Our First Five Years Native Arts and Cultures Foundation 2009 – 2013 Mission To promote the revitalization, appreciation and perpetuation of American Indian, Native and Native Hawaiian arts and cultures.

We Believe Native Arts and Cultures: Vision Values • Bring a valuable perspective to contemporary life; Native arts and cultures are growing and revitalized. Courage

• Inspire healing within Indigenous communities We envision supporting the creation and sharing of We owe it to future generations to break through all and among Native peoples and the broader new works by emerging and seasoned Native artists barriers that limit our potential and forge new fron- population; and strengthening the infrastructure that supports tiers with a courageous spirit. Native arts and cultures. We envision supporting Na- • Provoke thought, spark discussion, explore solu- tive culturemakers and cultural bearers in transmit- Generosity tions and add a vital contribution to our communi- ting art and cultures to next generations. Giving to those who genuinely express a part of ties and world. themselves through the arts and expand deeper ap- Native arts and cultures are connected with other sec- preciation for Native cultures is at the core of our tors of society. philanthropy. We Are Grateful to You for Helping NACF: We envision strengthening the connection of indig- enous cultural knowledge and practices to other sec- Creativity • Support 85 Native artists and organizations tors through art, research, education, and convening. across 22 states, allowing them to reach more Trusting our intuition and connection to the Creator We wish to facilitate the inclusion of Native artists, than 842,000 people; helps us bring forth our fullest imagination, inspira- culture bearers, and cultural teachers in efforts tion and effort. We strive to always be in the process • Enable NACF awardees to present, produce or ex- where representatives from multiple disciplines are of creation, for this is where our greatest achieve- hibit at 300 cultural events; convened, with a particular focus on the environment, ments happen. health, education, and technology. • Engage 146,000 active participants to attend workshops or trainings and to experience art by Respect Native arts and cultures are supported by new NACF awardees. We encourage an environment of respect for differ- philanthropy. ence, the humanity of others, and diverse arts and We envision the building of Native philanthropy that cultures, and we nurture all life forms while in the supports Native arts and cultures. We wish to pursue course of our daily lives and working with others. philanthropic partnerships with foundations, trusts, and corporations in order to leverage financial and Commitment other resources. We envision building a network of individual giving that provides a way for people to We are committed to the long journey, seeing beyond engage with, support, and appreciate Native arts what we need right now and following through with and cultures. patience, perseverance and passion. Our collective responsibility is to honor the wisdom and knowledge of seven generations back and the evolvement and enlightenment of seven generations ahead. Table of Contents

Mission, Vision and Values Inside, Front

Letters from the Chairman and the President/CEO p. 2

Background on Indigenous Arts and Cultures p. 3

How We Work p. 4

Strengthening the Bones National Native Arts Convening p. 6

Challenges to Overcome p. 7

Program Regions p. 8

Support Awarded 2010–2013 p. 9

Individual Artist Fellowships p. 10

Community-Based Initiatives p. 13

Support for the Field p. 17

Future Programming p. 18

Grantees by Region p. 19

Thank You p. 20

Financial Statements p. 24

Image courtesy Maine Indian Basketmakers Alliance nativeartsandcultures.org Dear Friends, Aloha Kākou (Greetings to All of You), It is an honor for me to address you we are as Native peoples. At NACF, we It is a special honor for me to serve as They can contribute to one’s livelihood as Chairman of the Board of Directors envision a society where flourishing the first president and chief executive and – perhaps most important – be a of the Native Arts and Cultures Foun- Native arts and cultures are essential officer of the Native Arts and Cultures nexus of connectivity in a world that is dation and to introduce this Five Year to the overall integrity of the cultural Foundation. From the outset, our inten- deeply diverse. They provide inspiration Anniversary report, which represents a landscape. tions have remained steadfast: In part- and a means to contemplate pressing culmination of the efforts and desires nership with others in the field of Native issues and contribute toward making I am grateful for your interest in the of numerous people over many years. arts and cultures, be communicators of healthier communities. work of the Native Arts and Cultures hope, catalysts of change and champi- Among the people of the Yocha Dehe Foundation, and invite you to partici- We are immensely grateful to all of you ons of creative potential. As our work Wintun Nation, the arts have always held pate with us in our mission however who have helped us in our critical start demonstrates, we are united in our a sacred place. They are part of the tan- you may. It is so important for Native up years. Without your support, guid- commitment to these intentions. gible history of my Wintun people and of Nations, foundations and individuals to ance and friendship, we would not be all Indigenous peoples of this country come together to support art and cul- Each day we are reminded of the value where we are today. We look forward to we now call the United States. Without turemakers, and the valuable work of of compassion and humility, and the im- a future where the artistic and cultural our Native arts and cultures our unique organizations like this foundation. portance of a steadfast spirit to bring contributions, wealth of knowledge, societies and peoples very simply forth collective well-being for all on this and lifeways of the indigenous peoples would not exist, to the detriment of all planet. Arts and cultures provide a path of this country will be realized to their . Our artistic and cultural Marshall McKay for deep exploration and reflection on full potential. expressions go far beyond mere beau- (Yocha Dehe Wintun Nation) everything that surrounds us. They are ty. They speak to our long presence Chairman, NACF Board of Directors an avenue for learning, a space for heal- on this earth and the essence of who ing, and a place to practice and be free. T. Lulani Arquette (Native Hawaiian) President and CEO

2 Background

A study conducted by the Ford Foundation demonstrat- Funding for Native Arts and Cultures Capacity and Infrastructure in the Field ed a deep need for a national resource to support Indig- Research indicated that current direct funding of Native The infrastructure supporting Native arts and cultures enous arts and cultures in the U.S. After a preliminary artists, organizations and communities was not suffi- has been described as “fragile” at best. While funding feasibility study, the Native Arts and Cultures Founda- cient to maintain Native arts and cultures, let alone ca- is always the number one need, beneath the surface tion (NACF) was incorporated in 2008, to fulfill a nation- ter to the urgency of cultural resurgence and the need the needs are varied: al mandate to recognize Native creativity, strengthen to work with a generation of elder culture bearers be- the Native arts field and support cultural continuity for • Adequate facilities and upkeep are critical to serv- fore their knowledge was lost. generations of Native artists and culturebearers. Our ing artists. creation was an acknowledgement of the centrality of At a more detailed level, we found four major challenges • Adequate staff training in organizational manage- art and creative expression in peoples’ lives and an ripe with opportunities for change: ment skills is necessary to effectively manage arts understanding of the value of Native arts as a powerful • Native artists need more support systems, and and cultures organizations and programs. expression of community and spirit, through individual those that do exist, are stressed. creation or community undertaking. We are grateful to • Diversity at the board level is necessary to assure the generous support provided by the Ford Foundation • Native artists need more recognition and visibil- the right priorities. that helped launch NACF, and subsequent founding sup- ity in national and international arenas, especially • Lack of networking, fragmentation, is holding orga- port provided by the Yocha Dehe Wintun Nation. Four since they are often dynamic frontrunners for our nizations back. core aspirations surfaced during feasibility research: communities. • Geographic challenges, especially urban versus • Native-led, Native-partnered • Native artists need more philanthropic support in rural, leave large service gaps in the Native arts the form of grants and fellowships. • Funding for Native arts and cultures landscape. • Native artists working with communities can affect • Leadership in Native arts and cultures social change. • Capacity and infrastructure in the field Leadership in Native Arts and Cultures Native-led, Native-partnered Research indicated that greater leadership was need- Research showed that to succeed in our mission, fun- ed to help artists retain and nurture their community damentally we needed to be Native-led, and include Na- roots, and to encourage communities to engage with tive partners in our work. The concept of partnership the arts in traditional and innovative ways. Research extended to staffing. The impetus behind the need was also indicated that leadership and outreach in educa- innate sensitivity to and knowledge of Native culture, tion was critical to increasing the general awareness of establishing credibility and trust within Native com- the contribution of Native arts to the past, present and munities, and developing Native leadership potential future of America. Finally, more support for leadership in communities, institutions, and the broader arts and development was indicated as necessary to help Native cultures field. artists become agents of change and inclusion in com- munities across America today. The foundation brought over 100 Native arts and cultures stakeholders from across the nation together to identify needs in the field at the 2011 Strengthening the Bones convening.

