Takeaways:

• Aiko Little emphasizes the importance of pursuing education and passion as foundational elements for personal and professional growth.
• Their journey through the foster care system profoundly shaped their understanding of success and the nature of storytelling.
• In thier role within the Writers Guild, they advocates for amplifying indigenous voices in the creative industry, striving for inclusivity and representation.
• Aiko encourages young creatives to embrace their unique paths and pursue opportunities that may initially seem out of reach.
• They reflect on how their influences, including matriarchs and comedic figures, have shaped their artistic voice and perspective.
• Aiko aspires to create formalized training opportunities for indigenous youth, highlighting the necessity of mentorship and support.

Links referenced in this episode:

• elevenwarriorarts.com

Companies mentioned in this episode:

• Writers Guild of America
• Amazon
• Wong Fu Productions
• Starkid Productions
• American Conservatory Theater
• Tia LeClaire

Takeaways:

1. Penny Kagigebi's artistic journey embodies the intersection of queer activism and cultural healing through endangered Indigenous art forms.
2. The exhibition 'Queering Indigeneity' serves as a platform for two spirit artists to reclaim cultural narratives and foster community connections.
3. Penny emphasizes the importance of mentorship and intergenerational knowledge transfer among Indigenous artists to ensure the survival of cultural practices.
4. Through her artwork, Penny aims to facilitate healing and remembrance within the community by integrating significant cultural teachings and values.
5. The collaborative nature of the exhibition highlights the transformative power of art in creating spaces of acceptance and belonging for two spirit individuals.
6. Penny's commitment to community engagement reflects a desire to empower Indigenous youth and nurture the next generation of artists in their cultural practices.

Companies mentioned in this episode:

1. Region 2 Arts Council
2. Anishinaabe Arts Initiative
3. Lake Regions Art Council
4. Minnesota State Arts Board
5. First People's Funds
6. Cultural Capital
7. Emerging Curators Institute
8. Manoomin Arts Initiative
9. Minnesota AIDS Project
10. Indigenous People's Task Force
11. Art of the Rural
12. Textile Center

Takeaways:

1. Suzan Shown Harjo's advocacy for Native American rights spans over six decades, marking her as a pivotal figure in this movement.
2. As the president of The Morning Star Institute, Harjo has played a crucial role in enacting significant legislation that protects Indigenous rights and cultures.
3. Her leadership in campaigns against derogatory Native mascots has resulted in the successful removal of offensive names from American sports.
4. Harjo's interdisciplinary contributions as a poet, curator, and journalist have enriched the cultural landscape of Native American narratives throughout her career.

Links referenced in this episode:

1. elevenwarriorarts.com

Companies mentioned in this episode:

1. Morningstar Institute
2. National Congress of the American Indians
3. Native American Rights Fund
4. University of Oklahoma
5. Dartmouth
6. Syracuse University
7. St. John's University
8. University of Minnesota
9. WBAI
10. Pacifica
11. CBS
12. Walter Cronkite
13. Philip Glass
14. Annie Revere
15. Lillian Hellman
16. Yip Harburg
17. Ring Lardner Jr.
18. Medicine Lodge Creek

Takeaways:

1. Suzan Shown Harjo has dedicated over sixty years to advocating for Native American rights.
2. She was instrumental in the passage of significant legislation, including the American Indian Religious Freedom Act.
3. Harjo's efforts led to the return of over one million acres of Indigenous lands and the elimination of offensive sports mascots.
4. As President of The Morning Star Institute, she continues to be a leading voice for Indigenous culture and legal rights.
5. Her work has garnered numerous accolades, including the Presidential Medal of Freedom in 2014.
6. Harjo emphasizes the importance of community and kinship in Indigenous cultures, drawing parallels with Mediterranean societies.

Links referenced in this episode:

1. elevenwarriorarts.com

Companies mentioned in this episode:

1. Morningstar Institute
2. National Congress of the American Indians
3. Native American Rights Fund
4. American Indian Religious Freedom Act
5. National Museum of the American Indian Act
6. Native American Graves Protection Act
7. McDonnell Douglas Aircraft
8. Haskell Indian Nations University
9. WBAI Radio
10. American Indian Press Association

And be sure to stay tuned in February 2026 for season 7!

Make sure to subscribe and checkout elevenwarriorarts.com to find your exclusive 5 Plain Questions podcast merchandise.

Takeaways:

• Fred Edwards exemplifies unwavering commitment to narrative justice and community empowerment through innovative initiatives.
• Umoja serves as a transformative leadership program, redirecting youth towards meaningful careers and cultural awareness.
• Fred's Dissonance, a multi-generational initiative, reshapes educational paradigms with culturally relevant curricula and practices.
• Fred's compelling spoken word performances resonate across diverse audiences, showcasing his life journey and ability to inspire change.
• The youth that Fred works with serve as a mirror, challenging him to confront his own struggles and inspire resilience.
• Fred's personal story, marked by resilience and creativity, underpins his dedication to fostering positive change in his community.

Links referenced in this episode:

• elevenwarriorarts.com
• www.waterers.org
• umojaincorporated.com
• emojia inc. on Instagram

Companies mentioned in this episode:

• Umoja Inc.
• Food Network
• Waterers
• Art of the Rural

Watch Fred on Diners, Drive-Ins & Dives with Guy Fieri!

https://youtu.be/pYqsP4X4pgM?si=3_4g5UTvNks0fgAQ

Links referenced in this episode:

• waterers.org
• elevenwarriorarts.com

Companies mentioned in this episode:

• Minnesota Museum of American Art
• Vision Maker Media
• Lookout Records
• Minnesota Historical Society
• Badema Kuska
• Art Bridges
• Birch Bark Books

Takeaways:

• Anna Johnson is a Native American artist from North Dakota, dedicated to bridging cultural gaps through her art.
• Her work includes public murals and collaborations with community members, fostering local engagement and visibility.
• Johnson emphasizes the importance of representation on arts boards and actively challenges traditional narratives in art.
• Through her residency programs, she inspires young artists and advocates for access to art education in rural schools.

Links referenced in this episode:

• waterers.org
• elevenwarriorarts.com

Companies mentioned in this episode:

• Waterers
• NDSU
• Art of the Rural

Takeaways:

• Kowsar Mohamed emphasizes the significance of community-led initiatives in fostering equitable economic development.
• Her journey illustrates the importance of resilience and adaptability in navigating career transitions and academic pursuits.
• The discourse highlights the necessity of integrating emotional intelligence with logical frameworks to enhance governance structures.
• Mohamed's experiences underscore the value of empathetic leadership grounded in cultural and ancestral wisdom.
• The podcast advocates for a reimagined approach to philanthropy that prioritizes community empowerment and inclusivity.
• Kowsar Mohamed's multifaceted career illustrates the intersection of environmental sustainability and social equity in contemporary economic practices.

Links referenced in this episode:

• www.waterers.org

Companies mentioned in this episode:

• Waterers
• University Minnesota
• Ecosystem X
• Xcel Energy
• Art of the Rural

Takeaways:

• In this podcast episode, we delve into the life and work of Destina Gill, a prominent Indigenous artist and community leader.
• Dustina Gill has founded NISTO Incorporated, a nonprofit organization dedicated to youth leadership and environmental justice.
• Throughout her journey, Dustina emphasizes the importance of storytelling as a means of healing and preserving Dakota culture.
• The conversation highlights the significance of community engagement and the need for intergenerational knowledge sharing among Indigenous peoples.
• Destina reflects on the profound impact of loss and the role of art in processing grief within her community.
• Finally, we discuss how contemporary Indigenous art serves as a reflection of current societal challenges, bridging the past and present.

Links referenced in this episode:

• elevenwarriorarts.com
• https://www.facebook.com/neeshtoinc/

Companies mentioned in this episode:

• NIS'TO Incorporated

Takeaways:

• Reyna Hernandez's artistic practice is deeply rooted in her Indigenous heritage and personal narratives.
• The collaborative approach utilized by Reyna and her team fosters community engagement and shared storytelling.
• Public art serves as a crucial medium for expressing Indigenous identities and challenging colonial narratives.
• Reyna emphasizes the importance of authentic representation of Indigenous women in her work, countering historical misrepresentation.
• The community-based mural projects aim to create accessible art that resonates with local populations and fosters connection.
• Reyna's experiences reveal the complexities and challenges of navigating public perception and collaboration in art.

Links referenced in this episode:

• waterers.org
• elevenwarriorarts.com
• https://offthewallgallery.com/

Companies mentioned in this episode:

• Waterers
• University of South Dakota
• Oscar House Art Institute
• Off the Wall Gallery

Mentioned in this episode:

The Waterers

Ryan’s artistic philosophy emphasizes collaboration and the necessity of community-based storytelling. He reflects on how the supportive fabric of the Twin Cities’ artistic environment has fostered his projects, allowing for the coalescence of diverse voices and ideas. The episode further explores his current endeavors, including his work on a feature-length documentary titled 'Why We Dance', which illustrates the significance of indigenous dance as a vessel for cultural expression. Through heartfelt anecdotes and a commitment to social justice, Ryan's insights serve as a testament to the belief that art can indeed shape societal discourse, encouraging future generations to embrace their narratives and create collaborative spaces for change.

Takeaways:

Ryan Stopera's profound journey as a self-taught artist began with his dedication to social work, emphasizing the importance of community engagement.

Through his documentary work, Ryan has elevated marginalized narratives and transformed them into powerful stories that resonate with audiences.

Collaboration is a cornerstone of Ryan's artistic practice, allowing him to merge storytelling with community organizing for impactful change.

Ryan's filmmaking endeavors strive to showcase the often-invisible aspects of community life, fostering connection and understanding among diverse populations.

The influence of familial relationships, particularly the memory of his late sister, serves as a driving force in Ryan's creative expressions and storytelling.

As an artist, Ryan advocates for the significance of building intentional relationships that sustain collaborative projects and enrich the creative process.

Links referenced in this episode:

www.waterers.org

elevenwarriorarts.com

https://www.ryanstopera.com/

https://www.artoftherural.org/

Companies mentioned in this episode:

Waterers

Bank of America

Art of the Rural

Takeaways:

The podcast episode features Talon "Bazille" Ducheneaux, a multifaceted artist from the Cheyenne River Lakota and Crow Creek Dakota nations, who shares his profound journey in the music industry.

Ducheneaux emphasizes the importance of community engagement through music, highlighting his role in managing the Wicahpi Olowan Music Program Recording Studio.

He articulates the significance of mentorship in his career, detailing how influential figures have shaped his artistic and personal development.

The conversation delves into Ducheneaux's reflections on the evolving nature of Indigenous representation in the arts and the necessity for greater recognition of Indigenous artists.

His narrative illustrates the transformative power of music as a medium for cultural expression, resilience, and healing within Indigenous communities.

Ducheneaux stresses the importance of creating opportunities for youth in the arts, showcasing his commitment to fostering new talent and supporting emerging artists.

Chapters:

00:29 - Introduction to Talon "Bazille" Ducheneaux

03:45 - Talon "Bazille" Ducheneaux: Influences and Inspirations

10:24 - The Journey of Musical Discovery

17:06 - Opportunities and Growth in Music

25:21 - Cultural Reflections on Community Celebration

28:01 - The Journey of Growth and Connection

32:22 - Exploring the Sound Design Journey

Links referenced in this episode:

https://www.bazille.info/about

Https://www.waterers.org

elevenwarrioararts.com

Companies mentioned in this episode:

Wicahpi Olowan Music Program

First People's Fund

Playing for the Change

Oglala Lakota Art Space

Cornerstone Theatre Company

Kennedy Center

Guthrie Theatre

Pennsylvania Academy for the Fine Arts

USD

Art of the Rural

Waters

Indigenous Association in Downtown Fargo

indigenous artists, indigenous music, native hip hop, talon "Bazille" Ducheneaux, native sound design, indigenous communities, cultural resilience, indigenous mentorship, indigenous music programs, first people's fund, playing for change foundation, dakota culture, lakota culture, soundscapes, indigenous theater, community engagement, native youth empowerment, music therapy, indigenous storytelling, indigenous creators

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Mentioned in this episode:

Waterers intro

Takeaways:

This podcast episode showcases the immense contributions of indigenous artists, emphasizing their cultural significance and community impact.

Gary Farmer discusses his extensive career in acting and music, highlighting pivotal moments and personal growth within the arts.

The conversation touches on the importance of preserving indigenous languages and stories through various artistic expressions.

Farmer reflects on the need for indigenous representation in media and the arts, advocating for equitable opportunities and recognition of native talent.

The episode emphasizes the historical context of indigenous peoples, underscoring the long-standing cultural traditions that inform contemporary artistic practices.

Farmer's insights into the challenges faced by indigenous artists reveal a broader narrative about resilience, identity, and the struggle for visibility in society.

Chapters:

00:28 - Introducing Gary Farmer

01:40 - Introduction to Gary Farmer

24:53 - The Influence of Language and Culture in Indigenous Identity

40:44 - The Impact of Cultural Identity on Art

53:20 - Exploring Cultural Identity Through Film

01:13:24 - The Power of Hemp: A New Era for Indigenous Communities

Companies mentioned in this episode:

Aboriginal People's Television Network

Reservation Dogs

Resident Alien

Quantum Cowboys

Blood Quantum

Gary Farmer and the Troublemakers

Fancy Dance

Hemp

Indigenous Music Countdown

indigenous artists, Native American culture, indigenous music, Gary Farmer interview, Reservation Dogs, Blood Quantum film, Powwow Highway, indigenous storytelling, indigenous theater, indigenous creators, Native American filmmakers, cultural representation, indigenous voices, indigenous communities, indigenous musicians, Native American history, indigenous language preservation, indigenous rights, indigenous heritage, Native American podcast

The dialogue presented within the podcast delves into an array of pertinent subjects, accentuating the intricate interplay between societal norms and individual agency. The speakers elucidate the profound impact of cultural paradigms on personal decision-making processes, thereby underscoring the duality of conformity and autonomy. Throughout the discourse, we meticulously analyze case studies that exemplify how individuals navigate the labyrinth of societal expectations, often grappling with the dichotomy of adhering to collective standards versus pursuing personal authenticity. The speakers also articulate the ramifications of these choices on mental well-being, emphasizing the necessity for self-awareness and critical reflection in the face of external pressures. This exploration not only invites introspection among listeners but also encourages a broader consideration of the societal structures that shape our realities, fostering a nuanced understanding of the human experience in contemporary contexts.

Takeaways:

• In the podcast, we elucidate the significance of effective communication in professional environments.
• I emphasize the necessity of adaptability in our approaches to problem-solving in diverse situations.
• We explore the profound impact of teamwork on achieving collective goals and fostering innovation.
• I highlight the importance of continuous learning and personal development in one’s career trajectory.
• We discuss strategies to enhance productivity and efficiency within organizational frameworks.
• I reflect on the necessity of emotional intelligence in leadership and interpersonal relationships.

Engaging in a deep and meaningful dialogue, this episode features a conversation with Jeremy Red Eagle, who epitomizes the commitment to preserving and revitalizing Dakota culture and language. As a member of the Sisseton Wahpeton Oyate, Jeremy's personal narrative unfolds against the backdrop of historical struggles faced by indigenous communities, particularly concerning the loss of cultural identity. Through the lens of his own experiences, he articulates the complex process of connecting with his heritage, emphasizing the importance of understanding one's roots to foster a strong sense of self among youth.

Jeremy's work spans over 15 years and is characterized by a holistic approach that integrates traditional practices into contemporary youth engagement. He passionately advocates for the revitalization of the Dakota language, recognizing it as a fundamental aspect of cultural identity. His initiatives, ranging from traditional bow making to storytelling—serve not only to educate young people but also to empower them by instilling pride in their heritage. As he shares his insights, the absence of a distinct term for 'art' within the Dakota language becomes a focal point, illustrating how artistic expression is inherently tied to cultural practices and daily life.

In our discussion, Jeremy also addresses the challenges of working with today's youth, particularly in navigating modern influences that often conflict with traditional values. He emphasizes the significance of mentorship and the necessity of building trust with young people, advocating for a gentle approach that encourages inquiry and critical thinking. Looking ahead, Jeremy envisions a future where the next generation dismantles oppressive systems and embraces self-sufficiency, thereby reclaiming their cultural narrative. This episode serves as a powerful reminder of the resilience of indigenous communities and the vital role of cultural education in shaping a brighter future.

Takeaways:

This podcast episode features a compelling dialogue with Jeremy Red Eagle, who discusses his experiences as a cultural practitioner.

Jeremy emphasizes the significance of revitalizing the Dakota language and traditional practices among Indigenous youth.

He shares his personal journey of reconnecting with his Dakota roots, asserting the importance of identity and culture.

The episode highlights the role of elders in transmitting knowledge and the impact of colonization on cultural practices.

