NATIONAL MUSEUM of the AMERICAN

INDIANWINTER 2016 Story- tElling A Nobel Waits for Louise Erdrich ...... Two Gudrids: A Transcript of First Contact ...... Tales in Fabric Patricia Michaels Takes New York ...... Steven Judd’s Pop Satire APRIL 27-29, 2017 On the Powwow Grounds at Tingley Coliseum/Expo NM Albuquerque, New Mexico

Miss Indian World Traditional Thursday,Talent Presentations April 27, 2017 TRAVEL Ask for GON RATE Double Tree Hotel (Downtown) 800-584-5058 ALBUQUERQUE CONVENTION CENTER Sheraton ABQ Uptown Hotel (866) 716-8134 401 2nd Street NW (Downtown) Marriott (Uptown) Hotel (800) 228-9290 Showtime at 7 pm Sharp!! Doors Open at 6 pm MCM Elegante Hotel (505) 884-2511 HOSTS: Lisa Meeches (Canadian TV Personality) Winnipeg, Manitoba Hyatt Place ABQ Uptown Hotel (505) 872-9000 Jason Whitehouse (Powwow Personality) Madison Hts, MI Barcelona Suites Hotel (505) 225-5566 TICKETS: Tickets Sold at Door: $15 • Doors Open at 6 pm Towneplace Suites (505) 232-5800 Advance tickets at www.gatheringofnations.com Miss Indian World Contestant Applications, Call (505) 836-2810 Official Airline of the GON & MIW STAGE 49 or Go Online at www.gatheringofnations.com www.southwest.com • (800) 435-9792 Featuring the best in Native American traditional and contemporary music! Check www.gatheringofnations.com AN ENCHANTING EVENING FOR ALL WHO ATTEND! **CAMPING ON the Powwow Grounds CROWNING OF MISS INDIAN WORLD: Saturday, 7:30 pm at the Powwow (Limited) full hook ups and dry spaces for Tickets & updated schedules & performers. Showers available Reserve space online Managed by Emergence Productions Starting December 31, 2016 at www.gatheringofnations.com

www.GatheringofNations.com EXPERIENCE LivingCULTURE

The Chickasaw Cultural Center offers a world of opportunity to learn and connect with Chickasaw history and culture. Join us as we share the story of the Chickasaw people through storytelling, films, demonstrations and exhibits at one of the largest and most extensive cultural centers in the United States.

WWW.CHICKASAWCULTURALCENTER.COM SULPHUR, OK // 580.622.7130 Dress: Anasazi Vessel – $1,200.00 Jacket: Center Jacket – $1,500.00 Style Fashion Week New York & Los Angeles Official Fashion Week of Los Angeles Designer: Patricia Michaels Photographer: Mark Gunter To order: go to To or call 575-779-5322

Patricia Michaels www.pmwaterlilyfashion.com Building Quality Collections for 38 Years

Romando Vigil (1902-1978) Tse Ye Mu - Falling Cloud

Romando Vigil (Tse Ye Mu - Falling Cloud) of San Ildefonso Pueblo was born on January 23, 1902—San Ildefonso’s Feast Day—and passed away in 1978. He was educated at the Santa Fe Indian School, and was briefl y employed by Walt Disney More Than a CenTury Studios as an animation artist. of reCordings froM Wax Cylinder A leader within the San Ildefonso Watercolor Movement, Vigil used a stylized design to represent his chief interest in painting native ceremonial dance fi gures. To The inTerneT He was a master at creating stylized images with simple lines and bold, vibrant colors. His work was neatly executed, often without background or foreground A comprehensive overview of traditional and contem- soundtracks, and archival music listed by artists with treatment. porary artists and styles with 1,800 entries in all genres biographies and discographies compiled and written including Arctic, traditional, powwow, chicken scratch, by Native music journalist Brian Wright-McLeod. San Ildefonso Dance Procession, Romando Vigil (1902-1978) Tse Ye Mu - Falling Cloud, casein, Image Size: 12-1/2” x 19-1/2” 12-1/2” Image Size: Cloud, casein, Mu - Falling Ye Tse (1902-1978) Vigil Romando Procession, Dance Ildefonso San peyote ceremonial music, contemporary, spoken word, University of Arizona Press. 450 pages. Romando Vigil was the father of San Ildefonso potter Carmelita Dunlap. His wife was Juanita Vigil, a sister of Maria Martinez. Vigil’s work has been displayed in U.S. orders can be made through the University of Arizona Press: www.uapress.arizona.edu galleries and museums worldwide. Canadian orders can be made through the University of Toronto Press: [email protected] 221 Canyon Road, Santa Fe 505.955.0550 www.adobegallery.com

Wright_2ads.indd 1 2016-08-11 9:59 PM Building Quality Collections for 38 Years

Romando Vigil (1902-1978) Tse Ye Mu - Falling Cloud

Romando Vigil (Tse Ye Mu - Falling Cloud) of San Ildefonso Pueblo was born on January 23, 1902—San Ildefonso’s Feast Day—and passed away in 1978. He was educated at the Santa Fe Indian School, and was briefl y employed by Walt Disney Studios as an animation artist.

A leader within the San Ildefonso Watercolor Movement, Vigil used a stylized design to represent his chief interest in painting native ceremonial dance fi gures. He was a master at creating stylized images with simple lines and bold, vibrant colors. His work was neatly executed, often without background or foreground treatment.

Romando Vigil was the father of San Ildefonso potter Carmelita Dunlap. His wife x 19-1/2” 12-1/2” Image Size: Cloud, casein, Mu - Falling Ye Tse (1902-1978) Vigil Romando Procession, Dance Ildefonso San was Juanita Vigil, a sister of Maria Martinez. Vigil’s work has been displayed in galleries and museums worldwide.

221 Canyon Road, Santa Fe 505.955.0550 www.adobegallery.com

SMIthSoNIAN INStItUtIoN 9 KESHi the zuni connection

DIRECTOR: P UBLISHER: Kevin Gover Cameron McGuire (Pawnee) ADMINISTRATIVE COORDINATOR EDITOR-IN-CHIEF: AND ADVERTISING SALES: Tanya Thrasher David Saunders (Cherokee) ART DIRECTION AND MANAGING EDITOR: PRODUCTION MANAGEMENT: James Ring Adams David Beyer (Cree) Perceptible Inc. CALENDAR EDITOR Shawn Termin (Lakota)

National Museum of the American Indian magazine (ISSN 1528-0640, USPS 019-246) is published quarterly by the Smithsonian’s National Museum of the American Indian (NMAI), 4th Street and Independence Ave SW, MRC 590 P.O. Box 37012, Washington, D.C., 20013-7012. Periodical postage paid at Washington, D.C., and at additional offi ces. National Museum of the American Indian magazine is a benefi t of NMAI Membership and constitutes $6 of an individual’s annual membership. Basic annual membership begins at $25. Olla by Les Namingha Reprinting Articles: Articles may be reprinted in whole or in part at no charge for educational, non-commercial santa fe, nm 505.989.8728 keshi.com and non-profi t purposes, provided the following details for the respective article are credited: “National Museum of the American Indian, issue date [such as “Winter 2005”], Smithsonian Indian Art Winter 2016 Namingha Pot.indd 1 10/12/16 10:48 AM title of the article, author of the article, page numbers and © 2016 Smithsonian Institution, National Museum of the Celebrating American Indian.” Questions regarding permission 46 years to reprint and requests to use photos should be directed to the NMAI’s Offi ce of Publications at (202) 633-6827 or [email protected]. Made in Letters to the Editor are welcome and may be mailed to Alaska, USA NMAI, Attn. Editor, Offi ce of Publications, Box 23473, Washington, D.C. 20026, by e-mail at [email protected], or • Qiviut is eight faxed to (202) 633-6898. times warmer than Back issues of National Museum of the American Indian are wool and finer $5 per copy (shipping and handling included), subject to than cashmere availability. To order, please call (800) 242-NMAI (6624) or send an e-mail to [email protected]. • Does not itch and

Member Services: To join or renew your existing member- will not shrink ship, or to submit a change of address, please call (800) 242-NMAI (6624), visit www.AmericanIndian.si.edu/give • Traditionally or send an e-mail to [email protected]. inspired designs

You may also write to NMAI Member Services, P.O. Box 23473, Washington, D.C., 20026-3473. Hand knit by over 200 Alaska native members Postmaster: Send change of address information to living in remote villages of Alaska. Help us National Museum of the American Indian, P.O. Box 23473, support traditional subsistence lifestyles. Washington, D.C. 20026-3473. OOMINGMAK Anchorage Downtown Location • Corner of 6th & H Little brown house with musk ox mural 604 H Street, Dept. AIM • Anchorage, AK 99501 Toll Free 1-888-360-9665 • (907) 272-9225 • www.qiviut.com

SMIthSoNIAN INStItUtIoN 9 Winter 2016 Contents vol. 17 no.4

18Pop Culture: Native Satire Steven Paul Judd (Kiowa) gives a unique twist to some well known images. The results are pointed and hilarious.

NATIONAL MUSEUM of the AMERICAN On the Cover S- TORY TELLING

The Messenger, the headpiece and cape ensemble on the cover, reminds us that Story-telling, the occupation of Winter, is not just a matter of the written word, such 24 WINTER 2016 The Continuing Saga of INDIAN as the lyrical novels of Louise Erdrich, or the oral tradi- tion that emerged in the Vinland sagas. It can also take LOUISE ERDRICH shape in fabric, bead-, quill-, feather- and metal-work, Did the wrong Minnesotan win this year’s Nobel Prize Story- clothing and regalia. This material tradition is very much for Literature? Some in Indian Country think the honor tElling alive in current indigenous fashion, as demonstrated in is overdue for Louise Erdrich (Turtle Mountain Band a recent New York showing by Patricia Michaels and an of Chippewa), the Minneapolis-based writer whose 15 A Nobel WAits for novels weave together families, tribe and Ojibwe land LouIse erDrIch upcoming exhibition, Native Fashion Now, which will ...... over several generations in a way compared to William Two GuDrIDs: include our Owl Lady, The Messenger. The exhibition, A trANscript of Faulkner’s chronicles of Yoknapatawpha County. She first coNtAct organized by the Peabody Essex Museum of Salem, ...... took time from a book tour earlier this year for an TALes IN FAbrIc Mass., will feature the work of more than 60 artists from pAtriciA MichAels interview with contributor Phoebe Farris. tAkes NeW York the United States and Canada and open Feb. 17, 2017, ...... at the National Museum of the American Indian, George ll sTeveN JuDD’s a pop sAtire Gustav Heye Center in lower Manhattan. g h re 30 Margaret Roach Wheeler (Chickasaw) for Mahota Hand- Ms y tery of the Two Gudrids wovens. The Messenger (The Owl) cape and headpiece, A puzzling passage in the Norse account of an

Photo by g by Photo from the Mahotan Collection, 2014. Silk-wool yarn; expedition to Vinland 1,000 years ago has recently been silk-wool yarn, metal, silver, glass beads and peacock recognized as a nearly verbatim record of an encounter feathers. Portland Art Museum, purchase with funds between the Icelandic heroine Gudrid Thorbjarnardottir provided by an anonymous donor. and a young indigenous, probably Beothuk, girl. It tells of a missed chance for peaceful Contact.

10 AMERICAN INDIAN winter 2016 24 34

Tales in Fabric 52 EXHIBITIONS AND EVENTS 34 CALENDAR Pueblo Style Takes New York Long a leader in Southwest design, Patricia Michaels (Taos Pueblo) made a national breakthrough, for herself and for indigenous designers, as a star of the television competition show Project Runway. She recently returned to Manhattan, along with Diné designer Orlando Dugi, with a spectacular Style Fashion Week presentation in the elegant Hammerstein Ballroom. 46 Native Fashion Now New York’s exposure to the broad range of Indigenous 56&60 couture continues in February at the Museum’s George The Winter Art Market Gustav Heye Center in lower Manhattan with the arrival More than five dozen artists and crafters of the travelling exhibition Native Fashion Now. Orga- present their work in this annual two-city nized by the Peabody Essex Museum, Salem, Mass., the event. A handy directory gives their contact survey presents more than 60 Native fashion designers information. from the U.S. and Canada. The Coby Foundation Ltd. provided generous support.

SMITHSONIAN INSTITUTION 11 ...... DIRECTOR’s Letter S ain M c g M u Photo by Do by Photo Director Kevin Gover at the Little Bighorn Battlefield National Monument Memorial during his community visit to the Crow Nation in Montana this May.T he large-scale bronze artwork depicts three warriors (Sioux, Cheyenne and Arapaho) as one element of the Indian memorial’s theme of “peace through unity.” A TIME FOR remembrance s we enjoy the season of Connecticut. We will continue these conver- nities pay tribute with memorials to their celebration with family sations and at the same time embark upon own veterans and those who came before us. and friends, I am pleased the very real work of the memorial’s juried We are ready to meet the challenge of to reflect upon the collec- design competition process. In the coming creating such a memorial on the National tive work of the Museum year, we will organize the submission process Mall, and I look forward to sharing more this year and our ever- for the memorial’s artistic design and archi- stories on our website, blog and in future expanding circle of sup- tecture; we already have great interest in the letters. As we approach the winter months, porters and partners. Of special note, I want open competition and will continue to col- it is appropriate to turn to the Native tradi- toA share the news that our efforts to initiate the lect feedback on the memorial’s design intent tion of storytelling and recount important National Native American Veterans Memo- and direction. moments during the past year. In this issue, rial Project have met with resounding success. I often recall the profound conversations we blend traditional and contemporary sto- Our traveling banner exhibition, Patriot Na- and experiences I have had since the memo- rytelling, showcasing a fascinating account tions, is available for display at tribal museums rial project became part of the Museum’s of first Contact from pre-colonial times as or community centers. The San Manuel Band mandate. While I know much about my fam- well as the awe-inspiring works (and words) of Indians, our exhibition sponsor, is host for ily’s proud history of modern military service of today’s award-winning Native writers, its premiere venue. In January 2017, it will as well as the warrior traditions of my Pawnee fashion designers and artists. Often edgy also open at our Washington, D.C., Museum. and Comanche ancestors, I learned much and always surprising, the artistic works Our dedicated project website went live more about Native veterans’ heroism over featured here and in our exhibitions show the same week that we hosted a special Vet- the centuries. I witnessed connections among how Native people are always forging new erans Day program. You can now donate in families and across Native and non-Native paths for sharing one’s history. X support of the memorial’s construction. Fi- communities, consistently defined by strength Kevin Gover (Pawnee) is the director of the National nally, we fulfilled our commitment to consult of purpose and humility in military service Museum of the American Indian. with Native veterans and their families where or pride in supporting those who serve. I also To learn more about the National Native American Veterans they live – 15 gatherings in all, from Alaska to learned about how different Native commu- Memorial Project, visit AmericanIndian.si.edu/nnavm

12 AMERICAN INDIAN winter 2016 Be Part of a Historic Moment Native Americans have participated in every major U.S. military encounter from the Revolutionary War through today’s conflicts in the Middle East, yet they remain unrecognized by any prominent landmark in our nation’s capital. The Smithsonian’s National Museum of the American Indian will create that landmark: the National Native American Veterans Memorial. The anticipated dedication of this tribute to Native heroes will be on Veterans Day 2020.

