November 03, 2016

Artist Anita Paillamil empowers other Mapuche women by reconnecting them with their culture

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. The 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 community art workshops 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. Here, artist Anita Paillamil shares some of the important things she gained from the program.

Anita Paillamil at the Museo Regional de la AraucaníaTextile artist Anita Paillamil (Mapuche) outside the Museo Regional de La Araucanía in Temuco, Chile.


My name is Anita Paillamil, and I am Mapuche. I live in the town of Nueva Imperial, in the rural area of Lliuco in the Araucanía Region in southern Chile. My main job is to create and reproduce Mapuche traditional textiles, made with sheep's wool and dyed with natural elements such as leaves, mud, flowers, and fruits. Also I dedicate myself to teach this art to Indigenous women who for many reasons have been left with no knowledge of textiles and who today feel a need to reconnect with their ancestors through textile art.

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Mapuche woman's ligchamall (dress) and trariwe (belt). Dress: ca. 1910; central Chile; wool. Belt: 2000; purchased from Fundación Chol-Chol, a non-profit organization focused on economic development for Mapuche people, Temuco, Araucanía Region, Chile; wool yarn, dyes. 17/6668 & 26/1561. NMAI Photo Services.

I applied to the National Museum of the American Indian to take part in the Artist Leadership Program because tangible and intangible Mapuche culture is losing its impact due to young people's lack of motivation to learn it. Our parents belong to the generation that encouraged their children to stop practicing their culture because of shame. As a result so much knowledge and so many stories were lost. I was fortunate—everything I know I learned from my mother. So for me as a Mapuche woman and instructor of this art, it is very important to reconnect with our culture. Only then will I be able to transmit it to the different generations of Mapuche and non-Mapuche people, ensuring that the traditions will not be lost.

When I started my research at the museum's Cultural Resources Center in Suitland, Maryland, my main goal was to examine the collection of trariwes, or women's traditional belts, identifying iconographic patterns that were lost in the textiles that are produced today. My goal was to be able to reproduce the patterns, working together with the women of the group Wallontu Witral to which I belong and of which I am president. The trariwe is one of the most sacred pieces for us as a people, and I thought that during the trip to Washington, I would only get to see trariwes. When I got to the Cultural Resources Center, however, and started my project, I was impressed by the number of objects in the collections and the care with which they are treated. That was something I did not expect, because here in rural communities we see very old textiles thrown on the floor or hung on a fence. Also I do not speak English, and I was a little worried that I might not be able to communicate and work independently. I thought it would be difficult, but it was not, because the museum's whole team was very willing to help me at all times.

ALP artists 2014–15 at the CRC
Individuals artists who took part in the Artist Leadership Program for 2014–15 (left to right): Keevin Lewis (Navajo), the museum's outreach program coordinator; Lisa Rutherford (Cherokee Nation), Anita Paillamil Antiqueo (Mapuche), Jacob Butler (Salt River Pima Maricopa Indian Community), and Irma Alvarez Ccoscco (Quechua). National Museum of the American Indian Cultural Resources Center, Suitland, Maryland.


To all the artists who are applying, especially those who do not speak English, do not to be afraid of the language. The feeling of being there with some of your own living culture is invaluable, and the team is always looking for ways in which you're right! Do not be frustrated if you cannot be selected immediately. Do try again, because you can always count on the support and guidance of Keevin Lewis, the Artist Leadership Program's outreach coordinator and now a very good friend. It is also a unique opportunity to re-meet your own people.

Many moments I experienced during my stay in Washington were very significant, but what I think I remember most was my visit to the pre-Columbian collection at Dumbarton Oaks. I was not able to finish that visit because I felt very bad—not physically, but of the spirit. Looking at the objects and feeling the energy that was in that place it was as if there was part of me there and perhaps something that belonged to my family, my direct ancestors.

White wool black dye
Anita's community workshops explored traditional Mapuche dyeing, among other techniques. To create black, white wool is first boiled with maqui tree leaves, which turn the wool yellow. Oily mud from a local swamp is then added to turn the yellow wool black.

This made me think that this time I am living is something unique, something very important, and that reconnecting with our culture is a task that must continue. One of the ways to assure that is through my community art project. My goal is to share that experience with all who feel this attachment to nature and the land that gives us life, because it is important to preserve and disseminate the knowledge of our grandmothers.

Thanks to my trip to the museum, from February 16 to 20, 2015, I conducted many activities in different communities in my area, retransmitting my experience in Washington, much of what I could see in the museum's collections, as well as my own feelings as a Mapuche woman. About 200 people were involved in this project, mostly Mapuche women who have been my students. Now they’re continuing to develop traditional textiles in their own communities. Among the most important activities was the rescue of natural dyeing to give white wool a black color—important knowledge for Mapuche culture because black represents security. Also during the week of my community art project we had very important discussions about the protection of our textile iconography, as it is part of us as a people and belongs to and is characteristic of our culture.