Jeremy advocates for a holistic approach to youth engagement, combining traditional teachings with contemporary methods.

He envisions a future where Indigenous youth are empowered to reclaim their identities and cultural practices.

Chapters:

00:06 - Introduction to Indigenous Voices

07:09 - Jeremy Red Eagle's Journey Towards Cultural Reconnection

18:27 - The Journey into Art: A New Beginning

24:51 - Language and Tradition in Dakota Culture

32:42 - Bridging Generations: Working with Youth and Elders

45:09 - Reclaiming Identity and Values in a Modern World

Links referenced in this episode:

elevenwarriorarts.com

www.waterers.org

Takeaways:

The podcast features an enlightening discussion with indigenous artist Sergio Paez, highlighting his extensive career in the entertainment industry. Sergio Paez shares insights into his journey from storyboard artist to director, emphasizing the importance of education and mentorship.

Listeners gain knowledge about the significance of community support in the development of indigenous arts and storytelling. The episode underscores the value of practical training and networking within the entertainment industry for aspiring artists. Sergio discusses the evolution of his platform, storyboardart.org, designed to educate and support emerging storyboard artists.

The conversation reveals the collaborative nature of the film industry, illustrating how mentorship and guidance can shape artistic careers.

Links referenced in this episode:

storyboardart.org

sergiopaez.com

elevenwarriorarts.com

Companies mentioned in this episode:

Pixar

Lucasfilm

Disney

Sony

indigenous artists, storytelling, visual effects, animation,

film production, storyboard artist, Sergio Paez, Pixar, Lucasfilm,

entertainment industry, creative development, art education, mentorship

program, storyboardart.org, artistic career, film and television, animation

techniques, professional artist, art community, creative process

Links referenced in this episode:

storyboardart.org

sergiopaez.com

elevenwarriorarts.com

This episode provides an in-depth exploration of the artistic journey of Tina Tavera, a Latinx artist whose work is a testament to the rich interplay of identity, culture, and community. Tina's artistic practice is profoundly influenced by her upbringing, straddling the worlds of Minnesota and Mexico, which informs her exploration of themes surrounding racial and ethnic identity. Her commitment to examining the complexities of Latinidad within the United States resonates throughout her work, as she utilizes various mediums to challenge conventional narratives around race and culture. The dialogue reveals Tina's introspective approach to art, highlighting how her experiences as a mother have prompted her to reflect on the cultural legacies she wishes to impart to her children.

Host Joe Williams engages with Tina in a thoughtful discussion about the milestones that have shaped her career, particularly her impactful exhibition on 'Casta', which addresses the historical complexities of racial classification. Tina's insights illuminate the ongoing struggles within the Latinx community regarding self-identification and the societal pressures that accompany it. Furthermore, the episode emphasizes Tina's dedication to her community, particularly through her role at Serpentina Arts, where she advocates for the advancement of Latinx artists. The conversation culminates in a compelling reminder of the importance of cultural engagement in bridging divides, encouraging listeners to seek out and support artistic endeavors that celebrate diverse narratives. This episode serves as both an enlightening exploration of identity and a call to action for fostering community connections through the arts.

Takeaways:

The podcast episode features an insightful conversation with Minneapolis-based artist Tina Tavera, who explores cultural identity through her multifaceted artwork.

Tina Tavera's artistic journey is deeply influenced by her transnational upbringing between Minnesota and Mexico, allowing her to reflect on issues of race and identity.

The discussion emphasizes the importance of community engagement, highlighting how art can foster understanding and connection among diverse cultural groups.

Tina's recent projects involve a series titled 'Bestiarios', where she incorporates mythical creatures to narrate contemporary stories and advocate for cultural awareness.

The dialogue underscores the significance of cultural experiences, especially in the wake of the pandemic, encouraging audiences to engage with local art and events.

Tina's reflections on her artistic practice reveal the balancing act between her professional commitments and her passion for arts advocacy in the community.

Links referenced in this episode:

https://www.mariacristinatavera.com/

Https://www.elevenwarriorarts.com

https://uslaf.org/member/maria-christina-tina-tavera/

https://artorg.info/?page_id=1024

Instagram:

https://www.instagram.com/tina.tavera/

Companies mentioned in this episode:

Art of the Rural

McKnight Visual Arts Fellowship Grant

Smithsonian Latino Museum Studies Program

Museum of Modern Art

Boston Museum of Fine Arts

National Museum of Mexican Art

Wiseman Art Museum

Walker Art Center

Minneapolis Institute of the Arts

College Art Association

Serpentina Arts

Metro State University

Tweed Museum

Duluth Museum

Mentioned in this episode:

Art of the Rurul

Founded in 2010, Art of the Rural is a collaborative arts and culture non-profit organization that works to resource artists and culture bearers across the country to build the field, change the narrative, and bridge divides. https://www.artoftherural.org/

Takeaways:

• The podcast showcases the significant contributions of indigenous artists and creators, highlighting their impact on community culture.
• Mali Obomsawin, a versatile bassist and composer, embodies modern indigenous artistry through her eclectic musical styles.
• The importance of personal experiences and environments in shaping an artist's creative journey was emphasized throughout the discussion.
• The conversation touched upon the challenges faced by artists regarding wellness and the need for time to reflect and engage with their creative practices.

Links referenced in this episode:

• https://www.maliobomsawin.com/
• https://mali-obomsawin.bandcamp.com/album/greatest-hits
• https://elevenwarriorarts.com

Companies mentioned in this episode:

• Dear Lady
• Julia Keefe
• Louis Armstrong
• Ella Fitzgerald
• Buena Vista Social Club
• Arabic Groove
• New England Conservatory
• Berkeley College of Music
• Dartmouth College
• Bren Puppet Theater

Mentioned in this episode:

Check out https://www.artoftherural.org/ for more information on the work of Art of the Rural.

Takeaways:

• Billy Mills, an Olympic gold medalist, dedicated his life to advocating for Indigenous youth.
• He co-founded Running Strong for American Indian Youth to support health and sports initiatives.
• Mills emphasizes the importance of cultural values and traditions in empowering future generations.
• His life's work reflects a commitment to unity, diversity, and the healing of historical trauma.

Links referenced in this episode:

• elevenwarriorarts.com
• indianyouth.org
• indiannews.org

Companies mentioned in this episode:

• Running Strong for American Indian Youth
• Running Brave
• Crazy Horse
• Sitting Bull
• Red Cloud
• Haskell
• University of Kansas
• Indian News
• Dreamstarters
• SD Nelson
• Nicholas Sparks
• Wings of an Eagle

Takeaways:

The podcast features a conversation with Keith Secola, a prominent Native American musician, focusing on his artistic journey and contributions to Indigenous music.

Keith Secola's song ‘NDN Kars' gained immense popularity after being featured in the 1994 film 'Come Dance Me Outside', highlighting his impact on contemporary Native American music.

Throughout his career, Keith emphasizes the importance of originality in music, advocating for songs that resonate with the experiences of Indigenous peoples.

The episode discusses the significance of music festivals and collaborations in Keith's career, showcasing how these experiences have shaped his artistry and connections within the music industry.

Keith reflects on the influence of various musical genres and artists on his work, illustrating the diverse inspirations that have contributed to his unique sound.

The podcast underscores the role of advocacy in Keith's life, as he addresses Indigenous struggles and community issues through his music and performances.

Links referenced in this episode:

Secola.com

elevenwarriorarts.com

Companies mentioned in this episode:

Keith Secola

NDN Kars

Come Dance Me Outside

Bob Dylan

Gibson

REM

The Beatles

David Bowie

Lucinda Williams

Tom Petty

The Rolling Stones

Floyd Westerman

Charlie Hill

Red Bone

The Grateful Dead

Indigo Girls

A salient theme in Joe's discourse is the urgent need for museums to recalibrate their approaches to Indigenous art and culture. He articulates a vision where museums are not merely repositories of artifacts but vibrant cultural spaces that engage with and reflect the communities they represent. This shift necessitates a collaborative model, wherein curators work alongside community members to authentically represent Indigenous narratives. Joe's commitment to fostering these relationships is evident in his curatorial projects, which prioritize the voices of Native artists and emphasize the importance of cultural context in the interpretation of artworks.

The episode also addresses the complex dynamics of repatriation, as Joe discusses the ethical implications of museum collections and the essential role of Indigenous communities in determining the fate of their cultural heritage. He advocates for a future where the museum sector not only preserves history but actively participates in the cultural revitalization of Indigenous peoples. Joe's insights underscore the transformative potential of art as a tool for healing and reconciliation, serving as a powerful reminder of the ongoing journey towards cultural empowerment and recognition.

Takeaways:

• The podcast emphasizes the importance of community engagement in curatorial practices within museums, particularly regarding Native American art.
• Joe Horsecapture discusses his journey from being a river guide to becoming a prominent curator in the museum field, highlighting the significance of mentorship.
• The conversation addresses the evolving role of museums in relation to Native communities, advocating for the repatriation of cultural artifacts and community involvement.
• Joe underscores the necessity of developing tribal museums that serve as cultural spaces rather than traditional museums, which often isolate artifacts from their communities.

Companies mentioned in this episode:

• Autry Museum of the American West
• Minnesota Historical Society
• Minneapolis Institute of Arts
• National Museum of the American Indian
• Smithsonian Institution
• Ho Chunk Museum

As the discussion unfolds, Goldtooth emphasizes the importance of community engagement and grassroots activism as vital components of resistance against oppressive policies. He advocates for a collaborative approach between tribal governments and community members, underscoring the necessity of fostering strong networks of support and advocacy. The episode also highlights the significance of narrative control, with Goldtooth urging Indigenous peoples to reclaim their stories and perspectives in a landscape often dominated by external narratives that seek to diminish their voices. This aspect of the conversation is particularly poignant, as it speaks to the broader theme of cultural preservation and the need for Indigenous communities to assert their identities and rights in the face of external pressures.

Ultimately, this episode serves as both a sobering reflection on the challenges confronting Indigenous peoples and an empowering call to action. Williams and Goldtooth inspire listeners to actively participate in the advocacy for their rights, urging them to engage with their local leaders and the political process. The conversation reinforces the notion that informed and proactive community engagement is essential for safeguarding Indigenous sovereignty, cultural heritage, and environmental resources. As such, this episode encapsulates a vital message of resilience, solidarity, and the ongoing struggle for self-determination, encouraging listeners to reflect on their roles within this movement and to strive for a future that honors and respects Indigenous rights.

The dialogue also traverses the theme of influence, as DY articulates the pivotal roles played by past generations in shaping her artistic journey. She affectionately speaks of her great-great-grandmother, whose legacy of weaving has been a guiding light in her life, ensuring that the art form remains vibrant and relevant. Additionally, she acknowledges her father's influence, who encouraged her to embrace education and explore the world beyond their community. This theme of intergenerational wisdom underscores the importance of storytelling within Indigenous cultures, as each narrative serves to preserve knowledge and foster connections across time. As the episode progresses, listeners are invited to consider the broader implications of DY's work, which seeks to bridge tradition and modernity, offering a new lens through which to appreciate Indigenous artistry.

As the episode draws to a close, DY discusses her future endeavors, including her upcoming exhibition at the National Museum of the American Indian. This exhibition not only showcases her remarkable tapestries but also encapsulates her journey as an artist who remains committed to preserving her cultural heritage while navigating the complexities of contemporary art. DY's approach to weaving is presented as a vital expression of identity, one that invites audiences to engage with the stories and meanings woven into each piece. The conversation serves as a poignant reminder of the significance of supporting Indigenous artists and the importance of sustaining the narratives that enrich our cultural landscape. Through her work, DY Begay stands as a testament to the resilience of Indigenous art forms and the enduring power of cultural expression.

Links referenced in this episode:

• navajo-indian.com
• elevenwarriorarts.com

Joseph J. Allen's return to Five Plain Questions brings a wealth of experience and insight as he reflects on his life as a photographer and community advocate. Joe Williams, the host, guides the discussion through Allen's rich history, exploring his roots in South Dakota and the diverse landscapes of his life, which have informed his artistic practice. Allen's journey from a photojournalist to a conceptual artist illustrates the transformative power of art, particularly in how it can express complex Indigenous identities and histories. He explains his ongoing project, 'After Contact', in which he examines significant locations central to Indigenous heritage, capturing their essence through layered photographic techniques that challenge viewers to reconsider their understanding of these sites.

The conversation also highlights the financial realities of being an artist today, particularly for Indigenous creators. Allen candidly discusses the challenges of maintaining artistic integrity while navigating commercial expectations. He reflects on the historical context of Indigenous art and the ongoing struggle to ensure that contemporary works are understood and respected for their cultural significance. What emerges is a nuanced discussion about authenticity, representation, and the responsibility artists have towards their communities. Allen's commitment to nurturing emerging artists through initiatives like the Gizhiigin Arts program showcases his dedication not just to his craft, but to fostering a thriving artistic ecosystem rooted in Indigenous values and community support.

As the episode draws to a close, Allen shares his vision for the future of art in his community, particularly through the Mahnomen Arts Initiative, which aims to blend artistic expression with economic development. His perspective on collaboration emphasizes the importance of building relationships within the arts community, advocating for a model that prioritizes shared success over individual accolades. Listeners are left with a profound appreciation for the role of art in cultural resilience and the potential for creative spaces to serve as catalysts for social change. This episode is a testament to the resilience of Indigenous artists and the vital narratives they continue to shape today.

Takeaways:

Joe Allen emphasizes the importance of community engagement and collaborative work in the arts.

His photography evolved from documentary styles to more subjective and conceptual approaches over time.

The After Contact series aims to recontextualize Indigenous spaces and experiences through photography.

Allen's experiences highlight the challenges of balancing artistic integrity with market demands.

He discusses the significance of sharing knowledge and fostering reciprocity in artistic communities.

The future of his work includes launching the Mahnomen Arts Initiative and a capital campaign.

Links referenced in this episode:

artoftherural.org

elevenwarriorarts.com

Companies mentioned in this episode:

Art of the Rural

McKnight Foundation

Shakopee Mdewakanton Community Archives

• Frederick R. Weisman Art Museum

The conversation with Xavier Tavera unfolds as a profound exploration of storytelling and representation, particularly through the lens of an artist deeply immersed in the complexities of cultural identity. Tavera, a Minnesota-based photographer originally from Mexico City, reflects on how his experiences as an immigrant have shaped his artistic vision. His work not only captures the lives of marginalized communities but also seeks to foster dialogue about the narratives that often go unheard. Throughout the discussion, Tavera shares insights from his diverse projects, such as his compelling work with veterans, which taught him the intricacies of communication and the importance of listening deeply to others’ stories.

As the dialogue progresses, Tavera emphasizes the challenges and responsibilities artists face in accurately representing their subjects. He discusses the impact of technology on storytelling, particularly the rise of social media, which he feels has created barriers rather than bridges in authentic communication. Tavera's perspective invites listeners to consider how art can serve as a tool for connection and understanding in a world that often feels divided. He passionately argues for the need to cultivate conversations across differing viewpoints, advocating for a more civil discourse in our current political climate.

The episode culminates in Tavera's reflections on his ongoing projects, such as exploring the lives of lighthouse keepers in Chile and his work with Latino communities in Minnesota. His dedication to documenting these stories reflects a broader commitment to acknowledging the histories and experiences of underrepresented groups. By sharing not just the images but the stories behind them, Tavera aims to create a richer narrative tapestry that honors the complexities of identity and belonging. This engaging dialogue not only showcases Tavera's artistic journey but also serves as a call to action for listeners to embrace the power of storytelling in fostering empathy and community engagement.

Takeaways:

Art serves as a vital vehicle for conversation and connection within marginalized communities.

Xavier Tavera emphasizes the importance of listening and engaging with diverse narratives.

The interplay between urban and rural art dynamics shapes how stories are told and perceived.

Tavera's experiences highlight the challenges of representation in institutions for Latino artists.

The need for open dialogue and understanding different perspectives is essential in today's society.

Art can document and preserve stories for future generations, making cultural contributions invaluable.

Links referenced in this episode:

artoftheworld.org

elevenwarriorarts.com

Xaviertavera.com

Companies mentioned in this episode:

Art of the World

Minnesota Institute of Art

Minnesota Museum

Museum of American Art

Minnesota Historical Society

Minnesota Historical Center

Ramsey County Historical Society

Wiseman Art Museum

Carleton College

NYU

Mentioned in this episode:

Art of the Rural

Art of the Rural is honored to support 5 Plain Questions. We are a collaborative organization that works to resource artists and culture bearers across the country. Together, we build relationships, change narratives, and bridge divides. Across the last fifteen years, we’ve collaborated with individuals and communities from a range of cultural and geographic backgrounds to contribute towards a more equitable and healthy future for rural and Indian Country. We invite folks to check out some of our work. Our Rural-Urban Exchange strengthens intercultural networks through a locally- focused creative leadership program. Our Spillway initiative supports artists and culture-bearers to cultivate relationships along the Upper Mississippi River region. And our High Visibility initiative creates podcasts, exhibitions, and publications that share nuanced and complex perspectives on contemporary life in rural and Indian Country. If folks would like to learn more about our work, please visit art of the rural dot org.