“We invite you to participate in this historic moment— for our country, for veterans, and for the Native American communities whose loyalty and passion have helped make America what it is today.” —Kevin Gover, Director National Museum of the American Indian

The National Museum of the American Indian is depending on your support to CREDITS honor and recognize these Native American veterans for future generations. Left | Native American Women Warriors lead the grand entry during a powwow in Pueblo, Colorado, June 14, 2014. From left: Sergeant First Class Mitchelene BigMan (Apsáalooke [Crow]/Hidatsa), Sergeant Lisa Marshall (Cheyenne River Sioux), Specialist Krissy Quinones Learn more (Apsáalooke [Crow]), and Captain Calley Cloud (Apsáalooke [Crow]), with Tia Cyrus (Apsáalooke www.AmericanIndian.si.edu [Crow]) behind them. Photo by Nicole Tung. Above | War bonnets adorn uniform jackets at Smithsonian a Ton-Kon-Gah (Kiowa Black Leggings Society) National Museum of the American Indian ceremonial near Anadarko, Oklahoma, 2006. NMAI SMITHSONIAN INSTITUTION 13 NMAI-HonorRoll-Ad-916_1 10/7/16 3:15 PM Page 1

2016 Honor Roll of MUSEUM SUPPORTERS The National Museum of the American Indian recognizes the following members for their exceptional generosity and commitment.

Kathleen Ackerman Paul Davis Phyllis Humphrey OGee & Richard Alders Marlene Davis Kenneth & Susan Hunt Dabney R. Altaffer Paula Ann De Morales Lynne Irion Kathleen Amand Robert Dey Nancy B. Jackson Charles A. Anderson Charlin F. Diver Joan Taylor Jackson-Lee James Andre James B. Downing Aaron & Huong Jarvis Loretta Antoine R. David Drucker Sue Jarvis Christine Armstrong Vicki Ehrenman Linda MB Jessup Elmer L. Arrington Helen Paty Eiffe Janet E. Johnson Edward Awdziejczyk Jack W. Ergo Kenneth L. Jones Jerree S. Barnes Edna Fagan Robert Josell Kathryn Bauch Dari Fain Selig and Gloria Kaplan Alan & Beatriz Berkowitz Phoebe Farris, Ph.D. Sandy Kibby Petra A. Betts Karen Fastje Phyllis R. Kiehn Roger F. Bloom Kathryn Ferris-Lone Fight Karen S. Killmar Gail Bohnas Raine Finch, D.V.M. Reeves King Phyllis C. Boulet Robert G. Fisher William Bill Kline Cynthia L. Bowen Pamela Fisher Sidney Klotz & Richard Elmore Kelley Brandeau Roland W. Flemming, Jr. Stephen M. Knapp Sue Brandt Frank F. Fragua & Family Ralph Knerem Jeanne S. Broome Larry Franklin Vicky Knudson Phyllis Y. Brown Ginny Franzese Robert Kossmon Rogene A. Buchholz Estelle Freedman Marjorie Kotler Barbara L. Buesing Susan Fuchs Mrs. Joel M. Kramer Barbara L. Buesing Sharon Fujitani Donald Lawrence Kraus Jacques J. Burgering Ray Fuller Thomas Krug Maurice & Joan Bursey Siva Gara Mike & Harriet LaMair Janet Z. Burson Ramona K. Garcia Donald Landsverk Rosalie W. Byard Larry D. Gasco, Ph.D. Jinann K. Larson Teri Byers Elizabeth Gay Robert G. Lathrop Louise Calhoun Theresa A. Gesuele Mary Ann Lawler Charles Calica Clarence Gillett Doyung Lee Bob J. Canada Nelle W. Gilmore Gloria Joyce Lee James T. Cannon Dr. Jolande E. Goldberg Dolores Woodward Lessor Eva Marie Carney Anna D. Graham Suzanne Grace Levin Barbara Carr Dolores Grizzell Marie E. Lilly & Robert Henriquez Jack Steele Chaney James R. Grossman Gary J. Lind Nancy Chang Carla Hampton Paula Linn Minerva C. Cheatum Linda J. Hanna Yocheved and Donald Liss Kathryn Cochrane Jeffrey Hantman Kristen Loeding Patricia Coen Sheldon & Margery Harnick Marlene M. Lombard Audrey E. Collier Anna E. Harrison Sharon Lowe Juanita L. Coolidge Nancy J. Hartnagel The Hon. Oren R. Lyons Renate A. Coombs Jama Hashbarger Richard Mansfield John A. Coover, Jr. Norman D. Hazzard Howard Marshall Norman L. Corbett Marcia Hennessy Eugene Martin Sally D. Crescenzo Louis Hilderbrand Margaret Mathews Lauralee Cromarty Sally G. Hoffman The Rev. David Matkins William A. Cross Reginald Hofmaier Ardean H. McCorkle Joanne R. Cryer Meliss Houston Claudia McGuire & Stewart Malloy Barbara Daggett Janice L. Howie Frank E. McCauley Nan Danielson David Huerta, Jr. Barbara E. McCree Marie T. Davis John Humphrey Samuel D. McCulloch

Three Washoe baskets (from left to right): willow basket, ca. 1900–1 905. 12 x 15 cm. 9/169; Sandra Eagle (Pyramid Lake Paiute/Shoshone), basket, Pyramid Lake Reservation, Washoe14 AMERICAN County, INDIAN Nevada, wint er1995–2003. 2016 Willow, shell, metal and glass beads. 26/4076; beaded basket with lid, ca. 1940s. Western Nevada. Willow, glass beads. 26/1393 NMAI-HonorRoll-Ad-916_1 10/7/16 3:15 PM Page 1 NMAI-HonorRoll-Ad-916_1 10/7/16 3:15 PM Page 2

Thomas J. and Jane McDonald David Rose 2016 Honor Roll of Dan & Suzanne McElroy James L. Roth Richard E. McElroy Terry C. Roy Dave & Elizabeth McNab Richard Walker Ruyle Phillip Meade John & Jeanette Ryan Barbara A. Melton Kawika Sabado Helen P. Merchant J. Sadowski MUSEUM SUPPORTERS Donald Merson Viola Saima-Barklow Barbara Joan Miller Charlotte Sammon The National Museum of the American Indian recognizes the following Mrs. Robby Mohatt Susan A. Sams Fr. Edward J. Molumby, S.T. Joan & Ryan Sattler members for their exceptional generosity and commitment. Donna P. Mosher Joyce Scafe Lucy E. Murphy Leo Schmitz Grace Tomkins Mrs. William J. Murray, Jr. Sally Schneider Frank Trotta Kathleen Ackerman Paul Davis Phyllis Humphrey Edith D. Neimark Charles Scott Philip Tye OGee & Richard Alders Marlene Davis Kenneth & Susan Hunt Alan and Cora S. Newman Barbara G. Scott Charley & Rosalind Underdahl Dabney R. Altaffer Paula Ann De Morales Lynne Irion Louis G. Nirenberg Norman Scott Noreen Valenzuela Kathleen Amand Robert Dey Nancy B. Jackson Russell Noriega Jack Seranian Emily N. Vincent Charles A. Anderson Charlin F. Diver Joan Taylor Jackson-Lee James & Mary Norton Walter Shearer Richard H. Warren James Andre James B. Downing Aaron & Huong Jarvis Susan L. Odell Rosemary E. Shining Star Valentine Phyllis & Richard Weiss Loretta Antoine R. David Drucker Sue Jarvis George & Carolyn O'Keefe J. Shivcharran, Ph.D. Ann Welden Christine Armstrong Vicki Ehrenman Linda MB Jessup Susan Ondiak Ann Silverman John Welsh Elmer L. Arrington Helen Paty Eiffe Janet E. Johnson Thuvese (Christina) Otero Elizabeth and Terry Simmonds Ann Wentworth Edward Awdziejczyk Jack W. Ergo Kenneth L. Jones Leona Panet David P. Singer Jeff Wiginton Jerree S. Barnes Edna Fagan Robert Josell Richard Pasvolsky Mr. & Mrs. Michael E. Skiba Andrea Willerth Kathryn Bauch Dari Fain Selig and Gloria Kaplan Emma S. Pattie Paul B. Smith, Jr. Tyrone & Gabrielle Wilson Alan & Beatriz Berkowitz Phoebe Farris, Ph.D. Sandy Kibby Eugene Pelletier Charles O. Smith Thomas E. Wooden, Sr. Petra A. Betts Karen Fastje Phyllis R. Kiehn John and Francine Perdrizet Willard Jacob Smith Peggy Wyatt Roger F. Bloom Kathryn Ferris-Lone Fight Karen S. Killmar Margaret B. Perry John Somerville Jan Zahrly Gail Bohnas Raine Finch, D.V.M. Reeves King Rhonda Peugh Elizabeth Spiegl Tony & Lester Zaiontz Phyllis C. Boulet Robert G. Fisher William Bill Kline Jessica M. Pilco Donna Sponaugle Laurie Zane Cynthia L. Bowen Pamela Fisher Sidney Klotz & Richard Elmore Roberta Poirier Kathleen Steiger Robert S. Zeigen Kelley Brandeau Roland W. Flemming, Jr. Stephen M. Knapp Judith J.K. Polson Ruth Stone Gail P. Zimmerman Sue Brandt Frank F. Fragua & Family Ralph Knerem Edward Printup James E. Stothers Robert C. Ziobro Jeanne S. Broome Larry Franklin Vicky Knudson Frances and William Raffone Jackson Sundown Phyllis Y. Brown Ginny Franzese Robert Kossmon Ronald A. Rardin Karen D. Swindells Rogene A. Buchholz Estelle Freedman Marjorie Kotler Albert Rasmussen Laurence Tallman Barbara L. Buesing Susan Fuchs Mrs. Joel M. Kramer Geraldine Rasmussen Clifford O. Taylor Barbara L. Buesing Sharon Fujitani Donald Lawrence Kraus Susan Reed Judith A. Thomas Jacques J. Burgering Ray Fuller Thomas Krug Patricia Reilly Stark Alyce E. Thorp Maurice & Joan Bursey Siva Gara Mike & Harriet LaMair Elizabeth Reinert Janet Z. Burson Ramona K. Garcia Donald Landsverk Jean Lewis Roché Rosalie W. Byard Larry D. Gasco, Ph.D. Jinann K. Larson Kathy Rose Teri Byers Elizabeth Gay Robert G. Lathrop Louise Calhoun Theresa A. Gesuele Mary Ann Lawler Charles Calica Clarence Gillett Doyung Lee Bob J. Canada Nelle W. Gilmore Gloria Joyce Lee James T. Cannon Dr. Jolande E. Goldberg Dolores Woodward Lessor Eva Marie Carney Anna D. Graham Suzanne Grace Levin Barbara Carr Dolores Grizzell Marie E. Lilly & Robert Henriquez Jack Steele Chaney James R. Grossman Gary J. Lind Nancy Chang Carla Hampton Paula Linn Minerva C. Cheatum Linda J. Hanna Yocheved and Donald Liss Kathryn Cochrane Jeffrey Hantman Kristen Loeding Patricia Coen Sheldon & Margery Harnick Marlene M. Lombard Audrey E. Collier Anna E. Harrison Sharon Lowe Juanita L. Coolidge Nancy J. Hartnagel The Hon. Oren R. Lyons Renate A. Coombs Jama Hashbarger Richard Mansfield John A. Coover, Jr. Norman D. Hazzard Howard Marshall Norman L. Corbett Marcia Hennessy Eugene Martin Sally D. Crescenzo Louis Hilderbrand Margaret Mathews Lauralee Cromarty Sally G. Hoffman The Rev. David Matkins William A. Cross Reginald Hofmaier Ardean H. McCorkle Joanne R. Cryer Meliss Houston Claudia McGuire & Stewart Malloy Barbara Daggett Janice L. Howie Frank E. McCauley Nan Danielson David Huerta, Jr. Barbara E. McCree Marie T. Davis John Humphrey Samuel D. McCulloch

Three Washoe baskets (from left to right): willow basket, ca. 1900–1 905. 12 x 15 cm. 9/169; Sandra Eagle (Pyramid Lake Paiute/Shoshone), basket, Pyramid Lake Reservation, Washoe County, Nevada, 1995–2003. Willow, shell, metal and glass beads. 26/4076; beaded basket with lid, ca. 1940s. Western Nevada. Willow, glass beads. 26/1393 SMITHSONIAN INSTITUTION 15 NMAI-DCOF-Ad-916_1 10/7/16 3:11 PM Page 1 NMAI-DCOF-Ad-916_1 10/7/16 3:11 PM Page 2

