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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. -
NATIVE BASKETRY NEW ORLEANS W'ms
ALBERTA LATINO CHICAGO NATIVE BASKETRY NEW ORLEANS W'ms. 40th Annual Smithsonian Foli<life Festival Alberta AT THE SMITHSONIAN Carriers of Culture LIVING NATIVE BASKET TRADITIONS Nuestra Musica LATINO CHICAGO Been in the Storm So Lon SPECIAL EVENING CONCERT SERIES Washington, D.C. june 3o-july n, 2006 The annual Smithsonian Folklife Festival brings together exemplary practitioners of diverse traditions, both old and new, from communities across the United States and around the world. The goal of the traditions Festival is to strengthen and preserve these by presenting them on the National Mall, so that with the tradition-bearers and the public can connect and learn from one another, and understand cultural differences in a respectful way. Smithsonian Institution Center for Folklife and Cultural Heritage 750 9th Street NW, Suite 4100 Washington, D.C. 20560-0953 www.folklife.si.edu © 2006 Smithsonian Institution ISSN 1056-6805 Editor: Frank Proschan Art Director: Krystyn MacGregor Confair Production Manager: Joan Erdesky Graphic Designer: Zaki Ghul Design Interns: Annemarie Schoen and Sara Tierce-Hazard Printing: Stephenson Printing Inc., Alexandria, Virginia Smithsonian Folklife Festival The Festival is supported by federally appropriated funds; Smithsonian trust fijnds; contributions from governments, businesses, foundations, and individuals; in-kind assistance; and food, recording, and craft sales. General support for this year's programs includes the Music Performance Fund, with in-kind support for the Festival provided through Motorola, Nextel, WAMU-88.5 FM, WashingtonPost.com. Whole Foods Market. Pegasus Radio Corp., Icom America, and the Folklore Society of Greater Washington. The Festival is co-sponsored by the National Park Service. -
Black Ash Basket Makers Are Battling a Voracious Beetle to Keep Their Heritage Alive by Anne Bolen
PHOTO BY DAVID CAPPAERT DAVID BY PHOTO A SILENT KILLER BLACK ASH BASKET MAKERS ARE BATTLING A VORACIOUS BEETLE TO KEEP THEIR HERITAGE ALIVE BY ANNE BOLEN n 2014, Renee Wasson Dillard was Smaller than a penny, these deceptively standing near her truck, getting beautiful bugs have killed millions of ash trees ready to put on her rubber boots in North America during the past two de- and walk into her “honey hole”— cades—and they show no signs of stopping. her favorite grove of black ash trees Many American Indian and First Nation a few miles from her Anishinaabe basket makers have relied upon black ash for community on the northwest its pliable, durable wood for centuries. Now coast of Michigan. A member of the Little this unique species is disappearing before Traverse BayI Bands of Odawa Indians, Dil- their eyes. Yet they are not giving up without lard had been making her living as a basket a fight. In addition to their on-the-ground maker for 18 years. She visited this swamp at efforts to protect remaining black ash, an in- least once a year to find at least one straight novative Smithsonian partnership is enabling tree that could provide months of wood for a band of Native sister basket makers to study her baskets. Then it happened: a glimmering a rare collection of baskets that could help The invasive emerald ash borer (above left) kills emerald ash borer landed on her shoulder. them keep their heritage alive. black ash trees such as these, so a seemingly She knew this invasive beetle had infested the healthy forest could be dying for years before forest and her precious ash trees would soon FEMMES FATAL showing signs it is infested. -
Sovereignty and Identity in the Pokagon Band of Potawatomi Indians, 1634-1994
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2016 A Fire That Could Not Be Extinguished: Sovereignty and Identity in the Pokagon Band of Potawatomi Indians, 1634-1994 Melisa Cushing-Davis Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the Indigenous Studies Commons Recommended Citation Cushing-Davis, Melisa, "A Fire That Could Not Be Extinguished: Sovereignty and Identity in the Pokagon Band of Potawatomi Indians, 1634-1994" (2016). Dissertations. 2278. https://ecommons.luc.edu/luc_diss/2278 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2016 Melisa Cushing-Davis LOYOLA UNIVERSITY CHICAGO A FIRE THAT COULD NOT BE EXTINGUISHED: SOVEREIGNTY AND IDENTITY IN THE POKAGON BAND OF POTAWATOMI INDIANS, 1634 – 1994 A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY JOINT DOCTORAL PROGRAM IN AMERICAN HISTORY/PUBLIC HISTORY BY MELISA CUSHING DAVIS CHICAGO, IL DECEMBER 2016 Copyright by Melisa Cushing Davis, 2016 All rights reserved. ACKNOWLEDGMENTS I’ve come to believe that writing a dissertation is very similar to climbing a mountain. It takes years of preparation, hard work, and dedication. The writing can feel like a solitary endeavor. However, just as the climber could not achieve the summit without the assistance of a dedicated support team, so too would my efforts have been for naught without the help of so many others. -
Native American Arts Festival Invitational Exhibit