As the discussion unfolds, West shares insights about his influences, particularly from family members who have dedicated their lives to the betterment of Indigenous people. He reflects on his grandfather's legacy and how it continues to inspire his filmmaking. The episode elaborates on the significance of family bonds and the shared commitment to uplifting Indigenous voices in a predominantly Western narrative landscape. West also touches on his new project, 'Loyal to the Soil,' which focuses on Native American military service, highlighting the unique experiences of veterans and the need for greater recognition of their contributions and sacrifices. This film aims to shine a light on the challenges faced by Native veterans, from healthcare accessibility to the complexities of identity and service in a country that has historically marginalized them.

Listeners are encouraged to engage with the themes presented, as West’s work embodies a broader movement towards Indigenous storytelling that seeks not only to educate but also to inspire change. His commitment to social justice through film serves as a reminder of the power that narratives hold in shaping perceptions and fostering understanding. Ultimately, this conversation with Ben West is a celebration of resilience, creativity, and the unyielding spirit of Indigenous cultures as they reclaim their narratives in the modern world.

Takeaways:

• Ben West emphasizes the importance of storytelling within Indigenous communities through film and art.
• The film 'Imagining the Indian' raises awareness about the harmful effects of mascotting.
• Ben highlights the significant contributions of Native Americans in the military, showcasing their service.
• Networking and organic conversations are key to creating opportunities in one's career path.
• The upcoming documentary 'Loyal to the Soil' will focus on Native American military veterans.
• Ben's family background and influences shape his commitment to Indigenous storytelling and advocacy.

Links referenced in this episode:

• rfccollective.org
• imaginingtheindianfilm.org
• https://tv.apple.com/us/movie/imagining-the-indian-the-fight-against-native-american-mascoting/umc.cmc.3qa2hqaa2irstn0ca6gfmj7e2
• https://www.amazon.com/gp/video/detail/B0CV4GV6FR/ref=atv_dp_share_cu_r

Companies mentioned in this episode:

• Carsey Werner Mandebach
• Telenova Productions
• Mandalay Pictures
• Smithsonian Institution's National Museum of the American Indian
• Library of Congress
• Aspen Institute
• Reno Flying Coyote Collective

Dr. Anton Treuer’s narrative is a compelling exploration of identity, culture, and the transformative power of education. As a professor of Ojibwe language and culture at Bemidji State University, he embodies the intersection of academic rigor and community engagement. His upbringing on the Leech Lake Reservation, coupled with the influences of his mother—a pioneering Native attorney—and his father—a Holocaust survivor—shapes his worldview and professional ethos. Dr. Treuer provides listeners with a rich context of his life experiences, emphasizing the importance of cultural heritage and the role it plays in shaping personal identity. He shares poignant stories from his childhood that reflect the realities of growing up in a community deeply affected by systemic oppression and the lack of representation in professional fields.

Throughout the episode, Dr. Treuer articulates his commitment to cultural revitalization through education and community service. He discusses his involvement in officiating traditional ceremonies and his work in diversity and inclusion, which aims to create equitable spaces for Indigenous peoples. His latest literary endeavor, 'Where Wolves Don't Die,' encapsulates his belief in the significance of storytelling as a means of preserving culture and fostering understanding. The conversation delves into the challenges and rewards of balancing multiple roles—educator, community leader, and author—while maintaining a strong connection to his roots. Dr. Treuer’s reflections serve as a reminder of the resilience and strength found within Indigenous communities, urging younger generations to embrace their heritage and take initiative in their personal and communal journeys.

The episode resonates with themes of hope and empowerment, culminating in Dr. Treuer’s call for collective action and responsibility. He emphasizes that meaningful change is not just an individual endeavor but a communal one, where each person’s contributions are vital to the larger narrative of Indigenous resurgence. As listeners engage with Dr. Treuer’s insights, they are encouraged to reflect on their own roles within their communities and consider how they can actively participate in fostering a more equitable future. This rich dialogue serves as both a celebration of Indigenous culture and a call to action for all individuals to engage in their respective journeys with purpose and passion.

Takeaways:

• Dr. Anton Treuer's diverse background influences his work in language, culture, and education.
• He emphasizes the importance of community engagement and cultural revitalization in his projects.
• Trueur believes in the significance of showing up for both personal and professional commitments.
• His experiences with family shaped his view on justice and the power of education.
• He advocates for understanding and navigating colonial systems while promoting Indigenous culture.
• Treuer encourages young listeners to believe in themselves and take initiative in their pursuits.

Links referenced in this episode:

• elevenwarriorarts.com
• https://antontreuer.com/
• https://www.amazon.com/stores/Anton-Treuer/author/B003TUIJPG?ref=sr_ntt_srch_lnk_1&qid=1731520480&sr=8-1&isDramIntegrated=true&shoppingPortalEnabled=true

A profound exploration of art, identity, and community unfolds as Joe Williams engages Rick Kagigebi, an Indigenous artist whose journey is marked by resilience and creativity. Rick shares his unique story, beginning with his upbringing in Newfoundland, Canada, and his eventual move to the La Courte Oreilles Reservation in Wisconsin. Through his heartfelt narrative, listeners discover how Rick found solace in sewing after facing personal tragedies, including a life-altering stroke. His art, particularly his blankets, transcends mere fabric; each piece is imbued with stories and cultural significance. Rick emphasizes the importance of ceremonial gifts, viewing his blankets not only as artistic expressions but as vessels for healing and connection. The conversation further delves into how art can foster community bonds, offering insights into Rick's teaching endeavors that aim to inspire the next generation of Indigenous artists. With a blend of personal anecdotes and cultural reflections, this episode serves as a poignant reminder of the power of creativity in navigating life's challenges and preserving cultural heritage.

Takeaways:

• Rick Rick Kagigebi's journey into blanket making began in 1980, inspired by cultural ceremonies.
• He has developed his unique style, using yarn to tell stories through his blankets.
• Rick emphasizes the importance of community and sharing cultural practices through art.
• His blankets serve as both healing gifts and personal expressions of his life experiences.
• Rick's art has been influenced by his life events, including personal tragedies and recovery.
• Opportunities for sharing his craft include teaching classes to inspire others in the community.

Joe Williams hosts a heartfelt conversation with Matt Johnson, a talented musician from the Turtle Mountain Band of Ojibwe. The discussion delves into Matt's rich musical heritage, highlighting the significant influence of his family, especially his grandfather, Eddie King Johnson, a country musician who inspired him from a young age. Matt shares his journey through music, from his initial guitar lessons to his self-taught approach that led him to develop a unique style blending rock, Americana, and jazz influences. He emphasizes the importance of simplicity in songwriting and performance, reflecting on how his experiences as a father and a sober musician have shaped his artistic identity. The conversation also touches on the challenges of navigating the music industry, particularly for independent artists, and the necessity of perseverance and authenticity in creating meaningful music that resonates with listeners. Through his narrative, Matt encapsulates a journey of self-discovery, resilience, and the power of community in artistic expression.

Takeaways:

• Matt Johnson's musical journey is deeply rooted in his family heritage and experiences.
• Sobriety has positively influenced Matt's songwriting and musical creativity, enhancing his craft.
• The importance of simplicity in songwriting allows listeners to connect with the music easily.
• Learning from family musicians inspired Matt's passion and commitment to his music career.
• Matt emphasizes the value of continuous learning and growth as an artist throughout life.
• He advocates for the significance of writing impactful lyrics that resonate with audiences.

Links referenced in this episode:

• elevenwarriorarts.com

Hello, and welcome again to 5 Plain Questions, a podcast that proposes 5 questions to Indigenous Artists, creators, musicians, writers, movers and shakers, and culture bearers, people in the community doing great things for their communities.

I’m Joe Williams, your host for this conversation. My goal is to showcase the amazing people in our Indigenous community around the region and country. So, join me as we sit down and hear the stories and perspectives from our amazing community, where there is a story with each and every one of us.

I want to introduce you to Christina Woods.

Christina Woods has 35 years working with underserved communities and individuals and serves the Duluth Art Institute (DAI) as its first Anishinaabe Executive Director. Currently, she serves on the City of Duluth Public Arts Commission, past president, State of Minnesota Capitol Arts Committee as the Chair, the State of MN CAAPB task force participant, State of Minnesota State Arts Board, Arts Midwest Board of Directors, Chair of the Board New Native Theatre, U.S. Senate Curatorial Advisory Board, The Nature Conservancy Board of Trustees. Christina is an enrolled member of the Bois Fort Band of Chippewa and works closely with the Anishinaabe community as a leader and mentor. Christina also conducts trainings and workshops on equity, diversity and inclusion including the program she created for the DAI, Commission Your Bias. Christina’s work social justice brings a unique lens to the context of an arts organization. Christina is a 2019 AARP 50 0ver 50 awardee in bias busting. She holds a bachelor’s degree in Elementary Education and a Masters of Education in Leadership. Christina is called upon locally, regionally and nationally as an expert in decolonization, diversity, equity and inclusion. Christina consults on these topics through her company Diversity Consulting.

A top talent, brilliant administrator and strategist, Christina Woods is a talented leader. Her success includes a 14 year career teaching, 10 years narrating and on camera work on the national program Native Report, and 30 years writing curriculum and grants, fundraising, and diversity/inclusion consultation. Christina brings an extensive range of non-profit experience as a board member, executive director and business leader. As an Anishinaabekwe and community leader, Christina shares

her enthusiasm for empowering individuals and illuminating the breadth of human experiences.

Christina enthusiastically leads the vision of the Duluth Art Institute as its first Anishinaabe leader. Her focus is delivered with tender attention to advocacy rooted in celebrating inclusivity and expansive thinking. Christina thoughtfully serves our community with a vision to the future. She lives in Duluth, MN with her acknowledged home in the Bois Forte Nation of Northern MN.

So let’s jump into this conversation with Christina…

Website:

duluthartinstitute.org

Links referenced in this episode:

• duluthartinstitute.org
• elevenwarriorarts.com

Companies mentioned in this episode:

• Duluth Art Institute
• Arts Midwest
• Diversity Consulting
• New Native Theater
• Nature Conservancy

In the meantime, check out Beyond the Art by myself and Cray Bauxmont-Flynn and Beyond the Design with Cray. Also, check out Sage-Based Wisdom with Jana Schmieding and Brian Bahe.

Website: Urbanaztec.com

Instagram: @Urbanaztec

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A graduate of the Institute of American Indian Arts in Santa Fe and a nationally recognized painter and ledger artist, Chris’ work is in numerous museums such as the National Museum of the American Indian, Washington D.C.; the Tia collection in Santa Fe NM and the Speed Museum of Art in Louisville KY among many other important collections both nationally and internationally. He is represented by Blue Rain Gallery in Santa Fe NM.

Chris is currently a board member of the Illinois State Museum and is a co-founder of the Center for Native Futures, a Native American gallery and studio space in Chicago’s

Loop. He lives and works in Chicago with his wife Debra Yepa-Pappan, and their daughter Ji Hae.

headshot photo by Tran Tran

Website:

http://chrispappan.com/

Center for Native Futures Website:

https://www.centerfornativefutures.org/

Unbound: Narrative Art of the Plains

https://americanindian.si.edu/explore/exhibitions/item?id=1005

Website:

https://www.theauntiesdandelion.com/

Podcast:

https://open.spotify.com/show/4XI2I2r58vb2kVXRr5mKWb

LinkedIn:

https://www.linkedin.com/in/kahstoserakwathe/

Secretary Deb Haaland made history when she became the first Native American to serve as a cabinet secretary. She is a member of the Pueblo of Laguna and a 35th generation New Mexican.

Secretary Haaland grew up in a military family; her father was a 30-year combat Marine who was awarded the Silver Star Medal for saving six lives in Vietnam, and her mother is a Navy veteran who served as a federal employee for 25 years at the Bureau of Indian Affairs. As a military child, she attended 13 public schools before graduating from Highland High School in Albuquerque.

As a single mother, Secretary Haaland volunteered at her child's pre-school to afford early childhood education. Like many parents, she had to rely on food stamps at times as a single parent, lived paycheck-to-paycheck, and struggled to put herself through college. At the age of 28, Haaland enrolled at the University of New Mexico (UNM) where she earned a Bachelor’s degree in English and later earned her J.D. from UNM Law School. Secretary Haaland and her child, who also graduated from the University of New Mexico, are still paying off student loans.

Secretary Haaland ran her own small business producing and canning Pueblo Salsa, served as a tribal administrator at San Felipe Pueblo, and became the first woman elected to the Laguna Development Corporation Board of Directors, overseeing business operations of the second largest tribal gaming enterprise in New Mexico. She successfully advocated for the Laguna Development Corporation to create policies and commitments to environmentally friendly business practices.

Throughout her career in public service, Secretary Haaland has broken barriers and opened the doors of opportunity for future generations.

After running for New Mexico Lieutenant Governor in 2014, Secretary Haaland became the first Native American woman to be elected to lead a State Party. She is one of the first Native American women to serve in Congress. In Congress, she focused on environmental justice, climate change, missing and murdered indigenous women, and family-friendly policies.

A powerful dialogue unfolds as Joe Williams welcomes Secretary of the Interior Deb Haaland to his podcast, which highlights the voices and stories of Indigenous creators and leaders. The conversation shines a spotlight on Haaland's groundbreaking role as the first Native American cabinet secretary in U.S. history, a significant milestone for Indigenous representation in government. Williams and Haaland delve into her personal journey, exploring her upbringing in a military family, the influences of her Pueblo culture, and the legacy of Native leaders who came before her, including champions of voting rights and treaty responsibilities.

Haaland shares the deep connection she feels to her roots, crediting her grandmother and mother for instilling a sense of pride in her heritage. The discussion transitions into the vital work she is doing at the Department of the Interior, emphasizing the importance of upholding the trust and treaty obligations owed to Native tribes. Haaland’s commitment to environmental justice, advocacy for missing and murdered Indigenous women, and family-friendly policies reflects her dedication to addressing the pressing issues facing Indigenous communities today.

In a lighter yet poignant moment, the conversation touches on a personal favorite topic of Haaland – making great salsa. She emphasizes the significance of using local New Mexico chili, underscoring how food connects us to culture and community. This episode is not just an interview; it is a rich exploration of identity, resilience, and the ongoing journey toward justice for Indigenous peoples in America.

Takeaways:

• Secretary Deb Haaland emphasized the importance of listening to elders for invaluable knowledge.
• Her career journey highlights the significance of hard work and community engagement in politics.
• Haaland's historical appointment reflects a broader acknowledgment of Indigenous rights in the U.S.
• She draws inspiration from past leaders who fought for Indigenous treaty rights and justice.
• Haaland's experiences demonstrate that personal history shapes one’s commitment to public service.
• Her advice for the youth is to cherish family wisdom and cultural heritage.

He grew up in an era of religious suppression, where traditional Lakota ceremonies were outlawed in both the US and Canada from the early 1900’s until the Indian Religious Freedom Act in 1978. His family was forced to hold Sundance, sweatlodge, vision quests, and healing ceremonies underground for fear of arrest by the police.

Arvol’s advocacy of environmental and Indigenous rights and issues has been recognized globally as a recipient of the Wolf Award of Canada, the Juliet Hollister Award, a Non-Governmental Organization with Consultation Status with the United Nations Economic and Social Council. He is also the author of White Buffalo Teachings and a guest columnist for Indian Country Today.

Since 1990, Arvol has also devoted himself to facilitate healing to all people and cultures through several sacred Prayer Rides on Horseback including The Annual Wintertime Chief Bigfoot Memorial Ride to Wounded Knee in order to mend the Sacred Hoop that was broken during the Massacre in 1890, The Unity Ride from B.C. to Six Nations in the early 2000s whose purpose was to heal historical trauma through the land and animals, and since 2005, he has supported and participated on the Dakota 38 Ride that takes place every December from South Dakota to Mankato, Minnesota to honor the memory of the 38 + 2 Dakota men who died under order of President Abraham Lincoln the Day after Christmas in 1862 in what was the largest mass hanging in U.S. history.

her skills under her Aunt Angie Owen. Learning the skills at creating mosaic jewelry. In 2016, Janie branched out at making her own style of jewelry. The influence of living in "Green" Oregon gave her the idea to recycle the left-over material used in creating necklaces and mosaic inlay. Janie recycled the material by drilling each small piece then tumbling them for several weeks. Then, 'stringing' up beads using sterling silver wire. The jewelry was debuted at the SWAIA Winter Market 2016. These days Janie collaborates with her mother, Rose Reano. She sells her jewelry year-round at the Palace of Governors in downtown Santa Fe and online at www.kewaparrotjewelry.com . She also participates at SWAIA Santa Fe Indian Market and Eiteljorg Indian Market and Festival in Indianapolis Indiana.