Thomas Rowlett Barbara Zucker Rose Domboski Richard T. Jones Shari Rowlett Beth Zucker David M. Dressler Cynthia D. Jones THE NATIONAL MUSEUM OF THE AMERICAN INDIAN Georgia Royalty James Joseph Zuiches Kay K. Drey Brenda K. Jones Marie Asselia Rundquist John A. Zyracki Timothy Dunne Rosemary A. Joyce Louise Russell Cynthia Dunne Joseph P. Kalt Dame Jillian Sackler D.B.E. DESERT SANDS CIRCLE Donald Dyke Patricia Karp acknowledges and sincerely thanks Carol Sakata Kyle Adamonis Joann Eder Amalie M. Kass Peter L. Schaffer David Adcock Julie Edwards-Sanchez Alice Kawakami the members of the Director’s Council of Friends and the Desert Sands Circle Grace T. Schild Beryl L. Adcock Susan E. Eichhorn Donald M. Kerr Jean Schiro-Zavela Grace Anderson Robert Elder Betty Kessinger for their exceptional generosity in making the museum accessible to Barbara L. Schuler Pam Anderson-Taplett Mary Elder Hoshang J. Khambatta Bart Schwartz Thomas R. Andreas G. Edward Evans Renate F. Khambatta people across the country and around the world. Dolores A. Sena The Hon. Bill Anoatubby Margaret Kiever Janet Spurgeon Scheevel Shapiro Family Foundation Constance Arzigian Robert E. King Thomas Schelat John F. Sicks Jr. Wendy Ashmore Elizabeth L. Kiriazis Nancy L. Schlemmer Elizabeth Sidamon-Eristoff Jeannette Aspden Annelore F. Kurtz Susan H. Schumann DIRECTOR'S COUNCIL OF Mary Beth Braitman The Hon. William Harrison Nancy Kovalik Louise J. Middlemiss Lynwood D. Sinnamon Robert Balzer Wi lliam Lafranchi Rozanne Ritch Seelen Frist FRIENDS Sue Breazile Delphine Ladd Lynn Russell Miller Thalia Sinnamon JoAnn Lynn Balzer Ruth Larson Mary Ann Sens Elie M. Abemayor Marilyn T. Gaddis Jeanne S. Broome Ann E. Larimore Rodney Miller Dennis Smith James A. Barnett Angela Papa Leipold Ruth Ottaway Sherer Nita Adamson Michelle Gaudette Quincalee Brown Ramona Laster Diane Elton Miller Walter J. Smoyer Louise R. Barrow Deana F. Liddy James C. Shumaker Renee M. Alberts Nora Gibson Frederick Brown Gloria Lauriano Marjorie Miller Elizabeth D. Smoyer Adam Bartos Susan B. Lindenauer David J. Skorton Martha Albrecht Patricia Gilmartin Edward Browne Yvonne T. LeMelle Virginia Miller Soceiety of th Fred A. Bateman Nancy Lombaer Michael D. Snow Syed S. Albukhary Lynne Oakes Glikbarg Joyce Browne Ann B. Lesk Rebecca Milsap Transfiguration Melody Ann Bateman Alice B. Long Susan S. Snow Arnold Alderman Lawrence Goering Mary G. Bullerdiek Lea Levin Susan Minerich Morton I. Sosland Maria Bauer Janine Luke Janice M. Soeder Lucille Alderman Karen Goering Joy Burchuk Hunter Lewis Frank Montague Estelle Sosland Montayne Bauer Carolyn J. Lukensmeyer Mary Lou Soller Rob ert I. Allen Elizabeth A. Goodwin Paula Butler Christine Lewis Betty M. Montgomery John J. Sparacio The Hon. Max N. Berry Christopher Lynnes Sandra Steffes William Allen Donald H. Goodyear Jr. Tsuu T´ina (Sarcee) coat, ca 1890. Marilyn Buttrey Robert Morgan James Spivack Mrs. George P. Bissell Patricia Lynnes Richard Stone Clara Allison Warren F. Buxton Marlau N. Gould Anne Murray Morgan Probably Canada. Deer hide, Mary G. Sprague George B. Black cotton cloth, otter fur, glass John A. Manley Linda D. Stone The Hon. Lynette L. Allston Jan D. Carline James O. Graham Patricia H. Morris Eugene E. Stark Richard L. Blanton beads, ochre; 73 x 118 cm. Mrs. Susanne Manley Beth Swalm John J. Alt David Granite Carol Sue Carline Sheila B. Morris Jean C. Stark John M. Bogie Edwin C. Ward Collection. Jennifer Maria Martin Ross Taplett Charles A. Arnold Gerald Grawey George Carnevale R. Carlos Nakai William C. Sterling Stuart H. Bohart 11/4236 Ed Mason Daniel B. Taylor James K. Asselstine Barbara Grawey Ethel Tison Chaffin Larry Dean Nelson Mary B. Sterling Elizabeth Bohart Bobby Mauntel Cinda Celia Taylor Phyllis Attanasio Joanne T. Greenspun Joyce M. Evans John Chenery Linda H. Nelson Richard W. Stickle Clayton R. Braatz Richard W. Mauntel Robert J. Thiebaut Phillip Backup Stuart Grossman Deborah Evans Carla Chenery Sharon Nelson-Barber Norman Stone Jere Broh-Kahn Larry McGoldrick Pamela Thomas Ruth M. Backup Robert Wallace Hamill Tarry Faries John Coletta Gordon Newbill Anne J. Stoutamire Bonnie Broh-Kahn Ellsworth McKee Robert Torres Charles H. Baker Maureen Hamilton Mary B. Ffolliott Judith D Coletta Carol J. Newbill Daniel W. Stroock Harold G. Brown Mary Mekosh Stephenie Torres Steve Baldock Collier Hands Edward J. Fine Margaret A. Collins George T. Newell Lucy B. Stroock Barbara L. Brown Marlene Miller-Dyke Mary S. Triplette Jane Baldock Joanne Hanifan Debra L. Fine Antoinette Corcillo Karen Nordquist John F. Sullivan Janice Brown M. A. Moran Lona A. Barrick Thomas B. Harding Jr. Paul S. Fishman Michael D. Cox Joseph E. Nordsieck Carolyn E. Summers Gary Brownell Walter B. Morton Yvonne Barry Shandy Hauk Terri L. Fitzpatrick K aren J. Crook June Anne Olsen Mary Tapley Bruna Brylawski Michael J. Motes Phoebe Lindsey Barton Royal D. Heins William S. Fletcher Eileen Cubbison Margaret Ann Olson Ellen Napiura Taubman David Buckner Harvey M. Mumma Marion W. Bauer Maile M. Cuddy Charlene Heins Victor Onufrey Rhonda G. Forbes Inuit parka, ca. 1890–1925. Beverly Terry Mary E. Carlson Karl F. Nygren Joan L. Baxter Jay J. Hellman J. Arthur Freed Ory Cuellar Chesterfield Inlet, Nunavut, Natalia Onufrey Donna J. Thal James H. Carron Merlin G. Nygren Ann M. Beck Christine Hellman The Rev. Harry Freiermuth John B. Cullens Canada. Caribou skin, glass Jo Oppenheimer Sidney Thomas Jr. Carroll Cavanagh Mildre d Nygren Ted E. Beck Jr. John F. Hester beads, navy and red stroud Shayne Gad Charles Alfred Davis Peter Orenski Edmund Thornton John T. Childs Jr. Deborah Olson David G. Beckwith Belinda Hester cloth, caribou teeth, and metal Sophie Gangloff Linden Davis John B. Osborn Andreas Ueland Sandra Cisneros Dorothy Parris Timothy Bellis James Hickman pendants; 143 x 65 cm. 13/7198 Judith Gans Bette J. Davis Mary Lou Oster-Granite The Hon. Lynn Valbuena Hal Clarke Thomas C. Patterson Howard R. Berlin Victoria Dearborn Juana P. Hicks Gerald L. Parrish John V. Garnett Michael W. Lingo Neil C. Van Rossum Barbara A. Cochran Lois M. Pausch Sherie Dick Lois I. Hoehn Michelle G. Parrish Lucy Ghastin Blake Lipham Mildred L. Vasquez Sam Conner Jacob Perea Patricia Dixon Susan Davis Hopkins Jim Powell Stella A. Gieseler Jennifer Lipham Randall Wadsworth Nancy Conner Barbara Perea Delia B. Dixon Irene Hopper Karla Powell Andrew Goodman David Loewenstein Roy Wagner Martha Cooper Mary E. Plauson Lorraine Doo Karen L. Horak Patricia Pratt Teri Goodman Tukanoan headring, Rio Uaupés, Jennifer Loewenstein Patricia H. Waschka Poretsky Family Amazonas State, Brazil, ca. 1925. Mary N. Dryden Michael Horn Anne Proudfoot Elizabeth A. Goodwin Harry D. Ludeman Barbara Ann Watkins Foundation Macaw feathers, oropendola Lynn A. Dutton Eric Horowitz Rose Provan Elaine Grudzinski Helen D Ludeman Jerry Wayne Freda Porter feathers, toucan feathers, wood Karen Easton Ron Houston Jessica Quaresma Candace Haigler Kayrene Lunday Ruth L. Webb PRESCOR, Inc. splints, plant fiber. 54 x 26 cm. Patricia Eggers Gerty J. Russell Hoverman Kathryn Ramsey James Hallowell Collected by Dr. Herbert S. Linda K. Lyle Nancy Webster Quercus, LLC Venita Ellington Chris Howell M. Elaine Rand Garnet W. Hammond Dickey. 16/375 H. Christia Lyons Selman I. Welt Angela P. Randazzo Tom Evans William Hudson Walter Ray Patricia A. Harrison Kathryn Ann MacLane Arthur F. Werner Nancy M. Reifel Mona Evans Dara Hunt Vicki Lane Ray Robert W. Hatch James H. Van Arsdale IV John L. Maggio Alayne Werner Howard Reynolds Tod Fackler Beverly J. Hunter Angela Reed Nancy Hatch Peter von Schlippe Peggy Mainor Janice Wilkins Diana Reynolds Arthur Fairley Pam Hyde-Nakai Barbara A. Reichardt Caroline Heart David Wade Rachel Makool Robert Willasch Carolyn Richardson Xi´xa´niyus (Bob Harris, William J. Farmer Thomas A. James Arthur H. Retzlaff Lyle J. Hendricksen Sharon Wade Jacqueline Badger Mars Wayne Wilson Nancy A. Ridenour Kwakwaka’wakw, ca. 1870–ca. Sharon K. Fearey Mary James Joan L. Retzlaff Diane E. R. Hendricksen Mark Waters 1935), K´ umuk wa mł (Chief of David Martin Carrie R. Wilson Carlyn Ring Thomas Fine Leslie Jenkin Gil Riboni Shuar Akitiai (Ear Ornaments), Heather Henson Frederick W. Weck the Undersea mask). Vancouver Howard Martin Jeanne Wilson Marcia Rinkel John F. Finerty Elizabeth G. Johnson Alex Riboni Upper Amazon, Ecuador, ca. Helena E. Hill The Rev. Dom Peter Island, British Columbia, ca. Maria Rodriguez Winter Trude S. Roselle Linda Martin 1930. Beetle wing covers, Weigand 1900. Wood, paint, glass, string. Elizabeth W. Fischer Colleen Kalinoski Howard Rice Anita Hirsh Virginia Martin Margaret M. Wisniewski toucan feathers, plant fibers, Robert Ross 14/9624 Joseph H. Fisher Audrey W. Katz Alonza J. Richardson Gail Hitchcock Anita Corman Weinblatt Susanne W. Max Frank M. Yates glass beads. 27 x 11 cm. Andrew Rowen Shirley Fisher Sheldon T. Katz Shirley Ann Richardson Stephen L. Hoffman Carolyn L. Wheeler Joy Berlin Mary H. McConnell Yavapai-Prescott Indian Collected by Dr. Victor Wolfgang David Ruby Maryann R. Foard Jerry L. Kearns Melanie A. Ringer Stephen P. Holmes James C. White Donna Bhatnagar John J. McLaughlin Tribe von Hagen. 18/8740 Jaclyn J. Rusch Kathryn Forbes Mary Kearns Lisa Roach Ruth Lynn Hooper Paul Wilhite M. Sharon Blackwell Christine McLaughlin Vance Zavela Lisa Ryan L. S. Freed Lou C. Kerr Caroline Robbins Reid Cooper William Sanders Hoover J. A. Williams Art Blume Judi Melander Patricia M. Zell Marc A. Saltzberg Thomas M. Freeman The Rev. Jeanne Klauda Brad Robertson Debra G. Corbett Carolyn Horsman Dorothy Williams Jacqueline Bodin Beverly Melton Barbara E. Zelley Gwendolyn Sampson David F. Freeman Jr. Peter M. Klein Nicholas A. Robinson Clifford Crooks Michael Howard Michael Paul Wilson Jr. danah boyd Carol F. Meyer Marilyn Zimmerman Roger Sanjek Cary J. Frieze Sandi Klein Grace M. Romero-Pacheco Robin Davisson Margaret Hunt Char Wiss Patricia Boyd Jean Meyer Emil Zuberbueler Lani Sanjek Alan F. Frigy Agnes L. Koury Peter Rosengarten Thomas Desilva Mahnaz Ispahani Paul J. Young Robert Braitman Pamela G. Meyer Donald Zucker Verna Savage Tracy Roberts Frist Joseph Kovalik Tia Rosengarten Libby Desilva James Jespersen JoAnn Young Judith G. Mich Richard A. Zucker Lucinda D. Scheer 16 AMERICAN INDIAN winter 2016 The gifts recognized here were made on or before September 28, 2016. NMAI-DCOF-Ad-916_1 10/7/16 3:11 PM Page 2

Thomas Rowlett Barbara Zucker Rose Domboski Richard T. Jones Shari Rowlett Beth Zucker David M. Dressler Cynthia D. Jones Georgia Royalty James Joseph Zuiches Kay K. Drey Brenda K. Jones Marie Asselia Rundquist John A. Zyracki Timothy Dunne Rosemary A. Joyce Louise Russell Cynthia Dunne Joseph P. Kalt Dame Jillian Sackler D.B.E. DESERT SANDS CIRCLE Donald Dyke Patricia Karp Carol Sakata Kyle Adamonis Joann Eder Amalie M. Kass Peter L. Schaffer David Adcock Julie Edwards-Sanchez Alice Kawakami Grace T. Schild Beryl L. Adcock Susan E. Eichhorn Donald M. Kerr Jean Schiro-Zavela Grace Anderson Robert Elder Betty Kessinger Barbara L. Schuler Pam Anderson-Taplett Mary Elder Hoshang J. Khambatta Bart Schwartz Thomas R. Andreas G. Edward Evans Renate F. Khambatta Dolores A. Sena The Hon. Bill Anoatubby Margaret Kiever Janet Spurgeon Scheevel Shapiro Family Foundation Constance Arzigian Robert E. King Thomas Schelat John F. Sicks Jr. Wendy Ashmore Elizabeth L. Kiriazis Nancy L. Schlemmer Elizabeth Sidamon-Eristoff Jeannette Aspden Annelore F. Kurtz Susan H. Schumann Lynwood D. Sinnamon Robert Balzer William Lafranchi Rozanne Ritch Seelen Thalia Sinnamon JoAnn Lynn Balzer Ruth Larson Mary Ann Sens Dennis Smith James A. Barnett Angela Papa Leipold Ruth Ottaway Sherer Walter J. Smoyer Louise R. Barrow Deana F. Liddy James C. Shumaker Elizabeth D. Smoyer Adam Bartos Susan B. Lindenauer David J. Skorton Society of the Fred A. Bateman Nancy Lombaer Michael D. Snow Transfiguration Melody Ann Bateman Alice B. Long Susan S. Snow Morton I. Sosland Maria Bauer Janine Luke Janice M. Soeder Estelle Sosland Montayne Bauer Carolyn J. Lukensmeyer Mary Lou Soller Sandra Steffes John J. Sparacio The Hon. Max N. Berry Tsuu T´ina (Sarcee) coat, ca 1890. Christopher Lynnes James Spivack Mrs. George P. Bissell Probably Canada. Deer hide, Patricia Lynnes Richard Stone Mary G. Sprague George B. Black cotton cloth, otter fur, glass John A. Manley Linda D. Stone Eugene E. Stark Richard L. Blanton beads, ochre; 73 x 118 cm. Mrs. Susanne Manley Beth Swalm Jean C. Stark John M. Bogie Edwin C. Ward Collection. Jennifer Maria Martin Ross Taplett William C. Sterling Stuart H. Bohart 11/4236 Ed Mason Daniel B. Taylor Mary B. Sterling Elizabeth Bohart Bobby Mauntel Cinda Celia Taylor Joyce M. Evans Richard W. Stickle Clayton R. Braatz Richard W. Mauntel Robert J. Thiebaut Deborah Evans Norman Stone Jere Broh-Kahn Larry McGoldrick Pamela Thomas Tarry Faries Anne J. Stoutamire Bonnie Broh-Kahn Ellsworth McKee Robert Torres Mary B. Ffolliott Daniel W. Stroock Harold G. Brown Mary Mekosh Stephenie Torres Edward J. Fine Lucy B. Stroock Barbara L. Brown Marlene Miller-Dyke Mary S. Triplette Debra L. Fine John F. Sullivan Janice Brown M. A. Moran Paul S. Fishman Carolyn E. Summers Gary Brownell Walter B. Morton Terri L. Fitzpatrick Mary Tapley Bruna Brylawski Michael J. Motes William S. Fletcher Ellen Napiura Taubman David Buckner Harvey M. Mumma Rhonda G. Forbes Beverly Terry Mary E. Carlson Karl F. Nygren J. Arthur Freed Donna J. Thal James H. Carron Merlin G. Nygren The Re v. Harry Freiermuth Sidney Thomas Jr. Carroll Cavanagh Mildred Nygren Shayne Gad Edmund Thornton John T. Childs Jr. Deborah Olson Sophie Gangloff Andreas Ueland Sandra Cisneros Dorothy Parris Judith Gans The Hon. Lynn Valbuena Hal Clarke Thomas C. Patterson John V. Garnett Neil C. Van Rossum Barbara A. Cochran Lois M. Pausch Lucy Ghastin Mildred L. Vasquez Sam Conner Jacob Perea Stella A. Gieseler Randall Wadsworth Nancy Conner Barbara Perea Andrew Goodman Roy Wagner Martha Cooper Mary E. Plauson Teri Goodman Tukanoan headring, Rio Uaupés, Patricia H. Waschka Poretsky Family Amazonas State, Brazil, ca. 1925. Elizabeth A. Goodwin Barbara Ann Watkins Foundation Macaw feathers, oropendola Jerry Wayne Elaine Grudzinski Freda Porter feathers, toucan feathers, wood Ruth L. Webb Candace Haigler PRESCOR, Inc. splints, plant fiber. 54 x 26 cm. Nancy Webster James Hallowell Quercus, LLC Collected by Dr. Herbert S. Dickey. 16/375 Selman I. Welt Garnet W. Hammond Angela P. Randazzo Arthur F. Werner Patricia A. Harrison Nancy M. Reifel James H. Van Arsdale IV Alayne Werner Robert W. Hatch Howard Reynolds Peter von Schlippe Janice Wilkins Nancy Hatch Diana Reynolds David Wade Robert Willasch Caroline Heart Carolyn Richardson Sharon Wade Wayne Wilson Lyle J. Hendricksen Nancy A. Ridenour Mark Waters Carrie R. Wilson Diane E. R. Hendricksen Carlyn Ring Frederick W. Weck Jeanne Wilson Shuar Akitiai (Ear Ornaments), Heather Henson Marcia Rinkel Upper Amazon, Ecuador, ca. The Rev. Dom Peter Maria Rodriguez Winter Helena E. Hill Trude S. Roselle 1930. Beetle wing covers, Weigand Margaret M. Wisniewski Anita Hirsh Robert Ross toucan feathers, plant fibers, Anita Corman Weinblatt Frank M. Yates Gail Hitchcock Andrew Rowen glass beads. 27 x 11 cm. Stephen L. Hoffman Carolyn L. Wheeler Yavapai-Prescott Indian Collected by Dr. Victor Wolfgang David Ruby James C. White Tribe von Hagen. 18/8740 Stephen P. Holmes Jaclyn J. Rusch Paul Wilhite Vance Zavela Ruth Lynn Hooper Lisa Ryan J. A. Williams Patricia M. Zell Reid Cooper William Sanders Hoover Marc A. Saltzberg Dorothy Williams Barbara E. Zelley Debra G. Corbett Carolyn Horsman Gwendolyn Sampson Michael Paul Wilson Jr. Marilyn Zimmerman Clifford Crooks Michael Howard Roger Sanjek Char Wiss Emil Zuberbueler Robin Davisson Margaret Hunt Lani Sanjek Paul J. Young Donald Zucker Thomas Desilva Mahnaz Ispahani Verna Savage JoAnn Young Ri chard A. Zucker Libby Desilva James Jespersen Lucinda D. Scheer SMITHSONIAN INSTITUTION 17 Pop Culture: Native Satire t is t ar e th f y o es t ur o c s hoto p 18 AMERICAN INDIAN winter 2016 Two Loves, photo by Steven Paul Judd, 2015. Pop Culture: Native Satire

