Roberta Conner of Tamastslikt Cultural Institute benefits from audience participation as women from the Confederated Tribes of the Umatilla showcase traditional dances on the last day of the Oregon State Fair. / Thomas Patterson / Statesman Jou
The Confederated Tribes of Umatilla Indian Reservation took center stage on the last day of the Oregon State Fair today.
Four members of the tribe, wearing traditional clothing such as eagle feathers, moccasins, shell earrings and braids, performed their native dances on the Americraft Cookware Stage.
Roberta Conner, director of the Tamastslikt Cultural Institute who led the dancers, described the dances before each demonstration.
Conner said the tribes have been in Oregon for 10,000 years and have always been welcoming to visitors. When visitors would reach the tribes they would be offered food and water along with a performance of the welcome dance.
Kirke Campbell, of Corvallis, said his daughter wanted to be at the fair today to see the Umatilla dancers.
Campbell was randomly selected from the audience to participate in the owl dance.
“I was honored to be picked,” he said.
At the end of the performance, all of the audience members were asked to join in a circle dance. About 50 took advantage of the opportunity.
“(This) has been the best turn out for the three performances we have done,” Conner said.
Rachel Brown showed off her father Joe Brown’s 1940 Willys Coupe at last year’s Drag Strip Reunion. — image credit: File photo.
Kirk Boxleitner, Arlington Times
ARLINGTON — For the 10th year in a row, the west side of the Arlington Municipal Airport will be revving with hot rod and classic car engines this fall, as the Arlington Drag Strip Reunion returns to the blacktop just off the airport’s 188th Street NE entrance on Saturday, Sept. 14, from 8 a.m. to 4 p.m.
Visitors will be able to get an eyeful of vintage vehicles and souped-up rigs for an admission fee of $3 for adults and $1 for kids, while entrants in the show will be charged $20 to pre-register or $25 at the gate.
From the 1950s to 1970, the Arlington Airport served as the site of the National Hot Rod Association-sanctioned Drag Strip event, which produced a number of national records in the early years of organized drag racing.
The first Drag Strip Reunion came about in 2004, when the nearby Arlington Boys & Girls Club revived the event to help raise funds for their programs. They received support not only from the city and the airport, but also from the former track manager and track announcer of the original Drag Strip.
Four years ago, Arlington Boys & Girls Club Director Bill Kinney approached the Port Gardner Vintage Auto Club about partnering on the Drag Strip Reunion, since the latter club had been putting on their own auto show to support local charities, including the Boys & Girls Clubs, for the past 31 years.
Jake Jacobsen, of the Port Gardner Vintage Auto Club, touted the show’s focus on supporting the surrounding community as one of its biggest draws.
“It’s all done by volunteers, so all the proceeds are able to go to those local charities,” said Jacobsen, who noted that the Marysville-Pilchuck High School Automotive Program has been among the regular beneficiaries of the show’s proceeds. “We select seniors who will stay in the automotive field after they graduate, and sponsor them to get tools, so they can get hired immediately out of school.”
According to Jacobsen, last year’s Drag Strip Reunion raised slightly more than $10,000 for various charities, and this year’s goal is to reach $12,000.
With as many as 500 vehicles on display and more than 2,400 spectators estimated to have attended last year, Jacobsen reminded those who will be gathering in Arlington for this year’s event weekend that there are no activities on Friday, Sept. 13, associated with the Drag Strip Reunion.
Indeed, while the city of Arlington welcomes the auto enthusiasts who will be coming to the community for the event, the Washington Traffic Safety Commission will be working with the Arlington Police Department to enforce the rules of the road by conducting additional patrols that Friday evening, with zero tolerance for any traffic violations.
“The Arlington Police have been very welcoming to work with on this,” Jacobsen said. “They’ve been totally open and cooperative.”
Jacobsen likewise praised the Arlington business community for its willingness to promote the Drag Strip Reunion.
