May 29, 2014

The Artist Leadership Program Class of 2014 Shares the Experience

The Artist Leadership Program (ALP) of the National Museum of the American Indian (NMAI) aims to rebuild cultural self-confidence, challenge personal boundaries, and foster cultural continuity while reflecting artistic diversity. ALP's goal is to recognize and promote indigenous artistic leadership. At the same time, the program seeks to enhance the artistic growth, development, and leadership of emerging student artists and scholars through workshops and youth public art projects in the artists' communities. Selection for the program is based on the artists’ proposed research, proposed workshops or public art projects, digital portfolios, resumes, artist statements, and letters of community support.

During April 2014, the museum hosted Holly Nordlum, Gerald Cournoyer, Royce Manuel, and Nathalie Picard—outstanding artists from Alaska, South Dakota, Arizona, and Québec—while they conducted research in the museum’s collections. Here, Holly, Gerald, and Nathalie share their aspirations and values, and their thoughts about Native leadership and the arts. Later in the summer, we'll hear from Royce on his research into the technology of bows and arrows and their importance to Aw-Thum men and boys. 

—Keevin Lewis 


ALP 2014 a
From left to right: Gerald Cournoyer (Oglala Lakota), Nathalie Picard (Huron-Wendat), Holly Nordlum (Inupiaq), and Royce Manuel (Ak-Mierl Aw-Thum)—individual artists selected for the 2014 Artist Leadership Program at the National Museum of the American Indian (NMAI). The NMAI Cultural Resources Center (CRC), in the background, houses the museum's object collections and archives. All photos are by Keevin Lewis (Navajo), NMAI.

Holly Nordlum

I am Holly Mititquq Nordlum, Inupiaq visual artist, and I live in Anchorage. I grew up in Kotzebue, Alaska. My work reflects where I come from, but also who I am now as a Native person, an American, a mother, and a common woman. I use printmaking, painting, sculpture, and other mediums to express my ideas about life.

My intent when I came to the National Museum of the American Indian in Washington was to do museum collections research and find as many objects as I could to show my summer high school students in Anchorage—urban Native students who might not have any idea where they came from or who they are as Native people. I wanted to find something for everyone. Also, while I was looking in the NMAI collections, I was naturally interested in Inupiaq items and was so inspired by what I found. I took many photo images and can’t wait to get home to get working.

Holly Nordlum 1
Holly Nordlum photographing objects that will click with her students in Anchorage.

There are so many significant moments of the program to recall! But I do remember that I held a pair of Inupiaq wooden sun goggles (glasses) up to my face and felt I had stepped back in time. I was amazed at the objects the museum has in the collections, but also at what my own people created with the technology available to them. I hope to get that across to my students.

I guess my biggest perception shift during this trip is that, as Native Americans, we are the same. We are all affected by the same issues and government restrictions, whether we are on the Pine Ridge Reservation in South Dakota or in a village in Northwest Alaska. The climate might be different, but the lives and culture are so similar it’s hard to deny our connection. The NMAI Artist Leadership experience has only increased my feelings of community.

I am also more determined. The experience at NMAI and the Artist Leadership Program confirmed and strengthened my quest not only to educate myself, but also to give my students more as far as a connection and community. I would encourage all artists to apply to the NMAI Artist Leadership Program as this program was so inspiring and exciting and gave me so much to work with for future art projects and for my students. 

Gerald Cournoyer

I'm Gerald Cournoyer, an Oglala Lakota painter from the Pine Ridge Reservation in South Dakota, and I recently relocated to the Washington, D.C., area. My goal with the NMAI Artist Leadership Program changed from making pots to actually harvesting raw clay and turning it into useable clay.There is more to making pots than just coiling and firing.

Cournoyer a
Gerald Cournoyer working with reference materials from the archives and the Vine Deloria Jr. Library at the CRC. 

When I initially applied to the ALP program, I was working at our local tribal community college. Now I want to give back to my community this knowledge of pit-firing pots. We will use slip to decorate the pots and fire the slip in a fire pit. The process will be a learning experience for me as well as for the community.

