigenous Peoples Climate Change Working Group, and the Getches–Wilkinson Center for Natural Resources, Energy and the Environment.

During the two-day conference, scholars and tribal college students grappled with the readiness issues noted in President Barack Obama’s Climate Action Plan, which he released on June 25. (Related: Obama: No Keystone XL if It Increases Carbon Emissions)

Taum’s anecdote was just one example of the myriad ways in which traditional knowledge can trump scientific knowledge, even as climate change creates yet another Trail of Tears in forcing the relocation of Native communities due to flooding, fire and other encroachments on their traditional territories. The reliance on science to the exclusion of millennia of careful observation is another way in which culture is being eroded, participants said.

“The fear of our elders is that knowledge is running faster than wisdom,” said Papalii (“Doc”) Failautusi Aveglio, a hereditary Samoan leader and a faculty member at the University of Hawaii’s school of business.

Culture is not just lost via relocation. It can result indirectly when, for example, water contamination stops people from eating locally caught fish. Tribes then require money to buy replacement food, and the loss of local food sources ultimately ends daily fishing by grandfathers and grandsons in which tradition was passed down, said Michael MacCracken, chief scientist for climate change programs, Climate Institute, Washington, D.C.

Because of such changes, Native communities are increasingly involved in addressing climate questions, workshop planners said.

Even as Native peoples become the first- and hardest-hit by climate change, their traditional ways of relating to the natural world are distorted and undervalued by Western science. On top of that lies the irony that those least affected by climate change likely had the most to do with creating the conditions that caused it, said Daniel Wildcat, Yuchi member of the Muscogee Nation and a faculty member at Haskell Indian Nations University.

The harsh climate effects could mean a “whole new Trail of Tears,” Wildcat said.

Yet such clashes between traditional and scientific knowledge seemed destined to continue, if one scientist’s insight is any indication.

“I’m not interested in reconciling science and Native knowledge,” said panelist Roger Pulwarty, of the National Oceanic and Atmospheric Administration. “They mean different things.”

Pulwarty was concerned about who would represent tribal peoples in seeking climate-change solutions, since asking them to collect information would be asking them to divulge potentially confidential tribal history. Taum countered that indigenous knowledge could be presented in different ways, sometimes embodied in stories that had been passed down through generations.

“One of the things indigenous people bring to the table is a whole different concept of our place in the world,” said Wildcat in summing up the workshop’s main underlying theme. “We have been treating life around us like resources—they’re not resources, they’re relatives.”

 

Read more at https://indiancountrytodaymedianetwork.com/2013/07/15/science-vs-traditional-knowledge-climate-change-cant-we-all-just-get-along-150435

Mash-Ups Star in a Homage to American Indians

Jeffrey Gibson Injects Visual Pizazz Into Found Objects

“Freedom” uses tepee poles, rawhide lacing, artificial sinew, buffalo hide, acrylic paint, wool, glass and plastic beads, sterling silver and turquoise.
“Freedom” uses tepee poles, rawhide lacing, artificial sinew, buffalo hide, acrylic paint, wool, glass and plastic beads, sterling silver and turquoise.

Karen Rosenberg, The New York Times

“Jeffrey Gibson: Said the Pigeon to the Squirrel” is the type of show that’s perking up the once-sleepy National Academy Museum. It inaugurates a new biennial program of solos by emerging artists, expanding on smaller efforts to highlight young, living artists (Phoebe Washburn’s spiraling nest of scrapwood in the rotunda, for example).

There are a few glitches with this one, however. One is that the Academy hasn’t yet figured out how to handle ultracontemporary art with the ease of a MoMA or a Whitney. (This show looks a lot like a commercial gallery exhibition, but its texts seem to be pitched at graduate students.) Another is that Mr. Gibson’s art, though promising, falls short of its potential.

Mr. Gibson, an abstract painter who often works on animal hides in homage to his American Indian heritage (he is a member of the Mississippi Band of Choctaw Indians and is half Cherokee), is certainly an interesting choice. His work points to worlds of intensive, disciplined art making beyond the walls of this Academy, or any academy.

It also embodies two sweeping trends in contemporary art: feverishly bright geometric abstraction and the creative reuse of found objects. The animal hides are stretched over antique mirrors and ironing boards, and even wrapped around fluorescent light tubes in an obvious nod to Dan Flavin.

In his catalog essay the show’s curator, Marshall N. Price, describes Mr. Gibson’s work as a “mash-up” or “remix.” The show’s playful title, he says, imagines a “dialogue between two urban animals as characters in a contemporary creation myth.”

Nonetheless, the paintings and their supports don’t always interact in any way that generates sparks. “Freedom,” for example, simply carries forward the indigenous conventions of the parfleche and the travois. (The parfleche is a carrying case made of animal hide, often adorned with geometric designs; the travois is a frame of long tepee poles, used to transport the parfleche on horseback.) Mr. Gibson’s version is exuberantly decorative, with beaded fringe and a weblike pattern of painted triangles, but then so are objects made and shown in a more traditional tribal context. A show last year at the gallery Participant made this point neatly with collaborations between Mr. Gibson and more specialized American Indian artists.

Other works — especially the ones made with antique mirrors as supports — have plenty of visual pizazz but are weak conceptually. The painting-as-mirror conceit feels a bit stale, and they rely too heavily on the thrift shop eclecticism of the mirrors, with their different carved and cast frames, to offset a formulaic painterly vocabulary.