3 How We Work

NACF Positive Change Logic Model

Goal Inputs Outputs Outcomes–Impact

What We Invest What We Do Who We Reach Short-Term Results Long-Term Results Revitalization, Staff Deliver Tribes and Native Learning Strong communities appreciation, and Volunteers grantmaking peoples perpetuation of Awareness Cultural equity Explore/Interpret Native artists and orgs. Money Visibility Integrated support Native arts and culture Time Culture bearers and systems cultures nationally social issues Recognition orgs. Technology National recognition Promote Continuity Diverse communities Research best practices Thriving Native artists Connectivity excellence Diverse paticipants Partners Healthy arts infrastruc- Native and non-Native Develop Arts agencies ture Community audiences and partici- information Arts nonprofits pants experience Inter-cultural appreca- Conduct Native arts and tion Arts community convenings cultures leaders Social issues resolved panels Native artists and arts workshops Affiliate groups service organizations Build Educational institutions have the resources to Challenge Subchallenges infrastucture be effective org. capacity Communities are Lack of support for human capital Post-colonial legacies engaged of systematic cultural Native arts and cultures financial capital suppression, poor Low awareness and socio-economic visibility of Native arts conditions, and historic and cultures generational trauma Pan-Native stereotyping

Since our inception, we have continuously worked to to help contribute to our knowledge and participate rectly address needs and build lasting change. As build a Native-led foundation supported by a broad- in our work. we unfortunately cannot be all things to all people based population. Our Board and staff are Native-led at this stage in our evolution, we prioritize and fo- and comprised of a majority Native representation. We To be effective, we follow a clear logic model (see cus our efforts on activities we believe will gener- recognize the value of diverse voices and seek out in- NACF Positive Change Logic Model above). We fo- ate the greatest and most sustainable impact over clusion of other ethnic groups and non-Native peoples cus on taking actions whose expected outcomes di- the long-term.

4 Networked Ecosystem

Educational Institutions Academia Tribal and Cultural Scholarship Centers State and Local Public Museums Agencies and Affiliate Galleries Groups Media

NEA

Arts Performing Organizations Native Nations Artists and Arts Theaters Culture Bearers and Venues and Trusts

Foundations

Corporate Sponsors Publications and Publicity Neighborhoods Groups and Communities

Tribal Festivals Colleges and Arts Healthy Thriving Native Arts and Cultures Markets We see the foundation as a node within a large network that contributes to healthy, thriving Native arts and cultures. We rec- ognize that our success will come from collaborating within a large network of diverse organizations and people. We work tire- lessly to meet, collaborate and share with these organizations. We have developed relationships to advance our mission and we work with peer organizations better suited to certain activities.

5 Strengthening the Bones National Native Arts Convening

In November 2011, the Native Arts and Cultures Foun- were interspersed within the agenda, which closed with 5. Build capacity for Native arts programming and dation invited over 100 artists, leaders, funders and a film screening. Keynote speakers included W. Richard community engagement. culturemakers to a national gathering to identify col- West, Jr. (Southern Cheyenne), NACF Board Member Since its first year of programming, NACF has nurtured lective connections, energy and strategies for the field and Founding Director Emeritus of the Smithsonian In- Native artist success by offering support to indi- of American Indian, Alaska Native and Native Hawaiian stitution’s National Museum of the American Indian and vidual artists. By funding organizational networks arts and cultures. international recording artist Buffy Sainte-Marie (Cree). and convenings and by offering support to the field, A diverse 12 person national planning committee This first NACF national gathering of Native arts and NACF helped strengthen arts and cultures leader- worked together to create Strengthening the Bones, cultures stakeholders led to five major action state- ship. Through community-based awards, the founda- with a goal that the convening would nurture and bring ments that applied to all. The information demonstrat- tion supported artists, organizations and projects closer the connections that bind together the Native ed that NACF initial programming and other partner working to mentor and strengthen youth through an arts and cultures field. The committee designed a for- organizations were on track to help meet many of these arts lens. To deepen our work while discussing ways mat focused on creating opportunities for participants needs. The findings also informed refinements to to meet other needs identified in this first national to learn about each other’s needs, work and strategies the NACF grantmaking program and long-term program- convening, NACF continued grantmaking and engaged to build relationships that would ideally lead to future ming goals: stakeholders in sessions to shape future programming collaborations. strategies. 1. Nurture artist success; Participants engaged in insightful audience participa- 2. Develop leadership potential in arts institutions, tion panels, interactive workshops and experienced organizations and field; cultural activities and performances from artists high- lighting the vast diversity of Native arts. A live mural 3. Mentor and strengthen youth through the arts; completed over the two days visually documented the 4. Provide education and outreach within the field and rich discussion. Music, slam poetry and a soliloquy the general public; and

Workshop discussion identified five areas most Gratitude to the Strengthening the Bones planning committee: your work was NACF National Leadership Council member organizations had in common. a great success! Buffy Sainte-Marie (Cree) Challenges to Overcome

In carrying out our mission, we face two major obsta- Funding Commitment cles: the great diversity and general invisibility of Native For Native peoples our art is inseparable from our cul- peoples in America, and the lack of a significant funding ture and our being. At the time NACF was formed to commitment to support Native arts and cultures within increase support to Native arts and cultures, overall philanthropic circles, Native Nations and trusts. funding had declined and the country’s economy had collapsed in a recession. Great Diversity and General Invisibility Last year, a review of recent studies of U.S. philanthropy We are complex and intricacy leads to inaccurate gen- by the National Philanthropic Trust, Grantmakers in the eralizations among an uninformed public that then Arts and Native Americans in Philanthropy suggested impedes visibility. Real appreciation of First Peoples that of the over $300 billion total annual giving, only comes with deeper understanding of the complexity $13 billion (4% of total giving) supports arts, culture and diversity of more than 560 distinct Native Nations and humanities. Lower still, is the portion of that fund- in the United States. In moving away from the damaging ing that reaches Native peoples. Of the $13 billion of stereotypes, Native artists can achieve critical recog- annual funding for the arts, foundations grant about $3 nition in local, national and international arenas. This billion per year, of which less than 2% directly benefits invisibility is rooted in post-colonial legacies of system- Native Americans. atic cultural suppression, poor socio-economic condi- tions and historic generational trauma. We clearly see the paradox in these numbers. In recent years the US economy has been moving away from tra- The good news is that we are still here and we have a ditional, institutional and financial drivers to those of wealth of assets from talented artists and wise culture creativity and innovation. Studies have shown that a bearers to deep Native knowledge and passionate com- strong social commitment to the arts is crucial to cul- munities. The work of many artists is slowly informing tivating creativity, and Indigenous First People cultures Christopher K. Morgan (Native Hawaiian, 2013 NACF the broad public as to who we are. Their contemporary contribute valuable philosophies and values to our Dance Fellow), In Between Words art is beginning to hang in art museums side by side country. This is our core message to mainstream Amer- with ethnographic collections and the finest art exhibi- ica: Native arts and cultures and the collective pool of tions. Much of our customary or ceremonial art, which talented artists and culture bearers help build stronger was once perceived in the mainstream as just histori- “It is difficult to capture in words the full communities, contribute to a better America and share cal artifacts, is now being recognized as living art and depth of impact the fellowship has had. valuable knowledge across a very diverse country. cared for as such. Furthermore, our literary, film and When an organization such as the Native performance artists are forging new terrain, winning na- Arts and Cultures Foundation invests in an tional awards, and giving back to their communities in artist, that display of faith and trust in the significant ways. work is an incredibly motivating catalyst for We understand that in order for Native peoples to thrive the work to continue to deepen, grow. It will in our communities, share Native knowledge, and mani- have a lasting effect on myself and others.” fest our fullest creative expression we need to empow- — Christopher K. Morgan (Native Hawaiian) er ourselves with greater visibility and connectivity, as 2013 NACF Dance Fellowship well as the education and tools to generate success.

7 Program Regions

To facilitate our programs, we address our national scope through nine regions. Artists and organizations we’ve funded are from the following Native communities: Acjachemen Athabaskan Blackfeet Alaska Chehalis Cherokee Chippewa Creek Haida Hopi Iñupiat Laguna Pueblo Métis Mochican Pacific Northwest Mohawk Mojave North Central Muscogee Northeast Narragansett Native Hawaiian Southwest Navajo N’ishga Ojibwe South Southeast Passamaquoddy Central Penobscot Pima Poarch Creek Salinan Hawaii Salish Santa Clara Pueblo Seneca Tlingit Wampanoag Yup’ik and organizations with a regional or national reach that serve American Indian, Alaska Native and Native Hawaiian communities.