I recommend this program to any and all Native artists for the opportunity to share new knowledge and experiences from the museum. The NMAI and Smithsonian collections are a great resource for information. You will learn more about your people in several different areas, not just about what you are studying. Getting into these different collections brought my Native American art history classes to life. I am learning through my ancestors—they are speaking to me with an ancient voice. In a way I feel I am bringing their spirit home with me. Throughout history Native people have adapted to climate change, invaders, traders, and technology. We continue to tweak our art forms with this new information while keeping our connections to our ancestors. 

Nathalie Picard 

My name is Nathalie Picard, and I am Huron-Wendat. My community is in Wendake, Québec, in Canada. I recently moved to the United States to live in Oregon, and I am a musician. I studied the transverse flute at the Conservatory of Quebec and the University of Montreal in the jazz and pop music program. I specialized in Cuban jazz and Latin jazz. I also play the Native American flute, I am a composer and storyteller, and I sing traditional songs with the drum.

Picard a
Nathalie Picard studying a flute and other musical instruments in the NMAI collections. 

I came to the National Museum of American Indian to gather information about Iroquoian music, musical instruments, and traditional longhouse songs to share with my community and teach the teens and young adults in Wendake. I was amazed that there was an enormous amount of cultural material in the collections of the Smithsonian from my tribe, too! What a gold mine of objects, images, and knowledge from my culture! It is very touching to see up close so many objects in the Smithsonian collections. This research experience doesn't compare to looking at pictures in publications or seeing objects on exhibit. 

It always has been a dream for me to do research in the audio archives of the Smithsonian, and it came true. This experience has been incredible! One beautiful surprise along the way was that I was able to see a wampum that my great-great-grandfather, who was chief, was wearing in an old photo. How amazing it was to see this personal family experience reflected so far from home! 

My collections research in Washington, D.C., and getting to know the different archivists of the different museums and archives will be very helpful in the future. The Smithsonian and Library of Congress staff helped me find what I needed and showed me where to search. I will be able to continue to do more productive research even from my home. 

I also had time to get to know each of the other visiting artists and what they do in their lives. We were able to share our experiences together for 12 days. I now feel I have even more new information and knowledge to share with my people in Wendake that will hopefully instill in the lives of teenagers greater cultural interest toward their ancestors’ traditions! I realize that art was the way of life of Native people; they were so creative and patient. The world has changed now, and it is too bad that these traits and knowledge are disappearing. Today I find that modern Native artists carry tradition inside themselves, and they feel that their traditions, songs, and stories need to get out into the world! They have important things to say through their art.

Since I moved to the United States two years ago, I have been able to integrate myself professionally. It is good to be able to share and exchange information with other Native artists in this program. There are things that are beyond words that make us understand each other better, and it feels good. Usually we think of ourselves as a minority in today's world. But for two weeks, it felt like I was on a journey in time, between the past and the future. My head was full of the images and impressions from the objects in the collections, and my hands are now ready to create new projects from these new sources of inspiration.

I am so happy and feel honored to have had the opportunity to be part of this amazing journey that is ALP! Thank you, Keevin, NMAI, and all the wonderful staff! önenh!  

To learn more about Artist Leadership Program opportunities for mid-career artists and arts organizations, including detailed information on how to apply, see the ALP page on the museum's website. 

Keevin Lewis (Navajo) is coordinator of the Artist Leadership Program at the National Museum of the America Indian. 

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March 27, 2014

The Museum's Artist Leadership Program Launches a New Collaboration with the Institute of American Indian Arts

Melissa Shaginoff (Chickaloon Village) and Charles Rencountre (Lower Brule Sioux Tribe) are the first participants in a prototype Artist Leadership Program for students at the Institute of American Indian Arts. 

The Artist Leadership Program (ALP) of the National Museum of the American Indian (NMAI) aims to rebuild cultural self-confidence, challenge personal boundaries, and foster cultural continuity while reflecting artistic diversity. This year, the museum and the Institute of American Indian Arts (IAIA) in Santa Fe worked together to develop a prototype program within the ALP for IAIA college students from indigenous communities in the United States. The program's goal is to recognize and promote indigenous artistic leadership and, at the same time, enhance the artistic growth, development, and leadership of emerging student artists and scholars. Selection for the program is coordinated with the IAIA and is based on students’ proposed research, public art projects, academic presentations, digital portfolios, resumes, artist statements, and letters of support from IAIA faculty. Participating students register and receive credit for their independent study experience.