“We’ve gotten lots of great local support, and our local businesses have been a big part of that,” Jacobsen said. “People become very cooperative when they hear that it all goes back to charity. A lot of local merchants just like supporting local events, and 95 percent of them have been very happy to talk to us.”
In turn, the Drag Strip Reunion will further show its support for the surrounding community by collecting non-perishable food items for local food banks, and will even incentivize those donations by rewarding those contributors with free raffle tickets.
The local charities which receive funds from the Drag Strip Reunion will have their own table, and the Burned Children Recovery Foundation’s fire truck will be featured among the hundreds of current and historic classics, street rods, customs and specially restored drag cars from the strip’s heyday in the 1950s and ’60s.
Salmon Homecoming is all about the people of the Pacific Northwest, whoever they are and whatever they do. That means we’re here for you, because your health, spirit and even your sustainable economy is most certainly about the salmon.
The Salmon Homecoming Alliance is a 501 (c) 3 non-profit foundation, established to organize, plan, develop and facilitate programs and events associated with Salmon Homecoming. Board members represent a variety of governments, associations, foundations and industries. Our objectives are to provide opportunities for tribal and non-tribal communities to come together in a positive atmosphere, learn from one another, and explore ways to support cooperative spirit in salmon restoration and protection.
We are happy to continue the tradition by celebrating the 21st annual Salmon Homecoming ceremony. The celebrations have always included cultural presentations, such as Northwest traditional gatherings, Pow Wows and Cedar Canoe events. We’ve sponsored environmental fairs, educational outreach activities, salmon bakes and even salmon runs. We present “Seventh Generation Legacy Awards” every year to people who have made important contributions to natural resources and Indian/non-Indian relations. We have accomplished much, but our Salmon Story has just begun.
“Salmon are the measuring stick of well-being in the Pacific Northwest.”
-Billy Frank, Jr., Chairman, Northwest Indian Fisheries Commission
Seeking to take advantage of a captive audience, all 22 tribes in the state of Arizona are expected to be represented at an American Indian Village as part of the 2015 Super Bowl XLIX in Phoenix. Even though it’s two years out, planning by the Arizona American Indian Tourist Association is already underway.
“This is a fantastic opportunity to get the Indian country message out to the thousands who will attend the football championship,” says Donovan Hanley (Navajo), current Tourist Association president. The Village, one of the association’s largest collaborative efforts, showcases the sights, sounds and flavors of Native dance, music, arts and crafts, and food—a slice of tribal life.
“We set up an Indian Village during the 1996 and 2008 NFL Super Bowls in Phoenix and drew 20,000 attendees,” said past AAITA President Rory Majenty (Yavapai). Another 8,000 visitors enjoyed the experience during the 2012 Centennial.
Although plans are not yet in place for 2015, much of the color and pageantry of last year’s Centennial should re-appear at the Super Bowl—displays like a replica of a Navajo hogan, a traditional Hopi house, and a Salt River Pima-Maricopa round house; demonstrations of traditional piki bread-making; performances by gourd singers accompanied by aboriginal instruments; dancers performing the Pal’hik Mana (Water Maiden) and the Eagle Dance; artists who will show how pottery is made from the collection of the clay to the finished product—everything is on the table in current discussions.
“This is a great venue to market Indian tourism to a captured audience and to educate visitors of the growth and abilities of Arizona’s native peoples,” said Majenty. “We’re a big part of this state and lay claim to a large part of its history and identity.”
And that includes the sport of football too. “The Indian and the NFL are not separate entities,” says Raphael Bear (Yavapai). “Native American gridiron star Jim Thorpe was one of the first Commissioners when the National Football League was started. We have an opportunity here as a tourist organization for American Indians to let the world know we’ve always been a part of this sports scene. A smart card player plays the strongest cards in his hand and the Thorpe connection is a trump card for us to hold during the Super Bowl.”
