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September 2016 Member Appreciation!

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Newsletter September 2016 Member Appreciation! Special “Members Only” Event Next Meeting: September 10, 2016 9:00 am The Point at CCYoung 4847 W Lawther Dr, Dallas, TX 75214 Dallas Bead Society Welcomes Glynna White For our September Meeting Project Our next meeting will be Saturday September 10th (second week due to holiday weekened). For this members-only event, DBS is having Glynna White, of Beadoholique Bead Shops, join us, teaching the bracelet shown. There is no charge to you (unless you would prefer to buy a bead kit from Glynna)! And… we’re providing lunch too! CLASS BEGINS AT 9:00AM!! Glynna will have 50 bead kits available, priced at $25 - $27, depending upon colorway. To help ensure that all who want a kit can get one, these will be limited to one per person until after lunch. Read on for kit colorways, supply details and important business meeting information! More September Meeting Details… Glynna’s kits (beads, rivolis, and wire only), will be available in the colorways shown. Come early to make sure you get your choice! To provide your own supplies, you’ll need: 1 foot of 12 G aluminum wire Delica Beads 2 or 3 Colors of size 11° Beads 2 or 3 Colors of size 15° Beads 2 twelve or fourteen millimeter Rivolis 75-85 2mm Glass Pearls or Fire Polished Beads 8 lb Fire Line or Nano Fil Size 11 or Smaller Needles Beading Surface Magnification Glasses Cutting Plier for Aluminum Wire (very soft wire) Needle Nose Plier We will conduct our business meeting while on lunch break. This will include voting for upcoming Carol Cypher classes (see additional article) and selecting our nominating committee. Please consider accepting a position on our Board! From the President’s Corner: Our Board has been working hard to plan our jam-packed fall. Can't wait to see everyone on September 10 at 9:00am. This is our party for YOU, our members. Yes, we need to start early, we have so much to do that day. Glynna White will teach her wonderful flower bracelet and I'm already looking forward to wearing it. A few rules to keep in mind: • One kit until after lunch. This assures all attendees of a kit. • Ballets and voting deposits to be turned in after lunch. We will post the winning projects on Facebook and Yahoo. I don't know if everyone knows it but we have open beading at Wild Beads, every other Tuesday (on the 1st and 3rd Tuesday). On the first Tuesday, everyone arrives about Noon and we spend several hours beading together. On the 3rd Tuesday, there is the Wild West Bead Society meeting that night, so everyone arrives about 2:00pm. Some stay for the meeting and some don't. I would like to put in a plug for the WWBS because they have great teachers and a wonderful program. Cheryl Chase is teaching a cute bracelet there on September 20. Check it out. We'd love to have you. I want to explain the voting. In the past, we've had members vote for classes when they weren't planning to take classes. Therefore, we have asked for a $20 deposit just to show your seriousness when voting for which Carol Cypher classes you want. If the class you want is planned on a day you cannot come, you will get your money back. I'm so bummed. I'm going on a cruise and I'll still be gone that weekend so cannot attend. If you have any questions, please don't hesitate to call or email me. I want to know what our members are up to and how they feel about the direction and leadership of DBS. Gina Whitlock President Upcoming Carol Cypher Classes Carol Cypher will be with us on November 12 & 13. We will be voting from the following options during our September meeting. Cosmic Waves Necklace Dreaming in Color Bracelet/Necklace Unnamed #1 Unnamed #2 Just Before Blooming Class costs will be $95 per day class or $180 for both classes. To show your commitment to the class, we ask that you bring a $20 deposit (cash or check) to accompany your vote. Should your selection not be chosen, or offered on the one day that you can attend, your $20 deposit will be refunded to you. Once the winners have been announced, you may leave your registration with Janice in an envelope. To help ensure that Janice is able to focus on the Glynna White class, registrations may not be recorded until following class (you understand!). American Indian Beadwork, New and Old By Michele Owsley Part I: Periodical, Cowboys & Indians The last couple of months have brought new information about my first seed bead passion – American Indian Beadwork. The August/September