Indigenous Association website:

https://www.indgns.org/

In a fine art photographic practice that blends documentary and commercial aesthetics, Cara Romero (Chemehuevi Indian Tribe) creates stories that draw from intertribal knowledge to expose the fissures and fusions of Indigenous and non-Indigenous cultural memory, collective history, and futurity.

Romero has held solo exhibitions in the US, UK, and Germany. Her recent group exhibitions include Our Selves: Photographs by Women Photographers at the Museum of Modern Art and Water Memories

at the Metropolitan Museum of Art (2022). Her public art projects include #TONGVALAND presented in Los Angeles by NDN Collective (2021); Restoration: Now or Never with Save Art Space in London (2020), and Desert X in the Coachella Valley (2019).

 Widely collected, Romero’s photographs are in private and public collections including those at the Denver Art Museum, the Peabody Essex Museum, The Hood Museum, the Minneapolis Institute of Art, the MoMA, the Nelson-Atkins Museum of Art, Los Angeles County Museum of Art, and the MET. Romero was raised between the rural Chemehuevi reservation in California’s Mojave Desert and the urban sprawl of Houston. She is based in Santa Fe.

Websites:

https://www.monicarickertbolter.com/

Center For Native Futures

https://www.centerfornativefutures.org/

In addition to his involvement in the arts, Cray runs his own interior design firm “Amatoya” and launched his own furniture collection inspired by his Native American heritage and culture, five years ago. In addition - Cray is also host of two podcast shows, one being "Beyond the Art," which is dedicated to the Native American art world. It provides a platform for Native American creative visionaries to share their personal stories and journeys. The other podcast – “Beyond the Design” is focused on the design industry and its various sectors..as Cray calls it the left side of his brain, fulfilling all aspects of his interest and passions.

Website:

https://www.centerfornativefutures.org/

Instagram:

https://www.instagram.com/centernativefutures/

https://www.instagram.com/yepapappan/

Facebook:

https://www.facebook.com/centernativefutures

https://www.facebook.com/search/top?q=debra%20yepa-pappan

Photo Credit: Jeremy Simonson

Links:

http://idpi.unm.edu/about/people/michaela-shirley.html

LinkedIn:

https://www.linkedin.com/in/michaela-shirley-872760b3

Ledger art was Charley's first art form, as she values bringing a woman's perspective into a male-dominated art form. In time, Charley transitioned to oil paintings, centering Indigenous women within modern settings, reflecting the vibrancy of her people's culture. She creates work for future generations as she captures recent stories and experiences.

Charley's work is in the permanent collections of the Eiteljorg Museum of American Indians and Western Art, Minneapolis Institute of Art, and Museum of Contemporary Native American Art.

Photo credit: Conor Horgan

Website: http://www.hoganhorsestudio.com/

https://www.guthrietheater.org/shows-and-tickets/2023-2024-season/for-the-people/

IG: https://www.instagram.com/larissafasthorse/

Her scholarship empirically examines the effects of structural inequity in Indigenous and other marginalized populations in educational leadership, law, and public policy using multiple critical frameworks and methodologies. As an experienced policy consultant, public speaker, program evaluator, and community educator, she seeks to use her experiential knowledge as an enrolled member of the Northern Cheyenne nation coupled with her research, teaching, and service experience to bridge theory and practice as a means of addressing complex social issues from an interdisciplinary perspective. Dr. Mackey holds degrees from Montana State University-Billings (BS, MS), University of Oklahoma (MLS), and Pennsylvania State University (Ph.D.).

Website:

https://holliemackey.com

Wilson attended the Creative Arts High School where his interests in painting and poetry were heavily encouraged. He participated in youth art programs COMPAS arts in St. Paul, then rode the 16 (94 if you’re cashy) to Minneapolis where he trained mural painting like a champ under Roger and Peyton at Juxtaposition Arts. He painted several murals around the Twin Cities and enough graffiti to catch a couple cases. His visual art work can still be seen at the Minnesota Historical Society (I think) and the Chippewa Tribes building on Franklin. 

After some heavy life changes that we won’t get into it here (go watch Smoke Signals or something), Bobby found himself alongside the 1491s comedy troupe, traveling all accrosst Indian Country making fun of himself for money.

Now Bobby works as a writer/producer on television series like Rutherford Falls, Echo (some MCU stuff?), and the Peabody award winning series, Reservation Dogs. He lives with his family, surrounded by the O’odham nations and urban Navajos who make really good tortillas! Did you know O’odham homies call frybread, “popovers?!” What even is that?!

Migizi is screenwriter, actor, writer, and producer for film and television, with work for Barkskins, Rutherford Falls, and Reservation Dogs and a founding member of the legendary comedy troop the 1491s.

In this conversation we explore his influences and his story from the discovery comedy and B-movies with his brother to the work he is doing today.

Support the Writers Guild of America:

https://www.wgacontract2023.org/strike-hub

His short film HEADDRESS that he wrote, directed, and starred in premiered at the 2023 SUNDANCE FILM FESTIVAL.

He was a Story Editor and actor on the NBC comedy series RUTHERFORD FALLS by Mike Schur, Ed Helms, and Sierra Teller-Ornelas.

Tai has been selected as a member of the 2022 Sundance Native Lab and was recently awarded The Indigenous list in Partnership with The Black List.

He is a former house performer at Upright Citizen’s Brigade Theatre. He’s also performed at festivals around the country.

Links:

https://www.wgacontract2023.org/strike-hub

https://www.headdressfilm.com/

Website:

https://www.taileclaire.com/

Prior to his time as the Director of the NMAI and the Autry Museum of the American West, he was an attorney in both New Mexico and Washington D.C. As of 2011 he has served on the board of the Association of Tribal Archives, Libraries, & Museums.

His devotion to community and his incredible vision for leadership has been an inspiration to generations of Native American leaders…and the host of this podcast.

Jones’ artwork is a commentary on identity, experience and perception of American Indian communities.  For the past 25 years he has worked an ongoing photographic essay on his tribe, the Ho-Chunk Nation of Wisconsin.  His current work Strong Unrelenting Spirits are portraits of tribal members, which incorporates beadwork directly onto the photographs.

Jones co-authored the book “People of the Big Voice, Photographs of Ho-Chunk Families by Charles Van Schaick, 1879-1943.”  He is the co-curator for the exhibition and contributing author to the book, “For a Love of His People: The Photography of Horace Poolaw” for the National Museum of the American Indian. His current book project is dedicated to Ho-Chunk baskets and their makers.

His artwork is in forty public collections, most notably:  The National Museum of the American Indian, Polaroid Corporation, Sprint Corporation, The Nerman Museum, The Minneapolis Institute of Art, The Museum of Contemporary of Native Arts, The Museum of Contemporary Photography, and Microsoft.

In film Zaragoza serves as a producer on the short “This Is Their Land,” which premiered at the Dances with Films Festival in New York City on December 2, 2022. The film takes place during the Modoc War of 1872-73, follows the brave Modoc Civic Leader Captain Jack as he negotiates for peace in his homeland against the U.S. army, & the sacrifices he makes for the sake of his people. “This Is Their Land” is currently on the festival circuit. As a director Zaragoza most recently co-directed a music video entitled “Change Your Name” for artist Raye Zaragoza, one of his two sisters, which was inspired by their mother’s life & the intersectionality of changing names during the immigration process.

Born in New York City, Zaragoza was raised in a melting pot of culture. He identifies as mixed race, being of Akimel O’otham & Mexican descent on his father’s side & Japanese & Taiwanese descent on his mother’s side. His father, acclaimed actor Gregory Zaragoza & mother, college business professor Shirley supported Zaragoza’s love for the arts from a very young age, with one of his earliest childhood memories spending time backstage watching his father star in the 1999 Broadway revival of Annie Get Your Gun, alongside the legendary Bernadette Peters. Zaragoza & his family moved to Hell's Kitchen when he was nine, where he would take the subway to school & pass by all of the major Broadway shows, which would become a huge influence on his future career. By the time Zaragoza turned eleven, his parents moved the family to the west coast, settling in southern California where he continued taking acting, dance, singing, & improv lessons. When Zaragoza was fifteen, he began working with Native Voices at the Autry, the only Equity Native American Theatre company. It was there that he met his mentor, R&y Reinholz, who made an influential impact on Zaragoza’s life as well his show “Off the Rails” at Native Voices which was later selected to go to the Oregon Shakespeare Festival.

Zaragoza attended Cal State University Northridge where he graduated with a degree in Film Production. He is a proud member of CSUN’s American Indian Student Association & continues his involvement post-graduation. While in college, he took time to go work with the prestigious Oregon Shakespeare Festival (OSF - 2017, 2018, 2019) where he was able to further hone his craft. Zaragoza notes that his time working with the company aided in discovering more about his identity, specifically his racial identity, bringing characters to life that were a vessel for Native, Asian, & mixed identities. Upon graduation & finishing his time with OSF, Zaragoza landed his biggest role to date, starring on CBS’ “Ghosts.”

Zaragoza writes essays & poetry focusing on mixed representation in film, television, & theatre. On the charity front Zaragoza has supported a h&ful of organizations over the years including Seeding Sovereignty, Black Lives Matter, Return to the Heart Foundation, & IllumiNative, an initiative created & led by Natives to challenge the negative narrative that surrounds Native communities & ensure accurate & authentic portrayals of Native communities are present in pop culture & media.

ORLANDO DUGI is a made-to-order fashion brand located in Santa Fe, New Mexico and lead by designer, Orlando Dugi himself. Dugi’s designs are elegant, timeless, and intricate, often involving many hours of hand-embroidery and embellishing.

Dugi’s been exhibited at the Denver Art Museum, Wheelwright Museum, Museum of Indian Arts and Culture amongst others. He has received numerous awards and recognition at places like the SWAIA, and Cherokee Art Show, Heard Museum Guild Art Show.

This podcast is hosted in part by First American Art Magazine, the leading journal of Native arts, which is celebrating its 10-year anniversary covering ancestral, historical, and living arts by Indigenous peoples of the Americas.

Website:

https://orlandodugi.com/

IG: https://www.instagram.com/orlandodugi/?hl=en

Twitter: https://twitter.com/orlandodugi?lang=en

https://plainsart.org/exhibitions/gerald-cournoyer/

Northern Plains Summer Art Institute 2023 applications due May 1st 2023

https://plainsart.org/northern-plains-summer-art-institute-2023/

Indigenous Art Fair Saturday, May 13th, 2023

Website:

https://www.xaviertavera.com/

state of tension, suspended between two worlds where both solemnity and humor pervade her art. She finds that truths are revealed in unanticipated ways, and trickster often appears throughout her work. The artist earned her BFA in studio art from Baylor University

and her MFA from the University of Oklahoma. She is Assistant Professor of Visual Arts at John Brown University in Siloam Springs, AR, an international speaker, and a featured artist in Visual

Voices: Contemporary Chickasaw Art, among other exhibits in the U.S.

Fields explores the intricacies of cultural influences at the intersections of balance and chaos found within our existence, explaining that “The power of transformation is realized by creating various forms of clothing, coverings, landscapes, and figures. The works become indicators of how we understand our surroundings and visualize our place within the world.” In this way, the early Osage concepts of duality, such as earth and sky, male and female, are represented throughout her work.

Her sculptures have been featured in many solo and group exhibitions, including the 2020-2021 Weaving History Into Art; The Enduring Legacy of Shan Goshorn, Gilcrease Museum, Form and Relation: Contemporary Native Ceramics, Hood Museum, Dartmouth College, the 2018-2020 Hearts of Our People, Minneapolis Institute of Art, and the 2018 Art for A New Understanding: Native Voices, 1950’s to Now at Crystal Bridges Museum of American Art.

Her work was also included Who Stole the Teepee? at the National Museum of the American Indian, Smithsonian, New York, and the 1997 Legacy of Generations: Pottery by American Indian Women at the National Museum of Women in the Arts, Washington DC., Crystal Bridges Museum of American Art, Arkansas. Her work can be found in several collections, such as the Museum of the American Indian, Smithsonian, the Museum of Art and Design, New York City, the Minneapolis Institute of Art, Dartmouth College, New Hampshire, and the Heard Museum, Arizona.

Fields was a 2017-2019 fellow with the Kaiser Foundation Tulsa Artist Fellowship program and is currently a 2020-2023 Tulsa Artist Fellowship Integrated Arts Grant awardee. Fields was the invited artist for the 2021 Eiteljorg Museum of Contemporary Art Fellowship. Fields was recently named a 2021 National Endowment of the Arts Heritage Fellow and a 2021 Anonymous Was A Woman award. In 2022 she received a Francis J Greenburger award.

Website:

https://www.anitafieldsart.com/about

Reciprocity.org

Molly of Denali

https://pbskids.org/molly

Kalyn Fay Barnoski holds an M.F.A. from University of Arkansas (2021),  an M.A. from The University of Tulsa (2016), and a B.F.A. from Rogers State University (2012). Kalyn has worked with Peabody Essex Museum, Philbrook Museum of Art, Gilcrease Museum, Crystal Bridges Museum of American Art, The Momentary, Eiteljorg Museum, along with others, and performed, exhibited, and facilitated workshops both nationally and internationally.

Links:

Websites:

https://www.kalynfay.com/

https://www.kalynbarnoski.com/

Spotify:

https://open.spotify.com/artist/2ojhmBnnR44AHdtGGK8f9q 

Bandcamp:

https://kalynfay.bandcamp.com/

IG:

https://www.instagram.com/kalynfay/?hl=en

Through her passion and enthusiasm for supporting Native students, Diana has been a key driver in expanding NIEA's work beyond the halls of the U.S. Capitol to communities across Indian Country. She has helped shaped broader teacher hiring initiatives, created more opportunities for visits to tribal communities, acquired millions in grant funding for NIEA, testified before the US Congress in support of Native education, and inspired professional trust and collaboration among staff, colleagues, organizations and Native nations across the country. Her work has ensured that Native students have the best possible outcomes and educators have the best possible resources to support their efforts. Cournoyer directs the staff in carrying out the organization's Strategic Plan which includes: Advocacy; Building Tribal Education Capacity; Culture Based Education; Skilled Teachers and Leaders; Establishing Educational Standards, Assessments, and Accountability; and Post-Secondary Success.

Thunder infuses his personal lens with real-time world experiences using a wide range of mediums. He is known for his surreal paintings, digitally animated films and installations in which he addresses subject matter of personal experience and social commentary. Jonathan is an enrolled member of the Red Lake Band of Ojibwe, and makes his home and studio in Duluth, MN.

He has attended the Institute of American Indian Arts (IAIA) in Santa Fe, NM and studied Visual Effects and Motion Graphics in Minneapolis, MN at the Art Institute International. His work has been featured in many states, regional, and national exhibitions, as well as in local and international publications. Thunder is the recipient of a 2020-21 Pollock – Krasner Foundation Award for his risk taking in painting. Since his first solo exhibit in 2004, he has won several awards for his short films in national and international competitions. His painting and digital work is in the permanent collections of multiple Museums and Universities.

thunderfineart.com

www.instagram.com/jonthunder/

www.facebook.com/JonathanThunder/

BernBaum's Website:

https://www.bernbaums.com/

Jeffrey Gibson’s work fuses his Choctaw-Cherokee heritage and experience of living in Europe, Asia and the US with references that span club culture, queer theory, fashion, politics, literature and art history. The artist’s multi-faceted practice incorporates painting, performance, sculpture, textiles and video, characterised by vibrant colour and pattern.

Gibson was born in 1972, Colorado, USA and he currently lives and works in Hudson Valley, New York.

The artist combines intricate indigenous artisanal handcraft – such as beadwork, leatherwork and quilting – with narratives of contemporary resistance in protest slogans and song lyrics. This “blend of confrontation and pageantry” is reinforced by what Felicia Feaster describes as a “sense of movement and performance as if these objects ... are costumes waiting for a dancer to inhabit them.” The artist harnesses the power of such materials and techniques to activate overlooked narratives, while embracing the presence of historically marginalised identities.

Gibson explains: “I am drawn to these materials because they acknowledge the global world. Historically, beads often came from Italy, the Czech Republic or Poland, and contemporary beads can also come from India, China and Japan. Jingles originated as the lids of tobacco and snuff tins, turned and used to adorn dresses, but now they are commercially made in places such as Taiwan. Metal studs also have trade references and originally may have come from the Spanish, but also have modern references to punk and DIY culture. It’s a continual mash-up.”