8 Support Awarded 2010–2013

$500000 Southeast

Alaska Hawaii $400000

Northeast $300000 South Central Pacific Northwest

North Central $200000

Southwest California $100000

$0 2010 2011 2012 2013

Individual Artists Operational Support Community Projects

As a unique national, Native-led organization working to than 146,000 participants and reached an estimated related to a low numbers of applicants and a need for support all disciplines practiced by artists in American 842,000 people. greater outreach and visibility. We discuss our future Indian, Alaska Native and Native Hawaiian communi- plans for supporting Native artists, in the section on ties, the foundation has supported 85 Native artists As the pie chart illustrates, we have provided balanced future programming. and organizations in 22 states. NACF funding has fu- support in almost all regions. Our challenge to increase eled over 300 events and activities, engaged more funding in the South Central and Southeast regions is

9 Individual Artist Fellowships

Each year hundreds of artists representing the fields complexities and challenges, and sharing the stories of groundwork in cultivating relationships to foundations, of dance, filmmaking, literature, music, traditional arts hope, change and inspiration. Their work speaks to is- donors and the public at large. They are an essential and visual arts submit applications for consideration sues of land and water rights, food sovereignty, and the element of our advocacy efforts in making the case for for one of the largest national arts fellowships dedi- interconnectedness of all living creatures. Through this Native arts. The circle of artists is, and will continue to cated exclusively to American Indian, Alaska Native and partnership these artists serve to bring their gifts to the be, part of the NACF family. Native Hawaiians. As expected, the number and qual- world, model the best in our creativity and expression We have seen our grantees find great success in efforts ity of the artists pursuing the NACF Artist Fellowship as Native peoples and help to create a greater under- supported by this program. Among them is Emily John- is extremely high, each demonstrating an extraordinary standing of indigenous peoples and issues. son (Yup’ik, 2011 NACF Dance Fellow) who recently re- artistry and rigor in their practice. These applications Our commitment to these artists goes beyond providing ceived a Bessie Award for Outstanding Production, com- have engaged panel reviewers in provocative discourse, funding to support their work. We actively promote them parable to a Grammy in the dance community. Likewise, challenging them to come to consensus about their through our Website and in our marketing and commu- dancer Rulan Tangen (Métis, 2012 NACF Artist Fellow- selections drawn from these very competitive pools. nications efforts, as well as include them in NACF func- ship) premiered her new work “Walking at the Edge of We are privileged to have developed a cohort of tions. Further, through networking opportunities to the Water” and was fully funded for the project through 41 highly talented artist fellows and we are humbled by field, we are able to make important connections for NACF’s partnership with the United States Artists proj- their inclusion in our support processes. our fellows to funders, exhibitors, and presenters that ect program. As an example of the impact these artists The strength and beauty of our fellows’ voices is inspi- provide opportunities for leveraging additional support. are having worldwide, Alan Michelson (Mohawk, 2012 rational. They are representing the cultural continuity of It is also our strategy to foster continuing connections NACF Visual Arts Fellow) has shown his work in seven Native peoples in contemporary contexts and are the to the fellowship cohort beyond the initial fellowship different exhibitions, including the internationally promi- creative of their communities. Their art brings year. These fellows have become the face of NACF’s nent 18th Biennale of Sydney and the 3rd Changing greater visibility to the realities of their communities, activities, demonstrating the quality of our program- Hands: Art Without Reservation touring exhibit. addressing Native identity issues, bringing light to the ming to potential funders, contributing to the necessary

Christen Marquez (Native Hawaiian, 2011 NACF Film Fellow) and her mother when working on the documentary film E Haku Inoa: Brent Michael Davids Emily Johnson (Yup’ik, 2011 NACF Dance Fellow), Nicuugni To Weave A Name (2013). (Mohican, 2013 NACF Music Fellow) Sonya Kelliher-Combs Natalie Diaz Alaska Southwest

Sonya Kelliher-Combs (Iñupiaq/Athabaskan) is a pre- When not on book tours supporting her first book, miere Alaska Native conceptual artist whose work is “When My Brother Was An Aztec,” poet Natalie Diaz (Mo- rooted in painting but is interwoven and influenced by jave/Pima) works with elders in her community to teach traditional skin sewing and sculptural elements using the Mojave language to next generations. The support animal parts. With the support of a 2011 NACF Visu- from a 2013 NACF Literature Fellowship allowed Diaz al Art Fellowship, she developed a solo exhibition at to give poetry readings, participate on language revi- the Gallery of Contemporary Art in Anchorage, Alaska talization panels and teach writing workshops in cities featuring “Monoprints” and “New Work,” installations like New York, Los Angeles, Victoria, B.C. and Native and a series of drawings reference her Native heritage, communities that otherwise couldn’t afford to host lit- family, history and sense of place. The fellowship gave erary events. The foundation honored NACF Literature Kelliher-Combs the space and time to create, allowing Fellows including Diaz at the 2013 Association of Tribal her to add electricity, heat and running water to a self- Libraries and Archives (ATALM) Conference in New Mex- constructed artist studio. “As many know, the most ico alongside literary greats N. Scott Momaday (Kiowa) valuable thing to an artist is TIME. The time to be able and Joy Harjo (Mvskoke). “The Native Arts and Cultures to focus and work in the studio is invaluable,” said Foundation has given me much more than money,” said Kelliher-Combs. “The NACF fellowship enabled me to Diaz. “I was able to be the artist that I am in the place create two new installations, which I consider break- Sonya Kelliher-Combs where I became that artist. There exists no other fellow- through pieces.” ship like this one.”

Christopher Kaui Morgan Cyril Pahinui Northeast Hawaii

Christopher Kaui Morgan (Native Hawaiian) is a chore- Musician Cyril Pahinui (Native Hawaiian) has developed ographer and dancer whose work stems from a belief in one of the most recognized voices in Native Hawaiian the urgency of live performance in an increasingly iso- music. His debut album won awards and the 35 albums lating, commercial and digital world. Growing up in Or- he has released since then have inspired numerous ange County, California, Christopher learned Hula from awards, including three Grammys. In 2013, a NACF Mu- his family. He now brings his diverse heritage and over sic Fellowship allowed Pahinui to complete production 15 years of experience as a dancer, educator, choreog- on the Native Hawaiian PBS Pilot “Let’s Play Music,” rapher and arts facilitator to directing his Washington which broadcast to more than 20 million homes nation- D.C. area contemporary dance company, Christopher K. wide. The award allowed Pahinui to update his Website Morgan & Artists. The support of a 2013 NACF Dance technology to be able to host a newly completed se- Fellowship allowed Morgan to premiere two new works, ries of instructional videos to teach next generations of “Halcyon,” a meditation on the nature of memory, and slack-key guitarists. “I was informed that I’d be induct- “Place Names” with Sri Lankan dancer Asanga Domask ed into the Hawaiian Music Hall of Fame in 2014 and be about how language, names and label shape identity. receiving a Na Hoku Hanohano Lifetime Achievement The fellowship allowed Morgan to offer the company’s Award from the Hawai’i Academy of Recording Arts. The first summer dance intensive, in which 28 students NACF award allowed me to build a Legacy Website that from 6 states participated. Cyril Pahinui could tell my musical story and achieve the high-tech needs of the videos,” said Pahinui.