By Cynthia Benitez

he versatile art forms of Steven Paul Judd (Kiowa) have made him a household name in Indian Country. Inspired by his two favorite artists, graffitist Banksy and comic-book author Gary Larson (The Far Side), he learned he could make a statement with a single image. THis visual art produces satire by manipulating im- ages of popular culture. He indigenizes superheroes like “The Indian Hulk” and “Siouxperman,” sends Star Wars fighters flying over teepee villages, and offers a “Rock’em Sock’em Robots: Indian Wars Edition” with George Armstrong Custer. He states two reasons for his art, “One, there really wasn’t any Pop Art geared toward Native Peoples ex- cept for Bunky Echo Hawk. I wanted to make stuff for a market that wasn’t there. Two, [I want to] educate people on some things without talking down to them or yelling at them. They can laugh at it, like ‘Oh wait, did that really happen?’ and they can learn from it, starting from a humorous point.” Judd doesn’t just express himself through his paint- ings and graphic design. He also writes and makes films. A former staff writer for Disney XD sitcom Zeke and Luther and a member of the Writers Guild of America, he turns out screenplays for television and film and creates cartoon stories. His short films have E SMITHSONIAN INSTITUTION 19 ABOVE: The Summer They Visited, Photoshop, 2014. RIGHT: The Rebel Alliance, Photoshop, 2015. FACING PAGE: Invaders, Photoshop, 2014.

received numerous awards; honors have gone to Search for the World’s Best Indian Taco, a fantastical story that includes flying cars, and Ronnie BoDean, an homage to the anti-hero with actor Wes Studi. He has ventured into music videos, fea- turing artists like singer Spencer Battiest (Seminole), a Native American Music Awards’ winner for Best Pop Recording. Currently his most notable film works are his stop-motion shorts which explore Native issues through tongue-in-cheek humor. Some of his ani- mated shorts include First Contact, a take on European “discovery” through the Indigenous perspective, and Neil Discovers the Moon a knock on the theory of the first landing on the moon. “It’s like I want to say something,” he says of his stop-motion stories. “I want to make something. It’s a creative way to tell those stories.”

20 AMERICAN INDIAN winter 2016 SMITHSONIAN INSTITUTION 21 7th Generation, Photoshop, 2015.

Because of his Steven Paul Judd was born in Oklahoma of the Kiowa and Choctaw Tribe. “I wasn’t social media born well off,” he says. “Not only did I live in a popularity, he trailer, I lived in the trailer behind the trailer. Like our trailer was too small for our family so receives invitations we had a camper hooked up to it.” At a young from around the age, while living on the reservation in Missis- sippi, he was diagnosed with polio. world to conduct Just recently, director Kyle Bell (Thlo- seminars for pthlocco/Creek) documented an intimate portrait of Judd’s life in the film Dig It if You youth, both Native Can. Judd was unsure at first about the project and non-Native. His because he thought that in the hours it would take to film, Kyle would be bored. He says, “I .

self-taught style nc was telling him if this doesn’t turn out right, I

hy, I hy, don’t mind you saying this isn’t a good docu-

of creating visual rap mentary.” The film ended up winning the art has allowed him 2016 SWAIA Class X Best Short Documen- to share his own l Photog tary and is now touring the film festival circuit with positive reviews. experiences with mmercia Judd’s art has become even more popular- , Co es

t ized by his use of social media, such as Face- youth who already cia o

s book and Instagram, to promote his works. He s

have the technol- A & now has global access, not just to the Native

iams community but to millions of people around ogy readily ll Wi the world. His works have been picked up and available, such as re-shared by celebrity artists including singer evaun their smartphones. Billy Ray Cyrus and music mogul Russell Sim- Steven Paul Judd mons. He whole-heartedly believes that social hoto by Sh by hoto

p media has been one of the most important

22 AMERICAN INDIAN winter 2016 factors of accessibility for artists like himself. “Social media for me has leveled the playing field,” he says. “People who may not normally have access to my work can now see it.” But social media is not only a medium for his works but a way to make a living. “If it wasn’t for that,” he says. “I would be work- ing at some store and not making any art you know. It’s allowed me to make art and to explore art…if it wasn’t for social media I probably couldn’t keep doing art in any form – filmmaking, writing or even painting.” Because of his social media popularity, he receives invitations from around the world to conduct seminars for youth, both Na- tive and non-Native. His self-taught style of creating visual art has allowed him to share his own experiences with youth who already have the technology readily available, such as their smartphones. The seminars he conducts somewhat stem from his own lack of oppor- tunities at a young age. He believes that in the current digital age, youth now have a greater opportunity than his generation for making amazing visual art. “I want these kids to know that ‘Dude you can do this now,’” he says. “I mean the first film I ever made is a little movie called American Indian Graffiti. The cellphone that I own now is a better quality than the first film I ever made. I just want them to know that they are only really limited to their own imagination now.” He remarks that picking up a cellphone and shooting a film is pretty basic but some- times youth don’t realize how simple it is. He finds that once kids realize they can make a full movie from their cellphone it’s a whole new experience. He stresses that it can open up other opportunities, such as showcasing their films at film institutions and festivals. “It’s like, ‘I can make a movie with my When asked if his use of popular im- Rock'em Sock'em Robots: Battle of Little Bighorn cellphone and it will play at the Smithson- ages has somewhat influenced his future Edition, sticker, 4" x 4", 2016. ian National Museum of American Indian?’ direction, he replies, “I use satire, right. I’m Yeah, you can…you literally can,” he says. sure someone is going to say something but “You can be at home, have a cellphone, bor- so far, no. I’m going to keep making stuff row your uncle’s cellphone, make a film and that I think people want to see until some- they [NMAI] can literally look at it and give one says ‘cease and desist.’ Like maybe it a chance…. There are no special effects… George Lucas doesn’t like me putting Star no famous actors….” Wars figures with Indians.” He jokes that Judd continues to experiment with differ- the side buns of Princess Leia resemble a ent ideas and different mediums, still infusing traditional Hopi woman hair style, “Yeah, pop culture references with a Native twist. He yeah they stealin’ that dawg. I will say, is currently in post-production on a short ‘George you took that from the Hopis. You film, spoken entirely in Choctaw, that he says need to cease and desist [laughs].’” X is a cross between The Goonies, and The Never Ending Story. His book The Last Powwow Cynthia Benitez is a film curator and scholar specializing in Native and indigenous film. She is currently the Film which he co-wrote with Thomas Yeahpau will Programmer for the Smithsonian National Museum of the be published in 2016. American Indian in New York City.

SMITHSONIAN INSTITUTION 23 l mme l E u a P BY Photo Photo 24 AMERICAN INDIAN winter 2016 Stor...... ytellers

The Continuing Saga of LouiSE erBy Phoe be Farris drich ith due respect to Erdrich’s books frequently deal with im- Bob Dylan, many in portant issues of social justice. But she writes Indian Country feel almost poetically in a way that doesn’t sound the next Nobel Prize like propaganda. “Both sides of my family, the for Literature should German and the Indian, were great storytell- go to Louise Erdrich. ers,” she says. “A book needs suspense, and the The prolific Minneapolis-based writer, issues have to be part of the suspense. I try Wfrom the Turtle Mountain Chippewa Band of hard not to go on a rant because people don’t Indians, has been spinning her tribal and re- want to read that. So any environmental or gional histories into a saga spanning 15 much- other issue is part of the narrative.” honored novels. Her complex interweaving of Erdrich’s novels weave important historical her characters’ lives over several generations events such as the Red River and North West has caused some to compare her to William resistance movements led by the Metis leader Faulkner. In the past two years she has won Louis Riel, German and Swedish immigrant the 2016 NMAI Award for the Arts and the homestead encroachments on Native lands, 2015 Library of Congress Prize for American the Dawes Act and rape and murder on res- fiction, and the list over the past decade is ervations. much longer. She also supports other Native In her North Dakota Ojibwe communi- writers through her Minneapolis bookstore ties, most of the outsiders are French, German Birchbark Books. and Swedish. Her stories about these people E SMITHSONIAN INSTITUTION 25 Page 26 One more Erdric Column three, line 8 After “xxx her books, dele her mother, a co research her ancestors.”

[This is from consultatio JRA]

include love, intermarriage, stolen lands, The prolific Minneapolis-based writer, murder, racial prejudice, religious conversion from the Turtle Mountain Chippewa and a tense co-existence. French words mix with the Ojibwe language. Even in scenes from Band of Indians, has been spinning her the 1970s and 80s, the main non-Indians are descendants of these Europeans. Erdrich’s tribal and regional histories into a Ojibwe families track several generations. saga spanning 15 much-honored Although she says she does not write about her family in her books, her mother, a novels. Her complex interweaving of continuing vital influence, has inspired her to research her ancestors. A future project is her characters’ lives over several partly based on her maternal grandfather’s ex- generations has caused some to periences in Indian boarding school. Because of the schools’ affiliation with the federal War compare her to William Faulkner. Department, records on each child were heav- ily archived. Erdrich found her grandfather’s

26 AMERICAN INDIAN winter 2016 ers h is bl u P ins oll C Harper

f y o es t ur o c

es g ima

files in the Library of Congress and was sur- Earlier this year, Erdrich went on a book Adoption of relatives and even strangers prised at the details about all aspects of his life, tour in support of her latest novel La Rose. was practiced in the past by many American such as meticulous lists of his clothing costs. We caught up with her as she gave a riveting Indians for population recovery after disease, The beautiful penmanship he learned in the reading at the Folger Shakespeare Theatre at warfare and other genocidal practices. This boarding schools provided the jacket cover the Library of Congress in Washington, D.C. contemporary adoption was based on tra- design for her latest novel, La Rose. The book centers on a young boy, La Rose, ditional practices that La Rose’s birth family, Her recurring elderly characters, like whose parents give him to a neighbor’s fam- the Landreaux Iron, embraced through sweat Star, Mrs. Webid, Mooshum, Nanapush and ily to atone for his father’s accidental killing lodge and other ceremonies. The novel has Grandma Ignatia, crack funny, lewd jokes, of the neighbor’s son while deer hunting. been positively reviewed by The New York tease each other and play sexual tricks, usu- Since the two boys’ mothers are half-sisters, Times and The Washington Post with emphasis ally in an effort to shock their adult children, transfer to the other family, while traumatic on the adoption phenomenon. grandchildren and priests. She says, “Over still has a familial context. Both families are Following her reading, Erdrich discussed the years I have known many elders who are consumed by grief, suicidal thoughts, loss the use of adoption to restore balance. She hilarious on the subject of sex. It seems to me and anger, but eventually La Rose and his mentioned her maternal grandmother’s fre- that people who find humor easily in general two families achieve a type of healing and quent informal adoptions of children whose age well.” resolution. families were experiencing problems. She con-

SMITHSONIAN INSTITUTION 27 L ouise Erdrich receiving the NMAI Award for the Arts from Director Kevin Gover at the Museum’s Legacies of Learning Gala, May 11, 2016. da Vo ua h s Photo by Jo by Photo

trasted her grandmother’s flexible adoptions ally male, and in fact my character in the “The inclusion of with the character Nola who at first did not Birchbark House series, Old Tallow, is based a lynching which want to share La Rose with his birth mother's on research into traders’ journals. family. Erdrich discussed the fluid boundaries “The Catholic Church did have very nega- did take place in between indigenous families that allow rela- tive effects on all aspects of Ojibwe culture tives to share in the raising of children without and spirituality. In traditional Ojibwe culture North Dakota was dealing with social services. there was the sense that a person we would important to Erdrich’s historical fiction frequently casts now call transgender could operate within the light on current social phenomena. She singles culture, living out their roles. I am aware of an me because that out The Last Report on the Miracles at Little Ojibwe woman who was a well-known hunter No Horse. “The book is my favorite among and warrior. Also recorded around 1850 was a isn’t an atrocity my books and the sermon to the snakes one man called The Sweet whose Indian name was usually associated of my favorite pieces of writing,” she says. In Wishkob. The Sweet lived differently gendered this novel, the priest, the recurring character but there was not a great deal of controversy with Native people. Father Damien, turns out to be a woman. As about him. People who lived differently than he/she is aging, Father Damien is concerned their gender were considered to have a broader I wanted to make that his real identity would be discovered dur- spirituality and see things from a different clear how little ing an illness that would require a thorough viewpoint. My book The Antelope Woman, medical examination. which is being revised, deals with this topic is really known I asked if she thought this novel would and has a character with special gifts for giving have received more attention if it were traditional names.” or studied about published now rather than 15 years ago. Her current novel La Rose has been linked Native people.” She remarked that there was a transgender with two earlier works confronting violence movement when she wrote the novel but that on the reservation. Her 2009 novel The Plague now there is considerably more power in that of Doves deals with lynching. It has fictional movement. She says, “I have read accounts of characters who escape getting lynched, fiction- women who lived out roles more tradition- al characters who are lynched and a historical