“I know people aren’t going to just stop into the Village and then make plans to vacation in Indian Country,” says Hanley. “This kind of focused concentration takes years and years to become truly effective, but an authentic Indian Village can plant a bug to spur further interest in all we have to offer in the state.
“While many out-of-state football fans may just fly in and fly out to count kickoffs and savor the touchdowns, we expect regional attendees to visit the Village both before and after the game and feel if we tantalize all the sensory options with our exhibits and entertainment, it will peak further interest in Arizona’s Indian country.”
Now in its 43rd year, Bumbershoot has consistently drawn artists representing the best in music, film, comedy, spoken word, dance, theatre, performance, and visual arts to Seattle every Labor Day weekend.
North America’s largest urban arts festival, Bumbershoot takes place in the heart of the city at the 74-acre Seattle Center.
Over 100,000 visitors from near and far spend the weekend experiencing groundbreaking local, national, and international artists in all arts disciplines and musical genres at venues large and small, indoor and outdoor.
Bumbershoot also features a variety of food, merchandise, and urban craft vendors throughout Bumbershoot grounds—there’s plenty to eat, see, and do all weekend long.
Tony Choate, Director, Chickasaw Nation Media Relations
ADA, Okla. – Musicians Brad Clonch and Jeff Carpenter, better known as the Native American band Injunuity, have inked a record deal with an Arizona company.
Phoenix-based Canyon Records and Injunuity came to agreement almost a year ago. Canyon will release the band’s independently produced third compact disc Fight For Survival. The 2010 release won the band Songwriters of the Year honors at the Native American Music Awards or “Nammy.” Nammy awards are the equivalent to mainstream music’s Grammy Awards.
“They (Canyon) are one of the largest distributors of Native American music nationally and internationally,” Clonch said. “They took the album and are redesigning the artwork. They are reproducing the recording tracks to give it more of a flare that they are accustomed to in terms of the Native flute. We signed on with them a year ago in October and they’ve been reworking Fight For Survival over the last year,” he added.
“Instead of Jeff and me selling CDs out of the trunks of our cars, it will be released to stores. Our music will be available in many locations. People will know ‘hey, here’s this new sound, this new band,’ ” Clonch said.
The musicians are expecting release of Canyon’s version of Fight For Survival soon and with it they expect to become busier performing at Native American festivals and venues nationally and internationally.
Not that they aren’t already busy.
In fact, Clonch, who plays Native flute and is an accomplished pianist, and Carpenter, a multi-talented guitarist and saxophone player, recently ventured to Switzerland for a Native American concert known as Apache Moon. They departed Oklahoma in July and returned home about a week later.
Each raves about the experience, the welcome they received and how they were able to do radio and television interviews to inform people about their music, Chickasaw history and culture.
The festival’s organizer, Davide Buzzi, is interested in Native American music and culture. He organized the festival in Semione, Switzerland, approximately 10 years ago. Both musicians said the opportunity to visit with Europeans and share what it means to be Native American was exciting. Both work for the Chickasaw Nation. Carpenter is Chickasaw and Clonch is Mississippi Choctaw.
“There are still a lot of stereotypes about Native Americans, especially (in Europe),” Clonch said. “A lot of them think we still live on reservations, ride horses, and live in teepees. It’s actually very cool. Instead of them coming to America, we traveled to Europe to share our culture with them.” The pair explained to European media while some tribes did live in teepees, the Chickasaws lived in villages comprised of a summer home and winter home made of mud huts with a thatch roof.
“We were able to educate them on that and show them it’s not always what Hollywood portrays,” Clonch explained. “We were able to teach them some Chickasaws words and we sat down for many interviews where we talked about the Chickasaw Nation, how it was removed from the ancestral home lands and how it has thrived and continues to thrive in Oklahoma.”
With a newly-released fourth CD titled Spirits, a recording contract, and interest in the group spreading globally, Injunuity hits the road again in September.
A two-day festival celebrating Native Americans is held annually in Tuscumbia, Ala. Injunuity will make its sixth appearance there in as many years.