Melissa Shaginoff (Chickaloon Village) and Charles Rencountre (Lower Brule Sioux Tribe) are taking in the inaugural program, conducting research in the museum’s collections and making presentations to the museum’s staff. In the next phase of the program, Melissa and Charles will create new works of art for public display at IAIA, based on their research projects at the NMAI. Here are their personal stories of their NMAI research, staff experiences, and perceptions on Native art. 


I am a Lakota from Rapid City, South Dakota. I am enrolled at the Lower Brule Sioux Tribe. I am a student and artist working on a BFA at the Institute of American Indian Arts (IAIA) in Santa Fe, New Mexico. I will begin my senior projects in the fall semester of 2014.

My goal in coming to the National Museum of the American Indian (NMAI) was to research the calumet and see first-hand how they were constructed by the ancestors. My perception of the world of research changed over the course of the first several hours I spent at the Cultural Resource Center (CRC) during the week of March 17 to 22, 2014. I was introduced to Mr. Anthony Williams, a museum specialist, and he guided me through the research and treated me and the sensitive objects with the highest level of respect and professionalism. He also asked if I would like to use the smudge room, and I gratefully accepted this offer.

The level of security personnel, locked doors and departmental passes all seemed a normal part of the museum culture I have been accustomed to in the larger museum field. It was the level of kindness and family at the NMAI while attending to the need for security that affected my perception.

My wife Alicia brought this NMAI opportunity to my attention after seeing it in her IAIA email account. She is my strongest educational advocate. I will share my experience with my fellow art students as a must-do, and I will also share my new knowledge about the accessibility and proper protocols for attaining research through the NMAI. 

Emil Her Many Horses (left) and Charles Rencountre working together at the museum's Cultural Resources Center. 

The most significant moment was when I was consulting with Mr. Emil Her Many Horses in the CRC collections. He is a respected artist, scholar, role model, and elder from my home community, the Lakota Nation in South Dakota. Mr. Her Many Horses took the time to share with me the stories of our people and how they related to the making of the calumets. He explained the reasons why different feathers, yarns, and colors were used. He taught me things that could only be taught person to person. His teaching will stay with me, and I will share it as I make my public art project for my community. 

Regarding the question of art, or of contemporary and traditional Native American Art: I have always identified myself as a Native American contemporary traditional artist. After visiting the Smithsonian’s National Museum of the American Indian and the Cultural Resource Center in Suitland, Maryland, my perception of the idea of art is reaffirmed. The making of what we call art is a gift of expressing what is important in our lives. It could be as simple as decorating a bag that holds a ration card from the early reservation era, or as large as a forty-foot totem pole from the Northwest coastal tribes. 

The value of this NMAI Artist Leadership Program experience to me is that I now have more of the skills required to be an effective researcher and artist, not only at the NMAI but also within the entire Smithsonian complex worldwide. I have been taught some of the foundational protocols for accessing information from the Cultural Resource Center’s staff. I have become a member of the NMAI’s family, something I value very highly, and I am deeply honored by it. 

The first skills I learned and will be practicing have to do with the archival aspect of research. I think this is the most important part for me, because I will be conducting research from afar. Working with Heather Shannon, Rachel Menyuk, and Michael Pahn in the archives department was gaining a very important tool that I can use immediately. I could have spent more time with them easily. 

Based on my desire to learn and on what the NMAI has shared with me, I will lead by example. I will continue to research with the tools I have been gifted and share with my fellow students my successes. 

I will use these new skills to research my Senior Projects in my last two semesters at IAIA. I will take these skills through the rest of my career and share them with all who ask for my help. 

It truly has been an honor to become a family member of the NMAI; it is a dream come true. Thank you Jill Norwood, community services specialist; Jacquetta Swift, repatriation manager; Heather Shannon, photo archivist; Rachel Menyuk, archives technician; Zandra Wilson, cultural interpreter; Dennis Zotigh, museum cultural specialist; and so many more of the Smithsonian family who where so helpful and supportive. 