28 AMERICAN INDIAN winter 2016 fi gure, Holy Track, a 13-year-old boy who was “I want to give a sense to young people of an earlier panel in the program, part of the lynched in North Dakota. Says Erdrich, “The how Ojibwes did household chores and also Proud To Be Indigenous Weeks celebration at inclusion of a lynching which did take place in had close family structures like the ones por- the United Nations and around the world. She North Dakota was important to me because trayed in The Little House on the Prairie during said that she opened Birchbark Books in 2001 that isn’t an atrocity usually associated with that same time period. Ojibwe families lived to feature new and emerging Native writers Native people. I wanted to make clear how on very little, and we wasted nothing and left and make them more accessible. She at fi rst little is really known or studied about Native no ecological disasters.” thought it would never survive but is now more people. The subject is complex but I feel that Commenting on the relationship between optimistic. Her store, she says, “brings people our country would grow and develop by in- writing poetry and fi ction, Erdrich replies, “I back to reading more physical books and dis- cluding the truth in our national story.” have no control over poetry. It either fl ows or covering Native writers like Sherman Alexie, Set in the 1980s, her novel The Round it doesn’t. Stories seem more able to overfl ow James Welch and Leslie Marmon Silko.” She House revolves around the topic of rape and into longer works that become books. Poems also highlights a new non-fi ction writer, Brenda murder on reservations and laws that pre- are so themselves.” Child, whose work focuses on women and how vented tribal authorities from prosecuting Non-fi ction dealing with political struggle women’s work shapes Native life. non-Indians who committed federal offenses was another matter. She said during her Library Erdrich cautioned that American Indians such as rape and murder. (The novel won the of Congress reading, “I have so much trouble have many nations as different as the French National Book Award in 2012, the year of its writing true things that have to be backed up or Chinese. She said as a fi nal thought she was publication.) In the Afterword section of a factually. A Minneapolis congresswoman in concerned with “encouraging Native writers new edition of The Round House, Erdrich the audience shouted out, ‘Lots of people in to tell their stories so that it is clear that there wrote about North Dakota Senator Byron politics struggle with that!’” causing lots of are many different nations with different view- Dorgan’s 2016 sponsorship of the Tribal Law laughter. Erdrich said that she didn’t realize points on important issues. It takes four to fi ve and Order Act and President Obama’s signing her independent bookstore Birchbark Books generations for a people to recover from ter- of the act into law. would be political but that it is. It has become rible trauma, and writing helps in the recovery Erdrich says, “President Obama has been a Minneapolis center for urban Indians to dis- process. It is only since 1978 that our right to very responsive to Native Americans and the cuss community issues and other relevant top- traditional spiritual practices was legalized. issues that we face. Obama was behind The ics. Contemporary Native writers frequently Writing centered on our nations must be en- Violence Against Women Reauthorization Act visit and sign their names on the wall. couraged of every age group!” X that gave tribal courts the authority to get jus- At her reading, Erdrich encouraged the Phoebe Farris (Powhatan/Pamunkey) is currently teaching at the Corcoran School of Art and Design/george washington tice for Native American female victims of sex audience to check out the Native writers from University. crimes committed by non-Native men. This Reauthorization Act was huge, a great thing. Prior to this act tribal courts had no jurisdic- Arctic and Indian arts tion over non-Indians who were guilty of rape for the 21st century and murder. Jurisdictional power was given 26 Maine Street back to our tribal courts.” Kennebunkport, Maine In addition to adult novels, Erdrich 207 967-2122 writes and illustrates children’s books, and also writes poetry and non-fi ction. She at- tributes much of her ability to successfully create fi ction for all ages to the infl uences of her mother and her sister Lise, who is also a writer. Both of them have traced their family back to Madeline Island. Erdrich says that she is following her mother’s journey. She is also inspired by her great grandfather who was one of the last Ojibwe buffalo hunters. He lived through the beginning of the reservation era and died in 1963 around age 96 or 97. Erdrich plans to write about that era in upcoming projects She also says she writes children’s books out of frustration with the Little House on the Prairie series by Laura Ingalls Wilder, a semi- autobiographical account of European settlers in the upper Midwest in the 19th century. Erdrich thinks that series is full of racism “and Jeremy Frey the valorization of those who took Native lands without a thought. Sculpture | Prints | Jewelry |Beadwork |Baskets shop online: www.homeandawaygallery.com

SMIthSoNIAN SMIthSoNIAN INStItUtIoNINStItUtIoN 29 ...... Storytellers THE Mystery of the Two Gudrids A Transcript of First Contact

By James Ring Adams

he first recorded conversa- scholar to call it inexplicable. Yet in the last more and more of this remarkable body of tion between a European two decades a simple explanation has gained literature is proving to have a solid historical and a North American na- currency. Gudrid’s visitor was not a ghost or base. And Gudrid herself is one of its best- tive may have lain hidden companion spirit, the traditional explanation, documented figures. for 1,000 years in a puzzling but a curious Native girl exploring the strange Gudrid Thorbjarnardottir (985?–1050?) anecdote in Iceland’s Vin- settlement. This scenario not only rings true has been called the best-travelled woman of Tland sagas, in a passage generally ignored or from the Native perspective, it suggests that the Middle Ages. She was born in Iceland dismissed as a Norse ghost story. This is the the saga records nearly verbatim a scene of circa 985, gave birth to a son in Vinland and story of Gudrid, a leader of a Norse coloniz- First Contact. later in life made a pilgrimage to Rome, re- ing party, and her mysterious visitor, also This approach also underscores the value turning to Iceland as a religious recluse who named Gudrid, at Leif Ericson’s outpost in of often disregarded medieval sources for in- founded a major convent. She is a major what is now called Newfoundland. sights into European awareness of a western figure in the Saga of the Greenlanders, which Gudrid, wife of the expedition leader landmass, and its inhabitants, in the centu- calls her “a woman of striking appearance Thorfinn Karlsefni, widow of a brother of Leif ries before Columbus. The “discovery” of and wise as well, who knew how to behave Erikson and herself a prime mover in the west- America in 1492 now looks less like a single among strangers.” ward explorations, is sitting with her newborn dramatic breakthrough than like the culmi- Gudrid’s family were Gaelic retainers son as the Norse trade with the Natives out- nation of a long, gradual European expan- in the retinue of Unn (or Aud) the Deep- side their settlement palisades. A mysterious sion across the Atlantic. Minded, a formidable Norwegian matriarch woman suddenly appears and addresses her in and discarded wife of a Viking king of Dub- Norse. Gudrid introduces herself, and the visi- Gudrid the Voyager lin, who emigrated to Iceland around 900 to tor replies, “My name is Gudrid. ” Then this Certainly the Norse sagas contain fantastic escape the enmity of the new King of Nor- second Gudrid suddenly disappears. elements. The corpse of a newly deceased way. Once there, Unn claimed an unsettled Their brief conversation around the year husband sits up and begins to prophesy. The valley and distributed farms to her follow- 1016 A.D. has inspired a range of literary and leader of a Vinland expedition is slain by a ers, including Gudrid’s grandfather. This folkloric explanations and caused at least one Uniped out of medieval travel mythology. But genealogy provides the opening of the Saga

30 AMERICAN INDIAN winter 2016 ir ott afsd l O

anna hoto by Joh by hoto p , e t u t i t ns I n o nuss g a M rni F A F O y es t ur E Co G IMA Passage in the Saga of the Greenlanders describing the encounter of the “two Gudrids” in what is now Newfoundland, circa 1015 A.D. From the Flatey book compilation, circa 1387–1395 A.D., now guarded closely at the Arni Magnusson Institute in Reykjavik, Iceland. Even the copyist seems puzzled by the story; his hand appears to falter in writing the second “Gudrid.” (Left column, line 19.) GKS 1005 73r. SMITHSONIAN INSTITUTION 31 anada C ives h rc A and y rar b Li y es t ur Co e g ma I

“Dancing Woman” and other details of Beothuk life. of Erik the Red, the second of the so-called The incident that concerns us appears in One of a series of drawings by Shanawdithit, also “Vinland” sagas. Chapter 6 of the Greenlanders’ Saga, during known as Nancy April (1801–1829). The Beothuk, also Although Erik and his son Leif are the fa- Karlsefni’s attempt to settle at the outpost called the “Red Indians” from their use of red ochre body dye, were the main indigenous inhabitants of mous names in the westward push to America, established by Leif Eriksson. “Leif’s booths,” Newfoundland at the time of the Norse expeditions it’s clear from the sagas that Gudrid and her as the saga calls the compound of thatched and very likely one of the peoples the Norse called the family did far more to keep the story alive. buildings built by Leif’s earlier expedition, Skraelings. They shunned later Europeans but were Erik himself and the founding of Greenland are now convincingly identified as the Norse almost exterminated by unusually brutal massacres. come in only in the second chapter of his own remains at L’Anse aux Meadows in northern Shanawdithit was the last survivor of her band. She and her aunt Demasduit (Mary March) were taken in saga, and his alliance with Gudrid’s family is Newfoundland. Karlsefni and his crew pushed by townspeople of St. John’s, Newfoundland. But they emphasized throughout. The focus quickly south, possibly setting up camp in southwest were very likely not the last of the tribe. The ethnolo- returns to Gudrid, to the extent that the work Newfoundland, at or near the putative Norse gist Frank Speck encountered the aged daughter of could more accurately be called Gudrid’s Saga. site recently discovered with much fanfare. a Beothuk man in 1910 who remembered tribal The two Vinland sagas have variant accounts of This second site was closer to the area fre- gatherings from the mid-19th century. He also heard a tradition that Beothuk survivors had emigrated to the voyages to the West and of Gudrid’s several quented by the indigenous population, be- Labrador and even Greenland, where they intermarried. marriages, but they both end by recounting the lieved to be the Beothuk tribe. It’s not clear Library and Archives Canada. C-028544. descendants of her final marriage, to Thorfinn from the saga whether Gudrid went south or Karlsefni, which included three bishops of stayed at “Leif’s booths.” Iceland. The Greenlanders’ Saga says explicitly, At the beginning of the second winter of “It was Karlsefni who gave the most extensive the expedition, natives (called the Skraelings reports of anyone of all these voyages, some of by the Norse) come to the Norse palisades (in which have now been set down in writing.” whichever location) to trade, as they had the

32 AMERICAN INDIAN winter 2016 year before. Gudrid sits inside the door with nial outfit, the tail of which could easily be the cradle of her year-old son Snorri (as far as flipped over her head. we know the first European child born in the The reddish-brown hair could be ex- New World). plained by the red ocher the Beothuk used for To quote the recent translation by Keneva decoration. The Saga’s earlier description of Kunz, (in The Sagas of Icelanders, Penguin, the Skraelings emphasizes their large eyes. 1997): The difficulty, of course, is the conversation itself. How could the girl have initiated it with A shadow fell across the doorway and a a question in Old Norse? If we slightly alter the woman entered, rather short in stature, sequence, all of a sudden we have a plausible wearing a close-fitting tunic, with a shawl scenario. If the later writer of the saga had the over her head and light red-brown hair. girl speak first, or even if Gudrid interpreted She was pale and had eyes so large that something the girl said as a friendly ques- eyes of such size had never been seen in a tion, we have the encounter beginning with human head. the Norse woman, who knew how to behave She came to where Gudrid was sitting anada among strangers, saying in a friendly tone, C

and spoke: “What is your name,” she said. ives “My name is Gudrid.” (Ek heiti Gudridr.) The h “My name is Gudrid and what rc native girl then repeats the sentence. A

is yours?” and

We have suddenly left the spectral arena y “My name is Gudrid,” the other rar

and have an exchange that rings as true as a b Li

woman said. y

transcript. A feature of first contact noted by es Gudrid, Karlsefni’s wife, then t other Europeans was the ability of American ur

motioned to her with her hand to sit Co e

Natives to mimic their speech. Even long sen- g

down beside her but just as she did so, a ma tences could be repeated verbatim with perfect I great crash was heard and the woman accents. When Bartholomew Gosnold visited Demasduit or Mary March (Beothuk), aunt of disappeared. Shanawdithit and an earlier captive at St. John’s, what is now Martha’s Vineyard in 1602, John Newfoundland, miniature painting by Henrietta Martha The trading session outside had ended Brereton, one of his crew, was astonished at Drummond Hamilton, (ca. 1780–1857); watercolor badly, as one of the natives had tried to take how quickly an Indian friend learned to mim- on ivory; 3" x 2.6". 1819. Library and Archives Canada a Norse weapon and been killed. Only Gudrid ic his statement, “How now, sirrah, are you so R5293-0-4-E. had seen the woman. saucie with my tobacco?” Up until the turn of this millennium, the This mysterious episode now looks like an visit was generally dismissed as supernatural, actual, and rather poignant, encounter, very a ghost story from the strange new land. How likely directly recounted by Gudrid herself. else could the woman converse in Norse and It is even more convincing as we peel away give her name as Gudrid? With its deft use the spooky storytelling. A young Native girl of detail, the saga underscores the anomaly accompanying the trading party is driven by by observing several lines earlier that neither curiosity to sneak inside the strangers’ camp. Norse nor Skraeling “understood the language She finds a reassuring sight, a young mother of the other.” with an infant. She mimics the strange but But another explanation emerged in 1999 friendly words the woman is saying. But a sud- at a conference in Reykjavik on the millen- den alarm from outside abruptly interrupts, nium of Leif Ericson’s voyages. A paper by and the young girl quickly flees, as unseen as the late scholar Bo Almquist, subsequently when she came. printed in the conference report Approaches A recent biographer of Gudrid Thor- to Vinland (University of Iceland Press, 2001) bjarnardottir (Nancy Marie Brown in The Far portrays the visit as an actual encounter be- Traveller, Harcourt Books, 2007) speculates tween Gudrid and a Beothuk woman or girl. about the woman’s annoyed reaction to the Allowing for exaggerations, the descrip- way the men were ruining things. Relations tion, including the close observation of the with the Skraelings quickly deteriorated and wardrobe, fits later images of Beothuk girls. soon forced Karlsefni to abandon his colony. The Beothuk were the main tribe in New- The friendly exchange of Gudrid with her foundland at the time, later supplanted by visitor was only a fleeting alternative, soon the Mi’kmaq. Although adult clothing was dismissed as supernatural. X considerably different, young girls appear to James Ring Adams, senior historian at the National Museum of the American Indian – Smithsonian, is managing editor of wear close-fitting shirts or shawls around their American Indian magazine. th torsos. An early 19 century drawing by one of We thank Dr. Gisli Sigurdsson and Haukur Thorgeirsson for the last surviving Beothuks, Shanawdithit, or their help and courteous reception at the Arni Magnusson Nancy April, shows a girl wearing a ceremo- Institute for Icelandic Studies in Reykjavik, Iceland.