Also problematic are the fluorescent light sculptures, which cover the bulbs with colored gel and encase them in acrylic tubes that are then wrapped in deer hide. On a material level, Mr. Gibson is onto something here: the hide softens the light, making the sculptures look less like Flavins and more like ravers’ glowsticks. But they still read as pastiches, especially if you aren’t aware of Mr. Gibson’s interest in rave culture.

He is certainly capable of variety and invention, as his drawings series “Infinite Sampling” suggests; its 55 configurations of pencil, watercolor, thread and tape have a kind of shamanic flow and intensity.

Something of that magic makes its way into the “shield paintings,” executed on hide stretched over ironing boards, which are by far the best of the painted works here. Their sharply angular compositions allude to European early Modernist movements, like Orphism and Rayism, but the curved contours of the boards foster all sorts of other associations: the surf-inspired art of 1960s Los Angeles, or the early shaped canvases of Frank Stella, or, as the titles suggest, heraldic armor.

Also intriguing are the punching bags bedecked with sequins, beads and tin shingles, wrapped in pieces of “repurposed” paintings. They have the festive, performative appeal of Nick Cave’s “Soundsuits”; one, “She Walks Lightly,” is placed close to an air-conditioning vent so that its fringed skirt sways ever so gently.

In the catalog Mr. Gibson recalls his inspiration for the piece: a performance by the dancer Norma Red Cloud. “She moved gracefully,” he writes, “so that the jingles all moved in unison and made the most beautiful sound: even, continuous, confident.”

The sculpture conveys that powerful impression and more, and suggests that dance — or movement of some kind — may be the next step for this talented artist who hasn’t quite hit his stride.

“Jeffrey Gibson: Said the Pigeon to the Squirrel” runs through Sept. 8 at the National Academy Museum, 1083 Fifth Avenue, at 89th Street; (212)369-4880, nationalacademy.org.

 

Student Loan Rate Increase Impacts Neediest Native Students Most

Rob Capriccioso, Indian Country Today Media Network

With the U.S. Congress’ failure to curb vastly increasing student loan rates, Native American college students are on par to become some of the greatest harmed in the nation.

Rates on new federal subsidized student loans doubled from 3.4 percent to 6.8 percent July 1 after Republicans blocked legislation that would have maintained lower student loan interest rates. That means it will take much longer for students to pay back loans after graduation, and they will be saddled with debt for much longer.

Carrie Billy, president of the American Indian Higher Education Consortium, says that this situation is especially dangerous for Native American students, since for many taking out federal student loans is unavoidable—especially for those who choose to attend public or private universities or who go on to graduate school after attending tribal colleges or universities, many of which do not offer advanced degrees.

“For these American Indian students—who have some of the lowest family income rates in the country and who will return to their reservation communities to work after graduation—doubling the interest rate on their loans could mean the end of their education,” Billy says. “They simply will not continue. They cannot afford to carry such a heavy financial burden.”

Billy also makes the case that high interest rate loans not only harm students and their families, they also hurt the economic progress of tribal nations and the country as a whole. “[E]very student we lose is one less student contributing to the rebuilding of our tribal economies and contributing to America’s future workforce,” she says.

Quinton Roman Nose, executive director of the Tribal Education Departments National Assembly, predicts that costlier student loans will cause major problems for Indian college students.

“The student loan situation is even more detrimental to Native American students, especially if the student quits school and then defaults,” Roman Nose says. “They are put in a Catch 22 situation where they probably won’t be able to get a job that’s going to give them a chance to earn a living and make their student loan payments.”

On top of this, Roman Nose says that some colleges are not helping Native American students become aware of the long term effects of taking out student loans.

“With the loan interest rates subject to rise for all students, it creates a larger burden for our Native American students,” he warns, saying that financial education is especially important for such students.

Attempts to block the rate increase have currently stalled in the U.S. Senate, with S.1238, the Keep Student Loans Affordable Act of 2013, failing by a procedural vote of 51 to 49 on July 10. The bill needed to get 60 votes to proceed to debate. It would have kept the interest rate on federal subsidized Stafford student loans at 3.4 percent for an additional year.

Democrats have vowed to continue the effort to maintain lower rates. Sen. Martin Heinrich (D-N.M.) is one who has been working to prevent the increases through reauthorization of the Higher Education Act. “The Higher Education Act, the appropriate vehicle to change the way interest rates are calculated, doesn’t expire until the end of this year,” Heinrich said in a statement. “Passing a year extension gives Congress the time to consider all the proposals in the context of containing college costs, not just loan rates.”

After voting for the failed Keep Student Loans Affordable Act, a bill he cosponsored, Heinrich added, “Earning a college degree shouldn’t be a luxury, but something that every American family can afford… We need to give students a fair shot at succeeding in a tough economy, not saddle them with debt.”

Republicans are currently supporting a proposal that would reset interest rates each year, even as they rise–“a move that could cause student loan rates to more than double over the next 10 years, burdening students and families with more debt,” Heinrich said.

Billy, meanwhile, says that AIHEC and other Native education groups are currently working with national partners, led by the American Council on Education, to urge Congress to take action immediately helping to ensure that all Americans, including American Indians, have access to high-quality and affordable higher education.

“A key tool in making postsecondary education accessible and successful is affordable student loans,” Billy says.

 

Read more at https://indiancountrytodaymedianetwork.com/2013/07/11/student-loan-rate-increase-impacts-neediest-native-students-most-150384