—Charles Rencountre 


My name is Melissa Shaginoff, and I am Ahtna Athabascan of the Tsisyu clan from Chickaloon Village, Alaska. I grew up in the small fishing town of Kenai, Alaska. I received my first Bachelor’s degree in Psychology, from the University of Alaska, Anchorage, and I’m currently enrolled in the BFA program at the Institute of American Indian Arts. My current work centers upon my own personal identity and issues of contemporary indigenous female identity. 

My first intention was to gain a visual reference for objects I had been told about but had never seen back home. Items such as traditional red ochre painted regalia and symbolic amulets. I applied to the Artist Leadership Program in my first semester at IAIA. Being a new student, I didn’t think my research proposal would be chosen, but the chance to experience these items empirically was so intriguing I had to at least apply. And luckily I was chosen for this great opportunity. I would certainly recommend this experience to other students. My time at NMAI I feel has forever changed my art, and the knowledge I’ve gained I will share with my tribe and family.

Melissa Shaginoff's research focuses on Ahtna–Athabascan objects in the museum's collections.

It’s hard to narrow down what was the most significant moment of this NMAI Artist Leadership Program experience, but I would have to say that a certain item I looked at was particularity special to me. There is only a small number of Ahtna-specified material in the NMAI collections, so I asked to look at all of it. I came across a knife and hide sheath. The NMAI collection staff member I was working with, Veronica Quiguango, suggested that we turn the item around and look on the back. When we did, we discovered the name Chief Nikolai carved into the hide sheath. Chief Nikolai was my great-great granduncle. There are some 800,000 items in the collection at NMAI and somehow I chose to look at this knife and sheath. Perhaps it is just serendipitous, but I feel very blessed to have been gifted with such a physical connection to my experience at the museum. This knife and sheath have inspired a confidence that I am on the right path in the current exploration of my art.

As artists we all draw upon personal history in developing our ideas and process. As an artist with a Native background, I naturally draw upon indigenous technique and material in my work. This experience with NMAI has only increased that background of techniques and materials to draw upon.

I feel that I gained a new respect for the collection itself. There’s a certain power to these items that I studied that is palpable and reverent. Both the knowledge possessed in the construction of these items and the thought that perhaps the last Ahtna person to hold these things quite possibly was my great-great granduncle is a humbling concept. I now want to become a leader of my community. I want to share what I’ve learned and experienced at NMAI and encourage others to reach out for opportunities, because experiences like this have the ability to change so much of one’s own work. I certainly will never be the same and neither will my art. I’ve grown as both an artist and as an Ahtna person. I cannot thank NMAI and IAIA enough for this gift. Tsin’aen—thank you.

—Melissa Shaginoff


To learn about Artist Leadership Program opportunities for mid-career artists and arts organizations, including detailed information on how to apply, see the Artist Leadership Program page on the museum’s website. Please note that this year's deadline for applications is Monday, May 5, 2014. 

The program Melissa and Charles have described is a prototype currently limited to applicants from Institute of American Indian Arts.

—Keevin Lewis 

Keevin Lewis (Navajo) is coordinator of the National Museum of the American Indian's Artist Leadership Program.

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June 13, 2013

Artist Aymar Ccopacatty uses plastic trash to create awareness and beauty


Aymar 5Aymar Ccopacatty, worked with young people at the Union Nacional de Communidades Aymara (UNCA), Puno, Peru, to knit recycled plastic trash into a wiphala flag—a symbol of history and pride among Andean peoples.  

“My creations address the issues of our human imprint in daily life, using a balance of bright colors and cultural symbolism to create environmental awareness and creative potentials of modern refuse as art material amongst the Aymara and beyond." 

 —Aymar Ccopacatty

Aymar Ccopacatty, an Aymara artist who combines modern materials with the ancient traditions of his people, has built looms, spun yarn, knitted, woven, and made collage-paintings, all using plastic refuse. The trash, rescued for its attractive texture or color, comes from his daily life at Lake Titicaca, an ancient and ecologically sensitive environment on the border of Bolivia and southern Peru. 