I think the most important aspect of my experience in the program is that I have gained more confidence in my work, and more appreciation for it at different levels. I feel my role within my culture is to continue working so that knowledge is not lost—teaching women, children, young people, and all those who are interested in learning. When I was in Washington, I realized that this is part of my purpose in life—to preserve traditions, spread awareness, and support Mapuche women who are somehow reconnecting with all this ancestral knowledge.

—Anita Paillamil (Mapuche)

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December 08, 2015

Artist Leadership Program Presentations, December 9, Live at the Museum in Washington and Online

On Wednesday, December 9, at 2 p.m., the National Museum of the American Indian in Washington, D.C., presents artists Maura Garcia, Porfirio Gutiérrez, Linley Logan, and Theresa Secord talking about their art, their research at the museum, and their plans to share what they've learned with their communities. The four artists are in Washington as part of the museum's Artist Leadership Program for Individual Artists. The forum, titled "Bringing It Home: Artists Reconnecting Cultural Heritage with Community," will be moderated by Dr. Gabrielle Tayac (Piscataway Indian Nation), a historian at the National Museum of the American Indian. The program is free and open to the public. It will also be webcast live and archived on the museum's YouTube channel. 

"Reconnecting cultural heritage" could serve as the mission statement for the Artist Leadership Program. The program for individual artists brings indigenous artists of the Western Hemisphere to Washington to do research in museum collections and to explore new artistic insights, skills, and techniques; the artists then return home to share with their cultural communities and the general public the value of Native knowledge expressed through art. A second track of the Artists Leadership Program works with local museums, arts organizations, and cultural institutions in the United States and Canada to provide similar opportunities for indigenous artists to do research at the regional level, develop their skills and vision, and encourage personal growth and community development through art. 

Maura Garcia Porfirio Gutiérrez

Theresa Secord
 
 
This year's Artist Leadership Program individual grantees, clockwise from upper left: Maura Garcia, Profirio Gutiérrez, Linley Logan, and Theresa Secord.

Linley Logan

 

 

 

 

 

 

 

 

 

 

 

Speaking Wednesday will be: 

Maura Garcia (Cherokee/ Mattamuskeet), from Kansas, works in dance and multimedia performance. Maura plans to incorporate elements from the museum's collections in her work with the youth of the Kansas City Indian Center to create an urban Indigenous public performance. Her primary research focuses on the Cahokia and Spiro sites and the central Mississippi Valley mound sites within 500 miles of present-day Kansas City. 

Porfirio Gutiérrez (Zapotec), from California, is a master Zapotec weaver who works with natural dyes. Porfirio is researching Zapotec textile art fabrication techniques to verify that methods used in the past are still in use today. He will do his community project near the city of Oaxaca, Mexico, in Teotitlan del Valle, a town known for its traditional Zapotec weavings made with fibers dyed with local plants and insects. 

Linley Logan (Tonawanda Seneca), who lives in Washington state, works with Seneca beadwork designs. Linley will do his community project in Tonawonde Onondowaga Yoindzade, his traditional Longhouse community in upstate New York. His primary research focuses on Seneca/Iroquois beadwork clothing patterns, as well as clothing materials such as porcupine quillwork. 

Theresa Secord (Penobscot), from Maine, is a nationally known as an ash and sweetgrass basketmaker. As a response to the loss of ash trees due to insect infestation, Theresa is researching Wabanaki basketry to learn more about other non-traditional materials in weaving practices, such as basswood fiber and cedar. She will share her knowledge and experience from the Washington visit with the Penobscot Nation and other Wabanaki basketmakers at the Hudson Museum at the University of Maine and in the Penobscot tribal community on Indian Island, Maine. 

If you can be free Wednesday afternoon, join us at the museum for what promises to be a wonderful presentation or follow the webcast live. If that's not convenient, bookmark this page and come back in a few days. By then, we'll have a link to the video on YouTube.

Photo credits: Maura Garcia courtesy of Maura Garcia Dance on YouTube. Porfirio Gutiérrez courtesy of Porfirio Gutierrez y Familia. Linley Logan from the artist's Facebook page. Theresa Secord courtesy of the First People's Fund.

 

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April 24, 2015

The Artist Leadership Program and the Institute for American Indian Arts, 2015

2015 IAIA ALP grantees Tania Larsson and Lee Palma at the Cultural Resources Center
Tania Larsson (left) and Lee Palma at the museum's Cultural Resources Center.

The Artist Leadership Program (ALP) of the National Museum of the American Indian (NMAI) seeks to inspire new generations of artists; to mentor young people through pride in learning about their cultural and artistic heritage; and to reflect the fact that indigenous arts hold value and knowledge, and offer communities a means for healing and new ways to exchange cultural information. On research visits to Washington, D.C., ALP artists have access to more than 800,000 objects, photographs, and archival documents in the museum’s collections at the Cultural Resource Center, as well as to exhibitions at the museum on the National Mall. 

The museum and the Institute of American Indian Arts (IAIA) in Santa Fe together have developed a program within the ALP for IAIA students. 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 receive credit for independent study. 