SMITHSONIAN INSTITUTION 33 Orlando Dugi (Diné) takes a bow at Style Fashion Week in New York. er g er b en gg Gu aria -M va Photo by E by Photo 34 AMERICAN INDIAN winter 2016 Pueblo Style Takes New York By Theresa Bar baro

atricia Michaels might not have won the popular cable-TV fash- ion competition show Project Runway when she reached the final round in 2013, but she is P making the work of Southwest Native design- ers a constant presence at the heart of the na- tion’s fashion industry. Michaels (Taos Pueblo) returned to the New York catwalk recently with a spectacular show presented by Style Fashion Week. At least 1,200 fashionistas attended in the cav- ernous Hammerstein Ballroom, with 800 on folding chairs, the rest standing in the ground floor and the balcony. A smattering of Project Runway veterans came to show support. Al- though Michaels has been a leading figure in Southwest design for decades, her appearance on the show was a national breakthrough, both for her and for Native fashion. Along with Navajo designer Orlando Dugi, Michaels introduced a collection imbued with the colors and traditional culture of Native

New Mexico. As her models strutted down the o ar runway for the sophisticated New York audi- b Bar ence, they paid tribute to the berry-gathering eresa

women of her home community. h T Her presentation, called The Wildberry Col- lection, reflected the wild plum, chokecherry, Photo by by Photo currant, rosehip, blueberries and strawberries Patricia Michaels (Taos Pueblo) with her son and daughter, Gabriel Mozart Abeyta and Margeaux that Pueblo women would collect in season Abeyta, at Style Fashion Week in New York. SMITHSONIAN INSTITUTION 35 Patricia Michaels, PM Waterlily. The Wildberry Collection. “Evening Berries” cape; silk, felted wool, Swarovski crystals; mini dress titled “Spring Forest Rain,” hand dyed, stretch silk charmeuse. er g er b en gg Gu aria -M va Photo by E by Photo

36 AMERICAN INDIAN winter 2016 from the mountains. “So those are the fun matriarchal monarchy, the women are more Patricia Michaels: The wool berries that are just dancing!” she says. empowered, but there’s still a balance between Wildberry Collection “People may think, well, you’re working, but, masculine and feminine,” he says. Signifi- With only four weeks to create The Wildberry when we’re in the mountains, believe you me, cantly, the red color is derived only from the Collection, Michaels and PM Waterlily, her we’re having a blast gathering berries.” female insect, not from the male. company and Native namesake, turned out Michaels wanted to show this aspect of 33 pieces. Her first pieces, literally painted traditional life. “We need to have that female Style Fashion Week on canvas, paid homage to Anasazi pottery. bond, to be honest about how we protect one The venue for Michaels and Dugi, Style “I chose canvas for two reasons,” she says, another and to make sure that’s not lost. These Fashion Week, began in March 2011 when its “one, because I paint so much, and two, since works and their representation celebrate the director, Veronica Kerzner, set up shop in the it technically takes the shape and form of a way my grandmother raised us.” back of a friend’s office in Los Angeles with vessel.” Her first model on the runway wore a Southwest color also dominated Dugi’s six interns. Nearly six years later her company, dress accompanied by a parasol in a variety of Red Collection, which was entirely dyed in with her husband as partner, hosts shows in colored handprints. cochineal derived from the female cactus- New York, Palm Springs, Miami (Art Basel), The dramatic impact was heightened by dwelling cochineal insect. The dye is derived Dubai, Santa Fe, Boston and Washington, D.C. the makeup, or lack thereof in the convention- by drying the entire insect and then crushing Kerzner was introduced to Santa Fe by a al sense. Faces of the models were painted in it into a powder. It bonds best with protein- photographer from the area, who had been white or silver, half or complete, representing based fibers, such as silk and wool. The pow- attending Style Fashion Week for years. When for Michaels the masks we wear in life. They der can produce a variety of colors – different she finally travelled there, she met with gov- were also a tribute to her late nephew and the shades of red, pink, orange, green, purples, ernors from different pueblos as well as the feeling of loss at his passing. “As we live our silver and black. Dugi says The Red Collection mayor and governor of the city. On a side-trip daily lives, we have a saying in our village was inspired by the pre-Columbian, matriar- to Taos she met Patricia Michaels through which says: ‘We walk this life in sadness and chal, civilization of the Southwest. “With this mutual friends. “She had us over to her house in happiness’,” she says. “We don’t know which where we got to see all of her work and every- thing that she’s doing and really hear her story; it’s such a beautiful thing.” Michaels was also able to connect her with Orlando Dugi (Diné). Kerzner invited him out to New York as well. “I remember looking at his pictures and pieces of his art,” she says. “He’s obviously an incredible artist.”

SMITHSONIAN INSTITUTION 37 Patricia Michaels, PM Waterlily – The Wildberry Collection (L-R): Anasazi Vessel, canvas, gesso, acrylic paint. Parasol: salt cedar, devore, silk rayon velvet, rod iron, hand painted. Pueblo Whitewash, gun metal latex and mica. Impressionistic Beadwork, PM Waterlily technique, vinyl, horsehair, glass beads, Swarovski crystals and satin ribbon.

mask anyone is wearing but we still have to be strong to know that that’s how life is for everybody. It’s not always one or the other. It’s always going to be both.” Michaels embellishes certain pieces with mineral from her home in Taos, N.M., known for its micaceous pottery. She incorporates it into her designs in honor of pottery makers. Additionally, she bought all the wools she used from local farms in northern New Mexico. “A lot of the work you see is cottage industry con- tract work,” she says. “It’s not only going to me, but to different artisans who maybe don’t have a place to show their work, but their hands are talented and they can help me accomplish these feats.” She was able to provide piecework for about 30 different home workers, who didn’t always have means to get to and from a job. “So this isn’t a selfish endeavor,” she says. “I don’t go home and have some fancy lifestyle.” In spite of her deep attachment to Native tradition, she made a surprising choice for the soundtrack for the show. He models marched to the powerful voice of opera-singer Luciano Pavarotti. Michaels explains that when she was five years old, her brother, John Trujillo, started the Pueblo Opera Youth Program. She says that Pueblo children were able to see the opera during the full dress rehearsal as well as “the beauty of the orchestra, the costuming, outdoor theatre, different voices, the night skies and the changing of weather.” “I wanted to bring to the world the under- standing that Native Americans are culturally er diverse outside of their cultures as well,” she g er b

says. Because of that opportunity, she says, en

“I’ve never been inhibited to try something gg Gu bold. I had to incorporate this into the show aria to bring out some of the bold but simple, -M va dedicated beauties that I always have felt in the by E by opera house.” s

Continued on page 45 Photo 38 AMERICAN INDIAN winter 2016 SMITHSONIAN INSTITUTION 39 SMITHSONIAN INSTITUTION 39 Patricia Michaels, PM Waterlily – The Wildberry Collection (L-R): Eagle in Flight, stylized eagle feathers on silk satin organza, silk organza, latex jersey lining. Tibetan angora white cape, silk organza, PM Waterlily hand felted wool, velvet ribbon; symbolic of the travelled, eclectic woman. Wildberry, fiber content: felted wool, silk, bugle beads, silk organza, synthetic jersey. Parasol: ”Waterlily.” Salt cedar, silk rayon velvet, hand painted. er g er b en gg Gu

aria -M va by E by s Photo

40 AMERICAN INDIAN winter 2016 SMITHSONIAN INSTITUTION 41 w ef tyl s @ Week n o i h s a F e hy, Styl hy, rap K Photog ar z ca /Al ar z ca Al en Photo by K by Photo w ef tyl s @ Week

n o i h s a F e hy, Styl hy, rap er g er K Photog b ar en z gg ca Gu

/Al ar aria z -M ca va Al en to by K by to Photo by E by Photo Pho 42 AMERICAN INDIAN winter 2016 Orlando Dugi. The Red Collection. (clockwise from far left): Cochineal dyed silk organza, hand beaded, hand embroidered, hand beaded netting, handsewn. Made to measure. Cochineal dyed silk organza, hand beaded, hand embroidered in gold, handsewn. Made to measure. Cochineal dyed silk gauze, feathers, hand embroidered in gold, hand beaded, handsewn. Made to measure. Cochineal hand-dyed silk, hand beaded, hand embroidered in gold, handsewn. Made to measure. er g er b en gg Gu aria -M va Photo by E by Photo

SMITHSONIAN INSTITUTION 43 Orlando Dugi, The Red Collec- Orlando Dugi, The Red tion. Black silk and linen blend Collection. Cochineal dyed with hand beading, handsewn. silk organza, feathers, Made to measure. hand beaded and hand embroidered in gold, handsewn. Inspired by and in honor of his Cree adopted mother and titled “One Who Carries the Eagle Feather.” w ef tyl s @ Week

n o i h s a F e hy, Styl hy, rap er g K Photog er ar b z en ca gg /Al Gu

ar z ca aria Al -M en va Photo by E by Photo K by Photo

44 AMERICAN INDIAN winter 2016 Toward the end of the show, Michaels brought out clear vinyl pieces, her favorite medium this time around. Beads were strewn on them in a beautiful unplanned pattern. She says she wanted to move away from the stereotype of intricate beading on Native designs. While some pieces in her collection were intensely beaded, she explains, “I don’t always want the expectation of that.” Michaels created a formula for throwing the beads. “You should have seen me,” she says, “I was like a crazy kid in a candy store! I was having so much fun; it was liberating.” “As an artist,” she says, “you have to give yourself that. Because you prove yourself at different parts of your life, and if you don’t give yourself room to explore, what are you o ar doing it for? We should be able to liberate b Bar ourselves from any preconceived ideas of who eresa we are. Those pieces at the end are celebrating h T that flight while still keeping the integrity of who we are.” Photo by by Photo Orlando Dugi: The Red Collection While working at the Morning Star Gal- Project Runway alumni (L-R): Nicholas D’Aurizio, lery, in Santa Fe, N.M., Dugi learned about Season 8; Kenny Zamora, Season 13; Patricia Michaels, While learning to bead at around five to the use of bayeta cloth, originally woven Season 11; Peach Carr, Season 8; and Justin LeBlanc, Season 12. seven years old, Orlando Dugi (Diné) did not in continental Europe and England, dyed envision himself as a fashion designer. After with cochineal and used by Navajo women graduating high school, he spent a number in making blankets in the mid to late 1800s. of years dancing at powwows throughout the The cloth was already dyed in cochineal upon U.S. and Canada. It wasn’t until 2009 that a arrival, then unraveled, spun into a yarn and friend, impressed with his talent for beading, finally woven into dresses and blankets. The suggested that he apply for the Santa Fe In- cochineal dye was originally an export of the dian Market. Dugi soon impressed the judges Americas, created by indigenous peoples and at SWAIA and the Heard Museum Guild Art later spread throughout Europe. Dugi was fas- Show and Market, among others. He started cinated with the journey of the insect and his with eveningwear, and specifically clutches. In love for the color red. 2010, he won first place in SWAIA’s clothing “What I strive for mostly is women’s em- contest for his very first evening gown. His powerment,” Dugi says. “There are so many work was completely self-taught and fittingly women in my life – my moms, my grand- a beaded creation. “I had this gown in my mothers, my sisters, my nieces.” He also has mind,” he explains. “But I wasn’t sure how adopted family all over Indian country. “It’s to draw it out. I didn’t know how to drape because of them that I want to make sure or make a dress; I basically just taught myself that women are seen in the best possible light. how to make my own patterns.” What I want to do is to just add to the beauty Dugi says that his collection is all about of that, not just the physical beauty, but the the beauty, elegance, femininity and strength beauty of the whole.” of women. “I don’t do menswear,” he says. The beauty of Southwest fashion might “But in order to have balance in the collec- have been unfamiliar to the New York audi- tion, I did two men’s pieces at the end.” All of ence when Michaels made her debut on the work was hand done, using the technique Project Runway in 2013 and nearly won the of tambour beading and embroidered with season-long competition. But her recent show gold thread and French coil. In addition to is making her name, and that of her Native his own hand-work, Dugi employed four colleagues, increasingly well known. The rich embroiderers, two seamstresses and a fash- diversity of American Indian design is becom- ion intern, working on the pieces for five ing a real presence in mainstream fashion. X months, 60 to 80 hours a week, to create a Theresa Barbaro is a frequent contributor to American Indian total of six garments. magazine.

SMITHSONIAN INSTITUTION 45 ure Orlando Dugi (Diné). Cape and dress lt u

C from Desert Heat Collection, 2012. and

Paint, silk, organza, feathers, beads s t r and 24k gold; feathers. Courtesy of the A designer, Sante Fe. Hair and makeup: ndian Dina DeVore. Model: Louisa Belian. I f

o Courtesy Amy Shea. ©2015 Peabody Essex Museum. useum M e th and in o Gauss vid a D f y o es t ur o c Photo Photo David Gaussoin and Wayne Nez Gaussoin (Diné/Picuris Pueblo), Postmodern Boa, 2009. Stainless steel, sterling silver, enamel paint, and feathers. Model: Tazbah Gaussoin. Peabody Essex Museum, 2016.32.1. ins h Coll s ho T ins to by by to Pho h Coll s

Bethany Yellowtail (Apsaalooke [Crow] and Northern ho Cheyenne) for B Yellowtail, Old Time Floral Elk Tooth dress, T Apsaalooke Collection, 2014. Lace, leather applique, and elk

teeth. Peabody Essex Museum, 2015.22.1. by Photo

46 AMERICAN INDIAN winter 2016 Native Fashion Now By Theresa Bar baro

tour d’horizon of con- Kramer, who is curator of Native Ameri- temporary fashion by indigenous designers can and Oceanic Art and Culture at the Pea- Awill open in February at the National Museum body Essex Museum, says, “I wanted to create of the American Indian, George Gustav Heye a dynamic and unforgettable experience for Center in New York. audiences, one that could alter popularly The exhibition, Native Fashion Now, orga- held misconceptions about Native American nized by the Peabody Essex Museum of Salem, fashion, what it is and what it can be. Through Mass., will feature the work of more than 60 striking ensembles and accessories created artists from the United States and Canada. by established and emerging designers, the Running from February 17 to Sept. 4, 2017, it exhibition celebrates the visual range, creative is the last stop on a tour that began at the Pea- expression and political urgency of Native body Essex Museum in November 2015 and American fashion today.” ver l i

then travelled to the Portland Art Museum in Jared Yazzie (Diné), whose work is fea- S er Portland, Ore., and the Philbrook Museum of tured in the Activators section, says, “I think lt Wa Art in Tulsa, Okla. having streetwear and ready-to-wear fashion It is not divided into cultural areas, but into highlighted is really amazing since there are Photo by by Photo thematic categories: Pathbreakers, Revisitors, not a lot of streetwear Native brands doing Activators and Provocateurs. According to cu- their thing. Showing art through T-shirts Mike Bird-Romero (Ohkay Owingeh rator Karen Kramer of the Peabody Essex Mu- really opens up dialogue.” He began his [San Juan] and Taos Pueblos), and seum, “Pathbreakers blaze trails in innovative clothing line OXDX in 2009. The exhibition Eddie Begay (Diné), bracelets, and unexpected ways in Native fashion.” Revis- features his provocative Native Americans Dis- 2000–10. Sterling silver, spiny oyster, itors invigorate, revitalize and augment aspects covered Columbus T-shirt. abalone shell, turquoise, jet and onyx. Courtesy Catherine B. Wygant. of tradition. Activators explore streetwear with The intricately beaded Christian Louboutin ©2015 Peabody Essex Museum. topics involving current political advocacy and boots of Jamie Okuma (Luiseno/Shoshone- awareness. Provocateurs push the boundaries Bannock) appear in the Revisitors area. She of standard fashion with visionary works. describes them as “somewhat of a self-portrait

