Native Youth Photo Challenge: Show Everyone What It Means to Be Native

WeRNativeNative youth across the nation are invited to show the world what it means to be Native by taking the WeRNative Photo Challenge using the #WeRNative hashtag in social media, to raise awareness of Native American Heritage.
WeRNative
Native youth across the nation are invited to show the world what it means to be Native by taking the WeRNative Photo Challenge using the #WeRNative hashtag in social media, to raise awareness of Native American Heritage.

 

 

 

Native youth across the nation are invited to show the world what it means to be Native by taking the WeRNative Photo Challenge using the #WeRNative hashtag in social media, to raise awareness of Native American Heritage.

We R Native, a non-profit multimedia health resource for Native teens and youth teamed with Native-owned marketing company, Redbridge Inc., to host the #WeRNative Photo Challenge throughout November as a celebration of Native American Heritage Month.

We R Native is the only comprehensive health resource for Native youth, designed by Native youth, providing content and stories about the topics that matter most to them: social, emotional, physical, sexual, and spiritual health. The organization encourages Native youth to take an active role in their own health and well-being.

“Our tribal youth face a lot of challenges that leave them feeling like they’re facing them alone,” Stephanie Craig from We R Native said in announcing the event. “In celebration of Native American Heritage Month, Native youth will unite to show the world, and each other, they’re not alone and what it means to be Native by using the hashtag #WeRNative.”

On average, the We R Native project, funded by the Indian Health Service, reaches over 31,000 users per week through its various media channels.

“If the total Native American population is 1.6 percent of the nation, then Native youth are .5 percent. It’s easy to see why they feel alone in the challenges they’re facing,” Shannon Hulbert, CEO of Redbridge said in the statement.

“Imagine how empowering it would be if they started to see a number of other tribal youth across the nation saying #WeRNative,” Hulbert said. “The Challenge could serve as a platform for raising awareness, not just for who’s struggling and how, but also for who’s facing the challenges in ways they hadn’t thought about, and who’s smiling through it all.”

In the 2010 Census, 5.2 million people reported they were American Indian or Alaska Native (AI/AN), with approximately one-third under the age of 18. AI/AN youth are disproportionally impacted by a variety of adolescent health concerns, including high teen pregnancy rates, drug and alcohol use, and depression and suicide, which heighten their need for programs that align to their unique culture and social context.

Tribes and tribal organizations throughout the U.S. are working to develop and implement evidence-based, culturally-appropriate health interventions.

 

Read more at http://indiancountrytodaymedianetwork.com/2014/11/07/native-youth-photo-challenge-show-everyone-what-it-means-be-native-157739

Burke Museum’s Newest Exhibit Celebrates Native Art from the Pacific Northwest

Here & Now: Native Artists Inspired  November 22, 2014 – July 27, 2015

Source: Burke Museum

Seattle Northwest Native artists create 30 new works inspired by 200 years of history.

 Here & Now: Native Artists Inspired features work by artists whose practice has been informed by the objects in the Burke’s collections, demonstrating how today’s artists and art historians learn from past generations. The exhibit will include contemporary works in a variety of media alongside the historic pieces that artists identified as key to their learning. “The objects in the Burke’s collection embody the knowledge of their makers and they can be a catalyst for transferring this knowledge across generations,” explains exhibit curator and assistant director of the Bill Holm Center for the Study of Northwest Native Art, Kathryn Bunn-Marcuse.

Commemorating the 10th anniversary of the Bill Holm Center, Here & Now explores the dynamic relationship between the Burke Museum and Northwest Native art, artists, and scholars. In the past ten years, over ninety grants have been awarded by the center to researchers, artists, and graduate students. The grant program is unique in its breadth, providing funding for artists to conduct workshops in their own communities, and travel funding to study collections at the Burke Museum or other institutions that hold collections key to an artist or researcher’s interests. These grantees have all contributed to the current dynamism of Northwest Native art.