issue of Cowboys & Indians devotes almost 22 pages to the subject. The first article, written by Lois Sherr Dubin, discusses The Visual Language of Beadwork. I’m still grateful to Teresa Salas for organizing a DBS visit to the Dallas Museum of Art to meet Ms. Dubin and see the Diker beadwork collection a few years ago. In this article, Ms. Dubin struggled to select articles to illustrate her point that the beadwork represents both the cultural and spiritual beliefs of the (usually) women who created it. She selects a Creek shoulder bag from 1810-1830 that was inspired by British soldier’s ammunition pouches; a Piegan (Blackfoot) man’s buckskin shirt from the late 1800’s with large medallions; a James Bay Cree woman’s beaded hood from the 1860’s that incorporates Sky, Earth, and Lower Worlds imagery; a beaded and fiber-twined bag from 1870-80 whose pouch is only 3 inches long but whose strap represents the universe; and an 1875 Cheyenne cradleboard that reflects the maker’s wish for the baby to gain the valued traits of deer. The next article is called, “The Beading Circle.” It tells the story of a family of six Crow women, ages 17 to 79, in Montana who meet in their homes to bead together and share stories. The Crow began doing beadwork before 1805, when they only had enough beads to outline their traditional quill work. After a trading post was founded in 1806, their access to beads began to improve. Each woman brings her own project to work on, but is proud to share the piece around the table for the others to admire. The photographer/writer notes, “It’s not just about beading. It’s about togetherness and the wisdom that is shared, and it’s about a lifetime of perfecting your soul, your art, your story.” I’ll talk about the next article, “A Beading Heart,” later in this article. “Every morning, Marcus Amerman takes his coffee with him and sits down on the far right side of the sofa in the living room to go to work. The light is best there, and it’s directly across from the television, which is also important, so he can refocus his eyes from time to time to avoid eyestrain.” Thus begins the story of “Beadman.” He is quoted as saying, “It’s almost like I’m addicted to it.” I’ve seen a piece of his work in process: he applies beads in rows on top of a photograph, liberally interpreting the colors of beads to use. His subjects reflect his social-political side, such as the burning Twin Towers of 9/11 with Indians on horseback in the foreground, or soldiers jumping from helicopters in a war zone with a portrait of Crazy Horse in the center (two pieces that are in both the Smithsonian). “Beading Tradition” covers five contemporary native artists, each with a unique voice. Jamie Okuma won Best of Show at the 2000 Santa Fe Indian Market with a doll that featured miniature, historically accurate, regalia and beadwork. The story also features a picture of beaded Louboutin high heels. Karis Jackson began beading as a child and continued through a degree in the health field. Pictured with her story are striking gauntlets with her interpretation of Old Coyote’s image. Ken Williams Jr., creates beadwork that can be described as whimsical and energetic. Today he uses old techniques and materials, but shakes up the expected with, for example, the antics of SpongeBob SquarePants. Martha Berry’s beadwork “is distinctive yet classic,” incorporating the silk ribbon and wool used by her Cherokee ancestors while keeping, “the beadwork practices alive – one tiny bead at a time.” And lastly, Teri Greeves, a well-known Kiowa beader. “Even as Greeves continues to be inspired by her predecessors, she inspires others with her work and is passing the torch of an evolving tradition to artists finding both their own creative heritages and their own voices – a stringing of beads across generations.” American Indian Beadwork, New and Old (con’t) Part II: Book, A Beading Heart Inspired by the article that I skipped above, I bought a copy of A Beading Heart, The Bob and Lora Sandroni Collection. I was happy to get a first edition copy that is now out-of-print. By the time Bob Sandroni retired, he had amassed a huge collection of Plains Indian culture in his 9,000 square foot home in Lake Arrowhead, California. In 2007 fire swept through the area and claimed the house and its contents. They looked ahead and moved forward. Since then the Sandroni’s have collected, in addition to Eastern Sioux and Great Lakes articles, a wealth of Plains and Plateau beadwork from the late 1800’s and early 1900’s.
Recommended publications
  • Teri Greeves: Beadworking and Belonging

