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Northwest Co a St Arts C Apital Plan

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Northwest Co a St Arts C Apital Plan NORTHWEST COAST ART evolved over several thousand years in the rich and complex indigenous societies of the Pacific Northwest of North America. Art adorned everything from monumental structures and ceremonial regalia to basic utilitarian objects. The simplicity of the design components—elements of a system known as formline—belie the complexity and sophistication that was achieved in this two-dimensional NWC art tradition. From the earliest contact with Westerners, wood carvings, weavings, and other cultural pieces depicting NWC art were aggressively collected by museums and visitors and acclaimed as one of the most distinctive and unique art traditions in the world. Today, this ancient tradition continues to evolve through the work of contemporary NWC artists. NATIONAL TREASURE NWC art occupies an important position in America’s artistic traditions and cultural history. Most importantly, it plays a significant role in maintaining the cultural diversity of the nation and the cultural survival of the region’s indigenous populations. Like jazz music, which was designated a national treasure by Congress in 1987, NWC art should be designated a national treasure of the United States. A VISION FOR THE FUTURE SHI’s quest to establish the Northwest Coast Arts Capital began with the construction of the Walter Soboleff Building that is in itself a work of art, and is adorned with monumental art pieces by three master indigenous artists of international acclaim. The creation of the NWC Arts Capital ensures the SEALASKA HERITAGE INSTITUTE, a Native nonprofit, has achieved survival of NWC arts, providing untold sustainable a record of excellence and is positioned to create the Northwest social and economic benefits to the region and state. Coast Arts Capital along with partners to support the region and state. SHI’s NWC Arts Capital plan includes the following Founded in 1980, SHI operates programs to perpetuate Native art, programs and initiatives: incorporate Native languages and culture into educational materials, care • Training new NWC artists for ethnographic collections and archives, and promote study of Native • Teaching NWC art in schools • Ensuring excellence of NWC art formline cultures and history. • Educating the public about NWC art Above: The Walter Soboleff Building in Juneau (Photo by Ken Graham). On the cover: A glass totem by Tlingit artist • Expanding the NWC art market Preston Singletary (Photo by Russell Johnson). Inside cover: Artwork by Haida artist Robert Davidson (Photo by • Integrating NWC art in public places Ken Graham). Inside photos by Brian Wallace, Nobu Koch, Steve Quinn, Kathy Dye, and Zoe Urness. • Designating NWC art as a national treasure • Protecting clan crest ownership NORTHWEST COAST ARTS CAPITAL PLAN CAPITAL ARTS COAST NORTHWEST NWC ART TRAINING NWC ART SALES NWC ART EDUCATION EXHIBITIONS PERFORMING ARTS Building on the master-apprentice model: A 2013 study reported that arts are an SHI-UAS-IAIA collaboration: SHI Walter Soboleff Building: The Nathan NWC art historically included a rich The traditional method of training younger important component of Southeast Alaska’s established a three-way partnership with Jackson Gallery, located within SHI’s performing arts tradition. SHI organizes artists was through the master-apprentice economy, with total annual spending the University of Alaska Southeast (UAS) headquarters in downtown Juneau, features Celebration, a biennial dance-and-culture approach, and this model still provides the estimated to be $57.8 million. The NWC and the Institute of American Indian a permanent exhibit, “Enter the World of festival that draws more than 5,000 people. best instruction. SHI has implemented Arts Capital will expand this market. Arts (IAIA) in 2016 to provide enhanced the Tlingit, Haida, and Tsimshian Peoples,” It has also established partnerships with master-apprentice teams in totem pole and Expanding the NWC art market: Alaska and expanded Northwest Coast art which includes a display of highly valued clan Perseverance Theatre and integrates canoe carving and will seek to expand Native arts are sold through SHI’s retail opportunities for Alaska students. treasures. The temporary gallery currently performing arts programs into the schools. this approach. store and website as well as its First Friday Visual and performing arts in schools: features a show of Alaska Native masks. Sustainable arts programming: SHI is markets. SHI also sponsors a biennial Native SHI collaborates with elementary and The building also houses SHI’s collections, PUBLIC ART re-introducing traditional arts and crafts, Artist Market. secondary schools to integrate NWC which include art objects, books, and Walter Soboleff Building: SHI’s such as spruce-root weaving and skin In 2014, SHI organized its first Tináa Art arts programs into their classrooms. archives. The collections provide a basis headquarters in Juneau features the largest sewing, that have been in decline through Auction, showcasing donated masterpieces Outside of school, SHI organizes programs for continued scholarship through SHI’s monumental art representing the Tlingit, its Jinéit Art Academy community of NWC art. SHI will host a second auction that promote learning and language research and visiting scholars programs. Haida, and Tsimshian in the state. workshops. These arts are based on the Sept. 29, 2017. development through arts activities such as Juried Art Show and Native Fashion Show: use of natural resources that are readily song, dance, and storytelling. Native Artist Park: To complement the Promoting authentic Native art: To SHI sponsors a biennial NWC Juried Art available in Southeast Alaska, and provide artistry of the Walter Soboleff Building, SHI maintain the integrity of NWC art and to Arts instruction for teachers: SHI provides Show and Competition, a Juried Youth Art a much-needed source of income in has developed a plan for a park to create protect consumers, SHI works to ensure training to art teachers in Southeast Alaska Exhibit, and a Native Fashion Show featuring economically depressed villages. and display monumental NWC art. compliance with the Indian Arts and schools to build an understanding of NWC established and emerging artists. Native Art in the Alaska prisons: A Crafts Act of 1990 to prevent the sale of arts and to train a cadre of Native artists to NWC art in public places: SHI has significant population of Natives are in art that is falsely represented as made by work as art teachers. embarked on a campaign to encourage correctional institutions. This program Alaska Natives. SHI also works to ensure SHI also organizes cultural orientations the use of NWC art on public facilities introduces NWC art to this population. that Native artists have access to natural for teachers in public schools and at UAS and is seeking an amendment to the state’s Designated artists’ spaces: SHI resources that are used in arts and craft that incorporate an introduction to NWC Percent for Art in Public Places statute to operates an artist-in-residence study production. cultural arts with an emphasis on an require the use of Alaskan artists. room at the Walter Soboleff Building introduction to formline design. named after master artist Delores C Development of arts curricula: SHI PUBLICATIONS hurchill to encourage study of NWC develops curricula and supplemental art. It also leases the Gajaa Hít building material on various forms of NWC art SHI publishes a wide variety of publications in Juneau for arts training. SHI will for use in all grade levels. SHI offers on Southeast Alaska Native art, culture and seek funding for art studios in other downloadable lesson plans for teachers on history. It also produces children’s books communities. its website. and educational curriculum material. SEALASKA HERITAGE ART PROGRAMS & INITIATIVES.
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