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2011Annualreport.Pdf Copyright © 2012 Sealaska Heritage Institute All rights reserved. SEALASKA HERITAGE INSTITUTE One Sealaska Plaza, Suite 301 Juneau, Alaska 99801 907.463.4844 • 907.586.9293 (f) www.sealaskaheritage.org • www.alaskanativeartists.com www.jineit.com ISBN 978-0-9825786-8-1 Cover art and art featured on pages 2, 8, 14, 20, and 28 made by Tlingit artist Clarissa Rizal. Her works range from traditional pieces intended for ceremonial use to original contemporary pieces such as the collages featured in this book. Design and composition by Kathy Dye. PHOTO CREDITS Page 1, SHI President Rosita Worl by Scott Areman; page 3, Tlingit War Helmet made by Wayne Price by Brian Wallace; page 6, Mt. Saint Elias Dancers by Carolyn Cogan, Chilkat weaver Clarissa Rizal, weaver Holly Churchill, and masks by Kathy Dye; page 6, moccasin class students by Brian Wallace, artist Nathan Jackson holding pipe by Kathy Dye; page 9, students by Jordan Gibson; page 10, photos by Kathy Dye; page 12, Latseen Academy by Jordan Gibson, Latseen Hoop Camp by Crystal Worl; page 15, Chilkat blanket by Brian Wallace; page 16, Commander of the Tides mask courtesy of Hoonah Heritage Foundation, SoundScriber disc by Kathy Dye; page 18, Byron Mallott by Brian Wallace, Emily Moore by Dixie Hutchinson, Box of Knowledge by Kathy Dye; page 21, Dr. Walter Soboleff courtesy of Sealaska Corporation; pages 22–26, Walter Soboleff Center renderings by Vlad Irimescu of MRV Architects; page 42, Rosita Worl and Ed Thomas by Kathy Dye, Rosita Worl and Julie Kitka by Dixie Hutchinson, Ethel Lund photo courtesy of Dana Leask-Ruaro; page 44, Dr. Walter Soboleff by Brian Wallace. iii PRESIDENT’S MESSAGE • 1 Sealaska Heritage PROGRAMS Institute (SHI) is Native Art • 3 a regional Native Education and Native Languages • 9 nonprofit 501(c)(3) Collections and Research • 15 founded in 1980. Walter Soboleff Center • 21 Our mission is to perpetuate and enhance DONORS • 29 Tlingit, Haida, and Tsimshian cultures. FINANCIALS • 38 Our goal is to promote cultural diversity and cross-cultural BOARD OF TRUSTEES, COUNCIL OF understanding. TRADITIONAL SCHOLARS • 40 SHI administers cul- NATIVE ARTISTS COMMITTEE, STAFF • 41 tural and educational programs. AWARDS • 43 iii iv 1 President’s Message The year 2011 was a year of change for us at Sealaska Heritage Institute. Our longtime Chair, Dr. Walter Soboleff, “Walked Into the Forest” at the age of 102. Fluent in Tlingit and a scholar on traditional ways, he was a valued member of our team at Sealaska Heritage Institute and is sorely missed. But his legacy will live on. In 2011, we announced our new center in Juneau will be named for him. The Walter Soboleff Center will be the premiere facility for Southeast Alaska Native arts and exhibits and study of Native cultures. In 2011, we continued our fundraising campaign and worked with an architectural firm on the design. We think Dr. Soboleff would be proud. In 2011, we also made headlines outside of Alaska when we showcased Tlingit, Haida, and Tsimshian artists at the renowned Santa Fe Indian Market. We went there to introduce ourselves, our art, and our culture to people at the the largest Native art market in the world. We think that the more people know about Southeast Alaska Native art, the more demand will grow for this distinctive Northwest Coast art. Our next Celebration in 2012 will feature an expanded Native art market, as we move toward emulating the market in Santa Fe. We hope you will join us there! —ROSITA WORL PRESIDENT iv 1 2 3 Native Art and At.óow The wood carvings, basketry, weavings, and other cultural pieces made by the Tlingit, Haida, and Tsimshian are distinctive in the art world and sought by collectors across the globe. Some of the most ancient objects are found in museums as far flung as England and Russia. Modern Tlingit, Haida, and Tsimshian make cultural objects to this day, and the pieces presented at ceremonies are considered to be clan at.óowu (sacred clan treasurers). But in the last decade, master Native artists grew concerned that emerging artists were not learning the ancient designs properly and that some art practices, such as spruce root weaving, were becoming endangered. In response, SHI expanded its art program to include: • A biennial Juried Art Show and Competition • Native art workshops • Native art markets • Two Native art websites • Publication of Native art books • Commissions of monumental art Our goal is to ensure the survival and evolution of the unique Northwest Coast art and create economic opportunities for our artists across the region. 2 3 2011 Santa Fe Indian Market. CLOCKWISE FROM TOP: Mt. Saint Elias Dancers. Chilkat weaver Clarissa Rizal with a Chilkat robe in progress. Weaver Holly Churchill. SHI Arts and Culture Specialist Rico Worl with masks and jewelry by 5 Nicholas Galanin. 2011Native Art and At.