    Teri Greeves: Beadworking and Belonging

    EDUCATION GUIDE Teri Greeves: Beadworking and Belonging “If my mother can understand what I’m doing, with a native eye, then it’s successful…” “By speaking about the history and values of my people through my work, I can help bring balance into the world my children will grow up in.” - Teri Greeves Lesson Overview In this lesson, students will study the work of bead artist Teri Greeves. After watching the Craft In America Origins episode segment featuring Greeves, students will examine how her beadworking signifies and honors her Kiowa heritage. Students will look for examples of decorated garments in their own life experience that indicate belonging to a group. Following this, students will hand embellish an item of wear with an image symbolic of a particular group. Grade Level: 8-12 Estimated Time: Six 45-minute class periods Craft In America Theme/Episode: Origins Background Information: Beadworking has been found in cultures all around the world. Early beads were made of shells, seeds, animal teeth, porcupine quills, and other objects found in nature. Kiowa artist Teri Greeves learned beadworking from the women in her family and from others on the Shoshone and Arapaho’s Wind River Reservation in Wyoming. Greeves helped her mother in a family-owned trading post where beadworking was honored as a valuable and culturally significant art. Although she has a deep respect for tradition, Greeves opts for “pictorial” work rather than the traditional floral or geometric designs. She depicts stories of the Kiowa people, but from a contemporary perspective. The artist often applies beadwork to modern-day objects such as umbrellas and sneakers.
  • Marcus Amerman Resume

    Marcus Amerman Resume

    MARCUS J. AMERMAN PO Box 22701 Santa Fe, NM 87502 505.954.4136 Biography Marcus Amerman is an enrolled member of the Choctaw Nation of Oklahoma. He was born in Phoenix, AZ and grew up in the Pacific Northwest before settling in Santa Fe, NM. He received a BA in Fine Art at Whitman College in Walla Walla, WA and took additional art courses at the Institute of American Indian Arts in Santa Fe, NM. He credits the Plateau region and its wealth of talented bead artists with introducing him to the “traditional” art form of beadwork. He quickly made this art form his own, however, by creating a new genre of bead artistry in which beads are stitched down, one by one, to create realistic, pictorial images, not just large color fields or patterns. Amerman draws upon a wide range of influences to create strikingly original works that reflect his background of having lived in three different regions with strong artistic traditions, his academic introduction to pop art and social commentary and his inventive exploration of the potential artistic forms and expressions using beads. Although he is best known for his bead art, he is also a multimedia artist, painter, performance artist (his character “Buffalo Man” can be seen on the cover of the book Indian Country), fashion designer, and glass artist, as well. SELECTED EXHIBITIONS 2010 — Destination X, Museum of World Culture, Göteborg, Sweden 2010 — Pop! Popular Culture in American Indian Art, Heard Museum, Phoenix, AZ 2009 — A Song for the Horse Nation, National Museum of the American Indian, New York City, NY 2009 — Looking Forward, Traver Gallery, Tacoma, WA 2009 — Pictorial Beading the Nez Perce Way, Lewis and Clark State College, Lewiston, ID 2008 — Comic Art Indigene, Museum of Indian Arts and Culture, Santa Fe, NM 2008 — Voices from the Mound: Contemporary Choctaw Artists Institute of American Indian Arts, Santa Fe, NM 2007 — Looking Indian (group exhibition), Untitled Artspace, Oklahoma City, OK Current Realities: A Dialogue with the People, IAO Gallery, Oklahoma City, OK 2006 — Indigenous Motivations, Natl.
  • Joyce J. Scott: Sharing Memories and Shaking Things Up