In 2012, Aymar was chosen for the Artist Leadership Program of the National Museum of the American Indian. The first part of the program, in Washington, D.C., centers on doing research in the museum's collections and exchanging ideas with fellow artists. The second part requires each artist to return home to conduct a Youth Public Art Project or Community Artists Workshop. Aymar chose to work with young people in Puno, Peru. What follows is the project he envisioned when he applied to the program and a photo essay of the actual experience this spring. 

Union Nacional de Comunidades Aymaras (UNCA), based in the city of Puno (pop. 119,116), is the main organization representing the Aymara of Peru since the 1980s.  The organization has been a uniting force in many different manifestations to protect our cultural identity, territory, and way of life. The Aymara in the post-colonial context have often put an emphasis on education, especially in the urban context; this to defend ourselves first under Spanish colonial rule and now under a corrupt and often racist national government. Many educated Aymara youth feel shame or pressure to abandon their identities; UNCA is a uniting force, which has been able to pull these youths together from many different Aymara communities around Lake Titicaca. The Public Art Project would involve urban Aymara youth hand-selected for their creative promise; the workshop would be given in our Aymara language as the textile process has many technical and important names that should be re-learned. The final product would be inaugurated for our winter solstice of June 212013, and exhibited publicly before being permanently shown in UNCA’s cultural center.

The national social pressure to assimilate has caused much cultural erosion over the last few decades as the Aymara find our way into the 21st century; the youth are exposed to all the modern pressures—alcohol, poverty, lack of opportunities—and tempted into alienating foreign religions. Our millennial textile knowledge is on the verge of extinction. Youths of today have much less chance or reason to appreciate our traditional textiles and the spiritual-metaphysical knowledge written in them. This project looks to increase our self-esteem while giving youths a deeper knowledge of our textile tradition and having them practice aspects of this tradition with recycled plastics cleaned from our Mother Earth.

The Public Art Project is based upon the textile techniques and materials employed in my contemporary art practice: exclusive use of recycled plastic trash into textile work of all kinds.  Utilizing traditional Aymara techniques such as spinning, knitting, and loom weaving, community Aymaras will create a large-scale wiphala from recycled plastic bags. The wiphala is our traditional flag and a symbol of our agricultural cycle marking the solstices and equinoxes based on astrological observation of the Southern Cross, also known in Aymara as La Chacana. The wiphala would measure 12 x 12 feet or larger, if possible, and would be made in a square proportion; It would be knitted, crocheted, and or woven. The colors of the wiphala are the colors of the rainbow, so we would take full advantage of the colors donated to our Mother Earth by the plastics industry. The re-collecting of discarded plastic bags would be part of the program; the community would be instructed to keep an eye out for certain colors, and the work would be made from our daily footprint of plastic use in modern life. 

The city of Puno, Peru, seen from Lake Titicaca.

Irma 3
Aymar and his assistant, Irma, cutting strips of plastic trash to be used to make the flag. 


Flag plastic 5
Plastic trash in the flag's colors. 





Materials and tool 5
Materials, tools, and the flag in progress.






Workshop participants knit the wiphala in sections, then joined them to make a large flag. 


In addition to leading the workshop at UNCA, Aymar worked with the San Juan Children's Center in Puno to show young people how to knit keychains in the form of miniature ch'ullu, Andean caps with earflaps. Teaching traditional arts doubles as a way to teach Andean history and, especially, Aymara language. Aymar also hopes that by selling the keychains they make, the children at the center can earn a little money to help their families.
San Juan Center 1
Aymar offering a hand to one of the students at the San Juan Children's Center. 
San Juan 2
Preparing materials for the keychains.








Keychain plastic 6
Plastic trash can be found in any shade imaginable. 










Wiphala flag on display
People stop to examine and touch the wiphala on display at the Terminal Terrestre in Puno.


A woman offers coca leaves to the wiphala.

All photos by Keevin Lewis, NMAI, Puno, Peru, May 2013

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Aymar Ccopacatty deserves widespread recognition. He is a high example of the artist as social activist -- social heart.

This is fabulous. Truly fabulous in all aspects.