 Here & Now shares the results of the conversations artists have with historical artworks. Celebrate master artists of the past and present and share in the enthusiasm and creativity of today’s emerging artists.

 

The Kwakwaka’wakw transformation mask that inspired the design of the original Seahawks logo. Photo courtesy of the Hudson Museum
The Kwakwaka’wakw transformation mask that inspired the design of the original Seahawks logo.
Photo courtesy of the Hudson Museum

 

The Mask That Inspired the Seahawks Logo:  In the lead up to the 2014 Super Bowl, Dr. Robin K. Wright, Curator of Native American Art and Director of the Bill Holm Center for the Study of Northwest Native Art at the Burke Museum and Bill Holm – one of the most knowledgeable experts in the field of Northwest Coast Native art history – tracked down the origins of the Seahawk’s logo. A photo in Robert Bruce Inverarity’s 1950 book, Art of the Northwest Coast Indians depicts a Kwakwaka’wakw transformation mask which depicts an eagle in its closed form with a human face inside (revealed when the mask opens). Further research revealed press articles from 1976 that described this Kwakwaka’wakw mask from Vancouver Island as the source of the logo. It is now part of the Hudson Museum at the University of Maine’s collections.

During Here & Now, the mask will be displayed along with Native artists’ interpretations of the signature Seahawks design and logo. The Burke is currently fundraising through Kickstarter to bring community experts from the Kwakwaka’wakw First Nation to the museum to study the mask and for further preservation and mounting before it is put on display. To meet our goal, the museum still needs to raise about $6,000 and we are encouraging fans to donate $12 to the cause.

Meet the artists of Here & Now! On Sunday, November 23, participate in a panel discussion with selected artists whose work is featured in the exhibit, Here & Now: Native Artists Inspired; and join them for in-gallery conversations about their work. See the documentary “Tracing Roots,” which offers a heartfelt glimpse into the world of Haida elder and weaver Delores Churchill, and visit with her daughter and renowned weaver Evelyn Vanderhoop. Get an up close view of tools and techniques as Burke Curator Sven Haakanson demonstrates the process of cleaning and preparing a Kodiak bear intestine for use in clothing and boat-making.

 

About the Burke Museum:  The Burke Museum is located on the University of Washington campus, at the corner of NE 45th St. and 17th Ave. NE. Hours are 10 am to 5 pm daily, and until 8 pm on first Thursdays. Admission: $10 general, $8 senior, $7.50 student/ youth. Admission is free to children four and under, Burke members, UW students, faculty, and staff. Admission is free to the public on the first Thursday of each month. Prorated parking fees are $15 and partially refundable upon exit if paid in cash. Call 206-543-5590 or visit www.burkemuseum.org. The Burke Museum is an American Alliance of Museums-accredited museum and a Smithsonian Affiliate.

To request disability accommodation, contact the Disability Services Office at: 206.543.6450 (voice), 206.543.6452 (TTY), 206.685.7264 (fax), or email at dso@u.washington.edu. The University of Washington makes every effort to honor disability accommodation requests. Requests can be responded to most effectively if received as far in advance of the event as possible, preferably at least 10 days.

Seattle Refined: 5 of Wash. state’s best pumpkin patches

Fox Hollow Family Farm has a bonfire, s’mores and hot chocolate, horse-drawn carriage rides, a hay-bale maze, concessions, and more. (Photo Courtesy: Fox Hollow's Facebook Page)
Fox Hollow Family Farm has a bonfire, s’mores and hot chocolate, horse-drawn carriage rides, a hay-bale maze, concessions, and more. (Photo Courtesy: Fox Hollow’s Facebook Page)

 

By Jenny Kuglin, Seattle Refined

 

Halloween is just around the corner, pumpkin-spice-everything is everywhere, and the rain is back in full force. To me, this means it’s time for a visit to my favorite U-pick pumpkin patch! Since most of our area’s best spots have corn mazes, petting zoos, and more, you can definitely make a day trip out of it for you and your family.