    Joyce J. Scott: Sharing Memories and Shaking Things Up

    ! ! ! ! EDUCATION GUIDE Joyce J. Scott: Sharing Memories and Shaking Things Up “For me, it’s important to imbue the work with something that will resonate and follow somebody home…because I think art has the ability, if not to cure or heal, at least to enlighten (you), slap you in the head, wake you up.” - Joyce J. Scott Lesson Overview In this lesson, students will study the sculpted beadwork of artist Joyce J. Scott. Students will watch the Messages segment, featuring Scott, from the Craft In America DVD or online. The class will examine how Scott draws viewers to her work by making her pieces beautiful, with the hope that viewers will then consider the serious issues of race, class, and gender discrimination presented within the pieces. Students will consider these issues through Scott’s work. Finally, students will determine a point of view and invent a piece with an attractive surface appeal and an underlying serious topic. Craft In America Theme/Episode: Messages Grade Level: 8-12 Estimated Time: Three 45-min. class periods of research, discussion & planning, followed by four or more 45-minute studio periods Background Information: Baltimore artist Joyce J. Scott was five years old when she began learning needlework from her artistic mother, Elizabeth Talford Scott. Elizabeth Talford Scott used needlework out of necessity for mending worn clothes and linens. She turned the mending into an opportunity to make the items beautiful with decorative accents including crochet and embroidery. In addition to the knowledge of traditional needlework techniques, Joyce J. Scott learned from her mother the importance of memories and family history through story telling.
  • July 6, 2020 VIA ELECTRONIC MAIL Roger Goodell, Commissioner

    July 6, 2020 VIA ELECTRONIC MAIL Roger Goodell, Commissioner

    July 6, 2020 VIA ELECTRONIC MAIL Roger Goodell, Commissioner National FootBall League 280 Park Avenue New York, NY 10017 [email protected] Dear Mr. Goodell, The undersigned are Native American leaders and organizations that have worked tirelessly and substantively for over half a century to change the racist name of the Washington team. We appreciate the statements made in recent days regarding the league and the team’s intention to revisit the name, But we are deeply concerned that the process or decision to rename is Being made in aBsence of any discussion with the concerned leadership. Specifically, we, the undersigned, request that the NFL immediately: 1. Require the Washington NFL team (Owner- Dan Snyder) to immediately change the name R*dsk*ns, a dictionary defined racial slur for Native Peoples. 2. Require the Washington team to immediately cease the use of racialized Native American Branding By eliminating any and all imagery of or evocative of Native American culture, traditions, and spirituality from their team franchise including the logo. This includes the use of Native terms, feathers, arrows, or monikers that assume the presence of Native American culture, as well as any characterization of any physical attributes. 3. Cease the use of the 2016 Washington Post Poll and the 2004 National AnnenBerg Election Survey which have Been repeatedly used By the franchise and supporters to rationalize the use of the racist r-word name. These surveys were not academically vetted and were called unethical and inaccurate By the Native American Journalist Association as well as deemed damaging By other prominent organizations that represent Native Peoples.
  • 2009–2010 Programs and Services Guide “The [Visiting Artist Experience] Has Introduced Me and My Work to Greater Possibilities

    2009–2010 Programs and Services Guide “The [Visiting Artist Experience] Has Introduced Me and My Work to Greater Possibilities

    2009–2010 Programs and Services Guide “The [Visiting Artist experience] has introduced me and my work to greater possibilities. Your program will have a definite impact on my practice.” —Michael Belmore (Ojibway), Visiting Artist, Native Arts Program, 2008 front cover: NMAI staff member Tony interior front cover: A student at Williams observes as Haudenosaunee the University of Azuay, Cuenca, Ecuador, participants from the Native American collaborates with a Cañari community Resource Center in Rochester, New York, member in the development of a touch view objects from the museum’s collec- screen exhibit on Cañari culture. tions during a virtual museum workshop. Photo by Mark Christal Photo by Mark Christal smithsonian national museum of the american indian Programs and Services Guide 2009–2010 CONTENTS 4 Message from Kevin Gover, Director, 45 Indigenous Geography/ National Museum of the American Geografía Indígena Website Indian 45 Indigenous Geography/ Geografía Indígena Overview 5 Foreword by Carolyn McClellan, 47 Indigenous Geography/ Associate Director for Community Geografía Indígena Application and Constituent Services 49 Internships and Fellowships 6 Introduction: Programs and Services 49 Internships of the NMAI 55 Internships Application museum programs 57 Museum Stores and services (Smithsonian Enterprises) 57 Museum StoresOverview 7 Programs and Services 59 Vendor ProductProposal and Application Deadlines Questionnaire 9 Collections 61 Recruitment Program and 9 Collections Overview Visitor Services 10 Guide to Research 61 Recruitment
  • Native Art, Native Voices a Resource for K–12 Learners Dear Educator: Native Art, Native Voices: a Resource for K–12 of Art