Acknowledging music as a key element in his experience of life as an artist, pop music became one of the primary points of reference in Gibson’s practice: musicians became his elders and lyrics became his mantras. Recent paintings synthesise geometric patterns inspired by indigenous American artefacts with the lyrics and psychedelic palette of disco music.

Links:

Instagram: @jeffrune

Websites: https://www.jeffreygibson.net/

Portland Art Museum:

https://portlandartmuseum.org/exhibitions/jeffrey-gibson-they-come-from-fire/

Tavera holds a Master of Leadership in the Arts from the Humphrey School and a BA in Spanish and BA in Latin American Studies from the University of Minnesota. She has received fellowships and grants: McKnight Visual Artist Fellowship, Bush Leadership Fellowship, Shannon Leadership Institute, Smithsonian Latino Museum Studies program, Museum of Modern Art-New York, Forecast Public Art, Minnesota State Arts Board, Metropolitan Regional Arts Council (MRAC), and Institute of Mexicans Abroad (IME).

Tavera has exhibited nationally and internationally, and artwork can be found in the collections of the City of Minneapolis Public Art, Weisman Art Museum, Fargo Plains Art Museum, Oglethorpe Museum, Tweed Museum of Art, Minnesota History Center, and the Biblioteca Central de Cantabria, Santander, Spain. Her writings have been published by the Walker Art Center, Minneapolis Institute of Arts, as well as in a book titled, Mexican Pulp Art.

Website:

https://www.mariacristinatavera.com/

IG:

https://www.instagram.com/tina.tavera/?hl=en

Facebook:

https://www.facebook.com/tina.tavera/

Wikipedia:

https://en.wikipedia.org/wiki/Maria_Cristina_Tavera

Kevin’s award winning art has been collected by major museums and private collections worldwide. His work has been shown in Paris, New York City, Los Angeles, Denver and Kansas City.

He is the recent recipient of the prestigious Best of Show Award at the Southwestern Association for Indian Arts show held annually at Santa Fe, NM 2018.

Links:

Facebook:https://www.facebook.com/kevpourier


Twitter: @kevinpourier

Instagram: @kevinpourier

Websites: kevinpourier.com

WalkingStick was a full professor at Cornell University for 17 years where she taught painting and drawing. She is now an Emerita Professor. She was given an honorary doctorate by both Pratt Institute and by Arcadia University. She is a fellow of the National Academy of Design and the American Academy of Arts & Science.   In 2015 her retrospective of 75 paintings and drawings covering the years from 1970 to 2015 opened at the Smithsonian, National Museum of the American Indian in Washington, D.C.  After closing the exhibition traveled to five venues across the country. The show was listed by Hyperallergic on-line Magazine as one of the best 15 exhibitions to open nationwide in 2016.  The NY Times gave the exhibit a full-page review written by Holland Cotter when it was shown at the Montclair Museum.

WalkingStick and her husband, artist Dirk Bach, live and paint in a townhouse in Easton, Pa.  WalkingStick had an exhibition of her recent landscape paintings at Hales Gallery in February and March 2022.

Website:

http://www.kaywalkingstick.com/

Hales Gallery

https://halesgallery.com/artists/138-kay-walkingstick/overview/

Be sure to check out elevenwarriorarts.com for more details.

Over 30 artists selling their work and crafts.

Food for sale.

Free screenprinted shirts designed by John Hitchcock

Dance group demonstrating Northern Plains dance styles.

Currently at UCLA, Black is completing her book manuscript: How to Get Away with Murder: A Transnational History of Missing and Murdered Indigenous Women. How to Get Away with Murder provides seven case studies of women and girls, including one trans woman. Although at UCLA, Black remains an Assistant Professor of History and Native American and Indigenous Studies at Indiana University where she is slated to be tenured in spring 2022. In 2020, Black published Picturing Indians: Native Americans in Film, a deeply archival book making the argument that mid-century Native people navigated the complexities of inhabiting filmic representations of themselves as a means of survivance. Black has received several research grants over her career, including the pre-, doc and post-doc fellowships from the Ford Foundation; the Institute of American Cultures at UCLA fellowship; and the Cherokee Nation Higher Education Grant.

Website:

https://www.lizablack.com/

Twitter:

https://twitter.com/_liza_black

Picturing Indians: Native Americans in Film

https://www.amazon.com/Picturing-Indians-Native-Americans-1941-1960/dp/149623264X/ref=sr_1_1?crid=2YKNT0MQ6KIII&keywords=liza+black&qid=1667432077&qu=eyJxc2MiOiIwLjAwIiwicXNhIjoiMC4wMCIsInFzcCI6IjAuMDAifQ%3D%3D&sprefix=liza+black%2Caps%2C132&sr=8-1

Dallas Goldtooth, Raven Chacon, Loren Waters, Jana Schmieding, Chad Charlie, Dakota Mace, America Merideth, Kathleen Ash-Milby, Savannah Tallbear, Tanya RedRoad, and Pte/Buffalo Man returns with another astonishing story.

Those areas include, Domestic and Sexual Violence, Substance Use Challenges, Mental Health Concerns, Public Health initiatives around wellness for women including Native Women Speaking an HIV initiative, Youth programming in community efforts including Founder of FM Healthy Native Kids, ICWA(Indian Child Welfare Act), Land defending and water protection.

Tanya does a variety of community work with the Indigenous population to identify gaps and to be a voice to ensure the Indigenous perspective is heard.  Tanya enjoys going to powwows, cultural ceremonies and cooking for the community. Tanya appreciates learning other cultures, while sharing hers. But most importantly is a mother of three and an auntie mom to her nephew and niece. Tanya also has two grandsons Ethan and Ezra.

FB: https://www.facebook.com/teesfrybreadtacos

Email for events: TeesTacos@gmail.com

She is a former State Representative, School Board Member, and non-profit executive, and through all these roles remained a strong advocate for those who have been historically underserved and underrepresented, including children, Indigenous people, communities of color, and working families. In partnership with Governor Walz, she established the Office of Missing and Murdered Indigenous People, which is the first in the Nation. They also successfully passed into state law a mandate for all state agencies to honor a government-to-government relationship with the 11 sovereign tribal nations within the borders of Minnesota, including the requirement for consultation when making decisions which have an impact on the tribal nations.

Links:

Facebook: https://www.facebook.com/LtGovFlanagan


Twitter: https://twitter.com/peggyflanagan

Instagram: https://www.instagram.com/peggyflanagan/

Websites: https://mn.gov/governor/

business administration, and a master of public health from North Dakota State University. Fargo Native American Commission (2017) and is currently on the Board of the National Native Boarding School Healing Coalition. She was 

recognized by the National Center for American Indian Enterprise 

Development as a leader, "40 under 40" in 2017. Ruth has served in various capacities focused on building healthy and safe 

communities. She was elected into the North Dakota House of Representatives in 2018 and proudly serves the people of District 27 in south Fargo. Ruth is the first Native American Democratic woman elected to the North Dakota Legislature.

Links:

Facebook: https://www.facebook.com/RuthBuffalo4ND


Twitter: @ruth4Nd

Instagram: https://www.instagram.com/rep_ruth_buffalo_/

Websites: https://www.ndlegis.gov/biography/ruth-buffalo

NDWN: https://www.ndwomen.org/

North Dakota Farmers Union: https://ndfu.org/

North Dakota United: https://www.ndunited.org/

North Dakota AFL-CIO: https://ndaflcio.org/

New Leadership Northern Lights:

https://cawp.rutgers.edu/node/2448

Tamara was elected to the South Dakota State Legislature in 2018, completed her second term with the 2022 Legislative Session and will be running for re-election November 2022.  Tamara is currently leading the work to repatriate two Sisseton Wahpeton Dakota children who attended the Carlisle Pennsylvania Industrial School for Indians in 1879. Both Amos LaFromboise and Edward Upright are buried at the cemetery in Carlisle, Pa. which is now an active military base. 

Since 2016 Tamara St. John has worked with other tribal nations to navigate the complex issues that surround the unique issues related to repatriations from Carlisle Indian School cemetery.  

Links:

Facebook: https://www.facebook.com/TamaraforSD


Twitter: @tamarajstjohn

Instagram: https://www.instagram.com/tamara_stjohn/

Heather has been involved in equity work her entire life; it’s not work that she chose to start at any one specific time. Rather, for Heather, the work of equity is a way of life.

Her formal educational training started with an associate degree in Marketing from Southeast Tech in Sioux Falls, SD. From there, she pursued a Bachelor of Arts in Project Management from MSUM. After receiving her bachelor’s degree, Heather earned her Master’s degree in Educational Leadership from MSUM.

Beyond her formal education, Heather has participated in numerous trainings and workshops; a sample of these efforts includes: The Blandin Foundation Community Leadership Training and The Bush Foundation’s BushCon.

Heather has also worked in many facets of equity work within the region. She led the Human Rights Task Force for Moorhead Area Public Schools, served as the Vice Chair of the Moorhead Native American Commission, and developed programming that laid a foundation for the Moorhead School District to hire a Director of Equity and Inclusion position.

In November 2020, Heather was elected to the Minnesota House of Representatives for District 4A representing Moorhead, Minnesota. This historic election cannot be underestimated, as she is the first Native LGBTQIA+ woman serving rural Minnesota in the legislature. This momentous accomplishment became a reality due to Heather’s unwavering commitment to foundational issues of education, equity, and healthcare for all.

Links:

Facebook: https://www.facebook.com/Heather4House


Twitter: @repkeeler

Instagram: https://www.instagram.com/heather4house/

NMAI:

https://americanindian.si.edu/explore/exhibitions/item?id=985

Dakota Modern: The Art of Oscar Howe book:

https://americanindian.si.edu/shop/publications/books-and-products#6363

Portland Art Museum

https://portlandartmuseum.org/exhibitions/dakota-modern/

Find Kathleen's publications here:

https://www.amazon.com/Books-Kathleen-Ash-Milby/s?rh=n%3A283155%2Cp_27%3AKathleen+Ash-Milby

Oglala Lakota, Savannah primarily works with acrylic and permanent inks. She is inspired by her childhood, heritage and daily life.

She has a presence online as Bears Will Kill You and Bear Hair is OK in various forms, a former college athlete, an advocate for those in need, and is a fantastic jewelry creator and painter. She is an advocate for Native voices and all around a great artist.

Links:


Twitter: @bearswillkillu

Instagram: https://www.instagram.com/bearhairok/

Websites:

bearswillkillu.redbubble.com

Esty: https://www.etsy.com/people/svntllbr1

Okie Podcast:

https://podcasts.apple.com/us/podcast/okie-podcast-with-savannah-tallbear/id1550490884?i=1000570554022

Art Supply Posse Podcast:

https://podcasts.apple.com/us/podcast/138-savannah-tallbear/id1119393753?i=1000558026546

His motivation to create music that is poignant and diverting stems from being born and raised on the Ihanktonwan (Yankton) lands of South Dakota. Sharing their personal love of music his parents, Beverly and Greg Zephier, introduced musical production to him and his siblings with the creation of the band ‘Indigenous’. Buffalo wrote, recorded, and performed with his siblings from 1988 until 2006 touring across the US, Canada, and into Europe sharing the stage with well known artists such as BB King, Bob Dylan, John Mayer, Gary Clark Jr., and many more.

In 2006 Buffalo initially created ‘Disciples of Sound’ until transitioning into ‘Black Owl Society’ in 2010. Performing and recording with a range of talented musicians until being joined full time by his sister and drummer, Good Eagle Woman, in 2018.

With the creation of ‘Black Owl Society’ he opened the doors to writing music that carried the weighted words of his origins. Lyrics inspired by uniquely indigenous stories, experiences, and emotions carried on resonant guitar, powerful drums, and deep deferential bass, ‘Black Owl Society’s’ music will give listeners a fully enlightening experience.

Website:

https://www.blackowlsociety.com/

YouTube:

https://www.youtube.com/channel/UCrb_VgiP_uzpYi6cbwtypLA

Instagram:

https://www.instagram.com/black_owl_society/

Facebook:

https://www.facebook.com/blackowlsociety

Spotify:

https://open.spotify.com/artist/5rmeXrlla5JybotaFe65o1

Set List:

Now Or Never 2:18

On The Brink 5:14

Leaves Me Down 7:49

Lakota Woman Blues 11:32

Bittersweet Serenade 14:14

Bliss 17:26

Intensified 20:15

Kenton is also a baker of Napoli style pizzas and does sales on weekends. He hopes to hit the pow wow trail with his pizzas soon!

IG:

Isanti: https://www.instagram.com/isanti_band/

Sons of Sans Arc: https://www.instagram.com/sons_of_sans_arc/

Stuart was recently featured in a full length documentary titled Oyate, presented by Films With A Purpose in association with Irrelevant Media & Lakota People's Law Project. Oyate has been nominated for Best Film at the Big Sky Film Festival in Montana and has received the 2022 Audience Choice Award at the North Dakota Environmental Rights Film Festival in North Dakota. Stuart's music helped bring the film an interesting perspective through the form of hip hop which brought a modern voice to the documentary.

In the future Stuart hopes for people on every reservation to strive for healthy and positive lives and the music is the driving force of that goal. The big picture is very important but we must also take care of ourselves before we can help anyone. "I know we want change and we want to beat the odds but we should start by cleaning up the trash in our yards". Stuart understands it is a long road to healing but as long as we make steps every day our people will start to come together and work towards a better life for our future generations.

Facebook: https://www.facebook.com/profile.php?id=100008180656153

IG: https://www.instagram.com/stuartjamesmusic/

Email me, Joe, at 5scarystories@gmail.com and if your story is selected we'll connect and record our story in August! Good luck and I can't wait to hear from you!

5scarystories@gmail.com

Indigenous Environmental Network website:

https://www.ienearth.org/

Dallas Social Media:

Facebook: https://www.facebook.com/dallasgoldtooth

Instagram: https://www.instagram.com/dallasgoldtooth/

Twitter: https://twitter.com/dallasgoldtooth

1491s:

Facebook: https://www.facebook.com/1491s

Instagram: https://www.instagram.com/1491s/

Twitter: https://twitter.com/1491s

Reservation Dogs:

Website: https://www.fxnetworks.com/shows/reservation-dogs

Facebook: https://www.facebook.com/RezDogsFX

Instagram: https://www.instagram.com/rezdogsfx/

Twitter: https://twitter.com/RezDogsFX

Instagram: janaunplgd, womanofsizepod

Twitter: @janaunplgd, @womanofsizepod

Chad has directed several short films. The most recent of which, Firecracker Bullets, will be set for 2022 festival season.

IG: chadcharlieee

Reservation Dogs:

https://www.fxnetworks.com/shows/reservation-dogs

Uu?uu~tah:

https://www.youtube.com/watch?v=C6lemMQmPv0&t=26s

Most recently, Loren was a Line Producer on the 2022 Sundance Film Festival selected short ᎤᏕᏲᏅ (What They’ve Been Taught), a film that is part of the Reciprocity Project by Nia Tero at Upstander Project.

Recent projects to her experience include Season 1 of Reservation Dogs and the Martin Scorsese directed feature film, Killers of the Flower Moon. Currently, Loren is the Background Casting Director for Season 2 of Reservation Dogs. She is also in development of a short film titled, ᏗᏂᏠᎯ ᎤᏪᏯ (Meet Me at the Creek), the fourth installment of a short documentary film series that focuses on tribal environmental professionals. The first two films, celebrating tribal environmental professionals, Polly Edwards and Yvette Wiley, premiered in 2019. The third film, Restoring Néške'emāne, screened at festivals such as deadCenter Film Festival, LA Skins, Durango Independent, and recently won Best Short Documentary at North Dakota Environmental Rights Film Festival.

Website:

https://lorenwaters.com/

Facebook:

https://www.facebook.com/lorenkaseyjewelry

IG:

https://www.instagram.com/lorenkaseyjewelry/

Sylvia’s work represents a visual map of various things that flow through her mind, influenced by colors, nature, people, thoughts, emotions, and cultural teachings; all these things she processes through different art mediums, mainly soft pastels. A couple of her main themes she likes to explore are reconnecting to her Anishinaabe heritage and portraiture. The artist herself explains, “I want to share my knowledge and experiences with others in my version of visual storytelling; to give folks encouragement to engage in their creative evolution, conduct soul searching for themselves, and never stop seeking knowledge.”

Even though Sylvia has been creating most of her life, she didn’t start taking her art more seriously until not long after she arrived in North Dakota in 2017. Eventually, Sylvia would like to continue her college education to become an Art Therapist and a Professional Artist.

Facebook: https://www.facebook.com/sylviahouleart/

IG: https://www.instagram.com/sylviahouleart/

Pinterest: https://www.pinterest.com/pin/soft-pastel-portrait-by-sylvia-houle--320318592242181590/

A lifelong resident of Becker County, Penny has always lived on or adjacent to White Earth Reservation in Northwestern Minnesota. This is where she gathers traditional foods, mashkiki-medicine plants as well as materials for making quillboxes.