Here are five of Washington’s best pumpkin patches that are about an hour away from Seattle:
32610 NE 32nd Street
Carnation, WA 98014
Attractions other than pumpkins: 4-H animal barnyard, hay maze, steam-powered train ride, farm theatre, fruit pies, and more
When it is open: The complete farm experience is only open on Saturdays and Sundays. The hours are 10 to 5. There are self-guided tours available on weekdays.
Cost for entire experience: $15.75/person, seniors are $13.75/person, 12 months and under are free
12031 Issaquah-Hobart Rd. SE
Issaquah, WA 98027
Attractions other than pumpkins: Bonfire, s’mores and hot chocolate, horse-drawn carriage rides, hay-bale maze, concessions, and more
When it is open: October 22, 23, 24, 25, 26, 28, 30, 31 (Halloween Party)
Cost for entire experience: $10.00/person, 12 months and under are free
12754 S.E. Green Valley Rd
Auburn, WA 98092
Attractions other than pumpkins: Corn maze, tractor-pulled hayrides, farm stand with locally grown fruits and veggies
When it is open: the rest of October, 10 to dusk, the corn maze is only open on Saturdays and Sundays
Cost for corn maze: $9.00/person 12-99 years old, $6.00/person 3-12 years old, under 3 is free
38223 236th Ave. SE
Enumclaw, WA 98022
Attractions other than pumpkins: Corn maze and junior corn maze, bubble table, duck races, cattle roping, hay maze, and more
When it is open: The rest of October, 9:30 to 5:30
Cost: There are several options, so visit their website
10917 Elliott Rd
Snohomish, WA 98296
Attractions other than pumpkins: Hayrides, trike track with John Deere tricycles, playground, pony rides, face painting, an apple cannon and more
When it is open: Every day for the rest of October, 10 to 7 (certain attractions are only open on the weekends)
Cost: Free to enter the pumpkin patch, check the website to see specific costs of activities
What’s your favorite pumpkin patch in Washington? Let me know in the comments!

The power of a pirouette

By Marshall Terrill, Special to GetOut of The East Valley Tribune

Maria Tallchief Photo courtesy of Sandy Osawa
Maria Tallchief
Photo courtesy of Sandy Osawa

Maria Tallchief was considered America’s first major prima ballerina and was the first Native American to hold such distinction.

Tallchief’s innovative role as the first sugar plum fairy in ‘Nutcracker’ and passionate dancing revolutionized the ballet but offstage her life was filled with personal struggles and discrimination.

ASU’s Simon Ortiz and Labriola Center Lecture on Indigenous Land, Culture, and Community presents Sandy Osawa’s ‘Maria Tallchief,’ a documentary that will be screened at 7 p.m. on Thursday, Oct. 16 at the Heard Museum, 2301 N. Central Ave., Phoenix.

Osawa will follow the free screening and lecture with a Q & A about her one-hour documentary, which aired on PBS from 2007-2010. Osawa broke media barriers in the 1970s by launching the first 10-part national television series to be entirely produced, acted and written by Native Americans. She was also the first Native American filmmaker to produce a documentary for network television, called ‘The Eighth Fire,’ first broadcast on NBC stations in 1992.

Osawa spoke to Get Out from her home in Seattle, Washington, to discuss her landmark documentary and the life of one of the most brilliant ballerinas of the 20th century.

Q: What drew you as a filmmaker to Maria Tallchief’s story?

SO: What drew me to her story was the fact that there’s a shocking lack of Native American stories and she had been on my mind for some time. I first heard about her when I was in college, so that had always stayed in the back of my mind. Then years later I met her grown daughter, Elise Maria Paschen, at a writer’s workshop in Oregon. I asked Elise if there had ever been any full-length documentaries on her mother. She said, ‘No, there isn’t.’ Elise then gave me her mother’s number and I called her up. When I asked Maria Tallchief about the possibility of doing a documentary she said, ‘Let’s do it.’

Q: There were some parallels with you and Maria Tallchief in that you are both Native American women who were underrepresented in your respective professions. Did that help you relate to her?