Native American Arts Festival Invitational Exhibit June 26 – July 8, 2017 Parks Exhibition Center Louder than Words: Native American Art and Activism To be a Native American is to be political. From a young age, Native people in the United States and Canada learn about sovereignty, significant court cases, and laws upheld and not upheld by federal governments. Louder than Words explores how Indigenous artists use visual arts in activism, ranging from direct action to education to envisioning possible futures. Native activism has evolved and adapted over the centuries. Indian Wars gave way to legal battles. The recent Idle No More movement used public round dances to bring communities together instead of confrontational tactics. Occupations such as at Alcatraz and Wounded Knee captured the world’s attention, as did the nonviolent Standing Rock encampments whose presence was spread by social media while mainstream media ignored them for months. Native people at Standing Rock used the name “water protectors” instead of “protestors,” to emphasize their lifelong commitments to the environment rather than simply reactions to single environmental threats. To be effective, activism must be creative, and art is the ideal vehicle for surprise and open-ended exploration of ideas. This exhibit brings together artists from diverse tribes, regions, and artistic media to provide introduction to the issues Indigenous peoples face and different strategies to address challenges and threats. While flyers and posters are fundamental to activism, visual art can be more complex, evocative, and ambiguous. Art can raise questions and show how a seemingly simple issue has multiple causes and ramifications. -
Mia to Present First Major Museum Exhibition Exploring The
PRESS RELEASE Mia to Present First Major Museum Exhibition Exploring the Achievements of Native Women Artists Full Roster of Special Programming Accompanies the Exhibition, including Symposium with Artists and Scholars Exploring Exhibition Themes of Legacy, Relationships, and Power Christi Belcourt, (Metis), born 1966, The Wisdom of the Universe, 2014, acrylic on canvas. Art Gallery Ontario, Toronto. ©Christi Belcourt 2400 Third Avenue South Minneapolis, MN 55404 artsmia.org MINNEAPOLIS—April 9, 2019—On June 2, 2019, the Minneapolis Institute of Art (Mia) will present the first major thematic exhibition to explore the artistic achievements of Native women. The exhibition, which will travel nationally, includes more than 115 works dating from ancient times to the present and made in a variety of media, including sculpture, video and digital arts, photography, textiles, and decorative arts. Drawn from Mia’s permanent collection and loans from more than 30 institutions and private collections, the works are from communities representing all regions of Native North America. “Hearts of Our People: Native Women Artists,” presented by the Shakopee Mdewakanton Sioux Community, is organized by Jill Ahlberg Yohe, PhD, associate curator of Native American Art at Mia, and Teri Greeves, an independent curator and member of the Kiowa Nation. An advisory panel of Native women artists and Native and non-Native scholars has provided insights from a range of nations. An important symposium will inaugurate the exhibition on Saturday, June 1, 1–4pm. “Hearts of Our People: The Legacy, Relationships & Power of Native Women Artists” will feature three panels of artists and scholars who are each exploring themes of the exhibition. -
Native Women Artists, Families, and Nations Throughout All Time and Space
This exhibition is a tribute to all Native women artists, families, and nations throughout all time and space. It is their minds, hearts, and hands that have birthed their worlds, and this exhibition, into being. Hearts of Our People began with a question: Why do Native women make art? We chose to respond within three core themes: Legacy, Relationships, and Power. Legacy examines the ways in which Native women artists acknowledge their lineage, making works that simultaneously embody the experience of previous generations, address the present moment, and speak to the future. Relationships explores the concept that bonds exist beyond the human world to include animals, the “natural” world, the earth, and other entities the Western world does not often recognize as having volition and agency. Power encompasses works created for diplomacy and influence, to empower others, and for the empowerment of oneself. You will see similarities across cultures and communities, but you will also see many differences. Native Americans are not one monolithic group, and each tribe, nation, or community has its own unique culture, history, and present. Perhaps most important, each Native artist, like artists the world over, brings her own life experience, skill, and individual style to her art. The co-curators of this exhibition are Jill Ahlberg Yohe, associate curator of Native American art at the Minneapolis Institute of Art (Mia), and Teri Greeves, Kiowa artist and scholar. During each step of the curatorial process, they worked closely with the Exhibition Advisory Board. The board provided knowledge and insights from a wide range of Native nations and is composed of twenty Native women artists and Native-art scholars.