In 2014, she achieved a tremendous goal to go learn quillwork and quillbox construction from renown Ojibwe artist Melvin Losh. Today Penny makes what she calls “slow art” – durable quillboxes painstakingly produced through uncountable hours and intense attention to detail. She has been told her work demonstrates an ethereal quality, allowing one to hold the sacred beauty of the natural world in the palm of their hand.

Birchbark basketry, ribbon with appliquéd beadwork bags, beaded earrings and appliquéd mural blankets round out her creative work for ceremonial gifting. At all times, Penny’s commitment to the thriving and vibrant lives of her community and relatives push her to learn and pass these teachings on.

Facebook:

https://www.facebook.com/quill.everlasting.1

Contemporary Indigeneity:

https://www.unl.edu/plains/contemporary-indigeneity

She has also worked with numerous institutions and programs to develop dialogue on the issues of cultural appropriation and the importance of Indigenous design work. She is currently a grad advisor in painting and drawing at the School of the Art Institute of Chicago and the photographer for the Helen Louise Allen Textile Center and the Center of Design and Material Culture.

Her work as an artist and scholar has been exhibited nationally and internationally at various conferences, collectives, museums, and galleries, including: Textile Society of America, Weave a Real Peace, Indigenous Photograph, 400 Year Project, Wright Art Museum, Contemporary Arts Center, Kemper Museum of Art, and the Wallach Art Gallery.

Website:

https://www.dakotamace.com/

IG:

https://www.instagram.com/dmaceart/

Kahlhamer lives and works in New York City and Mesa, Arizona. His work has been included in national and international group exhibitions, at institutions including the Madison Museum of Contemporary Art, the Aspen Art Museum, the Nelson-Atkins Museum of Art (Kansas City), and the Metropolitan Museum of Art (New York). His work has recently been shown in solo exhibitions at the Joslyn Museum, Omaha; Zidoun-Bossuyt Gallery, Luxembourg; Jack Shainman Gallery, New York; Aldrich Contemporary Art Museum, Ridgefield, Connecticut; and Andréhn-Schiptjenko Gallery, Stockholm, Sweden.

Swap Meet at Scottsdale Contemporary Art Museum

https://smoca.org/exhibition/brad-kahlhamer-swap-meet/

Brad Kahlhamer: 11:59 to Tuscon at the Tuscan Museum of Art

https://www.tucsonmuseumofart.org/exhibition/brad-kahlhamer-1159-to-tucson/

Brad Kahlhamer: Fort Gotham USA at Garth Greenan Gallery

https://www.garthgreenan.com/artists/brad-kahlhamer

Brad Kahlhamer: A Nation of One at Plains Art Museum (2019)

https://plainsart.org/exhibitions/brad-kahlhamer/

earned her MFA degree from the San Francisco Art Institute and taught Native art history at the Institute of American Indian Arts, Santa Fe Community College, and Cherokee Humanities Course.

Northeastern State University named Meredith its 2018 Sequoyah Fellow. Based in Norman, Oklahoma, Meredith serves on the Cherokee Arts and Humanities Council board and the collections and acquisitions committee of the First Americans Museum foundation.

First American Art Magazine Website:

https://firstamericanartmagazine.com/

Facebook: https://www.facebook.com/AmericaMeredithArt

He seeks to raise and empower Indigenous voices across the continent known as North America. He has re-purposed photography, long a tool used to create monolithic caricatures of Native peoples and “poverty porn,” to more accurately show the lifeways of people as they live and not as idealized or romanticized images.

Website: https://www.istamaza.com/

IG: ista_maza

the American Indian Studies Interdepartmental program at the University of California, LosAngeles.

Mithlo’s curatorial work has resulted in nine exhibits at the Venice Biennale. A life-long educator, Mithlo has taught at the University of New Mexico, the Institute of American

Indian Arts, the Santa Fe Community College, Smith College, California Institute of the Arts,Occidental College and the University of Wisconsin-Madison.

Her 2020 book Knowing Native

Arts was published by the University of Nebraska Press.

Mithlo’s research addresses the pressing need for accurate and sensitive information for and

about American Indian communities using institutional critique, curatorial strategies and arts

analysis. She is concerned with the unequal application of resources in the arts and culture field

and the outmoded theoretical frames of analysis that tend to describe, but fail to analyze the

wealth of knowledge inherent in Native arts production and circulation.

Order her book here:

https://www.nebraskapress.unl.edu/nebraska/9781496202123/

Website:

https://nancymariemithlo.com/

As a member of Postcommodity from 2009-2018, he co-created artworks presented at the Whitney Biennial, documenta 14, Carnegie International 57, as well as the 2-mile long land art installation Repellent Fence.

A recording artist over the span of 22 years, Chacon has appeared on more than eighty releases on various national and international labels. His 2020 Manifest Destiny opera Sweet Land, co-composed with Du Yun, received critical acclaim from The LA Times, The New York Times, and The New Yorker, and was named 2021 Opera of the Year by the Music Critics Association of North America.

Since 2004, he has mentored over 300 high school Native composers in the writing of new string quartets for the Native American Composer Apprenticeship Project (NACAP). Chacon is the recipient of the United States Artists fellowship in Music, The Creative Capital award in Visual Arts, The Native Arts and Cultures Foundation artist fellowship, the American Academy’s Berlin Prize for Music Composition, the Bemis Center’s Ree Kaneko Award, and in 2022 will serve as the Pew Fellow-in-Residence.

His solo artworks are in the collections of the Whitney Museum of American Art, the Smithsonian’s American Art Museum and National Museum of the American Indian, Los Angeles County Museum of Art, Getty Research Institute, the University of New Mexico Art Museum, a various private collections.

Website:

www.spiderwebsinthesky.com

IG: Ravenchcn

Twitter:@Raven_chacon

Website:

https://www.mysoulcuriosity.com/

IG:

https://www.instagram.com/soulcuriosity/

Facebook:

https://www.facebook.com/mysoulcuriosity

Whitney currently works at Family HealthCare in Fargo, ND. Her clinical specialties are trauma related disorders, substance use disorders, perinatal psychiatry, harm reduction and LGBTQ-2S emotional health. Whitney feels that an integral part of fulfilling the responsibilities of a nurse should include advocacy for issues such as health equity and social justice. Whitney serves as a board member for Indigenous Association. She is the current Chairwoman for the Fargo Native American Commission. In her free time Whitney enjoys spending time with her children (twins, Isabella and Remy), painting, creating traditional beadwork/quillwork and being outdoors.

SHIFT Podcast webpage:

https://www.shiftnursing.com/

Nation in northern Montana. His plains graphic art combines traditional design and contemporary illustrations to create a signature look that is instantly recognized throughout the

country. John considers his art journey as ceremony because his understanding of his past, family, and culture grows with each piece he creates. “Through my art,” he says, “I find personal healing, cultural preservation and a deeper connection to place.”

A descendant of Mountain Chief, a Blackfeet leader who preserved history through numerous

winter counts, John aspires to have a positive impact on his community though his art activities

and beyond.

When not creating art, John is an active public speaker and educator who has traveled the

country speaking at public schools, organizations and with groups of aspiring artists. He holds formal degrees in Art Marketing and Museum Studies from United Tribes Technical College and the Institute of American Indian Arts, respectively.

In 2018, John began working with Native-owned Eighth Generation and their Inspired Natives

Project with the goal of increasing his business capacity. His goal is to bring his cultural art to

market while maintaining control over the stories embedded within it.

Webpage: https://johnisaiahpepion.com/

Facebook: https://www.facebook.com/john.pepion

IG:https://www.instagram.com/johnisaiahpepion/

Website:

https://indianspacepainters.com/

IG: https://www.instagram.com/nealambrosesmith/

Thematically I am a narrative artist. Images are appropriated from either the Powwow interlaced with Hollywood or from the indigenous people of Turtle Island and filtered through my point of view to tell the tale of the coming of the Europeans, small pox, and the near annihilation of the people of this region. These historic and grand cultures were all but decimated in a few short years and those left standing were cheated of their traditions, religion,and freedoms. But, the ancient voices were not silenced and the drumbeats are strong again.

The celebration of the Powwow is one public declaration of the strength and tenacity of the indigenous cultures of this continent. Hollywood finds a place in the images but as an interloper and with tongue-in-cheek humor. Both the Powwow and They Came mezzotints are born from research, developed with a lot of wishful thinking, and then filtered through a contemporary point of view. I am intrigued by societies rich in imbedded belief systems and texture of ritual. I am fascinated by the way groups, historically and contemporarily, structure the day upon ceremonies, beliefs, and rituals. I appropriate interesting images or concepts from these various cultural fabrics, add a bit of contemporary color, and weave it all into my idea of story telling.

Although seemingly disparate, work created from childhood memories and from adult research spring from similar place. In both the images and my remembrances are appropriated and darkened with contemporary political meaning. The narrative is realized in the mezzotint processes and printed on Hahnemuhle copperplate paper.

Whitney is professor emeritus who lives in her studio. Her mezzotints have traveled throughout North America and Europe; and to Australia, New Zealand, Serbia, Nicaragua, and Russia. Her work was given one of four international awards at the International Mezzotint Festival in Ekaterinburg, Russia in 2019. Exhibitions in 2021 include: Indigenous: The Contemporary, Watersmeet, MI (award); Ink Only III – PaperWorkers, Birmingham, AL (award); National Juried Exhibition. Norfolk, VA (award); 62nd Midwestern Exhibition. Rourke Museum Moorhead, MN (award); Mapping Narratives: New Prints 2021/Winter Exhibition. International

Print Center, NY, NY; Gala Exhibition and Auction. Plains Art Museum, Fargo, ND; Third International Biennial Exhibition. Yerevan, Arminia; Print Club of Rochester 2021 Exhibition. RIT City Art Center, Rochester, NY; Cimarron National Works on Paper, OSU; Indianapolis Art Center’s Exhibition “Women’s Work” Indianapolis, IN; 2021 Delta National Small Prints. Bradbury Art Museum, Arkansas; Webster Arts’ Under Pressure National Exhibition, Webster Grove, MO; Parkside National, Parkside, WI; America’s Paperworks 2021 NAC, MSU, Minot, ND; 57th JFAA Annual Art Exhibition. The Arts Center, Jamestown, ND (award); Prairie Village Arts Council State of the Arts Exhibition. Kansas. Hand Magazine. November Issue; Exhibizone 5th International Smart Online Group Exhibition, Canada and Heroes and Legends an online Exhibition, Ontario, Canada: Exhibitions thus far scheduled for 2022 include: Northwest Arts Center’s INT'L Paperworks 2022, Minot State University; Delta National Small Prints Exhibition, Bradbury Art Museum, Arkansas State University; 2022 PrintAustin 5x5 Exhibition, Austin, TX; Women’s Printmaking Invitational 2022, Kent State University, Four Rivers Print Biennial, Southern Illinois Printworks at Southern Illinois University Carbondale, IL. She has a solo exhibition schedule for 2023 in Ohio.

Website:

https://www.lwhitneystudio.com/

IG: https://www.instagram.com/lwhitneystudio/

He is a U.S Army veteran that trained as a 91-A combat medic and 92-B medical lab specialist and served at Letterman Army Medical Center. He later became a commissioned officer and served as the battalion chemical officer for the 1-143 Field Artillery battalion in Walnut Creek as a lieutenant.

He is the former Associate Editor for Indian Country Today. He contributed thousands of articles to the publication for over 16 years. As a content media producer, Vincent help to orchestrate video content for news for over 16 years. In addition to the above organizations, he has contributed video media content to Marvel, NBC, Dateline, Now This News, CBC, APTN and more.

In 2011, Vincent was given a human rights award in the city of Virginia Beach by the Virginia Beach Mayor for programs created about Native American issues in the Hampton Roads region.

He is also the former host of Native Trailblazers, an online Indigenous radio program that aired every Friday at 8 P.M. on www.blogtalkradio.com/NativeTrailblazers from 2010 to 2020 which was nominated for an Aboriginal People’s Choice Music Award for “Best Aboriginal Music Radio Station / Program.”

He was given a Bronze Editorial Excel Award for the Winds of Change "Conflict on the Mountain" article featured in the Spring 2011 issue. As a public speaker, Vincent has shared his experience and expertise with public, governmental and private entities to speak about diversity in the workplace and in schools to overcome the stereotypes of Native American people today.

'I enjoy writing profiles on successful and inspirational people. I want to uplift with my writing. Every word I write - I write with the cognizance that hopefully, someone somewhere will make a change for the better--no matter how small--to improve their own lives.'

Follow him on Twitter and all other social media at @VinceSchilling. https://beacons.page/vinceschilling

Webpage: NativeViewpoint.com

Webpage: schillingmediainc.com

Twitter: @VinceSchilling

TikTok: @VinceSchilling

Instagram: @VinceSchilling

YouTube: @VinceSchilling

Website:

https://www.joyharjo.com/

Instagram:

https://www.instagram.com/joyharjoforreal/

Twitter:

https://twitter.com/JoyHarjo

Facebook:

https://www.facebook.com/JoyHarjo

In 2014, Chef Sean opened the business, The Sioux Chef, designed to provide catering and food education in the Minneapolis/Saint Paul area. He and his business partner, Dana Thompson, also designed and opened the Tatanka Truck, which featured 100% pre-contact foods of the Dakota and Minnesota territories.

In October 2017, Sean and his team presented the first decolonized dinner at the prestigious James Beard House in Manhattan. His first book, The Sioux Chef’s Indigenous Kitchen, received the James Beard Award for Best American Cookbook for 2018 and was chosen one of the top ten cookbooks of 2017 by the LA Times, San Francisco Chronicle and Smithsonian magazine. That same year, Chef Sean was selected as a Bush Fellow and received the 2019 Leadership Award from the James Beard Foundation. Chef Sean currently serves on the leadership committee of the James Beard Foundation Investment Fund for Black and Indigenous Americans and was recently awarded The Ashoka Fellowship. In July 2021, Chef Sean and Dana opened Owamni by The Sioux Chef, Minnesota’s first full service Indigenous restaurant, featuring healthy Indigenous food and drinks. Since its opening, Owamni has received rave reviews from around the globe.

The Sioux Chef team continues with their mission to help educate and make Indigenous foods more accessible to as many communities as possible through their non-profit arm, North American Traditional Indigenous Food Systems (NĀTIFS) and the accompanying Indigenous Food Lab professional Indigenous kitchen and training center. Working to address the economic and health crises affecting Native communities by re-establishing Native foodways, NĀTIFS imagines a new North American food system that generates wealth and improves health in Native communities through food-related enterprises.

Websites:

The Sioux Chef: https://sioux-chef.com/

NĀTIFS: https://www.natifs.org/

Food Labs: https://www.natifs.org/indigenous-food-lab

Owamni: https://owamni.com/

Facebook:

The Sioux Chef: https://www.facebook.com/thesiouxchef

NĀTIFS: https://www.facebook.com/NATIFS.org/

Owamni: https://www.facebook.com/owamni/

Instagram:

The Sioux Chef: https://www.instagram.com/siouxchef/

NĀTIFS: https://www.instagram.com/natifs_org/

Indigenous Food Labs: https://www.instagram.com/indigenousfoodlab/?hl=en

Owamni: https://www.instagram.com/owamni/?hl=en

Twitter:

The Sioux Chef: https://twitter.com/the_sioux_chef

NĀTIFS: https://twitter.com/natifs_org

Owamni: https://twitter.com/owamni?lang=en

Youtube:

Indigenous Food Labs:

https://www.youtube.com/channel/UCZdVMZLJ-VQ1TR6puA1QzSw

Buffalohead creates visual narratives told by animal characters that embody human traits, freewill and individuality. She connects the mythical with the ordinary and the imaginary with the real, offering a space to which viewers can bring their own experiences. She coaxes us to discover additional layers of meaning–social, historical, political, personal – using metaphor, wisdom, and wit.

Website:

https://www.juliebuffalohead.com

Active since 1992, her projects merge decolonized physical movement with mixed media, sound and objects for stage and installations.

I had first become associated with Ms. Simas from an exhibition here at the Plains in 2019. Her work was unlike any of the other artists in the space, where her performance video, We Wait In The Darkness, with these beautiful maps and overlays on them filling a wall in the exhibition.

Her work combines themes of personal and collective identity with family, matriarchy, sovereignty, equality, and healing.

Thoughtful in her responses, and relatable experiences makes this interview so interesting.