SMITHSONIAN INSTITUTION 47 Jamie Okuma (Luiseno and Shoshone-Bannock), boots, 2013–14. Glass beads on boots designed by Christian Louboutin. Museum com- mission with support from Katrina Carye, John Curuby, Karen Keane and Dan Elias, Cynthia Gardner, Merry Glosband, and Steve and Ellen Hoffman. Peabody Essex Museum, 2014.44.1AB. ©2015 Peabody Essex Museum.

and with imagery that has a lot of meaning for me.” She grew up on the La Jolla Indian Res- ervation in California where swallows would build their nests in the slides of the water park. The fledglings would often fall out, and Okuma and her parents would bring them home to raise. “They were around all time,” she says. “It was a design that I always loved.” Pathbreakers include the works of Patricia Michaels (Taos Pueblo) and Orlando Dugi (Diné). Michaels says of the exhibition, “This show is about powers in numbers. There’s never been a course in Native American fashion. This show is beginning to have the conversation that is needed. Native Americans still need to have a continued conversation for what is still yet to come.” Her work on the cable-TV competition program Project Runway was represented in her ver l Cityscape dress, painted on leather to reflect the i S

er windows of Manhattan in water. Dugi’s dress lt

Wa from his Desert Heat Collection was inspired by the sunsets in New Mexico when widespread

Photo by by Photo fires flared in the mountains. Dugi says, “It was devastating to the forests, but they produced some of the most spectacular sunsets from all the smoke in the air.” According to Jennifer Miller, NMAI project manager for the show in New York, “The Na- tive Fashion Now exhibition is a natural fit for NMAI in New York. It provides a unique op- portunity to showcase the work of these amaz- ing artists in one of the world’s fashion capitals.” A curatorial conversation in New York with Karen Kramer is scheduled for February 16 before the exhibition opening. A related symposium on cultural appropriation will be held on April 22. Native Fashion Now is organized by the Pea- body Essex Museum, Salem, Mass. The Coby Foundation Ltd. provided generous support. More information can be found at nmai. si.edu and in the Native Fashion Now: North ins American Indian Style catalogue by Karen h Coll

s Kramer with contributions from Jay Calderín, ho

T Madeleine M. Kropa and Jessica R. Metcalfe. (Published by Peabody Essex Museum and

Photo by by Photo DelMonico Books, Prestel in 2015.) X Jared Yazzie (Diné) for OxDx, Native Americans Discovered Columbus t-shirt, 2012. Cotton. Gift of Theresa Barbaro is a frequent contributor to American Indian Karen Kramer. Peabody Essex Museum, 2015.11.4. magazine, as writer and researcher. 48 AMERICAN INDIAN winter 2016 Orlando Dugi (Diné) and Troy Sice (Zuni), The Guardian – Bringer of Thunder, Lightning and Rain handbag, 2013. Elk antler, stingray leather, parrot feathers, bobcat fur, rubies, shell, glass beads and

s sterling silver. t is t ar e th f y o es t ur Photo Co Photo

SMITHSONIAN INSTITUTION 49 JOIN TODAY FOR ONLY $25 – DON’T MISS ANOTHER ISSUE!

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JOIN TODAY AND LET THE MUSEUM COME TO YOU! BECOME A MEMBER OF THE NATIONAL • 20% discount on all books purchased MUSEUM OF THE AMERICAN INDIAN from the NMAI web site FOR JUST $25 AND YOU’LL RECEIVE: • 10% discount on all purchases from • FREE 1 year subscription to our exclusive, the Mitsitam Café and all NMAI and full-color quarterly publication, American Smithsonian Museum Stores Indian magazine • Permanent Listing on NMAI’s electronic • Preferred Entry to the NMAI Mall Member and Donor Scroll Museum at peak visitor times

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THE REMARKABLE LARANCE SPECIAL ISSUE ...... FAMILY DECEMBER INDIANS ON THE POST ART OFFICE MARKETS WALLS + A NEW VANTAGE POINT ON CONTEMPORARY ARTISTS

Since1907 WRIGHTÕS

JOIN TODAY AND LET THE MUSEUM COME TO YOU! BECOME A MEMBER OF THE NATIONAL • 20% discount on all books purchased MUSEUM OF THE AMERICAN INDIAN from the NMAI web site FOR JUST $25 AND YOU’LL RECEIVE: • 10% discount on all purchases from • FREE 1 year subscription to our exclusive, the Mitsitam Café and all NMAI and full-color quarterly publication, American Smithsonian Museum Stores Indian magazine • Permanent Listing on NMAI’s electronic • Preferred Entry to the NMAI Mall Member and Donor Scroll Ring: Philbert Begay, Navajo Museum at peak visitor times Necklace: Jack Tom, Navajo Bracelet: Jolene Eustace, Zuni-Cochiti wrightsgallery.com Join online at www.AmericanIndian.si.edu or call toll free at 800-242-NMAI (6624) or simply Wright’s Indian Art • 2677 Louisiana N.E.,Abq, NM 87110 • 866-372-1042 • 505-266-0120 • [email protected] mail your check for $25 to NMAI, Member Services PO Box 23473, Washington DC 20026-3473 SMIthSoNIAN SMITHSONIAN INStItUtIoN INSTITUTION 5117 WRIGHTS_NMAI_HOLIDAY16nw2.indd 2 10/21/2016 11:11:41 AM

NMAI_FALL15.indd 16 2015-07-17 1:00 PM exhibitions + EVENTS CAlendar December 2016/January/February 2017

Smithsonian’s National Museum oF the American Public Programs Indian ON THE NATIONAL MALL IN WASHINGTON, D.C.

WASHINGTON EXHIBITIONS Our Universes: Traditional Knowledge Shaping Our World As We Grow: Traditions, Toys and Games Window on Collections: Many Hands, Many Voices

Return to a Native Place: den

Algonquian Peoples of Fog

the Chesapeake erine th a Patriot Nations: Native Americans in our Nation’s Armed Forces K by Photo Opening January 2017 Native Art Market 2016 and contemporary, as well as multicultural Ua Mau Ke Ea: Saturday, Dec. 3 and Sunday, Dec. 4 groups from the Washington, D.C. area: The Sovereign 10 a.m. – 5:30 p.m. mariachi music, West African dance, Taiko Hawaiian Nation Potomac Atrium drums, Salsa music and dance, Chinese youth CLOSING January 2017 Native artists from the Western Hemisphere lion dances, jazz and much more. Generous For a Love of His People: come together in this annual two-day market support for this festival is provided by the The Photography of highlighting their work and products. National Council of the National Museum of Horace Poolaw *See page 56 for a list of featured artists whose the American Indian. Through JUNE 2017 work will be available. Power of Chocolate The Great Inka Road: Out of Many Festival: Saturday, Feb. 11 and Sunday, Feb.12 Engineering an Empire A Multicultural Presentation 10:30 a.m. – 4:30 p.m. Through June 2020 of Music and Dance Potomac Atrium Nation to Nation: Saturday, Jan. 21 and Sunday, Jan. 22 The story of chocolate begins with a small tree Treaties Between the 10:30 a.m. – 5 p.m. that has its roots deep in the world of Meso- United States and Potomac Atrium american culture. Join us for a celebration of American Indian Nations Celebrating the Presidential Inauguration, one of the world’s most beloved foods. Explore Through Fall 2020 the Museum presents the 2017 Out of Many the rich history and ongoing story of chocolate Festival: A Multicultural Presentation of by grinding chocolate, creating a vase with Music and Dance. This two-day event will Maya glyphs and learning more about the highlight Native performers both traditional science, art and culture of chocolate.

52 AMERICAN INDIAN winter 2016 o

Scene from the Museum’s first Out s o r of Many: A Multicultural Festival of o m Music, Dance and Story. A t rnes hoto by E by hoto p SMITHSONIAN INSTITUTION 53 ExhIbITIOns + EVEnTs calendar deCemBer 2016/January/FeBruary 2017

FroM tarZaN to toNto: racist stereotyPes as obstacles to Progress toward a More PerFect uNioN thursday, Feb. 9 6 p.m. – 9 p.m. rasmuson theater, Potomac atrium As early Americans sought to defi ne their identity in a new country, race became a major fi xation. Tarzan and Jane, Tonto and the Lone Ranger, Uncle Ben and Aunt Jemima – these and other stereotypes about Native American, African and African American people have long been part of the American scene. Distinguished scholars, writers and critics will discuss the ongoing presence of such racist stereo- types and the barriers these stereotypes pose to the advancement of American cul- ture. A reception follows the symposium. From Tarzan to Tonto is co-sponsored with the National Museum of African Art, in celebration of the 2016 Grand Opening of the National Museum of African Ameri- can History and Culture. This program is generously supported by Accenture.

Drum hand-painted depicting caricatures of nine Cover, The Lone Ranger’s Companion Tonto, No. male faces, ca. 1925. wood, metal, hide and paint, 14, Feb.–April, 1954. In 1951, Dell Comics began 20½"x17 ⁄"x6½". Collection of the Smithsonian publishing a quarterly comic book series featuring National Museum of African American history and tonto, the Indian “sidekick” to television and Culture, gift of the Collection of James M. Caselli popular culture fi gure the lone Ranger. the series and Jonathan Mark Scharer. ran for 31 issues.

54 AMERICAN INDIAN wINtER 2016 Native Sounds Concert with James Lovell Saturday, Feb. 18 Potomac Atrium Celebrate Black History Month with an engaging concert of Garifuna music and culture performed by noted Garifuna artist and historian James Lovell.

Mother Tongue Film Festival Tuesday, Feb. 21 – Saturday, Feb. 25 Visit www.recoveringvoices.si.edu for event details The Smithsonian’s Recovering Voices Initia- tive will host a variety of film programs in conjunction with the second annual Mother Tongue Film Festival. The festival will begin on United Nations Mother Language Day,

Tuesday, Feb. 21, with feature and short- ll ve o L length films celebrating the importance of the mother tongues of the many indigenous ames y J

communities around the world, and show- es t casing films about language revitalization ur o and the quest to teach younger generations James Lovell c

languages that are rapidly disappearing. Photo

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abbykentflythefineart.com P.O. Box 309 • Spotsylvania, VA 22553 • (540) 895-5012 • (540) 538-9406 or 07

SMITHSONIAN INSTITUTION 55 2016 natIve art Market In waShInGtOn, DC: featureD artIStS

VIRgINIA bAllENgER StEVE lARANCE (Diné) (hopi) NavajoSpirit.com Jewelry textiles and Attire ChRIStIE lAtoNE NANIbAA bECK (Pueblo of zuni) (Diné) Jewelry Notabove.com gEoRgE lEVI Jewelry (Southern Cheyenne and PhIlbERt bEgAy Arapaho) (Diné) Painting/Illustration/Drawing Jewelry ANgElICA loPEz JolENE bIRD (Maya-Man) (Santo Domingo Pueblo) ixchelfriends.org Jewelry textiles and Attire JAMIE bRowN DEboRAh lUJAN (Pokagon band (taos Pueblo) of Potawatomi Indians) Photography basketry R MARtINEz JENNIE bRowN (tarahumara) (Pokagon band Facebook.com/rdianemartinez- of Potawatomi Indians) blackpottery basketry Pottery FRANKlIN CARRIllo EDwIN MIghEll JR. (Pueblo of laguna) (Inupiaq) Jewelry edmighell.wordpress.com VERoNICA CAStIllo SAlAS Mixed Media (Mixteca, olmeca) MoRRIS MUSKEtt Pottery (Diné) CoREN CoNtI morrismuskett.com (Athabascan) Jewelry Jewelry JhANE MyERS DARRICK tSoSIE (Jemez Pueblo) PhyllIS CooNSIS (Comanche) Pottery (Pueblo of zuni) jhanemyers.com Jewelry Mixed Media FElIx VIgIl (Jicarilla Apache) gARy CUStER PAhPoNEE Painting/Illustration/Drawing (Diné) (Kickapoo) Jewelry Pahponee.com JENNIFER whItE Pottery (three Affi liated tribes- Arikara) PoRFIRIo gUtIERREz postpilgrimartgallery.com (zapotec) SAbINA RAMIREz Painting/Illustration/Drawing porfi riogutierrez.com (Maya Ixil) Mixed Media textiles and Attire PEtER wIllIAMS (yupik) CoDy hARJo tAMA RobERtS seaotterfur.com (Seminole) (Cherokee Nation) textiles and Attire beadwork Sculpture and Carvings KAtERI SANChEz Jt wIllIE

JAyDEN hAtFIElD ARtIStS thE oF CoURtESy PhotoS (Diné) (Comanche Nation) (Pueblo of zuni) jtwilliedesigns.com CloCKwISE, FRoM toP lEFt: Kateri Painting/Illustration/Drawing Sculpture and Carvings beadwork Sanchez, Sabina Ramirez, Jolene bird, MAVAStA hoNyoUtI MARVIN SlIM Veronica Castillo Salas, Dawn Jackson. lAURA woNg-whItE bEAR (hopi) (Diné) (Colville Sinixt) mhonyouti.com Jewelry basketry Sculpture/Carvings EUgENE tAPAhE wIlMA CooK zUMPANo DAwN JACKSoN (Diné) (Akwesasne Mohawk) (Saginaw Chippewa tribe tapahephotography.com beadwork of Michigan) Photography Painting/Illustration/Drawing

56 AMERICAN INDIAN wINtER 2016 A gift in honor of a loved one

As someone who values education more highly than anything else, Mary Hopkins finds that the Smithsonian offers wonderful learning opportunities through its exhibitions, publications and travel programs. “I am always seeking new things to see, do and learn,” says Mary, who recently traveled to China and Tibet with Smithsonian Journeys. suggested bequest language We suggest using the following language to name “This legacy is a wonderful way the NMAI as a beneficiary of your will or trust. When completing retirement plan and life insurance for me to honor my husband, who beneficiary forms, you will want to be sure to use the was part Choctaw Indian.” correct legal name of the NMAI, as well as the federal tax identification number listed below.

Her late husband, Homer, shared her love of travel, and I hereby give, devise and bequeath she fondly recalls visiting Native lands with him to learn (specific dollar amount, percentage, or percentage about different tribes and cultures. “I wanted to make of the residue of my estate) to the Smithsonian a gift in my husband’s memory, but it was hard to come up National Museum of the American Indian located at 4th Street and Independence Avenue, with a concrete tribute,” reflects Mary. That is why, with SW, MRC 590, Washington, DC 20560-0590. guidance from the Smithsonian’s planned giving staff, The National Museum of the American she decided to pay tribute to her husband and support Indian’s federal tax identification number education with a bequest to endow internships at the is 53-0206027. National Museum of the American Indian.

“This legacy is a wonderful way for me to honor my husband, I would like more information on making who was part Choctaw Indian, and to support the educational a bequest to the NMAI. opportunities that I treasure at the Smithsonian,” remarks Mary. “This gift really hits the nail on the head.” I have included a gift to the NMAI in my will or other estate plan.