“That festival is probably one of the biggest reasons we still exist,” Carpenter notes with a big smile. “The reception we get out there was just unbelievable.”
“When you go to an area where people don’t experience (Native music) every day, they are just in awe of it,” Clonch said.
To learn more about the band and performance dates, visit www.injunuity.net.
Akron, Ohio, Aug. 27, 2013— Native American cultural artifacts rarely seen in this region will be on display at the University of Akron’s Center of the History of Psychology. The objects are part of the Jim and Vanita Oelschlager Collection.
The exhibition, “Drums, Tomahawks and the Horse: Native American Cultural Tools,” will be introduced with an opening reception on Saturday, Sept. 7 from noon to 4 p.m. at the University of Akron Center for the History of Psychology.
The exhibit will feature drums, tomahawks, shields, headdresses and other tools related to Native American life and the use of the horse. It will highlight artistic expression in objects such as beaded moccasins, painted buffalo robes, decorations with porcupine quills and ledger drawings.
These cultural artifacts represent tools used during the late 1700s to the early 1900s and will be placed in an historical context with maps and timelines of selected events of change in the lives of Native Americans.
“The opening celebration will begin with a traditional Lakota blessing and song by Joey Tiger,” said Dr. Lynn Metzger, research associate of the Department of Anthropology and Classical Studies, “Native American Lakota traditional dancers will perform with regalia and drums in order to remind us the sacred traditions are still alive. Demonstrations of atlatl throwing and flint knapping will connect us back to prehistoric tools.”
UA’s Center for the History of Psychology is located at 73 College St. in Akron. Running through Feb. 15, 2014, the exhibition is open Mondays through Fridays from 10 a.m. to 4 p.m. and Saturdays from noon to 4 p.m. For more information, call 330-972-7285 or visit uakron.edu/chp.
TAHLEQUAH, Okla. —The Cherokee National Youth Choir will trade their traditional Thanksgiving turkey and dressing meal to travel to New York City and sing in the Macy’s Thanksgiving Day Parade.
It’s the second time the Cherokee National Youth Choir has been invited to the parade. The choir participated in 2007.
“We are thrilled to be invited back to the Macy’s Thanksgiving Day Parade,” said Cherokee National Youth Choir Director Mary Kay Henderson. “It is very humbling, and our students take the opportunity very seriously. They know they are representing the Cherokee Nation on the parade route.”
Henderson said the 2 ½-mile parade, with more than 4 million people in attendance and viewers watching nationally, is mind boggling and something the 28 choir members will never forget.
The group is practicing weekly and held numerous fundraisers. The tribe will underwrite the majority of the trip.
The Cherokee National Youth Choir was founded in 2000 to keep youth interested in the culture and involved with speaking the Cherokee language. The choir has produced 11 albums, with the most recent being “Cherokee America” in 2012. The song choice for the Macy’s Day Parade won’t be revealed until on the parade route.
The public can hear the Cherokee National Youth Choir during several concerts at the Cherokee National Holiday. The choir will perform during the art show at the Tahlequah Armory Municipal Center at 6:30 p.m. Friday, Aug. 30. They also perform at Principal Chief Bill John Baker’s State of the Nation address about 11:30 a.m. Saturday, Aug. 31, at the Court House Square, and 2 p.m. at the Tahlequah Armory Municipal Center. Admission is free.
For more information on the Cherokee National Youth Choir, contact Mary Kay Henderson at 918-772-4172 or marykay-henderson@cherokee.org.
Imagine this: After producing an event offensive to Native Americans, Paul Frank is now working with Native American artists and designers — going from cultural appropriation to cultural appreciation.
This time of year about 150,000 people descend on Santa Fe, New Mexico for Indian Market and it’s a pretty big deal as leaders and artists from the United States and Canada get together for an extreme exchange of creative thoughts. This past Friday evening before the official start of Indian Market, about 200 fashion-forward folks gathered at the Museum of Contemporary Native Arts to celebrate the release of the “Paul Frank Presents” collection, featuring work by four Native designers.