11 Andrew Okpeaha MacLean Teri Rofkar Northeast Alaska

Filmmaker Andrew Okpeaha MacLean (Iñupiaq) is an For over 25 years, internationally renowned weaver Teri Alaskan film director and screen writer whose work Rofkar (Tlingit) has woven exquisite baskets and tex- has screened in international arenas. His films star tiles worn by members of her community. In 2004, her Iñupiat people speaking their Native language and are visionary commitment to protecting natural resources shot on location in Barrow, Alaska. His work explores like cedar, spruce roots and mountain goat wool was how characters exercise a core Iñupiat belief called honored with an Ecotrust Indigenous Leadership award paałaqtautaiññiq, which roughly translates as “non- and her art recognized in 2013 with a NACF Traditional violence” or “avoidance of conflict.” A 2013 NACF Arts Fellowship. Support from NACF allowed Teri to com- Film Fellowshp allowed MacLean to produce two short plete a 17-year project to weave a DNA design robe, films, Children of the Northern Lights (2013), a short the first Tlingit robe woven from Baranof Island goats science fiction film based on an Iñuit story, and Luis in 200 years. The robe was honored at the Portland Art Gonzales Palma Never Took a Picture Here (2013), a Museum and brought out at a U.S. Fish and Game De- collaboration with Iñupiaq poet Cathy Tagnak Rexford. partment meeting discussing sustainability of Baranof The support from NACF afforded MacLean time to write Island mountain goats. The fellowship allowed Rofkar a feature-length version of Children of the Northern to develop a curriculuum about the robe and travel to Lights and begin production on his next film, Nalakataq, In 2014, this Earthquake Robe by Teri Rofkar (Tlingit) will be teach over 100 Alaska students the history, math, sci- dancing in commemoration of the 50th anniversary of the a documentary about Iñupiat whaling. ence, environmental and indigenous knowledge that ac- 1964 Great Alaskan Earthquake, which caused 139 deaths and transformed the Alaskan landscape. companies her art. Marie Watt Pacific Northwest Bobby Bullet Bobby Bullet North Central Marie Watt (Seneca) is an artist whose work is cen- tered on community. Most notable is her work with Celebrating over 50 years in the music business as blankets as an object and a metaphor in Native life. A a writer/performer, Bobby Bullet (a.k.a. Robert Hollis 2011 NACF Visual Arts Fellowship assisted Watt as she St. Germaine, Chippewa), continues to draw from a life created The Incomplete Indigenous Botanical Canon, a filled with uncertainty, joy, love and difficult decisions new body of work that included drawing, hand-sewn tap- to create memorable lyrics and heartfelt music. The estries and a community sewing circle at the Smithson- Native American Music Awards honored Bullet with a ian Institution’s National Museum of the American In- Lifetime Achievement Award in 2010. A 2013 NACF dian to illustrate indigenous medicinal knowledge. The Music Fellowship supported Bullet in conducting oral project culminated in Lodge, a solo mid-career survey history interviews with Lac du Flambeau Band people to exhibition at the Halle Ford Museum of Art and 10th An- inform his next album of folk songs. The award allowed nual Social Pow Wow in Salem, Oregon in 2012, which Bullet to bring talented Native musicians to his home then traveled to the Tacoma Art Museum to be on view studio on the reservation to lay tracks. The forthcoming for over 20,000 visitors. “The fiscal support from NACF recording features poignant songs about treaty-negoti- provided basic resources like studio space and materi- ated fishing rights, the plight of missing Native women als and also encouraged me to take risks in my work. and good ole-fashioned heartbreak. Bullet performed the new songs at community events protesting violence While the grant period is for one year, for me, the re- against women; at the Wisconsin Historical Society; sults will manifest for years to come,” said Watt. and at the 2013 Indian Summer Music Festival.

12 Diné be’ iiná Community-Based Initiatives

We believe in the power of the arts as a transforma- tions and demonstrating a high degree of intercultural tive catalyst in communities. Creative vitality is the knowledge transfer. foundation for cultural continuity and the support of arts and culture will realize the continuity of traditional Diné be’ iiná practices, language, and cultural expressions and nur- (The Navajo Lifeway) ture the emergence of new modes of artistic evolution. 2011 NACF Community-Based Initiative, The understanding and participation in Native culture, Window Rock, (Southwest) community identity, and history creates healthy com- munities and forges strength in an increasingly com- Diné be’ iiná, a 2011 grantee, provided technical and plex world. Native leaders, community organizers, and educational information on sustaining economic self- culture bearers recognize more and more that the arts sufficiency to Diné weavers and herders of sheep and goat on the Navajo reservation. A group of Native youth Maine Indian Basketmakers Alliance is an effective anchor for community engagement and revitalization. were partnered with elders in their community to learn about plants used for medicines and wool dying, about We have seen that the success of the projects hinges traditional sheepherding and wool collection practices, on the artist’s ability to engage their community in their and ultimately about the complex design and creation work. Through collaboration with a hosting cultural or- processes of Navajo weaving, serving as an artistic ganization, often a non-profit, school or tribal agency, vessel for their cultural inheritance. The project work support for the project is strengthened by collective ef- continues to play an important role in ensuring cultural forts. The organization can provide space for project preservation and the continuity of cultural practices on activities, tools and supplies. Likewise, the organiza- the Navajo reservation. tion can assist with outreach and provide the admin- istrative support necessary for program management, Maine Indian Basketmakers Alliance documentation and final reporting. NACF participation (MIBA) in these activities as funder, advisor and networker 2011 NACF Community-Based Initiative, further deepens the support. Our visits to these com- Old Towne, Maine (Northeast) munities have resulted in greater understanding of the A 2010 grantee, the Maine Indian Basketmakers Al- Jeremy Frey (Passamaquoddy, 2014 NACF Traditional Arts Fellow), work, allowed for real witnessing of the impacts of the Urchin shaped basket projects on participants, and the opportunity for first liance (MIBA) is the premier basket making organiza- hand documentation of the efforts. The activities are tion on the East Coast, functioning as a collective and then presented on our website and social media, serv- fostering the preservation of traditional basket making ing as an inspiration for effective community building practices. A grant from NACF made it possible for MIBA through the arts. to support a cultural preservation project anchored by workshops on five Wabanaki reservations, led by mas- In four years of grantmaking in Native communities, ter weavers who worked with youth in the creation of NACF has seen the significant impact of even nominal baskets – from the gathering of materials to the weav- support for community based arts projects, displaying ing of baskets. The workshops fostered intergenera- high levels of community participation in artistic prac- tional activity and cultivated the preservation of tradi- tices, providing space for artist-community collabora- tional heritage survival practices rooted in the land.

13 Convening Projects

The foundation believes in the power of fostering ben- Northwoods NiiJii Enterprise Community eficial alliances between artists. Particular consider- 2011 Community-Based Initiative, ation was given to organizations convening groups of Lac du Flambeau, Wisconsin (N. Central) artists or supporting master artist-to-artist residencies between artists from different regions, across disci- The foundation supported the Northwoods NiiJii plines, or who shared in the same practices. Of critical Enterprise Community’s Woodland Indian Arts Initiative: importance to the projects awarded in 2011, was the Native Artist Leadership Development Program. The opportunity for artists and culture bearers to network, program convened artists, arts administrators, master collaborate and develop artistic and cultural practices. artists and culture bearers from the NiiJii communities In these settings, artists and culture bearers focused across the region for a two-day gathering. on best practices, professional development, change in their fields, their relationship to community and Kuleana O’iwi Press the exchange of knowledge and technical skills. The 2011 Artist Networks and Convenings, outcomes these opportunities provided increased Honolulu (Hawai’i) communication in the field, deepened connection Kuleana O’iwi Press received support from the Native between artists and most importantly, established a Arts and Cultures Foundation to hold the first Maoli Writ- foundation for continued collaboration, exchange and ers Conference in 2012. The conference gave young relationship building. adult to kupuna (elders) opportunities to attend writing workshops and participate in round table discussions Association of Tribal Archives, Libraries with published Native Hawaiian writers, poets and short and Museums (ATALM) story writers. 2011 Community-Based Initiative, Tulsa, (S. Central) Alaska Native Heritage Center The Association of Tribal Archives, Libraries and Mu- 2012 NACF Community-Based Initiative, seums (ATALM) received an award from the founda- Anchorage (Alaska) tion to support the June 4-7, 2012 International Con- The foundation awarded the Alaska Native Heritage ference of Tribal Archives, Libraries, and Museums Center (ANHC) support for the Alaska Native Playwrights in Tulsa, Okla. The conference provided professional Convening Project. The project brought 10 Alaska Na- development opportunities for Native writers. The day- tive playwrights together for a five-day workshop. The long pre-conference featured sessions tailored to the writers connected with each other and Native theatre business development needs of artists and authors professionals from across the country. The ANHC fol- featuring marketing strategies; copyright, and licens- lowed the convening with a mentor program to assist ing training; working with galleries, publishers and the writers in completing their first play. collectors, as well as sessions that featured model programs highlighting library and museum support for local artists and authors in exhibit development and presentations.

Alaska Native Playwrights Convening, ANHC 14 Regional Community-Based Initiatives

The 2012 Bridge Initiative for Native Arts supported Native arts programs and organizations in Oregon and Clark County, Washington, that offered community cultural development through the arts. This initiative supported com- munity arts activities that fostered heritage practice, contemporary and traditional arts residencies and exhibits, arts education, or projects that addressed community issues through the use of art.