We should have more people like these, caring for the environment, beautifying and raising awareness that Mother Nature needs us to take care of her; all at the same time. I always recycle and re-purpose the boxes and plastic packaging I get, but not to an artistic extent and to raise awareness for the need to recycle.

March 14, 2012

Pine Ridge Students Team Up to Create Public Art

ALP_AB_PineRidge20120222_0059January Tobacco applies grout to Red Cloud mosaic. Photo by Keevin Lewis, NMAI

In December, Angela Babby, an Oglala Lakota artist who works in glass mosaics, visited our museum in Washington, D.C., to research our collection of objects related to the Oglala, Sicangu, and Sans Arc Lakota Sioux tribes. And just as these beautiful, decades-old objects taught Angela about traditional Native American techniques and materials, Angela decided to share her research, talent and time with young, budding artists from the Pine Ridge, Cheyenne River, and Rosebud reservations for a public art project at the Red Cloud High School in Pine Ridge, South Dakota. The project, titled The Red Clouds, is a collaboration with high school youth to create glass-mosaic designs around the image of Chief Red Cloud.

Two high school students, January Tobacco and Kristian Big Crow, came after school to receive information and instruction from Ms. Babby in design, glass-cutting, mosaic, and picture-framing techniques. The students designed individual patterns around Chief Red Cloud, set the grout, framed their mosaics, and then etched their signatures and the date into their work in a project that took inspiration from the art of Andy Warhol.

Leah Maltbie, an art teacher at Red Cloud who was present at all of the classes, was amazed by the process and excited to try it herself in the future. The supplies to start a glass-mosaic art program at the school were left behind, along with the makings for three more artworks in The Red Clouds project, to be made by students who couldn't be there for every session of the workshop. The finished glass-mosaic pieces are scheduled to be installed in a public location at Red Cloud High School in the coming months.

398px-ALP_AB_PineRidge20120222_0086Kristian Big Crow signing his finished art work. Photo by Keevin Lewis, NMAI

There is currently a collaborative push between Red Cloud High School and the Heritage Center, an art museum located on the same campus, to create educational programs on the Pine Ridge Reservation. Angela's intention with this project was to add her name to the long list of individuals committed to helping to enhance the opportunities available to the students at the school who are working very hard to improve their lives.

ALP_AB_PineRidge20120222_0097Tobacco, Big Crow, and Babby with finished art work. Photo by Keevin Lewis, NMAI

The mosaic class allowed the students to learn new techniques, work with new materials, and meet a professional artist. The goal of the project was to give the students more tools with which to find their own unique ways to express themselves and honor their heritage in the future.

Congratulations to January, Kristian, and Angela for creating new works of art for your community!

Keevin Lewis, Community Services Coordinator, NMAI

Angela Babby's research in the museum's collections and her workshop at the Red Cloud High School were supported by her participation in the museum's Artist Leadership Program

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Wow really cool. Just great to see young artist sharing there works with the community. I absolutely love the different interpretations the two artist did of Chief Red Cloud. Really neat. Thanks for the well written article and I look forward to coming back. Thanks

Very interesting, thanks for the article!

that's cool, so creative,young people with full imagination can make a great art like that. Thanks for the good written article and I look forward to coming back.

This is such a great idea. I want to show my little girl how to do this as she loves to try new things.

I will let you know what she does.

Thank you.

April 27, 2011

“Call It Caddo”

Robin Montoya (Caddo/Wichita), photo by M. Patterson (Caddo)

By Keevin Lewis, NMAI Community Services Coordinator

Revivals in Oklahoma can mean many different things to people. But for Jeri Redcorn (Caddo/Potawatomi), the revival of Caddo pottery is her main mission and personal story. Following the forced removal from their traditional lands, Jeri realized that today Caddo people are no longer making any pots and the pottery traditions are lost.

Following her acceptance into the NMAI Artist Leadership Program, Ms. Redcorn came to the Smithsonian in December 2010 and “discovered” that pots in the SI collections were named Hodges, Avery, Maxey, Haley, Bailey, etc. She's now determined to reclaim Caddo cultural material.