SO: I actually did feel that there were layers, a lot of levels that existed between us. One of them was the fact that Maria Tallchief said she was shy growing up … painfully shy. I also suffered with that aspect of being shy. I went to school in Port Angeles, Washington and although there was a tribe nearby, there really weren’t any Native Americans at my school. Every summer I would go back to the reservation and that was very much a coming home period and it felt positive. Going back to school was the reverse feeling. Maria said she had that same feeling when balancing the Indian and non-Indian world. Maria was also very quiet about her own accomplishments and was reticent to say anything about her amazing career, which meant I had to resort to some of her friends, associates and family to fill in those gaps. Many people who are raised in a traditional Native American setting are not fond of bragging.

Q: I was surprised to discover there were factions in ballet and Tallchief was an outsider in terms of where she fit in this world.

SO: When she started her career, the only star ballerinas that existed were Russian and English, no Americans. For example, she was asked to change her name to Maria Tallchieva to sound Russian. It’s kind of hard to fathom this now, but this was in the 1940s and 1950s. She was America’s first prima ballerina. It’s a huge milestone people and are always asking, ‘Why didn’t we know about her then?’ It’s all boils down to who writes our history and whose story gets told.

Q: In addition to having to overcome hurdles in the ballet world, Maria Tallchief had a lot of personal issues to face.

SO: I think with any artist there are always going to be obstacles in the way and she certainly faced her share of them. Even when she was born there was turmoil. In the film we focus on a time period when she was young where her relatives were being murdered for oil. Being born a girl in that era and in that environment of murder, it did not look like a very good start for Maria. We show that in the beginning to demonstrate the stress that exists in most Native Americans lives. There are difficulties, there’s hardships, and if you happen to be born into oil money, like her family was, there were tremendous obstacles.

Q: Maria Tallchief died in 2013 but was alive when your film first premiered in 2007. What was her reaction to the documentary?

SO: We set up the premiere at the Gene Siskel Film Center in Chicago so that we could be with her in the audience. She was actually living in a nursing home when we screened the film but was able to come that night and she sat in the front row right next to me. When it ended, she got up and publicly thanked us and was very happy with the film. Her daughter later confirmed how appreciative Maria was. It was very nerve wracking for me because when you’re dealing with a legend, you’re very nervous if you’ve nailed it or not. It was a great final affirmation that she was happy and that we had done a great job.

If you go

What: ‘Maria Tallchief’ lecture, film and Q & A

When: 7 p.m. Thursday, Oct. 16

Where: Heard Museum, 2301 N. Central Ave., Phoenix.

Cost: Free

Information: (602) 252-8840 or Heard.org/events

Avatar 2 To Feature Native American Cast Members: Shooting Begins 2015 For 2016 Release

By Mehdi Khomein Abadi, Air Herald

Shooting for Avatar 2, the sequel to James Cameron’s world wide box office smash, begins in 2015, and new casting call information reveals the inclusion of Native Americans in supporting roles. Filming will be split between Manhattan Beach, California, and a location in New Zealand.

The film is currently set for a December 2016 premiere in the United States.

A direct sequel to the first film Avatar 2 it’s believed the plot will follow Jake Sully (Sam Worthington) who uses the technology to transfer his consciousness in to the body of his Na’vi, so he can live a fresh life with princess Neytiri (Zoe Saldana). Something tells us this won’t go smoothly however.

Also reprising their roles are Sigourney Weaver as “Dr. Grace Augustine”, Stephen Lang as “Colonel Miles Quaritch,” and Joely Richardson is rumored to be newly joining the cast.

Although the status of the idea is unknown, James Cameron has stated that he wants to film Avatar 2 at a higher frame rate that usually used, and possibly as high as 60fps, something usually reserved for video games. Since most theaters don’t run at this rate it may only be reserved for special circumstances or the future when higher frame rates might become the standard.

Cameron has also expressed interest in filming some scenes at the deepest location on earth accessible by humans, the bottom of the Mariana Trench in the Pacific Ocean. Though again the status of this is not clear.