The Confluence Project Ke Kukui Foundation 2012 NACF Bridge Initiative for Native Arts, 2012 NACF Bridge Initiative for Native Arts, Oregon and Washington (Pacific Northwest) Vancouver, Washington (Pacific Northwest) The Confluence Project is a collaborative effort of Pacific Located in Vancouver, Washington, Ke Kukui’s mission Northwest tribes, stretching more than 300 miles from is to preserve, educate, and share Hawaiian and Polyne- the Pacific Ocean to Clarkston, Washington, along the sian arts, history, language and culture within the com- Columbia River. NACF awarded supported to the Gifts munity. In 2012, NACF provided support for Ke Kukui’s From Our Ancestors portion of the project. The award annual Three Days of Aloha Festival. The support made supported 15 school art projects, engaging students it possible for Ke Kukui to bring over eight kumu (mas- and families in the Celilo Falls area with the leader- ter teachers) from Hawaii as the prime resource for the ship, vision and work of artist Lillian Pitt (Warm Springs, festival’s activities. In classes taught by the kumu, 200 Brigette Scott (Warm Springs) in the classroom Wasco, Yakama). It also supported traditional artists to attendees were able to learn and enhance their skills in as part of The Confluence Project. travel, teach, advise teachers, and perform in schools hula, ukulele, craft and culture. Executive Director Deva along the river. Yamashiro decribed the opportunity to bring over the Ke Kukui Foundation kumu as “priceless.” Clatsop Community College Emergence From Place Pacific Rim Art Exhibit Oregon College of Art and Craft 2012 NACF Bridge Initiative for Native Arts, 2012 NACF Bridge Initiative for Native Arts, Oregon and Washington (Pacific Northwest) Portland, Oregon (Pacific Northwest) Curated by artist Lillian Pitt (Warm Springs, Wasco, Yaka- The foundation supported Oregon College of Art and ma) and instructor Richard Rowland (Native Hawaiian), Craft’s groundbreaking full-scholarship residential art the exhibit brought a select group of 8 Native artists camp with Larry McNeil. Held on the OCAC campus, the from the Pacific Rim featuring “neo-traditional” works two-week camp explored the theme “Catching Our Own and a related series of events. The activities raised the Shadows: Exploring Photography with Native American awareness of the multi-layered diversity of the Native Teenagers.” The camp hosted 10 students who were cultures in the region in order to examine and express introduced to life as a college student, participating in shared values in relation to contemporary issues. Maori a rigorous curriculum taught in the same studios as artists Manos Nathan and Colleen Ulrich, Native Hawai- OCAC Bachelor of Fine Arts students. Students were ian artists Maile Andrade and Chuck Souza, and Ameri- taught the complicated process of shooting, lighting, can Indian artists Lillian Pitt, Greg Robinson (Chinook), framing, developing and printing film. and Gail Tremblay (Onandoga/Micmac) all participated in a fishbowl conversation on campus, public lectures, and led several day-long workshops for art students in the area.

15 The 2013 NACF Bridge Initiative: Art + Health provided funding to four Native programs in California for proj- ects impacting the health and vitality of Native communities with a focus on Native youth. Key to their im- pact was the integration of arts and the engagement of the community in the artist’s work, addressing phys- ical, mental and social well being. “Art is a powerful medicine for the world,” said NACF National Leadership Council member Buffy Sainte-Marie. These projects strengthen individual and community health, draw attention to important issues and engage Native youth and community members to think about health in new ways.

Dancing Earth Creations Pitzer College Waters of Wellness Project Native American Summer Pipeline Program 2013 NACF Bridge Initiative for Native Arts: 2013 NACF Bridge Initiative for Native Arts: Art + Health (California) Art + Health (California)

The initiative expanded with the California Bridge Initia- With support from NACF, Pitzer College included a class tive: Art + Health addressing physical, mental and so- on Health Sciences and Native American Community cial well-being. For example, Dancing Earth Creations’ Wellness in the curriculum for its Native American Sum- Waters of Wellness project engaged Native youth in mer Pipeline Program two-week on-campus life experi- dance and movement activities designed to promote ence program to inspire Native high-school students exercise. Native youth shared stories and discussed with the motivation to graduate. Hosted in association nutritional education. The overall thematic element was with Western University of Health Sciences, the Pipe- the preservation of Native waterways and built into the line curriculum included creative writing, computer workshops were discussions about environmental im- literacy, multidisciplinary arts workshops and a class pact and personal responsibility. The outcomes of the on Health Sciences and Native American Community workshops built confidence and physical health in the Wellness. Visiting Native artists and elders featured youth, a community understanding of local water sys- prominently in the program, sharing their stories, knowl- tems and overall, an increased sense of physical and edge, culture and artistic practice with the students. cultural well-being in the young participants. The Pipeline empowered the students to return home with knowledge and tools to emerge as effective health advocates in their community. The project motivated students to complete high school, promoted leadership and strengthened their self-esteem driven by their con- nection to traditional knowledge and culture.

“NACF is doing something that no one else has ever done before, which is helping Native artists find their voices and allowing us to create a community of artists and not just all be out there flying by ourselves,” — Sonya Kelliher-Combs (Iñupiaq), 2011 NACF Visual Arts Fellow

Dancing Earth Creations

16 First Peoples Fund Support for the Field

We believe that strengthening the field is of vital impor- The Sundance Institute’s Native Program supports In- tance to the sustainability of Native arts and cultures digenous filmmakers and has established a rich legacy practices. In the past three years, we have developed of work in building and sustaining an Indigenous film a number of strategies meant to build assets amongst circle. The core of the program’s work begins by scout- a strong cohort of regional partners. This type of sup- ing for and identifying Indigenous filmmakers, bringing port cultivates the growth of Native artists and careers them through the mechanisms of support at Sundance at the regional and local levels as well as builds the Institute to get their work made and shown. capacity of Native programs to support their work. Like PA‘I Foundation preserves and perpetuates Hawaiian our individual artists, these organizations play an im- cultural traditions for future generations. In collabo- portant role in building the business acumen of artists, ration with other community arts organizations, their providing important space and programming opportuni- Maoli Arts Month (MAMo) establishes a venue for art- ties and bringing awareness of local and regional Native ists to share, exhibit, and sell their work, incorporating artists and initiatives. gallery showings, children’s arts events, a wearable art One of the most significant foundation strategy, was to show, and an awards reception, all taking place through- develop a strong cohort of regional partners. Overall, out Honolulu. the initiative invited organizations that are embedded As well as being a hub for Native community activities within their communities, who have a strong regional in the Puget Sound region, Longhouse Education and presence, or who offer unique national programming. Cultural Center at Evergreen College supports Native This cohort of organizations has demonstrated a his- PA‘I Foundation artists through arts markets, sales, art exhibitions, art- tory of quality programming focused on the arts and ist gatherings, artist-in-residence workshops, as well as strong capable leadership. Preference was given to or- a grants program for individual artists and for communi- ganizations who offer broad based arts services includ- ties to bring master artists to teach. ing arts grants, professional development in building artists capacity to manage their careers, and by provid- First Peoples Fund supports Native artists through one- ing market opportunities for Native artists. year Artists in Business Leadership and Cultural Capi- tal fellowship programs and Community Spirit Awards The major challenge presented to NACF’s strategy to through comprehensive professional development increase our investment and deepen our involvement training for native artist entrepreneurs. These work- with the partner organizations was made evident fairly shops provide immediate assistance to participating soon. Relative to much larger portfolios at major foun- artists and enable deeper long-term business and com- dations, NACF simply lacked the financial capacity to munity development impacts at the tribal level. become an operating support grant maker in develop- ing the capacity of peer organizations, their operations and the quality of their respective programs.

Over the last three years of the program, NACF has sup- ported four Native arts service partners.