    Native Art, Native Voices a Resource for K–12 Learners Dear Educator: Native Art, Native Voices: a Resource for K–12 of Art

    Native Art, Native Voices A Resource for K–12 Learners Dear Educator: Native Art, Native Voices: A Resource for K–12 of art. Designed for learners in grades K–12, the Learners is designed to support the integration lessons originate from James Autio (Ojibwe); Gordon of Native voices and art into your curriculum. The Coons (Lac Courte Oreilles Band of Lake Superior resource includes four types of content: Chippewa Indians of Wisconsin, Chippewa/Ojibwa, Ottawa); Dyani White Hawk (Sičháŋğu Lakȟóta 1. Artist interviews [Brulé]); Marlena Myles (Spirit Lake Dakota, Mohegan, 2. Essays about artworks in Mia’s collection and Muscogee); and Margaret Swenson, a visual arts questions to support deep looking, critical educator and collaborator with Heid Erdrich (Ojibwe thinking, and discussion enrolled at Turtle Mountain) in the creation of a Native artist residency program at Kenwood Elementary 3. Art lessons developed by and with Minnesota School in Minneapolis. Native artists 4. Reading selections for students to help provide Video Interviews environmental context for the artworks. Video interviews with eight Native artists allow your This resource includes information about Native students to learn about the artists’ lives in their own cultures both past and present and supports words and to view their art and other artworks in Mia’s Minnesota state standards for visual arts and Native art galleries. View multiple segments by indi- social studies/U.S. history. vidual artists, or mix and match to consider different artists’ responses to similar questions. Each video is less than 8 minutes. Discussion questions follow the Essays & Discussion Questions videos to guide your students’ exploration of the rich Marlena Myles (Spirit Lake Dakota, Mohegan, interview content.
  • History of Plains Indian Beadwork Timeline Teri Greeves the Voice Of

    History of Plains Indian Beadwork Timeline Teri Greeves the Voice Of

    Teri Greeves a biography The Voice of Native Women Timeline The daughter of an Italian-American sculptor and what it is to connect to a Kiowa person – I mean similar things flow through all of us – if I can do that, then Teri Greeves addresses Native American Kiowa mother, Teri Greeves was born on March 21, I’m still fighting the good fight.” womanhood in her work. Striving to represent 1970, in Lander, Wyoming, and grew up on the Although Greeves started with moccasins and bags, she felt limited and soon pursued her own creative indigenous women not solely in terms of Wind River Reservation in Wyoming with the vision, prioritizing storytelling over using traditional objects. She has applied her beadwork to everything from motherhood, she tells stories of women as protectors 1970 Shoshone and Northern Arapaho Native American prayer blankets to tipis to stethoscopes, and her most famous works include her high heel boots and tennis of their communities, educators, sisters, and 1970 Teri Greeves is born on tribes. Her mother, Jeri Ah-be-hill, owned a trading shoes. Fusing the geometric and abstract tradition of Kiowa beadwork with the pictorial style of the Shoshone, individuals. Most important to her is demonstrating March 21 in Lander, Wyoming post and sold works by local women and Native she creates her own visual language using her practice to stay connected to the Kiowa people and to address how Native women, specifically Kiowa, have adapted beadwork artists. At age eight, inspired by the their experiences. Greeves is inspired by cultural, religious, and historical moments.
  • Native Art in the Americas