Unlike previous get togethers, this one didn’t include tomahawks, “war paint,” or cocktails with tacky neo-native names. Instead it celebrated a high profile “win” for all who challenge cultural appropriation.
The event launched the collection and included a panel discussion and receptions with some of the movers and shakers involved in the Paul Frank/Beyond Buckskin/Native Appropriations saga proved that sometimes social change can be an outcome of fashion design, blogging, and community action. Whoa. The event centered on a dynamite panel with the collection’s designers (Candace Halcro, Plains Cree/Metis, Louie Gong, Nooksack, Autumn Dawn Gomez, Comanche/Taos and Dustin Quinn Martin, Navajo), powerful female writers and bloggers Adrienne Keene, Cherokee, and Jessica Metcalfe, Turtle Mountain Chippewa, and VP of Design for Paul Frank, Tracy Bunkoczy.
Part academic, part celebration, the atmosphere at the beginning of the event was serious: a quick 10-minute rehash of previous events, including the party Paul Frank held where Native appropriation was flaunted, in front a mostly Native crowd was likely the source of Bunkoczy’s cautious nervousness. “It must be hard to sit here and listen to this over and over again,” Keene playfully said of the rehash to the group in attendance from Paul Frank. However Keene also noted that the ladies from Paul Frank really spent extra time working with Metcalf, Keene and the artists to make the collaboration line a reality.
“This happened because of people in the Native American community and our allies who want us to be represented properly in popular culture,” said Dr. Metcalfe.
“I’m not used to there being any sort of response back to me….I was just blown away, ” says Keene of Paul Frank’s large-scale action, which included facilitating a licensing webinar for those in the industry as well as extensive action on items that had already been licensed.
After a recap of the previous transgressions, the artists spoke to the audience about their work for the collaboration inspiring laughter and head-nodding from the audience. Gomez, wearing a crown from her Paul Frank line, stressed a duty to her community while Gong said his work for the line was directly inspired by the situation that led to the collaboration including “sustainable relationships.” Canadian designer Candace Halcro, with a hairstyle that likely was the inspiration for Miley’s new ‘do, said she loves looking “crazy and cool and trendy.” She’s known as the “sunglasses girl,” and experimented with how to incorporate Julius, the Paul Frank mascot before deciding to stay true to her brand’s most well known look. Dustin Quinn Martin, the first designer to speak ended his portion with this thought: “I hope especially the Native people in the crowd are proud of what we came up with, and feel like there’s a little bit of us in every single one of these designs and that we didn’t sell out to the man.”
Indeed, you might be wondering what the deal with profits is here, since it was earlier noted that the designers “consulted” for free. At the event it was revealed that the designers themselves will receive the profits from the new line, but also that much of the work concerning the manufacturing and creation of the items was left to the artists. This wasn’t out of the norm for the female designers, since none of their work can easily be mass-produced. Still, the items showcasing the graphics that the male designers created essentially needed to be outsourced for mass production. “Normal” Paul Frank collaborations involve a split of the profits between the company and the other designer. This time around Paul Frank will not profit from the sales and all of the profits from the collection will go to each of the designers. The items are sold through the Beyond Buckskin Boutique and the Paul Frank items at the MoCNA seemed to be selling well and attracting attention this weekend.
Autumn Dawn Gomez; Dustin Martin; Candace Halcro.
The crowd was a who’s who of creatives in Indian Country and Santa Fe. Just like any other fashion party, guests were anxious to mingle, meet the designers and try on items from the line. This time though, everyone in attendance was appreciative of the work and aware of what can happen when a community challenges appropriation.
The artists and panelists pose with the Paul Frank crew.
Kate Crowley is a blogger in the Southwest who writes for New Times’ Chow Bella and Jackalope Ranch blogs. Follow her on Twitter: @KateCrowley.