Check out the following websites:

Website: https://www.rosysimas.com/

Rosy Simas Danse Website: https://rosysimasdanse.com/

All My Relations (A Place of Rest) website: http://www.allmyrelationsarts.com/yodoishendahgwageh/

Native Arts and Cultures Foundation website:

https://www.nativeartsandcultures.org/rosy-simas-2

Dr. Little received his PhD in History from the University of Minnesota and is passionate about changing the way history is written about Native peoples. He is currently the Director of Native Recruitment and Alumni Engagement at the University of South Dakota. Previously, he was the Director of the 7th Gen Summer Program, a Native American college readiness program for high school graduates in the Black Hills of South Dakota.

He is the co-director, alongside his brother Kenn, of the 2017 award-winning film, “More Than A Word.” The documentary goes inside the movement to change the name of the Washington R*dskins football team as well as what’s at stake in contemporary debates about cultural appropriation and Native American-themed mascots.

You can reach him at: john.little@usd.edu

More Than A Word film: http://morethanawordfilm.com/

Watch the trailer here:

https://www.youtube.com/watch?v=A86QFzzp7s8

Subscribe to AV's Black Coffee Show:

https://www.youtube.com/channel/UCQPtGj_bhe2HRhHiqRtWgkQ

Follow on Instagram!

Dwayne Wilcox:

IG: https://www.instagram.com/dwayne.wilcox.505/

https://www.morningstargallery.com/gallery-artists/dwayne-wilcox-bio

Matt Barse:

IG: https://www.instagram.com/lowdownent/

https://www.lowdown-entertainment.com/

Falcon Gott:

IG: https://www.instagram.com/___fal_con___/

https://www.falcongott.com/

Vanessa Short Bull:

IG: https://www.instagram.com/vanessashortbull/

Gerald Cournoyer:

https://geraldcournoyer.artspan.com/thumbnail_list.php?mgd_id=14442

Roy Taylor:

IG: https://www.instagram.com/indigeneity_rising/

https://www.kfai.org/personality/roy-taylor/

He is a:

Stage, Film, Commercial Actor

Performance Storyteller

Voice Over Narrator

Spoken Word Artist

Emcee, Moderator, Host

Radio Broadcast Journalist

Public Speaker, Presenter

Spokesman, Representative, Advocate

Humorist, Comedian

Playwright, Screenwriter...he does it all!

Over 25 years experience in public, non-profit, government work at the local, national and global level. Graduate of the amazing University of Oklahoma. Married, two adult children and two school age grandchildren.

Find KFAI online:

https://www.kfai.org/program/indigeneity-rising/

FB: https://www.facebook.com/indigeneityrising/

She currently lives in St. Paul Minnesota and the first Indigenous artist to install work at the Minneapolis Sculpture in conjunction with the Walker Art Center. Her work will be an interactive space where you can move through the space and see and hear Dakota words in it’s Native place.

This work will be open to the public on October 9th of 2021. I encourage you to make a trip to this location and see this amazing piece. Who knows, you just may see me there as well.

Let’s jump into this interview with Angela.

website:

http://www.angelatwostars.com/

Racing Magpie website:

https://www.racingmagpie.com/

First Peoples Fund Website:

https://www.firstpeoplesfund.org/

Arthur received an MFA from the Pennsylvania Academy of the Fine Arts in Philadelphia and has served as a Fellow at the Barnes Foundation for Advanced Theoretical and Critical Research, Pennsylvania. Additional education includes the Rhode Island School of Design, University of Georgia and the Tamarind Institute of Lithography at the University of New Mexico.

Arthur is awarded to the Notable Women in the Arts, National Museum of Women in the Arts and has been nominated for a Joan Mitchell Foundation, Painters and Sculptors Grant. She is the recipient of a Florida Artist Enhancement Grant provided by the State of Florida and the National Endowment for the Arts.

Her work is included in the permanent collections of the Saint Louis Art Museum, Chazen Museum of Art, Minneapolis Museum of American Art, Tweed Art Museum, Denver Art Museum, Autry National Center of the American West and the Museum of Contemporary Native Arts, Santa Fe, NM.

Arthur’s work is included in the recent 2020 book, Knowing Native Arts (Lincoln): University of Nebraska Press, by Nancy Marie Mithlo as well as Dr. Mithlo’s forthcoming book titled Visualizing Genocide co-authored with Yve Chavez, Ph.D. Arthur is also a co-curator and co-author of Re-Riding History: From the Southern Plains to the Matanzas Bay, edited by Phillip Earenfight, PhD. (The Trout Gallery: Carlisle, PA, Fall 2018).

Arthur has served as an International Artist in Residence in France and Japan with artists from the Diné/Navajo Nation and as part of the 2011 Venice International Print Studios where she exhibited at the University of Ca” Foscari on Occasion of the Venice Biennale 54th International. International permanent collections include the nations of Iceland, Russia, Estonia, Ireland, France, Italy United Kingdom, India, Argentina, New Zealand, and Japan.

Arik is gaming field agent with the Sisseton Wahpeton Oyate. But this seemingly dedicated civil servant has a a back story and creative side that is so fascinating. He was the youngest DJ at KSWS 89.3 FM radio station in the late 1990s and early 2000s and later KXWS 89.9 FM, a tribal radio station at the Sisseton Wabpeton Oyate. His music knowledge, his cultural respect is so on par with any radio personality you’ll see in films today. He was a combination of John Trudell’s Randy Peone in Smoke Signal or Northern Exposure’s Chris Stevens portrayed by John Corbett. An Encyclopedia of music and pop culture yet thoughtful and well read, Arik was one of the most brilliant radio DJs ever to come out of South Dakota.

Website: https://marwinbegaye.com/

IG: https://www.instagram.com/printmakingpapa/

IG: https://www.instagram.com/hybridpress/

https://watermarkartcenter.org/bury-the-hatchet-prayer-for-my-pah-be-john-hitchcock/

John Hitchcock, born in Lawton Oklahoma, he is of Kiowa and Comanche decent. He’s a printmaker, musician, an educator, his CV is as long and adventurous as they come. He has been an artist in residence in Shanghai, China, Belgium, Italy, South Africa, and Argentina, and has exhibitions across this country. He received his BFA from Cameron University in Lawton Oklahoma, his MFA in printmaking and photography at Texas Tech University, and is currently the Associate of Arts at the University of Wisconsin - Madison.

But what makes John so interesting is his ability to collaborate. He’s got his disarming manner to him that draws you to him. Almost everyone I know has interacted with him, and vice versa.

She just completed her first year as a counselor at the Oscar Howe Summer Art Institute after attending the program three years previously as a student.

After graduating, Kaitlyn plans to pursue her MFA so she can begin teaching a younger generation of artists on her reservation and create more community art. Her own work focuses on combing aspects of her contemporary Indigenous identity with the past in hopes of better representing her peers.

Seminole serves as a political consultant and coach, and policy analyst. They also serve as an Indigenous theological advisor and speaker. More recently,Prairie Rose Seminole served as the American Indian Alaska Native Program Director for the Evangelical Lutheran Church in America, serving American Indian, Alaska Native communities around the United States as an educator, and advocate, deconstructing colonial systems of oppression.

Seminole lives and works from White Shield ND, with her partner, their ten horses and seven country dogs.

Seminole has served on the Fargo Human Relations Commission in Fargo, the Midwest Advisory Council to the Federal Reserve Bank of Minneapolis and currently sits on the advisory council to the Olamina Fund and the boards for Humanities North Dakota, I Vote For, the Midwest Advisory Council for the Innocence Project, board member for the Native American Coalition of North Dakota.

Don is one of the most remarkable individuals I know. In my past work career working at Circle of Nations School we addressed numerous complicated and hard situations. His approach to problem solving came from a place that you cannot learn in school. His youth, his background, and his training makes him one of the most valuable community members I know.

Joe Williams

Waćiŋyaŋpi Wicaśta

Waȟpéthuŋwaŋ Dakota

28 September 1934 - 10 May 2021

But what makes Athena so interesting, is the way she looks at the world beyond what is just there. It’s hard for me to articulate so let’s jump into this interview with Athena.

Links:

https://athenalatocha.com/home.html

https://plainsart.org/exhibitions/athena-latocha/

https://www.fridmangallery.com/land-escape

https://mailchi.mp/nyfa/nyfa-news-law-and-the-arts-a-free-resource-series?e=afe0c02aae

I am so honored and so excited to share with you this most unique conversation with Waŋbdí.

So let’s jump into this interview with Waŋbdí.

Your link to Black Owl Society:

https://linktr.ee/Blackowlsociety

Facebook: https://www.facebook.com/blackowlsociety

IG: https://www.instagram.com/black_owl_society/

Join us in this fantastic 1/2 hour.

IG: https://www.instagram.com/mtwobulls/

The Wake Singers on IG: https://www.instagram.com/thewakesingers/

The Wake Singers on YouTube:

https://www.youtube.com/channel/UCEqoJbGexePR-mlf0b7ArEQ

I think what makes Andrea so interesting is her ability to address the relationships of Indigenous artists and museums. She recognizes and addresses the historic problems that institutions like museums with their colonial roots and their detrimental effects on Indigenous people, but also how Indigenous artists are now taking control of the narrative and reshaping the art landscape. She also talks about the concept of Indigenous Futurism, which I find so absolutely incredible.

You can find a link to her current works and representation at Bockley Gallery in Minneapolis, Minnesota.

Link: http://www.bockleygallery.com/artist_carlson/index.html

You can find CAIRNS at the link below.

https://www.nativecairns.org/

Marty Two Bulls Sr. is a member of the Oglala Lakota from the Pine Ridge Indian Reservation in South Dakota. He spent his childhood in Rapid City, S.D. It was at the Rapid City Central High School’s student newspaper the Pine Needle, that Two Bulls first started drawing editorial cartoons.

Marty studied commercial art at the Colorado Institute of Art. Two Bulls worked television, commercial printing, and newspapers. He would become the graphics editor at the Rapid City Journal and later The Sioux Falls Argus Leader. Leaving newspapers he returned to college to finish his BFA degree at the Institute of American Indian Art in Santa Fe, N.M.

His work focuses on issues of political interest to Native American peoples who have been historically persecuted and marginalized by the dominant culture, which has reduced them to a minority in their own lands.

Two Bulls embraced a growing readership of non-Natives cultivated through social media, in the hope that one Lakota man’s point of view will bring a better understanding and support for issues that affect Native American Indians.

Marty currently works as a freelance artist, graphic designer and political cartoonist.

m2bulls.com

https://www.patreon.com/m2bulls

https://www.facebook.com/martytwobulls

https://www.gocomics.com/m2bulls

https://www.instagram.com/m2bullz

https://twitter.com/m2bulls

https://plainsart.org/northern-plains-summer-art-institute-application/

Access to the Oscar Howe Summer Art Institute 2021 application:

https://www.usd.edu/fine-arts/art/ohsai-registration

And good luck!

As an artist, De Leon changes styles depending on the subject he’s working on. His portfolio includes a vast array of work ranging from personal music projects, podcasts, commercial writing, and screenplays.

In 2014, he and Kevin Ackley created Chamber Six Media, a media group doing both commercial and artistic work that serves as a form of expression for both artists. Together they have had success as independent filmmakers with their work being accepted into international film festivals.

Chamber Six Media: http://www.chambersixmedia.com/

The Human Family: https://www.human-family.org/

Linktree: https://linktr.ee/fargoguero

Luger is a recipient of a 2021 United States Artists award, 2020 Creative Capital Fellow, a 2020 Smithsonian Artist Research Fellow, the recipient the 2020 A Blade Of Grass Artist Fellowship for Socially Engaged Art and the recipient of the Center For Crafts inaugural Craft Research Fund Artist Fellowship for 2020. He is the recipient of a 2019 Joan Mitchell Foundation Painters & Sculptors Grants, a 2019 Yerba Buena Center for the Arts Honoree and the recipient of the Museum of Arts and Design’s 2018 inaugural Burke Prize. Luger has exhibited internationally including venues such as the Gardiner Museum, Washington Project for the Arts, Art Mûr, Crystal Bridges Museum of American Art and the National Center for Civil and Human Rights, among others. He lectures, participates in residencies and large scale projects around the globe and his work is in many public collections. Luger holds a BFA in studio arts from the Institute of American Indian Arts. www.cannupahanska.com @cannupahanska #cannupahanskaluger

Website: www.cannupahanska.com

Gallery: https://www.garthgreenan.com

Social media: IG @cannupahanska #cannupahanskaluger

Upcoming exhibitions:

https://www.denverartmuseum.org/en/exhibitions/each-other

https://mesaartscenter.com/index.php/museum/art/exhibits/cannupa

Current projects you must check out:

STTLMNT: https://www.sttlmnt.org

Future Ancestral Technologies: http://www.cannupahanska.com/fat

Do It: Home: https://curatorsintl.org/special-projects/do-it

Photo Credit: Ann Arbor Miller

For the past ten plus years, he has been working diligently to learn the Dakota language from various tribal elders in order to pass it and the culture on through teaching cultural activities to both young and old.

An artist steeped in the Dakota language and culture, he is a recipient of the Minnesota Historical Societies Artist in Residence for 2019/2020 and now a fellow from the First Peoples Fund as well as a recipient of various other honors.

The foundation of Jeremy’s artwork is the Dakota culture finding expression through genuine love for his people.

She has been involved in education for forty-four years as an Elementary teacher, Principal, and professor, earning her Bachelor’s, Master’s, and Doctorate degrees from University of North Dakota. Dr. Lajimodiere is a retired Associate Professor from the School of Education, Ed. Leadership program, North Dakota State University, Fargo. She is one of the founders of the National Native American Boarding School Healing Coalition (N-NABS-HC). Denise is a poet – Dragonfly Dance; Thunderbird; Bitter Tears; His Feathers Were Chains (Oct. 2020), Children’s book author, Josie Dances (In press, 2021, and academic book author, Stringing Rosaries: The History, The Unforgivable, The Healing of Northern Plains Boarding School Survivors (2019). Denise is a traditional Jingle Dress dancer, Ojibwe Birch Bark Biting artist, and lives in a cozy cottage by a lake on the Turtle Mountain Indian Reservation.

deniselajimodiere.com (website)

Dragonfly Dance book:

https://www.amazon.com/Dragonfly-Dance-American-Indian-Studies/dp/0870139827/ref=sr_1_1?dchild=1&keywords=Dragonfly+dance%2C+denise+lajimodiere&qid=1612899628&s=instant-video&sr=1-1

Stringing Rosaries book:

https://epayment.ndus.nodak.edu/C22800_ustores/web/product_detail.jsp?PRODUCTID=9430&SINGLESTORE=true

His Feathers Were Chains book:

https://epayment.ndus.nodak.edu/C22800_ustores/web/product_detail.jsp?PRODUCTID=10486&SINGLESTORE=true

Josie Dances (children's book):

https://www.mnhs.org/mnhspress/books/josie-dances

Facebook page about my birch bark biting art:

https://www.facebook.com/birchbarkbiting

consumerism of American society. Her work is philosophically centered by her strong traditional beliefs and political activism. Smith is internationally known as an artist, curator, lecturer, printmaker and free-lance professor as well as a mentor for she believes that Giving Back is a life philosophy. She was born at St. Ignatius Mission, raised by her father who was an illiterate horse trader, she had her social security card at age eight when she started work as a field hand year round, she worked as a waitress and in the canneries through high school. Smith earned an Art Ed degree at Framingham State, MA (now University) and a Master’s in art at the University of NM. Before completing her degree, Smith began exhibiting in NY at the Kornblee Gallery and organizing Native exhibitions. Smith organized and curated over thirty Native exhibitions in 40 plus years. Smith has given over 200 lectures at museums and universities internationally and has shown in over 125 solo exhibits and over 650 group exhibits. Her work is in collections such as Victoria and Albert Museum, London; the Brooklyn Museum; the Museum of Modern Art, Quito Ecuador; the Whitney Museum NY; the Walker, Berlin Museum of Ethnology, Germany; University of Regina, Canada; the Museum of Modern Art in NY. Smith holds 5 honorary degrees and numerous awards such as: 1987 Academy of Art and Letters, Purchase Award, NY;1995 Painting Award, Fourth International Bienal, Cuenca, Ecuador S.A.; 1996 Joan Mitchell Foundation Award; 1997 Women’s Caucus for Art, Lifetime Achievement; 2005 New Mexico Governor’s Award; 2011 Inducted into the National Academy of Design; 2012 Georgia O’Keeffe Museum, Living Artist of Distinction; Honorary BA Degree, Salish Kootenai College, MT; 2018 Montana Governor’s Award; 2018 Lifetime Achievement Award in Printmaking, Southern Graphics Council International; 2019 Murray Reich Award, NY; 2020

United States Artists Fellowship. 2021 Brazilian Biennial.

She was the former Miss SD USA 2000 and Miss SD 2002. She has competed at both the Miss USA and Miss America Pageants. She is the first woman in South Dakota to garner both titles and was the first Native American to win both state titles. Vanessa is also a classically trained dancer. She studied Dancing at the University of Utah, Ballet West Conservatory, and School of Cleveland Ballet. She was featured in the American Indian College Fund’s campaign Have You Seen a Real Indian and in the book Real Indians. She served as an officer in the Army Reserve Medical Service Corps.