óow {Native Art Markets} In 2011, SHI sponsored a Native art market for Tlingit, Haida, and Tsimshian at the Santa Fe Indian Market in New Mexico. The goals were to better educate art enthusiasts and collectors about Southeast Alaska’s distinctive indigenous art and to eventually develop a similar market in Alaska. SHI’s events included Native art demonstrations, art sales, dance-and culture performances by the Mt. Saint Elias Dancers of Yakutat, and a high fashion show of regalia and contemporary Native clothing. The Santa Fe Indian Market has been instrumental in creating worldwide demand for Southwest Indian art. Such a market in Alaska would be a boon for the state and for Native artists struggling to make a living, said SHI President Rosita Worl, noting the Santa Fe market has made some Native artists there prosperous. “It provides them with a good living,” Worl said. “Some have said it’s their livelihood for the entire year. And the benefit it brings to businesses there in Santa Fe is also something that would be good for our economy.” SHI provides other retail opportunities for Native artists as well, including an art store, Jineit, which is located in the tourism district of Juneau. In 2011, the institute created a searchable e-commerce site for the store at www.jineit.com. SHI also operates the art web www.alaskanativeartists.com. 5 2011 TOP: In 2011, SHI sponsored workshops on how to make moccasins in Juneau and Angoon. ABOVE: Student with moccasin in progress. LEFT: Tlingit carver Nathan Jackson at the British Museum studying an old pipe inlaid with abalone. In 2011, a SHI delegation traveled to the museum to document the collection for a book. 6 7 2011Native Art and At.óow {Workshops, Publications, Performing Arts} In recent years, Tlingit Elder Anita Lafferty urged SHI to sponsor workshops on how to make moccasins. People were forgetting how to make them, she said. SHI responded in late 2010 by sponsoring a moccasin workshop taught by Anita Lafferty. In 2011, Anita “Walked Into The Forest.” But, the first workshop proved to be so popular, the institute has continued them. In 2011, SHI’s Carmaleeda Estrada taught two workshops in Angoon and Juneau for almost forty students. Some of the students caught on so quickly, they were able to make a complete set of moccasins by the end of the class, each of which ran three days. The institute also sponsored a trip to England in 2011 to document Tlingit, Haida, and Tsimshian objects at the British Museum. The delegation included SHI’s Donald Gregory, an artist, and the famous Tlingit artist Nathan Jackson. The museum has a wide range of objects, including some very old Chilkat robes and a rare bentwood box made from baleen. SHI plans to publish a book on the British Museum collection, which many Native artists have never seen. In addition, SHI partnered with Perseverance Theatre to sponsor the Summer Theatre Arts Rendezvous, a five-week program for young people with an interest in theatre. SHI sponsored scholarships for Native actors to participate in The Woman Who Married the Bear, a play based on a Tlingit story. 6 7 8 9 Education and Native Languages We know for a fact that Native children do better academically when they know who they are— when they are familiar with their history, language, and culture. At Sealaska Heritage Institute, we work to integrate Native culture and languages into classrooms. We also develop teaching materials, including books, curriculum, and interactive tools and provide professional development to train teachers to use our materials. In addition, the institute sponsors an annual academy for middle school children where we cultivate the art of leadership through camp activities and coursework based on traditional and scientific knowledge. And, we sponsor an annual camp that integrates basketball with language learning. Through this camp, students retain Native languages because they have fun while they’re learning. SHI also makes annual scholarship awards to Native students enrolled in college or voc-tech school. 8 9 2011 TOP: SHI released The Road to ANCSA, 11-units of social studies materials for grade 6. Staff also taught more than 200 teachers how to use its materials, which include fun exercises. ABOVE: In 2011, SHI unveiled Let’s Learn Tlingit, flash cards for learning the Tlingit alphabet. 10 11 Education and Native Languages 2011 {Materials Development, Scholarships} In 2011, SHI released The Road to ANCSA (The Alaska Native Claims Settlement Act), an 11-unit social studies curriculum for grade 6 that incorporates a method called the Developmental Language Process (DLP), which has been shown to help students retain language. The text is available online at www. sealaskaheritage.org and includes units on: • Creation Story • Clans and Moieties • Migration Story • Ku.éex’ (Ceremonies) • Alaska Native Groups • Native Arts • Traditional Beliefs • Traditional Shelters • Ancient Trade • Contact • Southeast Alaska Communities The institute in 2011 also released flash cards, an audio CD, and an online interactive tool designed to teach the Tlingit alphabet to young people.
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