17 Future Programming

We are planning a new initiative, an innovative highly While the pilot demonstration projects are still in the We believe our nation and world are poised for a collaborative 10-year effort and signature program planning and development phase, they are beginning complete transformation in the 21st century. A new that will elevate appreciation for Native arts, cultures, to build interest and partnerships with other funders, consciousness is being realized, one that requires and knowledge of Native artists as agents of positive nonprofits and communities. There are complexities confronting our collective fears of difference and em- social change. After four years of providing support associated with building these relationships. A cer- bracing our fullest potential as human beings. Seeds to Native artists and communities through fellow- tain level of risk-tolerance and trust is necessary. of change are germinating in communities and cit- ships and community-based arts activity, we believe Being willing to delve into cultural differences and ies across the United States. As an Indigenous or- that in this time of profound cultural upheaval, art- talk about it openly and respectfully is also neces- ganization that supports American Indians, Native ists’ creative intelligence can help influence the di- sary. It’s important for all partners to agree upon Hawaiians and Alaska Natives, we believe that the rection of our nation. The new initiative will support language that describes the project and the process Native Arts and Cultures Foundation, in partnership artists in providing their unique perspectives on the and have the same understanding of what that lan- with other organizations and foundations, can help issues we face in our communities and as a nation. guage means. address issues and transform lives and communi- ties through an arts lens. Through focused, intentional work, the new initiative Building understanding and relationships among Na- will raise awareness and consciousness – both in- tive groups and between Native and non-Native cul- side and outside Native communities – facilitate arts- tures are one of the key criteria for the new initiative. driven exploration in the areas that greatly affect our We believe one of the best ways to build understand- Native communities. We will achieve our goal via rigor- ing is bringing non-Native and Native people together “I was taught that our arts carry the spirit of the ous, long-term support and promotion of Native art- to experience culture through the arts, and then have people. It’s through art that we know ourselves; ists, writers, dancers, filmmakers and others. We are them engage and participate. Our first convening of it’s through art that we will go forward into the in the process of selecting pilot demonstration proj- the Native arts and cultures field held in Portland, Or- world; and it’s through art that our cultures will ects. These are Native artist led, highly collaborative egon in 2011 did exactly that. The new initiative will efforts that involve co-funders and other organizations be “bridging” even more intentionally in communities be remembered.” — Joy Harjo (Mvskoke/Creek) in the evaluation, communication, and arts fields. across the nation.

Kaili Chun (Native Hawaiian, Nora Naranjo-Morse (Santa Clara Pueblo- Israel Shotridge (Tlingit, 2014 2014 NACF Visual Arts Tewa, 2014 NACF Visual Arts Fellow), The NACF Traditional Arts Fellow), Fellow), Veritas ii Black, White and Brown of It Raven panel Grantees by Region

Alaska Kapulani Landraf, Visual (Native Hawaiian) Longhouse Education and Cultural Center, Wash. Alaska Native Arts Foundation Kuleana ‘Oiwi Press Northwest Indian College, Wash. Alaska Native Heritage Center Moku O Keawe Foundation Oregon College of Art and Craft, Ore. Alutiiq Museum and Archeological Repository Cyril Pahinui, Music (Native Hawaiian) Potlatch Fund, Wash. Joan Kane, Literature (Iñupiaq) PA’I Foundation Israel Shotridge, Traditional (Tlingit), Wash. Sonya Kelliher-Combs, Visual (Iñupiaq/Athabaskan) Brooke Swaney, Film (Blackfeet), Mont. North Central Da-ka-xeen Mehner, Visual (Tlingit) American Indian Center Inc, Ill. Lisa Telford, Visual (Haida), Wash. Organized Village of Kake Brent Michael Davids, Music (Mohican), Minn. The Museum at Warm Springs, Ore. Teri Rofkar, Traditional (Tlingit) First Peoples Fund, S.D. South Central Sealaska Heritage Institute Robert Hollis aka Bobby Bullet, Music (Chippewa), Mich. Association of Tribal Archives, Libraries, California Emily Johnson, Dance (Yupik), Minn. and Museums (ATALM), Okla. Blas Aguilar Adobe Museum and Acjachemen Bennie Klain, Film (Navajo), Ohio Shan Goshorn, Traditional (Cherokee-Eastern), Okla. Cultural Center Northwoods Niijii Enterprise Community, Wis. Southeast California Indian Museum and Cultural Center Ronald Paquin, Traditional (Chippewa), Mich. Poarch Band of Creek Indians, Ala. Center for Multi Cultural Cooperation Rosy Simas, Dance (Seneca), Minn. University of Georgia, Institute of Native American Dancing Earth Creations Studies, Ga. Northeast Billy Luther, Film (Navajo/Hopi/Laguna) Santee Frazier, Literature (Cherokee-Oklahoma), N.Y. Southwest Kua`aina Associates, Inc Jeremy Frey, Traditional (Passamaquoddy), Maine Sherwin Bitsui, Literature (Navajo), N.M. Patrick Makuakane, Dance (Native Hawaiian) Andrew Okpeaha MacLean, Film (Iñupiaq), N.Y. Raven Chacon, Music (Navajo), N.M. Christen Marquez, Film (Native Hawaiian) Maine Indian Basketmakers Alliance, Maine Eddie Chuculate, Literature (Muskogee/Cherokee), Ariz. Pitzer Native American Summer Pipeline to College Alan Michelson, Visual (Mohawk), N.Y. Natalie Diaz, Literature (Mojave/Pima), Ariz. Ricardo Mendoza, Visual (Salinan) Christopher K. Morgan, Dance (Native Hawaiian), Md. Diné be’ Iiná, Inc. (The Navajo Lifeway), Ariz. Seventh Generation Fund Nahahiganseck Language Committee of the Narragansett Melissa Henry, Film (Navajo), N.M. Sundance Institute Tribe, R.I. Institute of American Indian Arts, N.M. The Cultural Conservancy New England Foundation for the Arts (NEFA), Mass. Nora Naranjo Morse, Visual The Native American Health Center of Oakland Tomaquag Indian Memorial Museum, R.I. (Tewa-Santa Clara Pueblo), N.M. David Treuer, Literature (Ojibwe) Marie Watt, Visual (Seneca), N.Y. Rose Simpson, Visual (Santa Clara Pueblo), N.M. Hawai`i Southwestern Association for Indian Arts (SWAIA), N.M. Pacific Northwest Keola Beamer, Music (Native Hawaiian) Rulan Tangen, Dance (Metis), N.M. Clatsop Community College, Ore. Kaili Chun, Visual (Native Hawaiian) William Wilson, Visual (Navajo), N.M. Confederated Tribes of the Chehalis Reservation, Wash. Hawaii Youth Opera Chorus Confluence Project, Ore. Raiatea Helm, Music (Native Hawaiian) Crow’s Shadow Institute of the Arts, Ore. Hula Preservation Society John Feodorov, Visual (Navajo), Wash. Kahilu Theatre Foundation Ke Kukui Foundation, Wash. Micah Kamohoali`i, Dance (Native Hawaiian)

19 Sepk’eec’a (Thank You, Klamath) Gunalcheesh (Tlingit)

Thank you to the interviewees and contributors Thank you to our Board of Directors and to the original feasibility study for NACF National Leadership Council