Her parents are Thomas Short Bull, President of Oglala Lakota College, and Darlene Short Bull, a retired Indian Health Service RN with over 30 yrs of service. Her husband, Major Christopher Gorham, is an entomologist with the Defense Logistics Agency, prior active duty Army officer, currently serves with the Army Reserves Medical Readiness Training Command, Ft. Dix, NJ.

She was the first Native American who graduated from the North Dakota State College of Science’s Culinary Arts program. She has worked for nearly a decade as a chef in the Fargo Moorhead area.

Inkpa was born in the Twin Cities and shortly after his family moved to a small village in Chihuahua Mexico. When he was in 4th grade his family permanently moved back to Minnesota just off the Lake Traverse Reservation. Living in his traditional homelands has influenced the way he looks at art and wanting to depict an authentic Dakota perspective of contemporary life.

Inkpa is a painter, sculptor, researcher and activist. His interest in academics, Dakota traditions and contemporary life are major themes of his work. Inkpa uses Dakota and Western theories of art to create works that help tell stories of his community. His work tells stories of survival, brilliance and hope that he sees in his people.

Inkpa currently works as a Geography and Immersion teacher at Tiospa Zina Tribal School on the Lake Traverse Reservation. Inkpa Mani has been working on a group show on the Oceti Sakowin Creation story which will open fall of 2021 and is preparing to sculpt a 10 ft. stone sculpture in Sisseton South Dakota next summer.

◦

Dr. LeBeau has been with Sanford Health for more than 10 years. He began at Sanford as a physician specializing in kidney care as a nephrologist. Prior to his current role, he served on the Sanford Board of Trustees and was a physician leader as the vice president of clinics.

Dr. LeBeau graduated from the University of North Dakota, and completed his residency in internal medicine at Gunderson Lutheran Medical Foundation in La Crosse, Wis. He is board certified by the American Board of Internal Medicine and serves on the board of trustees for the University of North Dakota School of Medicine alumni foundation.

She is currently in her 2nd year of Internal Medicine Residency with the University of North Dakota in Fargo, ND.

Dr. Littlewolf currently serves in the North Dakota Army National Guard. She entered the Army as an enlisted soldier and served as the capacity of Combat Medic and after graduating from medical school she got her direct commission and currently holds the rank of Captain.

Her biography is as follows.

Boozhoo! My name is Mariah Star Cooper and my Ojibwe/Anishinaabe name is Waabizhiiquay. I am an enrolled member of the Lac Courte Oreilles Band of Lake Superior Chippewa Indians and grew up on the Lac Courte Oreilles Ojibwe Reservation, near Hayward, Wisconsin. My family is from the New Post community. I had the honor of representing my tribe as a youth ambassador by being Jr. Miss Honor the Earth and Miss Honor the Earth. I graduated as Valedictorian from Lac Courte Oreilles Ojibwe High School and attended the University of Wisconsin - River Falls to earn my Bachelor of Science in Biology, with emphasis in Biomedical Sciences. In my undergraduate career, I attended the Native Americans into Medicine Program at the University of Minnesota, Four Directions Summer Research Program at Harvard Medical School, Andrew W. Mellon Summer Internship in Conservation at the National Museum of the American Indian and Smithsonian Institution, and the Visiting Summer Research Program at Harvard Medical School. I am a third-year medical student at the University of North Dakota School of Medicine and Health Sciences and am in the process of earning my Doctor of Medicine degree. Miigwetch!

Instagram: @myley2424

“Dwayne “Chuck” Wilcox has been a full-time artist since 1987, but has always been a lifelong producer of art. While he has no formal art training, Chuck had his first commissioned art piece in 1974, which eventually lead to a full time career.

He “is an enrolled member of the Oglala Lakota and was born in Kadoka, SD 1957. His family is from Wanblee, SD, and he attended Crazy Horse High school. Following graduation, Chuck enlisted in the military for four years. His wife was a career military member and they have lived in Colorado, South Carolina, Maryland and Montana.

“Chuck’s chosen medium is ledger paper, the first paper to make it’s way to the Great Plains in the 19 century. He uses this medium to convey, in the most contemporary way, a living culture through humor, dance, or vices of the modern times. His goal is to share a continuing view of how natives see the European culture and to reverse the paradigm" (Dog Hat Studio www.doghatstudio.com).

Wilcox also teaches children at the Red Cloud Indian School's Heritage center: "On a recent winter afternoon, Red Cloud fourth grader, Nevaya, sat drawing out a story on lined ledger paper, a well known Oglala Lakota ledger artist Dwayne Wilcox sat nearby, guiding her. . . See more

"My friends and family influence my work by the way they communicate and tell a joke or a story. In the Lakota way, humor is medicine and helps us heal. That is why there are such figures as the Sacred Clown. My drawings are meant to reflect that kind of humor and the traditional lifeways. This is what I see as everyday life" (Artist's Statement in Moving Walls, 19, Open Society Foundation).

to the arts as a curator, educator, equity advocate, and arts administrator. She holds a BA in psychology

and American Indian studies from St. Cloud State University. She currently serves

in the role of Community Learning Catalyst with Arts Midwest continuing to live and work in 1855 Treaty Territory in Grand Rapids, MN. Previously, she worked as Gallery Director with the MacRostie Art Center. She has curated and organized contemporary art

exhibitions in Grand Rapids, MN and Rapid City, SD. Aubid has been in-residence at the Banff Centre, is a Commissioner for the Grand Rapids Arts and Culture Commission and a Trustee for the Blandin Foundation.

He is currently director of the Gizhiigin Arts Incubator in Mahnomen, MN—a project of the White Earth Nation’s economic development division. Gizhiigin supports Indigenous artists by providing services and resources to advance their artistic and entrepreneurial goals. Joseph serves on the board of directors of the Plains Arts Museum and is a former board member of the Region 2 Arts Council. Born in Eagle Butte, SD, Joseph is a citizen of the Sicangu Lakota Oyate. He also a descendant of the White Earth Ojibwe Nation where he lives in the Sugarbush Township.

http://wadepatton.com/

From Wade Patton:

The spare beauty of the prairie resonates in my work. I’m an enrolled member of the Oglala

Lakota Tribe and grew up on the Pine Ridge Indian Reservation surrounded by a rich culture of

music and art. After obtaining a BA in art from Black Hills State University and having a solo exhibit

at the Sioux Indian Museum in Rapid City I decided to move away.

It took leaving South Dakota for me to find the voice in my most recent body of works. Yet, while

pursuing other art opportunities on the east coast, I longed for home.

Living on the east coast, I began expressing what I missed, the beauty and splendor of the

Black Hills and the skies of South Dakota. I started to draw landscapes and clouds, as a reminder

of home.

Something clicked, not only in my artistic expression, but with collectors and galleries. Their response

was unexpected, but welcomed. I started sending work back home for exhibits and to

galleries, and was getting recognition.

I realized how much I needed to return, I missed my family and I needed to pursue my art in the

place where I find the most inspiration. That decision brought me straight into the thriving Native

art scene that clearly wasn't here when I left.

Interestingly, when I moved back people would say, ‘Oh, you’re the cloud guy!’. People didn't

know me, but knew my work. I’m reacquainting myself with the land and my ancestry. This is

most prevalent in my new works and it’s exciting for me as an artist to look forward to the future

in the works that I’ll produce.

Since being home, I have been more involved in the art scene, involved with the community

more and have gained more respect with my art. I have been able to be here and explain more

on a one on one basis with people which is essential for an artist to sustain themselves with

their art.

“With the elegant line and an almost hypnotic use of pattern, Patton draws the viewer into his

interpretation of the natural elements and seasonal changes of the land. His mastery of graphite

evokes the subtlest of phenomenon and his spare use of color is inspired by beadwork, orchestrates

the prairie grasses, stormy skies and then power of the buffalo.’

-Deborah Mitchell, Director

APEX Gallery

Kempenich comes from a family of strong artist abilities, of which are strong influences within her work. While holding on to the ties to the Turtle Mountains, Kempenich works on developing her trades with her own personal style. Kempenich’s heritage is blended from various tribes, including the Anishinaabe, Assiniboine, Blackfoot, Cree and Dakota. Kempenich acknowledges traditional elements influenced by her tribal lineage, yet is not tied to a dated or romanticized portrayal of her people. Creations may vary in mediums and techniques, Kempenich views herself as a storyteller of both the people and places she comes from… which is unique, traditional and modern.

http://www.hillarykempenich.com/

https://timesevents.nytimes.com/finishthefight

https://www.amazon.com/Finish-Fight-Brave-Revolutionary-Fought/dp/035840830X

Ashley serves as a member of the Dahl Art Center Advisory and Exhibit Committee, she has judged numerous art shows and competitions and volunteers for arts and culture events.

Through this experience she has carved out her own space, created her own opportunities, and is the definition of cool for all that know J-White.

And that’s what makes her so interesting. Jennifer has a resilience in her that is not just both strong and powerful, but allows her humor and good-natured way to shine through. And she’s a light worth moving towards.

Jennifer White grew up in Yankton SD. She traveled between her parents and maternal Grandmother during the school year and her paternal extended family in Mission SD during the summers.

During White's upbringing there were many challenges set forth by both her home and social environments. In school she was one of four Native families that attended grade school. It was here White's first recollection at the age of 8 that she knew she was 'different' with the simple phrase "You're pretty for an Indian". Followed by her fifth grade year of being called a "nigger" on the school bus on her way to a slumber party.

White's life at home didn't allow for conversation to explore these experiences due to alcohol and drug abuse by overworked parents. These moments in White's life led her to the conclusion that self help was more that likely the only avenue to learn to cope and handle outside influences on her development as a young person.

Art was a major outlet for White during these times. The one place nobody had to know what exactly was being said but was appreciated by others. Art created a sense of self worth for White.

Being self taught with minor training in high school and one year of college, left a lot to be desired in regard to treating art as a disciplined career choice. But by taking the stand of turning life around not just for her but for her children, White made the choice to turn her outlet into a career in 2008.

White's work is a narrative of her trials and tribulations through painting. Just like White, the influence of growing up in a non-Native and Native community is represented in her work. She continues to be inspired by both cultural experiences and is proud of both.

White strives to bring a new voice to Native work and not be influenced by the ideals and expectations of non-Native teaching in regard to anything. Her drive to get the urban Native youth community to engage in being proud to be Native but not letting it define them is an awesome experience.

The artist community has always welcomed her into the inner workings of how to engage with museums and art market circuits. (Native and Non-Native Alike)

The artists that have nurtured White through her journey have done so by sharing their experiences not just through art but laughter. Native humor is raw with emotion but honest in meaning. Every artist has a different story but White takes one lesson from all of them collectively....'You will always be a student of life and it is our responsibility to document all of it through Native eyes."

Jennifer White

Post Pilgrim Art Gallery Owner/Artist

Her journey to the art world has been one of a traveler, living in multiple places, living a full life that at times, seems like it resides outside the art world.

And that is what makes Karen so interesting. She’s experienced life outside the studio. She’s formed strong relationships with the likes of Gail Tremblay, Truman Lowe, and Frank Big Bear just to name a few.

A part of what makes Anna so interesting is her completely relatable experience of living both on and off the reservation, and experience the pressures of being a young Native American in the 21st century, let alone the pressures of being an artist.

Roger has been a fixture in the Northern Plains Native American art scene for over 40 years. His artistic skill, his approach of self-respect, and dignity has been a shining example to Native American youth for generations.

Currently, he is teaching at Oglala Lakota College on the Pine Ridge Indian Reservation.

He currently serves on the South Dakota Arts Council and will be an instructor on the upcoming Northern Plains Summer Art Institute

A part of what makes Keith so interesting is his honest reflection and active gratitude he carries with him when he speaks. With dignity and a humbleness he’s always a pleasure to speak with.

A part of what makes Marty so interesting and worth listening to is he’s representative of many young and rising artists from Indian Country. He comes from a family of artists, his father, Marty Two Bulls Sr. is an accomplished artist, his work has been exhibited nationally and internationally.

Dyani White Hawk earned her MFA from the University of Wisconsin-Madison and her BFA from the Institute of American Indian Arts in 2008. She’s a recipient of the 2019 United States Artists Fellowship inVisual Art, 2018 Nancy Graves grant for Visual Artists among many other grants and fellowships. Most notibily, she recently received the Star Tribune’s 2019 Artists of the Year, in which she shares this recognition with five other Indigenous artists in Minnesota. A powerful lineup that includes: Julie Buffalohead, Andrea Carlson,

Heid E. Erdrich, Louise Erdrich, and Delina White.

What makes Dyani so interesting and worth listening to is her disciplined approach to intentional planning and mapping of her path. A powerful lesson young artists need to listen to.

Dyani White Hawk, a prominent Native American visual artist and member of the Sicangu Lakota tribe, shares her unique journey and artistic evolution in a compelling conversation that highlights her rich cultural heritage and the influences that have shaped her work. The episode opens with host Joe Williams introducing Dyani, detailing her impressive accolades including her MFA from the University of Wisconsin Madison and her BFA from the Institute of American Indian Arts. Dyani has garnered numerous awards, including the 2019 United States Artists Fellowship and the Star Tribune's 2019 Artist of the Year, sharing this recognition with notable Native American artists in Minnesota. This sets the stage for a deeper exploration of Dyani's disciplined approach to art, her methodical planning, and the importance of intentionality in her artistic practice.

As the conversation progresses, Dyani delves into her background, revealing her upbringing in Madison, Wisconsin, her mixed heritage, and her educational journey through various art institutions. She discusses how her Lakota aesthetic influences her work, particularly through traditional techniques such as quillwork and beadwork, blending these influences with modern abstract painting styles. This fusion of cultural history and contemporary practice reflects Dyani's commitment to honoring her roots while also pushing the boundaries of her artistic expression. Her reflections on the importance of mentorship and the lessons learned from her mother, a veteran, underscore the resilience and discipline that have guided her life choices and career path.

Dyani’s insights into navigating the art world provide valuable advice for emerging artists. She emphasizes the necessity of patience, discipline, and a focus on personal development during the formative years of one’s career. Rather than rushing into the professional realm, she stresses the importance of honing one’s craft and establishing a unique voice before seeking broader recognition. The discussion culminates in a heartfelt message to young artists, encouraging them to embrace their journeys, learn from their experiences, and remain committed to their artistic goals, regardless of the obstacles they may face. Dyani's story is not just about personal achievement; it represents a broader narrative of cultural identity, resilience, and the power of community support in the arts.

Takeaways:

Dyani White Hawk emphasizes the importance of honing one's artistic voice during education.

She highlights the significance of networking and building relationships in the art community.

Dyani's disciplined approach to her career has led to numerous artistic opportunities.

She believes that growth in artistic practice is essential for career advancement.

Dyani's background reflects resilience and the impact of her mother's teachings on her journey.

She encourages young artists to actively seek and apply for various opportunities.

Links referenced in this episode:

www.dyaniWhiteHawk.com

chetanska.com

Joe Williams hosts the inaugural episode of 'Five Plain Questions', a podcast dedicated to exploring the voices of Native American artists and cultural figures. The episode features an enlightening conversation with Gerald Cournoyer, a multifaceted artist and educator with an impressive academic background, including five degrees that span from an associate to multiple master's degrees. Cournoyer shares his personal journey, reflecting on his roots in the Oglala Lakota community, his formative experiences at Marty Indian School, and his service in the United States Marine Corps. His story is not only about artistic ambition but also about the quest for identity and cultural preservation through art.

Throughout the dialogue, Cournoyer articulates a vision for Native American art that transcends traditional representations. He emphasizes the importance of intellectualism in art, advocating for a deeper engagement with history and culture over mere commercial success. This perspective is informed by his experiences at various educational institutions, including the Institute of American Indian Arts and the University of Oklahoma, where he honed his craft while grappling with the challenges faced by Indigenous artists in a contemporary context. The conversation delves into the evolution of Native American art, touching on historical influences and the role of mentorship in nurturing the next generation of artists. Cournoyer’s reflections illuminate the complexities of cultural representation and the responsibility of artists to tell their stories authentically.

As the episode unfolds, listeners are treated to Cournoyer’s insights on the dynamic relationship between art and community. He recounts his work at the Oscar Howe Summer Art Institute, where he and Joe Williams mentored aspiring artists, fostering a sense of pride and identity through creative expression. Cournoyer's narrative is infused with a sense of purpose, as he articulates his commitment to preserving Native American culture through art while also adapting to the changing landscape of the art world. This episode is a powerful testament to the resilience of Native artists and the vital role they play in advocating for their communities, making it a must-listen for anyone interested in the intersections of culture, art, and identity.