    Native Art in the Americas

    NATIVENATIVE ARTISTS ART IN IN THE THE AMERICAS AMERICAS NATIONALNATIONAL MUSEUM MUSEUM OF OF THE THE AMERICAN AMERICAN INDIAN INDIAN NATIVE NATIVE ARTS ARTS PROGRAM: PROGRAM: THETHE FIRSTFIRST TEN YEARSYEARS NATIVE ARTISTS IN THE AMERICAS NATIONAL MUSEUM OF THE AMERICAN INDIAN NATIVE ARTS PROGRAM: THE FIRST TEN YEARS Introduction by Keevin Lewis. Essays and artwork by the artists. Edited by Jessica Welton. National Museum of the American Indian, Smithsonian Institution Washington, D.C., Suitland, Maryland, and New York Text and images 2007, Smithsonian. Photography credits:© pages 4 and 5, Maxwell MacKenzie; page 38, Katherine Fogden; page 78, Jessica Welton. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission from the Smithsonian Institution and the National Museum of the American Indian. Requests for permission to reproduce material from this work should be sent to: [email protected] For information about the Smithsonian National Museum of the American Indian, visit the museum’s website at http://www.nmai.si.edu/ The National Museum of the American Indian is committed to advancing knowledge and understanding of the Native cultures of the Western Hemisphere–past, present, and future– through partnership with Native peoples and others. The museum works to support the continuance of culture, traditional values, and transitions in contemporary Native life. TABLE OF CONTENTS Introduction............................................................................................4 The History of the Native Arts Program..............................................8 1996 Glory Tacheenie-Campoy.........................................................14 1999 Bernice Akamine...........................................................................18 Lisa Telford....................................................................................20 2000 Janet Marie Rogers...........................
  • INDIGENOUS PERSPECTIVES on CONTEMPORARY NATIVE ART, INDIGENOUS AESTHETICS and REPRESENTATION John Paul Rangel

    INDIGENOUS PERSPECTIVES on CONTEMPORARY NATIVE ART, INDIGENOUS AESTHETICS and REPRESENTATION John Paul Rangel

    University of New Mexico UNM Digital Repository Language, Literacy, and Sociocultural Studies ETDs Education ETDs 4-2-2013 INDIGENOUS PERSPECTIVES ON CONTEMPORARY NATIVE ART, INDIGENOUS AESTHETICS AND REPRESENTATION John Paul Rangel Follow this and additional works at: https://digitalrepository.unm.edu/educ_llss_etds Recommended Citation Rangel, John Paul. "INDIGENOUS PERSPECTIVES ON CONTEMPORARY NATIVE ART, INDIGENOUS AESTHETICS AND REPRESENTATION." (2013). https://digitalrepository.unm.edu/educ_llss_etds/37 This Dissertation is brought to you for free and open access by the Education ETDs at UNM Digital Repository. It has been accepted for inclusion in Language, Literacy, and Sociocultural Studies ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. i ii © 2012 Copyright by John Paul Rangel Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. iii ACKNOWLEDGMENTS I would like to acknowledge Dr. Greg Cajete, my advisor and dissertation chair, for the encouragement and advice throughout the years of graduate studies. I am so grateful for his guidance, mentorship, professionalism and friendship that have had a profound impact on my understanding of Indigenous studies, education, and leadership. I also thank my committee members, Dr. Penny Pence, Dr. Anne Calhoun, and Dr. Nancy Marie Mithlo, for their valuable recommendations and insights pertaining to this study and their assistance in my professional development. To the members of the Native arts community and specifically the Native artists whose contributions to this study made it possible, I am grateful for all the conversations leading up to this project, the meals we shared and the issues you brought up.
  • Burns, Siŋté Máza

    Burns, Siŋté Máza

    ISSN: 2471-6839 Cite this article: Emily C. Burns, “Siŋté Máza (Iron Tail)’s Photographic Opportunities: The Transit of Lakȟóta Performance and Arts,” Panorama: Journal of the Association of Historians of American Art 6, no. 2 (Fall 2020), https://doi.org/10.24926/24716839.10913. Siŋté Máza (Iron Tail)’s Photographic Opportunities: The Transit of Lakȟóta Performance and Arts Emily C. Burns, Associate Professor, Department of Art and Art History, Auburn University In 1907, the San Francisco Call printed a full- page collage that evocatively mingles drawings, half-tone photographs, and text to present “The Indian and the Auto: A Meeting of Extremes” (fig. 1). Implying an uneasy clash of old and new, a large central sketch depicts an Indian figure sitting on a blanket wearing a war bonnet and trailer, facing the front grate of an automobile.1 His chin rests meditatively in one hand, and he holds a wrench, with his sleeve rolled up in anticipation of work. The scene implies that the horse, seen in the background, has been rendered obsolete. While this figure is not captioned, the photographs reproduced around the drawing represent Siŋté Máza (Iron Tail, c. 1840s–1916), a longtime Lakȟóta “chief” in Buffalo Bill’s Wild West who appeared frequently in early twentieth-century mass media. In the oval photograph to the left, Siŋté Máza leans against the hood of the car wearing regalia, cranking the handle to start the vehicle’s Fig. 1. “The Indian and the Auto: A Meeting of engine. At right, a photographic silhouette of Extremes” San Francisco Call, September 1, 1907, 1.
  • Dewdrop Beaded Bead. Beadwork: ON12, 24-26 Bead Four: Treasure Trove Beaded Bead