Rebecca Adamson Heather Kendall-Miller NACF Board of Directors Andrea Alexander Elizabeth Kerr Board Chair Marshall McKay (Yocha Dehe Wintun Nation), Tribal Chairman, Yocha Dehe Wintun Nation Janeen Antoine Tina Kuckkahn Board Vice Chair Susan Jenkins (Choctaw Nation), Retired; Founding Executive Director, Sherry Salway Black Andrew Lee Cherokee Preservation Foundation Shannon Brawley Elsie Meeks Board Secretary Elizabeth Woody (Warm Springs/Wasco/Navajo), Program Officer, Joanna Big Feather John Meredith Meyer Memorial Trust, Pre-formation Advisory Council Member Mamie Bittner Sandra Narva Board Treasurer Barron M. Tenny, Former Executive Vice President, John Bridgeland Joy Persall Secretary and General Counsel of the Ford Foundation Carmen Bydalek Peter Pennekamp Cheryl Andrews-Maltais (Wampanoag), Chairwoman of the Aquinnah Wampanoag Gaming Corporation JoAnn Chase* Tia Oros Peters Dudley Cocke, Artistic Director of the Roadside Theater; and Appalshop Louis Delgado Betsy Peterson Sven Haakanson (Old Harbor Alutiiq Tribe), Curator of Native American Anthropology Jennifer Easton Barbaro Poley at the Burke Museum Walter R. Echo-Hawk Lori Pourier Chandra Hampson (Ho-Chunk/Anishinaabe), Consultant and former Senior Vice Jim Enote Louise Profeit-LeBlanc President in Community Development Finance and Banking Juanita Espinosa Elizabeth Theobald Richards* David R. Hatch (Siletz), NACF Board Member-elect, Siletz Tribal Arts and Heritage Society Vice Chairman Jaune Evans Aleta Ringlero Adrian Wall (Jemez Pueblo), Sculptor and Musician Chris Eyre George Rivera W. Richard West, Jr. (Southern Cheyenne), President/CEO, Autry National Center; Jayne Fawcett Carla Roberts Founding Director and Director Emeritus, Smithsonian Institution’s National Museum Diane Fraher Mike Roberts of the American Indian Alison Freese Buffy Sainte Marie NACF National Leadership Council Barry Gaberman* Sarah Sanchez Letitia Chambers, Of Cherokee descent, Former Director, , Hanay Geiogamah Helen Scheirbek Former NACF Board Member Chief David General Gary Schwartz Joy Harjo (Mvskoke), Musician, Poet, Playwright, NACF Founding Board Member Linda Gilbert* Theresa Secord John Haworth (Cherokee), Director of the Smithsonian’s National Museum of the Carol Greyeyes Ben Sherman American Indian-NY Roy Hamilton Dale Smith Betsy Theobold Richards (Cherokee), Creative Fellow, The Opportunity Agenda Joy Harjo Cris Stainbrook Buffy Sainte-Marie (Cree), Musician, Artist, Educator Sarah Hicks Sonia Tamez Past Board and Pre-Formation Advisory Council Members Roy Huhndorf Kathy Wallace Walter R. Echo-Hawk (Pawnee), NACF Founding Board Chair, Pre-formation Advisory Susan Jenkins Della Warrior Council Member, Attorney and Author Valorie Johnson Margaret Wilkerson* Keller George (Oneida Indian Nation), Former NACF Board Member, Oneida Indian Nation Council Member, Wolf Clan Diane Kaplan Ken Wilson Jayne Fawcett (Mohegan), Artist and former Mohegan Tribal Council Ambassador, Elizabeth A. Woody *Advisor Pre-formation Advisory Council Member

20 Kutapatush (Narragansett)

Thank you to our supporters!

Founding Funders Quil Ceda Village Charitable Fund Barbara Babcock David R. Hatch Ford Foundation Tulalip Tribes Barron M. Tenny David Lezak Yocha Dehe Wintun Nation Rasmuson Foundation Bea Zizlavsky David Rodriguez Native Nations Robinson Family Trust Ben Aase Dayna L. Jim Bear River Band of Rohnerville Rancheria Seventh Generation Fund for Indian Bertram Rothschild Debbie Teofilo Development Confederated Tribes of the Grand Ronde Betty Hanson Deborah Dunn Spirit Mountain Community Fund (CTGR) Confederated Tribes of the Umatilla Betty Jean Lee Deborah Robinette Indian Reservation TomKat Charitable Trust Beverly Terry Delvis and Shirley Heath Cow Creek Band of Umpqua Tribe Businesses Bill Newcomer Denise Turner Walsh of Indians Aequitas Capital Management, Inc Buffy Sainte-Marie Diana Henke Hoopa Valley Tribe Alaska Railroad Carl Michaels Diane Jacobs The Mill Casino Arnerich Massena Carly Hare Dominic M. Luongo Muckleshoot Indian Tribe and Casino Champlain Investment Partners Carma Corcoran Don C. Blom NIsqually Indian Tribe Charitable Fund Clifton Larson Allen Carol Leone Donald Berg Puyallup Tribe of Indians Fairmont Orchid Hotel Carol R. Frost Donald J. Gonzales Red Lake Band of Chippewa Indians Hawaiian Airlines Carol Santiago Doni and Leroy Wilder Saginaw Chippewa Indian Tribe, Mount RW Sales Cecily Quintana Donna W. Sideman Pleasant Michigan Sterling Bank Charles Calica Doret M. Burnett San Manuel Band of Serrano Tommy O’s Charles Frederick Caskey & Doris L. White Union Bank Sue Horn-Caskey Dorothy E. Haught San Pasqual Band of Mission Indians Washington Trust Bank Charles Froelick Dorothy Gilmore Santa Rosa Band of Cahuilla Indians Individuals Charles Naihe Doug Stamm Snoqualmie Tribe Agnes A. Coyle Charlie Myers Dr. Marjorie E. Gross Stillaguamish Tribe of Indians Alden J. Arquette Chester Paul Lukaszewski, Jr. Dr. Nancy E. Warner Foundations and Nonprofits Alexia Marcous Christine F. Wildsoet Dr. Richard Lasky Anchorage Museum Association Alice E. Stewart Christopher L. Brown Dudley D. Cocke The California Endowment Alice Nemetz Clarence Dale Riddle Echo-Hawk Family Center for the Development of Alyssa Macy Clarie Weintraub Ed Kandel Social Finance Andrew Hogan Clay Allen Eddie Pat Sherman and Nichole Maher Evergreen State College Angela Mattox Colette Eastman Edward J. Finn Institute of American Indian Arts (IAIA) Ann Chilcote Constance R. Falleaf Edward Pohlert Jesse Flyingcloud Pope Foundation Anne Bernard Cyril L. Pahinui Elena Billing Kalliopeia Foundation Anne Bredon Dale E Jenkins Elizabeth A. Woody M. J. Murdock Charitable Trust Anne Morin Dana Arviso Elizabeth Hunley Meyer Memorial Trust Anonymous Donor(s) Daniel J. Trombley Elizabeth Lee Richmond-Panza Nathan Cummings Foundation Anthony Colletti Darline Coon Elizabeth Madrigal Native American Youth & Family Center Dave Craig (NAYA) Anthony Tomashek Elizabeth Theobald Richards David & Kathleen Kennedy Native Americans in Philanthropy Arlene C. and Herbert A. Zimmer Eloise Damrosch David Braff Portland Art Museum Athlyn A. Woolley Elsie Alexander David D. Duffle Potlatch Fund Avrum S. Harris Eric G. Doebbler

21 Evan K. Woolley Jean Tanner Kym Aughtry Mary L. Schmedding Felton Perry Jeffrey S Bradybaugh Lael Porter Masao Kodani Frances L. Tyau Jennifer L. Gibbons Larry & Freddie Lytle Matt Kennedy Frank Dunn Jeremy and Shelley Simer Larry Lunnen Matthew Luebke Frank Lewin Jeremy Frey Lawrence M. Sherman Max Balter Frankie James Patencio Jo Ann Green LeeAnn Jasperse Max J. Vallo Frederick A. & Sharon F. Schaefer Joan Brown-Kline Letitia Chambers Max Pavesic Frederick J. Butler JoAnn Balzer Lidia B. Garza Melissa Bob Frederick Kellogg Joe Finkbonner Lili Townsend Melissa Clyde Fredretta L. Eason John A. Shoup Lillian Pitt Meredith and Troy Goodman Gabriel Ayala John and Julie York Lina Garcia Seabold Meribeth Orock-Hasty and Robert Hasty Gail K. Brisco Bruner John Cameron Linda Flint Merrie Urquhart Galelah Dowell John Goetz Linley Logan Merrilee B. and John E. Adams III Garry and Cyd L. Hoffeld John Haworth Lisa Colletti Michael Benjamin Gary L. Oxman John Torres-Nez Lisa M. Hamilton Michael Holloman Gayle D. and Thomas R. Bennett, III John Whittlesey Lisa Smith Michael J. Buckley Gen Cheyney Jose and Diane K. Castillo Liz and David Lambert Michael McBride III Gladys Schwartz Joseph A. Therchik Liz Hill Michael Paul Moffett Gloria Ann-U Helekahi Joseph Menta Loen Dozono Michael Tarro Gloria Lee Luebke Joy Harjo Loren and Dana Etengoff Michelle Hines Goodsearch Judith A. Rugoff Lorraine Vinograd Michelle M. Erickson Gretchen North Judy A. Rose Louise Klemperer Sather Mildred Woodrow Gwen Ambler Judy H. Barrick Lu Lytle Morgan Pace Bolton Gwendolyn Morgan Julee Felsman Lucy Schmeidler Morris l. Nashoanak Heinrich and Peggy Kaestle Julia D. Rea and Jim Diamond Luke Womack Muriel Wemmer Helen Glen Burlingham Julie Young Lulani Arquette Myrna Gooden Hilina’i MacKenzie K. Joyce Crumrine Lynn Valbuena N. Bird Runningwater Himan Brown Charitable Trust Kaimana LaBrie M.C. Spencer-Crosswhite Nancy Johnson and Gary Slone Ho`aka Delos Reyes Kapua Kawelo Maile N. Kapuniai Noelani Mahoe Hokulani Holt-Padilla Karel Tracy Majel Stevenson Norman and Delores Natkong Ilene A. Rosenberg Karen Read Margaret L. Conlin Norrine L. Smokey-Smith Ira Stuart Jacknis Karen Reule Margret A. Hefley Oelen (Rebekah Luke) Ivan I. Starke, Jr. Kateri A North Mari Watanabe Ollie B. Cuch Jacy Romero-Ontiveros Katharine S Evans Maria I. Seabold Orcilia Zuniga Forbes James J. Simpson Kathryn Menard Marilyn Colliflower Oscar L. and Maria Sanchez James Lavadour Kayeri Akweks Mario Nick Klimiades Oscar Tzintzun Jane Jacobsen Keller George Marjorie and Donald Gonzalez Pablita Abeyta Jane Lalonde Kellie Patton Marjorie E. McNae Pamala Ruby Joy Janet Brown Ken Gordon Marjorie Risi Pamela G. Real Janet L. Majel Kimi Patterson Marshall and Sharon McKay Pamela Peterson Kromer Janet M. Wilson Kristen L. Hedene Martha A. Sadler Pamela T. Shapiro Janette L. Mercier Kristen Winemiller Mary Ann Perdue Pat Locks Janice C Devine Kristine L. Stanfill Mary Clare Patricia Ann Henry Jason Kaufman Kurt and Lynda Winter Mary Ellen Meredith Patrick and JoAnne Sheehan