Cameron who wrote, will direct and produce the film has his work cut out over the next few years as he’s agreed to two more Avatar movies, Avatar 3 and Avatar 4. Judging from the fact that the first Avatar was one of the highest grossing films of all time, continuing the franchise makes sense.

Actress Misty Upham from ‘August: Osage County’ is missing

November 8, 2013. Cast member Misty Upham attends a screening of the film "August: Osage County" during AFI Fest 2013 in Los Angeles. (Reuters)
November 8, 2013. Cast member Misty Upham attends a screening of the film “August: Osage County” during AFI Fest 2013 in Los Angeles. (Reuters)

By Foxnews.com

Actress Misty Upham has officially been declared a missing person reports Us weekly. Indian Country Today reports that the 32-year-old actress was last spotted leaving her sister’s apartment in Muckleshoot, Washington on October 5.

She is best known for her role as housekeeper Johnna Monevata in the film “August: Osage County” which starred Julia Roberts and Meryl Streep. Other film roles include 2008’s “Frozen River” and 2013’s “Jimmy P.” She had also filmed a part in the upcoming movie “Cake” alongside Jennifer Aniston.

Upham’s father, Charles Upham who first raised the alarm released a statement saying, “”Misty is considered an endangered missing person due to a medical condition. She has not been in contact with her family or friends since her disappearance.”

Charles Upham says the last time he saw his daughter she sounded suicidal.

“She told me and her mom that we didn’t have to worry about her anymore … I thought it sounded suicidal myself, so I called the police,” Charles Upham told The Hollywood Reporter.

“She’s always been a suicidal person,” he said, “She used to make (suicide) threats sometimes, but she never went through with it.”

Those with information on Upham are asked to call the Auburn police department (253) 288-2121, case no. 14-13189.

The ‘Sioux Chef’ Is Putting Pre-Colonization Food Back On The Menu

sioux-chef-npr-plated-food-2_wide-37e58756a893bfb6f0bc575558395717f181d81f

 

By: NPR

 

Like most chefs, Sean Sherman practically lives in the kitchen. But in his spare time, this member of the Oglala Lakota tribe has been on a quest to identify the foods his ancestors ate on the Great Plains before European settlers appeared on the scene. After years of researching and experimenting with “pre-colonization” foods, he’s preparing to open a restaurant in the Twin Cities this winter that showcases those foods, reborn for contemporary palates.

Sherman, who calls himself the Sioux Chef, grew up on the Pine Ridge Indian Reservation in South Dakota. It’s where he first started to learn about the traditional foods of the Plains, whether it was hunting animals like pronghorn antelope and grouse,or picking chokecherries for wojapi, a berry soup.

“We were close to the Badlands and its sand hills, which is not the best growing area by far,” says Sherman, who’s now 40. “But we would also spend weeks in the Black Hills, crawling around and learning stuff.”

Sherman’s grandfather was among the first Native American children to go to mission schools on the reservation, and he was one of Sherman’s first teachers. Forced assimilation during the 19th and early 20th century wiped out much of Native American food culture across the country. When his grandfather died when Sherman was 18, he was left with many unanswered questions.

In the meantime, Sherman worked his way up in the restaurant world, eventually becoming an executive chef at Minneapolis’ La Bodega in 2000. Around the same time, he had the idea to write a Lakota cookbook. Although there were some Native American cookbooks already on the market, he says he found that most of them focused on the Southwest or made too many generalizations about food across regions and tribes.

When he tried to learn more about the wild game — and especially the plants — native to the Great Plains, he came up short. He says many Americans don’t have a sense of the Lakota diet beyond bison or frybread. (Frybread is actually a fairly recent addition and has a complicated history.)

“There wasn’t a lot of information out there, so I devised my own [research] plan,” he says. “I spent years studying wild edibles and ethnobotany.”

He learned more from oral histories and also started reading historical first-contact accounts written by Europeans, although they weren’t always helpful.