Smithsonian Your name(s) National Museum of the American Indian Address City

For more information, contact Melissa Slaughter State Zip National Museum of the American Indian Phone PO Box 23473 | Washington, DC 20026 (202) 633-6950 | [email protected] Email exhibitions + EVENTS CAlendar December 2016/January/February 2017

Smithsonian’s National Museum oF the American Public Programs Indian In new york city Native Art Market Storybook Reading and Market Dates: Saturday, Dec. 3 and Hands-on Activity NYC EXHIBITIONS Sunday, Dec. 4 Saturday, Jan. 14 10 a.m. – 5 p.m. 1 p.m. Diker Pavilion Education Classroom *See page 60 for a list of featured artists whose Listen to Kamik’s First Sled, a story about a work will be available. child learning the responsibility of training his dog in the Arctic. The book is inspired by Taino Music with Irka the life memories of elder Matilda Sulurayok Every Wednesday through January 2017 from Nunavut in northern Canada. Learn to (except for December 21 and 28) play the Inuit yo-yo game and make one to 3:30 p.m. take one home! Irka Mateo, singer-songwriter and educator, teaches children (ages 2–5) about Taino cul- Thunderbird Social ture through stories, songs, movement and Saturday, Jan. 21 hands-on activities. Free. Space is limited. 7 p.m. Registration is required; visit www.nmai. Diker Pavilion si.edu. Please note: program in Spanish. Join the Thunderbird Indian Singers and Dancers, led by Louis Mofsie (Hopi/Win- ll a Dabble with Drawing with Donna g h nebago) and participate in inter-tribal re Charging (Mandan/Hidatsa/ dances. Drum groups include Heyna Arikara and Eastern Shoshone) Second Sons Singers and the Silvercloud

Photo by g by Photo Thursday, Dec. 15 Indian Singers. Native Fashion Now 4:30 p.m. – 7:30 p.m. Opening Feb. 17, 2017 Join us for an evening of drawing inspired Winter Blast by the art of the Plains. Free. Registration Saturday, Jan. 28 Circle of Dance is encouraged; ages 9 and up. To register 12 p.m. – 4 p.m. Through Oct. 8, 2017 please email: [email protected] Rotunda Generous support for this workshop is provided Come inside and warm up by playing games Ceramica de los by Ameriprise Financial. from across the hemisphere in celebration of Ancestros: Central winter. Meet Talibah Begay (Navajo), America’s Past Revealed Storybook Reading and who will demonstrate Keshje, a Navajo Through December 2017 Hands-on Activity shoe game that is only played in winter after Infinity of Nations: Saturday, Dec. 10 the first official snowfall. Learn this game Art and History in the 1 p.m. as well as Inuit yo-yo and high kick game, Collections of the Education Classroom among others, and enjoy a variety of family- National Museum of the Listen to Giving Thanks: A Native American friendly activities. American Indian Good Morning Message by Chief Jake Swamp ONGOING (Mohawk) and illustrated by Erwin Printup, Jr. (Cayuga/Tuscarora). Make a cornhusk doll to take home!

58 AMERICAN INDIAN winter 2016 Orlando Dugi (Diné), dress, headpiece and cape, Desert Heat Collection, 2012. Silk, organza, feathers, beads and 24k gold; porcupine quills and feathers; feathers, beads and silver. ©2015 Peabody Essex Museum. Hair and Makeup: Dina DeVore. Model: Julia Foster hy rap Photog k é n /U rancis F e t a Photo by N by Photo

SMITHSONIAN INSTITUTION 59 ExhIbITIOns + EVEnTs calendar deCemBer 2016/January/FeBruary 2017

the art oF storytelliNg with steveN Judd (kiowa) 2016 natIve art Market wednesday – Friday, Feb. 8–10 10 a.m. and 11 a.m. In new YOrk: featureD artIStS diker Pavilion AllEN ARAgoN StARR hARDRIDgE lylE SECAtERo (Diné) (Muscogee Nation) (Diné) saturday, Feb. 11 allenaragongallery.com [email protected] lylesecatero.com 11 a.m. – 4 p.m., on the hour Mixed Media Painting/Illustration/Drawing Jewelry diker Pavilion bENDREw AtoKUKU JIMMIE hARRISoN tRoy SICE (hopi) (Diné) (Pueblo of zuni) Join fi lmmaker and artist Steven Judd Sculpture/Carvings Jewelry [email protected] Sculpture/Carvings (Kiowa) as he screens several of his short PEtER booME bRENDA hIll fi lms(Indian and the Tourist, First Contact, (Upper Skagit) (tuscarora) PENNy SINgER Round Dance, Shhhhh) and discusses the araquin.com Pottery (Diné) ideas and stories behind the fi lms as well as Mixed Media SUSAN hUDSoN pennysinger.com textiles and Attire the fi lmmaking process. On Saturday, share AARoN bRoKEShoUlDER (Diné) your personal stories through the creation of (Absentee Shawnee tribe textiles and Attire NAoMI SMIth (Chippewas of Nawash) stop-motion fi lms. Judd will lead participants of oklahoma) JESSE JohNSoN doyouhaveabrokeshoulder.com beadwork in creating stop-motion fi lms on their own (Pueblo of zuni) Jewelry Jewelry MAtAgI SoRENSEN smartphones or tablets. A limited number JARED ChAVEz (yavapai Apache Nation) of tablets will be available for participants gRANt JoNAthAN (Pueblo of San Felipe) (tuscarora) matagifi neart.com without smartphones. chavezstudio.com beadwork Jewelry Jewelry JoDy NARANJo DEANNA SUAzo storybook readiNg aNd KElly ChURCh (Santa Clara Pueblo) (taos Pueblo) haNds-oN activity (grand traverse band jodynaranjo.com Painting/Illustration/Drawing saturday, Feb. 11 of ottawa and Chippewa) Pottery RAyMoND tSAlAtE woodlandarts.com 1 p.m. hIRAM PEyNEtSA (Pueblo of zuni) basketry education classroom (Pueblo of zuni) Sculpture/Carvings Listen to The Star People: A Lakota Story by KRIStEN DoRSEy Sculpture/Carvings ADRIAN wAll (Chickasaw Nation) VERoNICA PoblANo (Jemez Pueblo) S.D. Nelson (Standing Rock Sioux). Learn kristendorseydesigns.com (Pueblo of zuni) adrianwall.com about the importance of the “Morning Star” Jewelry Jewelry Jewelry design and make a star to take home. thoMAS FARRIS toNyA RAFAEl KAthlEEN wAll (otoe-Missouria) (Diné) (Jemez Pueblo) Native FashioN Now: Printing/Illustration/ Jewelry kathleenwall.com curator’s coNversatioN Drawing Pottery ChARlENE SANChEz REANo thursday, Feb. 16 glENDoRA FRAgUA (Pueblo of San Felipe) DENISE wAllACE (Jemez Pueblo) 6 p.m. Jewelry (Chugach Alutiiq) diker Pavilion Pottery denisewallace.com KEN RoMERo RoNNI-lEIgh & StoNEhoRSE Jewelry Join Karen Kramer, curator of Native (Pueblo of laguna) goEMAN American and Oceanic Art and Culture kenromerojewelry.com bERtA wElCh (onondaga-Seneca) at the Peabody Essex Museum and curator of Jewelry (Aquinnah wampanoag) Nativeblackashbaskets.com Jewelry the exhibition, in conversation with NMAI basketry MAtEo RoMERo (Cochiti Pueblo) MoNtE yEllow bIRD, SR. associate curator Kathleen Ash-Milby JoSE bUENAVENtURA materoromerostudio.com (three Affi liated tribes) (Navajo) about the development of the goNzAlEz Painting blackpintohorsefi nearts.com Native Fashion Now exhibition. (zapotec) Painting/Illustration/Drawing mexicanweaver.com ChRISty RUby textiles (tlingit) crubydesigns.com DoRothy gRANt textiles and Attire (haida) dorothygrant.com textiles and Attire

60 AMERICAN INDIAN wINtER 2016 2016 natIve art Market In new YOrk: featureD artIStS

FRoM lEFt to RIght, toP Row: Allen Aragon, DeAnna Suazo. MIDDlE Row: Jose buenaventura gonzalez, Kristen Dorsey, Peter boome. bottoM Row: Monte yellow bird, Sr. PhotoS CoURtESy oF thE ARtIStS thE oF CoURtESy PhotoS

SMIthSoNIAN INStItUtIoN 61 Celebrate the inauguration of the 45th President of the United States at the 2017 Native Nations Inaugural Ball

Join us at the Smithsonian Institution’s National Museum of the American Indian in Washington D.C. on Editorial Committee Cameron McGuire Katherine Fogden (Mohawk) Eileen Maxwell Jose Barreiro (Taino) John Haworth (Cherokee) David Saunders James Ring Adams Doug Herman Gabrielle Tayac (Piscataway) Kathleen Ash-Milby (Navajo) Ramiro Matos (Quechua) Tanya Thrasher (Cherokee)

Board of Trustees

Brenda Toineeta Pipestem (Eastern Band Kristopher Easton Lance Morgan (Winnebago Tribe of of Cherokee), Chair The Honorable William H. Frist, MD Nebraska) Andrew J. Lee (Seneca), Vice-Chair Jeff L. Grubbe (Agua Caliente Band Deborah Parker (Tulalip/Yaqui) Margaret L. Brown (Yup’ik), Secretary of Cahuilla Indians) Brian Patterson (Oneida Indian Nation) S. Haunani Apoliona (Native Hawaiian) Sven Haakanson (Alutiiq) Valerie Rowe Kim Baird (Tsawwassen First Nation) LaDonna Harris (Comanche) David J. Skorton, ex officio danah boyd Richard Kurin, ex officio Loretta Tuell (Nez Perce) William K. Butler II Bill Lomax (Maskaluuwasxw) Darreld “Deacon” Turner II (Cherokee) Brenda Child (Red Lake Ojibwe) Richard Luarkie (Pueblo of Laguna) Amanda Cobb-Greetham (Chickasaw) Victor Montejo (Jakaltek Maya)

New York Board of Directors Valerie Rowe, Chair Margot P. Ernst Jane F. Safer Andrew J. Lee (Seneca), Vice-Chair Stephen J. Friedman Ann Silverman (Ojibwe) Benita Potters (Agua Caliente Band of Catherine Morrison Golden Josh Spear Cahuilla), Vice-Chair Bradford R. Keeler (Cherokee) Howard Teich Charles M. Diker, Founding Co-Chair Lance E. Lindblom Leslie A. Wheelock (Oneida Tribe of Valerie T. Diker, Founding Co-Chair Oliver Niedermaier Wisconsin) Michael Bernstein Jacqueline Johnson Pata (Tlingit) Randall L. Willis (Oglala Lakota) Peggy Burns Antonio Pérez, PhD Barbara H. Block, Emerita Lois Sherr Dubin Brenda Toineeta Pipestem (Eastern Band James A. Block, Emeritus John L. Ernst of Cherokee), ex officio

National Council Allison Hicks (Prairie Band of Potawatomi Marilyn S. Grossman, District of Columbia Carol Schwartz, District of Columbia Indians), Co-Chair, California LaDonna Harris (Comanche), New Mexico Shelby Settles Harper (Caddo Nation), Gregory A. Smith, Co-Chair, Maryland Melissa Holds the Enemy (Crow), Montana Maryland Elizabeth M. Alexander, Virginia Jennifer Jones, Minnesota V. Heather Sibbison, District of Columbia Jackson S. Brossy (Navajo Nation), Zackeree Sean Kelin (Caddo Nation) and Joan and Marx Sterne, Virginia District of Columbia Maria Bianca Garcia Kelin, New Mexico Ernest L. Stevens, Jr. (Oneida Tribe of Margaret L. Brown (Yup’ik), Alaska Paul Moorehead, District of Columbia Wisconsin), Wisconsin Quincalee Brown, Virginia Lori Nalley (Muscogee Creek Nation), Jerry C. Straus, District of Columbia Stephanie A. Bryan (Poarch Band of Oklahoma Geoffrey D. Strommer, Oregon Creek Indians), Alabama Susan Napier, California Tishmall Turner (Rincon Band of Luiseño Uschi and William Butler, New Mexico Jessica Gonzales Norte (Agua Caliente Band Indians), California David Cartwright, New Mexico of Cahuilla Indians), California Jill Cooper Udall, New Mexico Vincent R. Castro, Delaware Brenda Toineeta Pipestem (Eastern Band Mellor C. Willie (Navajo), District of Brian Cladoosby (Swinomish), Washington of Cherokee), Oklahoma Columbia Charles M. Froelick, Oregon Clara Lee Pratte (Navajo Nation), Maryland Jeff Weingarten, District of Columbia Keller George (Oneida Indian Nation), Robert Redford, Utah Leslie A. Wheelock (Oneida Tribe of New York Robert W. Roessel (Diné), Arizona Wisconsin), District of Columbia Lile R. Gibbons, Connecticut Alice N. Rogoff, Alaska

SMITHSONIAN INSTITUTION 63 museumguide

NMAI ON THE NATIONAL MALL IN WASHINGTON, D.C.

HOURS: 10 a.m.–5:30 p.m. daily, closed Dec. 25. LOCATION: 4th St. and Independence Ave. SW, Washington, D.C. 20560 (Located on the National Mall between the Smithsonian’s National Air and Space Museum and the U.S. Capitol) PHONE: (202) 633-1000 TTY: (202) 633-5285 www.AmericanIndian.si.edu NEAREST METRO STATION: L’Enfant Plaza (Blue/Orange/Green/Yellow lines). Take the Maryland Avenue/Smithsonian Museums exit. ADMISSION: Free to the public. FREE HIGHLIGHTS TOURS: Free, daily highlights tours led by Native cultural interpreters. Visit the Welcome Desk the day of your visit for tour times. DINE & SHOP: Eat in the critically acclaimed Mitsitam Native Foods Cafe; open daily from 10 a.m. to 5 p.m. The full menu is available from 11 a.m. to 3 p.m., with a smaller menu from 3 p.m. to 5 p.m. Shop for unique gifts in the Roanoke Museum Store; open daily from 10 a.m. to 5:30 p.m. GROUP ENTRY: Groups of 10 or more may schedule an entry time for admission through the reservations office via the education office: (202) 633-6644 or (888) 618-0572 or email [email protected]. School groups can also arrange for an educational visit by calling the numbers above.

NMAI IN NEW YORK CITY

HOURS: The museum is open daily 10 a.m.–5 p.m., Thursdays until 8 p.m.; closed Dec. 25. Free admission. SHOP: The Gallery Shop features a large collection of books on Native cultures as well as authentic pottery and handcrafted jewelry and has a variety of children’s books, posters, toys, souvenirs and musical instruments. Open daily 10 a.m.-5 p.m. Call (212) 514-3767 for more information. LOCATION: National Museum of the American Indian in New York, One Bowling Green, New York, NY 10004

Call (212) 514-3700 for more information. For program updates, visit www.AmericanIndian.si.edu and click “events.” For Film and Video updates call (212) 514-3737 or visit http://nmai.si.edu/explore/ film-video/programs/

All programs are subject to change. For membership information, call (800) 242-NMAI.

64 AMERICAN INDIAN wINtER 2016

Reverence For Life II, acrylic on canvas, 30” x 40”