    Dewdrop Beaded Bead. Beadwork: ON12, 24-26 Bead Four: Treasure Trove Beaded Bead

    Beadwork Index through April/May 2017 Issue abbreviations: D/J =December/January FM = February/March AM = April/May JJ = June/July AS=August/September ON=October/November This index covers Beadwork magazine, and special issues of Super Beadwork. To find an article, translate the issue/year/page abbreviations (for example, “Royal duchess cuff. D10/J11, 56-58” as Beadwork, December 2011/January 2012 issue, pages 56-58.) Website = www.interweave.com or beadingdaily.com Names: the index is being corrected over time to include first names instead of initials. These corrections will happen gradually as more records are corrected. Corrections often appear in later issues of Beadwork magazine, and the index indicates these. Many corrections, including the most up-to-date ones, are also found on the website. 15th Anniversary Beaded Bead Contest Bead five: dewdrop beaded bead. Beadwork: ON12, 24-26 Bead four: treasure trove beaded bead. Beadwork: AS12, 22-24 Bead one: seeing stars. Beadwork: FM12, 18-19 Bead three: stargazer beaded bead. Beadwork: JJ12, 20-22 Bead two: cluster beaded bead. Beadwork: AM12, 20-23 Beaded bead contest winners. Beadwork: FM13, 23-25 1800s-era jewelry Georgian jewels necklace. Beadwork: D14/J15, 80-81 1900s-era jewelry Bramble necklace. Beadwork: AS13, 24-27 Royal duchess cuff. Beadwork: D10/J11, 56-58 1920s-era jewelry Art Deco bracelet. Beadwork: D13/J14, 34-37 Modern flapper necklace. Beadwork: AS16, 70-72 1950s-era jewelry Aurelia necklace. Beadwork: D10/J11, 44-47 2-hole beads. See two-hole beads 21st century designs 21st century jewelry: the best of the 500 series.

  • Including Exam Week

    NAS 224 Native American Beadwork Styles Winter 2016 NAS 224 - 4 credits Instructor: April E. Lindala 12 Monday meetings from 5 – 9:10 pm in Whitman 127 Office Hours: Appointments early are best. Center Native American Studies in 112 Whitman Hall CNAS Website: www.nmu.edu/nativeamericans Phone: 906-227-1397 EMAIL: [email protected] NOTE: Please put YOUR LAST NAME NAS 224 W16 in the subject line. Thank you. I will do my best to respond in a timely manner, but I will not guarantee an answer during evenings or weekends. Teaching Philosophy (Active Learning Credo) · What I hear, I forget · What I hear & see, I remember a little · What I hear, see & ask questions about or discuss with someone else, I begin to understand · What I hear, see, discuss, and do, I acquire knowledge · What I teach to another, I master Course Description: The purpose of this course is three-fold: first, study contemporary forms of cultural expression of Native bead artists; second, examine laws and cultural responsibilities associated with Native art, and third, produce a portfolio of original beadwork. Course Learning Outcomes: By the end of this course successful students will be able to… Create a portfolio of original beadwork that demonstrates mastery of multiple stitches, Reflect upon and give examples on how beadwork functions to share stories, values and ideas, Recognize federal laws in relation to Native American art and artifacts, Recognize the diversity of beadwork styles among differing Native nations, and Identify multiple Native bead artisans. Native American Studies here at NMU Mission Statement: The Center for Native American Studies offers a holistic curriculum rooted in Native American themes that .