“A lot of those first-contact reports focused on what the men were doing [hunting], not on what the women were doing — processing all of the food,” he says.

One of his breakthroughs came when he lived in Mexico for a while. He discovered that the traditional methods of drying and grinding food in that region were similar to those his tribe had once used, and indigenous people all across North America were working with ingredients like corn, beans and squash.

Back in Minnesota, he continued to try and piece together a picture of the traditional diet of the local Dakota and Ojibwe tribes. He also spent a lot of time traveling across the state, adding more staples to his growing list, including bison, venison, rabbit, river and lake fish, trout, duck, quail, maple sugar, sage, sumac, plums, timpsula or wild turnip, wild rice, purslane, amaranth, maize, and various wildflowers.

Identifying the ingredients has only been half of the challenge, however. He’s also had to figure out how to preserve everything. He’s relied mostly on a food dehydrator (for efficiency), but he’s also experimented with drying by sun and wood fire.

“I want to figure out how I can use wild flavors in season, because they might be gone in a two-week period,” he says. “The biggest part of the Native American cuisine is just that method of preserving foods. That’s what people were doing during the whole summer season — preparing for the next long winter.”

Sherman started Sioux Chef as a catering business in Minneapolis and hopes to open his restaurant sometime this winter in the Twin Cities. He says the area’s diverse population and vibrant food scene offer the “best platform to showcase what we can do with these foods.”

Some chefs have tried similar concepts in other regions. Nephi Craig brings Apache and Navajo influences to the food he prepares at the Sunrise Park Resort Hotel in Arizona. The Misitam Cafe in the Smithsonian National Museum of the American Indian in Washington, D.C., has won national acclaim.

Sherman says his restaurant will feature a seasonal menu with family-style dishes, like wild rice flatbread, cedar-braised bison, smoked turkey wasna, seared walleye with sumac and maple sugar and balsam fir iced tea. Most of his ingredients will be sourced from local farms. Some farms, like Wozupi, work with local tribes to grow indigenous plants and preserve heirloom seeds.

Sherman says his goal is to bring a sophisticated touch to traditional ingredients, and he hopes it will be a way to share old traditions with new diners. “We need this kind of restaurant all over the place,” he says.

But other groups on reservations are interested in reviving pre-colonization foods to reincorporate them into local diets. The Traditional Western Apache Diet Project and the Crow Creek Fresh Food Initiative are offshoots of a food sovereignty movement that is picking up steam on several reservations around the country. A recent study by the U.S. Department of Agriculture also found that several indigenous foods that aren’t widely consumed anymore are highly nutritious.

If his restaurant is successful, Sherman hopes he can expand the concept and create similar ones across the country, training young Native American chefs in keeping their tribes’ best culinary traditions alive.

Sophisticated 600-year-old canoe discovered in New Zealand

This turtle was carved on the hull of a 600-year-old canoe found in New Zealand. Turtles are rare in pre-European Maori art. The engraving might be a nod to the Maori's Polynesian ancestors, who revered the seafaring reptiles. (Tim Mackrell, Conservation Laboratory, The University of Auckland)
This turtle was carved on the hull of a 600-year-old canoe found in New Zealand. Turtles are rare in pre-European Maori art. The engraving might be a nod to the Maori’s Polynesian ancestors, who revered the seafaring reptiles. (Tim Mackrell, Conservation Laboratory, The University of Auckland)

By Megan Gannon, FoxNews.com

Sophisticated oceangoing canoes and favorable winds may have helped early human settlers colonize New Zealand, a pair of new studies shows.

The remote archipelagos of East Polynesia were among the last habitable places on Earth that humans were able to colonize. In New Zealand, human history only began around 1200-1300, when intrepid voyagers arrived by boat through several journeys over some generations.