22 Patty and Greg Mamula Roger and Ora L. Clay Stacey Osder Tommer Peterson Paul W. Taylor Ronald Cain Steve H. Sangster Tony Abeyta Paula Hicks Wood Ronald Farah Steve Scranton Tony Arnerich Paulette Kahalepuna Ronn P. Woolley Steven G. Lee Tracey and Clyde Manchester Peri Crim Rose High Bear Susan A. and Howard Selmer Tracey R. Antrobus Peter P. Umi Rose Mary Hokoana Susan Balbas Travis J. Pruit Peter V. Rengstorff Rosemarie Wipfelder Kumpe Susan Berresford Trina Landlord Peter Young Roxanne L. Kamelamela Susan Given-Seymour Tun M. Lee Philip H. and Jane E. Marquis Ruby Ka’eu’eu Caraet-Wirfs Susan J. Morris Ua Arquette Philip L. and Carol Stein Rupert Ayton & Stephanie Sarver Susan Jenkins Victoria L. Mason Preston Singletary Russell Mickler Susan Renz Vida Ward Dordevich and Raiatea Helm Sabra Kauka Susan Smith Dr. Dejan Dordevich Ramsay Higa Sally Alapai Suzanne Gwilliam Vince and Rhonda Herschell Rebecca Dobkins Sandy and Erskine Wood Sven Haakanson Vivian Oulman Schember Rebecca E. Tait Sandy Drews Swil Kanim W. Richard West, Jr. Rebecca Shine Sandy Giudice Tania Rupp Wajdi Said Reuben Roqueni Sarah L. Mckinney Tawni Watkins Wallette G. Pellegrino Richard and Marcy Schwartz Shahena and Kevin Wingate-Pearse Ted Jiro Takamura and Raynette Yoshida William Carroll Richard Baumann Sharon Douglas Jones Ted Woolley and Hellen Breithaupt William J. Achayok Richard Rowland Shawnda Hughes Teresa Nemeth William L. Geller Richard Twiss Sheila Gershen Thea L. Akins William Margulis Rick Sadle Shirley Hufstedler Theodore Fagan, Jr. William P. Kelly Robbie Cabral Shirley Sneve Thomas “Les” Purce William R. Flavelle Robert D. Haggart Sho Dozono Timothy Oliver William Savage Robert Martin, PhD Solomon Apio Tom Beggs Yin-M Lee Roberto Bedoya Sonia Cook Tom Hampson Yvonne L. Martineau Rogene A. Buchholz Sonya Kelliher-Combs Tomas & Gloria Jean Roqueni

Mahalo (Native Hawaiian) Mvto (Creek)

Foundation Staff Former Staff T. Lulani Arquette (Native Hawaiian), President and CEO Tracey Antrobus, Executive Assistant Rupert Ayton, Chief Financial and Administrative Officer Frank Dunn (Eastern Band Cherokee), Digital Media Specialist Reuben Tomás Roqueñi (Yaqui/Mexican), Program Director Gloria Lee, Legacy Development Director Amy M. Echo-Hawk (Yakama/Pawnee), Communications Specialist Alyssa Macy (Wasco/Navajo/Hopi), Development Specialist and Consultant to NACF Elizabeth Madrigal, Project Manager Wendy Red Star (Crow), Program Associate Gabriella Tagliacozzo, Executive Associate

23 Statement of Financial Position at December 31, 2013 (Unaudited)

ASSETS LIABILITIES AND NET ASSETS Current Assets: Current Liabilities: Cash and Cash Equivalents $ 550,681 Accounts Payable $ 34,679 Other Receivables 45,050 Grants Payable 26,000 Prepaid Expenses 50,136 Accrued Payroll Liabilities 53,449 Total Current Assets 645,867 Total Current Liabilities 114,128

Furniture and Equipment 57,550 Deferred Rent 9,524 Less Accumulated Depreciation 22,352 Net Furniture and Equipment 35,198 Total Liabilities 123,652

Investments 10,141,895 Net Assets: Unrestricted: Total Assets $ 10,822,960 Unrestricted 7,435 Board-Designated 5,440,765 Total Unrestricted 5,448,200

Temporarily Restricted 1,251,108 Permanently Restricted 4,000,000

Total Net Assets 10,699,308

Total Liabilities and Net Assets $ 10,822,960

Da-ka-xeen Mehner (Tlingit/N’ishga, 2014 NACF Visual Arts Fellow), Finding My Song

Shan Goshorn (Eastern Band Halau of Micah Kamohoali’i Cherokee, 2014 NACF Traditional Arts Fellow), Separating the Chaff (Native Hawaiian, 2014 NACF Dance Fellow) Statement of Activities and Changes in Net Assets for the 5 Years Ended December 31, 2013 (Unaudited)

Unrestricted Board Temporarily Permanently Total Designated Restricted Restricted Revenues: Grants $ 67,387 $ 2,110,000 $ 4,000,000 $ 6,177,387 Contributions 78,013 78,013 Tribal Government 116,965 29,000 145,965 Net Special Events 36,503 36,503 Investment Income 84,219 759,882 2,269,180 3,113,281 In-Kind Contributions 14,903 14,903 Other Income 20 20 Loss on Disposal (1,527) (1,527) Released from Restrictions 5,976,189 3,680,883 (4,657,072) (5,000,000) - Total Support and Revenue $ 6,372,672 $ 4,440,765 $ (248,892) $ (1,000,000) $ 9,564,545

Functional Expenses Program Services $ 4,161,862 $ 4,161,862 Management and General 1,716,953 1,716,953 Fundraising 810,309 810,309 Total Expenses $ 6,689,124 $ - $ - $ - $ 6,689,124

Change in Net Assets $ (316,452) $ 4,440,765 $ (248,892) $ (1,000,000) $ 2,875,421 Net Assets, Beginning 323,887 1,000,000 1,500,000 5,000,000 7,823,887 Net Assets, Ending $ 7,435 $ 5,440,765 $ 1,251,108 $ 4,000,000 $ 10,699,308

Still from the film “Breathe Auralee” by 2014 NACF Film Raven Chacon Santee Frazier (Cherokee, 2014 NACF Music Fellow Brooke Pepion Swaney (Blackfeet/Salish). (Navajo, 2014 2014 NACF Literature Fellow) Fellow Keola Beamer NACF Music (Native Hawaiian) Fellow) and Kumu Hula Moanalani Beamer Kolunkayuwon (Penobscot) We are helping each other

Pektukut allrilugmi (Alutiiq) Our First Five Years We are working together as one Native Arts and Cultures Foundation 2009 – 2013

11109 NE 14th Street Vancouver, WA 98684 360–314–2421 nativeartsandcultures.org