Jeri’s first step was to host a two-day Caddo Ceramics Workshop at the Sam Noble Oklahoma Museum of Natural History (SNOMNH) in Norman, Oklahoma. This workshop took place on March 10, 11, 2011. Approximately 30 participants attended this workshop, which included an overview and history of Caddo pottery, photos from the collections of the NMAI and the SNOMNH, tour of the Caddo exhibition and Caddo collections at SNOMNH, discussion on clay types, and time for making pottery. These students made bowls, cups, and other types of containers with Caddo designs and patterns seen for the SNOMNH collections and exhibitions.

Ms. Redcorn’s next step was to address the issue of nomenclature of Caddo pottery. And a great place to begin this discussion was right next door at the Oklahoma History Center (OHC) on Saturday, March 12, 2011, where Jeri organized a symposium and invited key individuals to address important Caddo art and cultural issues. With the Director of OHC, Dr. Bob Blackburn, and Justice Yvonne Kauger, Oklahoma Supreme Court, and Stacey Halfmoon, American Indian Cultural Center & Museum, leading off with introductions to a symposium on Caddo History and Ceramics, the stage was set to initiate a dialogue as to why Caddo cultural materials held in museums ought to be changed to titles that are culturally appropriate to the Caddo people.

Phil Cross, Caddo Historian, and Dr. George Sabo, III, Arkansas Archeological Survey Professor of Anthropology, University of Arkansas, talked about how the Caddo people have endured removal from traditional lands, loss of language, stories, and traditions, and continue to exist while overcoming great odds for cultural survival. Even though most Caddo cultural material held in museums and archives are named after archeologists and archeological sites, renaming of these items are possible in collaboration and consultation with Caddo people and museums by learning from each other in the renaming process. As a result of this symposium, Dr. Sabo, Mr. Cross, and Ms. Redcorn were invited to make the same presentation at the Caddo Archeology Conference on March 23, 2011, in Ft. Smith, Arkansas. It was reported that the response to their presentations were highly welcomed!


Symposium participants at the Oklahoma History Center, Stacey Halfmoon,
Caddo, Phil Cross, Caddo, Bronwyn Gordon, Caddo, Dr. George Sabo.
Photo by Mary Patterson (Caddo)

If the Caddo Ceramic Workshop and Symposium weren’t enough information for the average participant, then I’m sure the afternoon of Caddo dancing is the best way to end the “Caddo Festival: Honoring Our Caddo Elders” events at OHC. With Phil Cross as the emcee and hosted by the Caddo Culture Club Singers, the afternoon following the symposium was filled with the Turkey Dance, Drum Dance, Fish Dance, Swing Dance, Vine Dance, Duck Dance, Alligator Dance, the Stirrup Dance and Bell Dance. It was reported by OHC staff that approximately 400 people attended these Caddo dance performances! Somehow all these dances were completed within 4 hours during the daylight, as most of these dances are usually performed overnight ending at sunrise.

Now that these events have past, the Caddo culture continues through pottery making, art shows, music and dances, with Jeri Redcorn as the mentor and teacher who is striving and reviving the lost art of Caddo Pottery. I have learned that Jeri is a very methodical and earnest individual and given the time, resources, and opportunity she is bound to make changes. Jeri notes that she “accepts the challenge and responsibility to share her pottery experience so this clay art is not lost, but handed down from generation to generation with the utmost respect.”

The next Artist Leadership/Emerging Artist Program deadline is May 2, 2011. Please see the NMAI website under Indigenous Contemporary Arts Program form more information: Artist Leadership/Emerging Artist Program

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Wonderful! Kudos to Jeri! She's carried her curiosity to fullblown passion. I am honored to call her my friend. You too, Phil. :)

Great article, Jeri! You and Keevin do each other proud. I wish I had gotten to attend the clay pottery days, but enjoyed the history presentation and the dance.

it is nice info, even though i have no idea what was going on there but it seems like truely festive show. just can't wait the post for the next show of pottery making. oh, and i think it would be lots of fun if you put some more pics.

Great article, Jeri! You and Keevin do each other proud. I wish I had gotten to attend the clay pottery days, but enjoyed the history presentation and the dance.

Wow, you might say that the technology is very good! Photo, so beautiful, very clear, wish you good luck, create the future together!