A piece of that early heritage was recently revealed on a beach in New Zealand, when a 600-year-old canoe with a turtle carved on its hull emerged from a sand dune after a harsh storm. The researchers who examined the shipwreck say the vessel is more impressive than any other canoe previously linked to this period in New Zealand. [The 9 Craziest Ocean Voyages]

Separately, another group of scientists discovered a climate anomaly in the South Pacific during this era that would have eased sailing from central East Polynesia southwest to New Zealand. Both findings were detailed Sept. 29 in the journal Proceedings of the National Academy of Sciences.

Canoe on the coast

The canoe was revealed near the sheltered Anaweka estuary, on the northwestern end of New Zealand’s South Island.

“It kind of took my breath away, really, because it was so carefully constructed and so big,” said Dilys Johns, a senior research fellow at the University of Auckland in New Zealand.

The hull measured about 20 feet long and it was made from matai, or black pine, found in New Zealand. The boat had carved interior ribs and clear evidence of repair and reuse. Carbon dating tests showed that the vessel was last caulked with wads of bark in 1400.

Johns and colleagues say it’s likely that the hull once had a twin, and together, these vessels formed a double canoe (though the researchers haven’t ruled out the possibility that the find could have been a single canoe with an outrigger). If the ship was a double canoe, it probably had a deck, a shelter and a sail that was pitched forward, much like the historic canoes of the Society Islands (a group that includes Bora Bora and Tahiti) and the Southern Cook Islands. These island chains have been identified as likely Polynesian homelands of the Maori, the group of indigenous people who settled New Zealand.

The boat was surprisingly more sophisticated than the canoes described centuries later by the first Europeans to arrive in New Zealand, Johns told Live Science. At the time of European contact, the Maori were using dugout canoes, which were hollowed out from single, big trees with no internal frames. In the smaller islands of Polynesia, boat builders didn’t have access to trees that were big enough to make an entire canoe; to build a vessel, therefore, they had to create an elaborate arrangement of smaller wooden planks.

The newly described canoe seems to represent a mix of that ancestral plank technology and an adaptation to the new resources on New Zealand, since the boat has some big, hollowed-out portions but also sophisticated internal ribs, Johns and colleagues wrote.

The turtle carving on the boat also seems to link back to the settlers’ homeland. Turtle designs are rare in pre-European carvings in New Zealand, but widespread in Polynesia, where turtles were important in mythology and could represent humans or even gods in artwork. In many traditional Polynesian societies, only the elite were allowed to eat turtles, the study’s authors noted.

Shifty winds

A separate recent study examined the climate conditions that may have made possible the long journeys between the central East Polynesian islands and New Zealand. Scientists looked at the region’s ice cores and tree rings, which can act like prehistoric weather stations, recording everything from precipitation to wind patterns to atmospheric pressure and circulation strength. [10 Surprising Ways Weather Changed History]

Because of today’s wind patterns, scholars had assumed that early settlers of New Zealand would have had to sail thousands of miles from East Polynesia against the wind. But when the researchers reconstructed climate patterns in the South Pacific from the year 800 to 1600, they found several windows during the so-called Medieval Climate Anomaly when trade winds toward New Zealand were strengthened.(That anomaly occurred between the years 800 and 1300.)

“There are these persistent 20-year periods where there are extreme shifts in climate system,” the study’s head author, Ian Goodwin, a marine climatologist and marine geologist at Macquarie University in Sydney, told Live Science. “We show that the sailing canoe in its basic form would have been able to make these voyages purely through downwind sailing.”

Goodwin added that a downwind journey from an island in central East Polynesia might take about two weeks in a sailing canoe. But the trip would take four times that if the voyagers had to travel upwind.

Founders Of Idaho Creation Museum Urge Visitors To ‘Think Critically’

By Jessica Robinson, NW News Network

A group in the Boise area is in the midst of fundraising for a new attraction in the Northwest. It’ll be called the Northwest Science Museum.

 

Stan Lutz, left, and Doug Bennett stand with a mastodon skull in the Vision Center, a smaller version of what they hope to build.
Credit Jessica Robinson / Northwest News Network

They envision a 350,000-square-foot space full of fossils, rocks and animal specimens. But this isn’t your usual natural history museum. It’s designed by creationists.

Most scientists, textbooks, and natural history museums would tell you the Earth is several billion years old, that plant and animal species evolved over time, and that dinosaurs died out millions of years before our human ancestors appeared. You might even take that as a given. But a large segment of the population believe something else happened.

It’s the story Doug Bennett wants to tell in the museum.

Creationist view

“The first thing you’re going to see as you walk up to the building is a full-scale Noah’s Ark,” Bennett pointed out.

That ark, and Noah’s flood, are key to the way Bennett sees the history of the earth. To him, it explains many of the geological formations and how fossils were distributed. Bennett is among the 42 percent of Americans who have a creationist view of the world. He believes the earth and all life were created in their present form in one week, about 6,000 years ago.

To Bennett, evolution isn’t about science, it’s about morality.

“If you can make up a system that says there is no god, that things just happen by chance, then we’re not accountable to any higher being,” he said. “And so you can do what you want and have no consequence.”

So far, Bennett and the other founders have set up a smaller version of what they hope to build – they call it the Vision Center. They’ve rented a space in a business park at the edge of Boise and put in displays, including a huge mastodon skull whose tusks fill the center of the room.

‘The most controversial stones in the world’

Bennett said the idea for the museum was an inspiration from God.

 

Creationists say this stone from Ica, Peru shows a T-rex interacting with a human.
Credit Jessica Robinson / Northwest News Network

“I think everybody needs to see the evidence we will have in the museum,” he added. “One of the things we have here in this vision center is probably the most controversial stones in the world. Because they show man and dinosaurs interacting.”

In one of the glass cases, Stan Lutz, one of the other founders, pointed out a collection of “Ica stones,” which he said are ancient stones from Peru.

“This stone right here, you can see there’s a man on it riding on a triceratops dinosaur,” he said.

Lutz pointed to a tan colored stone with a man on a lizard-like creature.

“We have rocks showing at least 14 species of dinosaur that are all accurately drawn,” he said.

This isn’t the only evidence they’ll display. In fact, Bennett said they’ll even show the argument from the other side, what he calls the “naturalistic perspective.”

“We want to bring that out and say, ‘Ok, people. Let’s make your choice here.’ Don’t just believe because you’re being told that. Think for yourself. Use critical thinking and think, does this make sense?” Bennett said. “Or is it better to believe what the Bible says — that God created all things.”

The museum in Idaho joins at least a dozen creation museums in other states trying to provide a counterweight to prevailing scientific thought. One museum near Mt. Saint Helens uses the mountain’s explosion as proof that the earth can change rapidly. This year, the Creation Museum in Kentucky hosted a much-discussed debate between the museum’s founder and science personality Bill Nye.

Creationism vs intelligent design

But Casey Luskin, from the Discovery Institute in Seattle, said in many ways, the real debate has moved on.

“I definitely think the conversation about origins has shifted a lot, over the last probably 15 or so years,” he said.

The Discovery Institute is one of the main proponents of intelligent design. Like creationism, intelligent design says the complexity of life was directed by some sort of intelligent cause. But beyond that Luskin draws a sharp line between intelligent design and creationism.

“Intelligent design starts with the data. Whereas creationism starts with the Bible,” he explained. “Intelligent design doesn’t say the earth is 6,000 years old, whereas creationism — that’s a major claim that creationists will make. And so, when people conflate the two, it’s an attempt to try to dismiss the arguments for design in nature without actually addressing them.”

On a visit to the museum’s Vision Center, Laura Wallace of nearby Nampa browsed the displays and found herself divided — between two different views of the history of the earth.

“I don’t know, I mean I believe God could do either,” she said. “If he wanted to do it in a million years he could have. Or if he wants to do it in 4,000 years he could do it. So I don’t know — I guess I’m kind of waffling. I don’t really have a definitive answer on that, but that’s ok, sometimes you don’t have all the answers either.”

Maybe not. But the founders of the museum want to give her a place to look.