Here, 2015 ALP–IAIA grantees Lee Palma (Comanche) and Tania Larsson (Gwich’in) describe their experience in Washington. In the next phase of the program, Lee and Tania will create new works of art for public display at IAIA, based on their research projects at the NMAI. 

LEE PALMA 

My name is Lee Palma. I am Comanche and am currently a junior at the Institute of American Indian Arts in Santa Fe, New Mexico, studying Studio Arts with a focus in Jewelry and Metals. I also work within the Digital Arts department as a work-study student.

Lee Palma
Lee Palma doing research in the NMAI Photo Archives.

My primary purpose in coming to the NMAI was to explore my heritage. I particularly wanted to see if the museum's physical collections and archives contained any clues to some mysteries within my family about where we come from and who we were before we were Comanche. My secondary purpose was to view jewelry and other metalwork objects from both my tribe and the surrounding tribes in the Southwest, having previously noticed a correlation between those objects’ designs. 

My experience was a lot different than I had anticipated. I didn’t expect the collections to feel so alive, and I was really happy to find out how much respect and love the NMAI staff has for all of the objects. It was an unexpectedly emotional process—both looking at the objects and playing history detective by researching their history and possible relation to each other with NMAI Collections Specialist Cali Martin. I also discussed my family history and addressed the lack of visibility and acceptance of mixed-race Natives with Gabrielle Tayac, a historian on the museum's staff. I came through this experience feeling settled in some ways and unsettled in others, but completely prepared to deal with processing those emotions. I have so many mysteries to solve about my family history now as a result, but my entire experience with the NMAI solidified my security in my identity, which I feel will make this next journey easier to embark on.

Participating in the NMAI Artist Leadership Program gives you a better sense of yourself as an artist and your relationship to your culture, but also where you stand within your community and culture. By looking through the collections and objects from your culture, you gain a more complete understanding of where you come from and can take elements from the past to bring with you to share with the present. This experience opens up a lot of unexpected doors and many unanticipated reactions, but it is absolutely worthwhile.
                                                                                                                        —Lee Palma


TANIA LARSSON

My name is Tania Larsson. I am Gwich’in and Swedish and I live in Yellowknife, Northwest Territories, Canada. I am a junior at the Institute of American Indian Arts in Santa Fe, New Mexico, where I am pursuing a Bachelors of Fine Arts with a focus in Jewelry and Digital Arts.

My purpose in coming to the NMAI was to laser scan Gwich’in traditional tools used to tan hides. These scans are converted to models in software that allows me make 3D prints I can use as a reference when I make hide-tanning tools. My goal is to go back home to the Gwich’in region and share with my community the experience and knowledge I earned.

Tania Larsson
Tania Larsson studying materials and techniques used to make objects in the museum's collections.

Seeing the collection made me realize the big cultural loss we have experienced in the Gwich’in tribe, which brought me to tears on several occasions. However, seeing how well our clothing and artifacts are being preserved at NMAI gave me hope that we can regain some of the culture we have lost due to colonization and the westernization. The helping staff made this experience so much more; they made me feel welcomed and accommodated all my needs.

I believe my life has been altered from this experience. I have enough reference material for a lifetime of work in various mediums, such as traditional arts, drawing, painting, printmaking, digital arts, and metalwork. I received many tools, tips, and contacts from the staff to help me with my research. I am looking forward to working with some of the contacts I received to learn traditional quillwork and reintroduce this aesthetic in my work.

The greatest impact of this research will be on the authenticity of my work. I no longer have to question if my work is Gwich’in or not, because I now have the cultural confidence to back up my work. This was only possible by seeing firsthand what my Gwich’in tribe was all about before our westernization.

Participating in the NMAI artist leadership program has really enriched my knowledge of my own culture. For many years I wondered what our traditional clothing was, but had never seen it in real life. I am looking forward to bringing that knowledge back to my community. With the help of my experience at NMAI and the previous research work others have done on this clothing, I believe we can bring some lost traditions back to life. That is why working with traditional tools is so important. When Gwich’in people have their own tools replicated from the tools of our ancestors, we will be able to work on our hides and then use those hides to make our clothing again. By filling in the gaps in a weakened cultural circle we will be able to strengthen our cultural knowledge and work.
                                                                                                            —Tania Larsson

 

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 4, 2015. 

The program Lee and Tania have described is a prototype currently limited to applicants from the Institute of American Indian Arts.
                                                                                                                        
—Keevin Lewis 

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

All photos are by Keevin Lewis, NMAI.

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January 14, 2015

Lisa Rutherford Offers Words of Encouragement: Apply to the Artist Leadership Program!

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 community art workshops 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 December 2014, the museum hosted artist Lisa Rutherford while she conducted research in the museum’s collections. Here Lisa shares her aspirations and values, and her thoughts about what museums and Native artists can offer each other.

Lisa Rutherford doing research at the NMAI CRC
Lisa Rutherford, an Artist Leadership Program grantee for 2014-2015, studies the design and technique used to make a deerskin coat in the collections of the National Museum of the American Indian. NMAI Cultural Resources Center, Maryland; December 2014.


My name is Lisa Rutherford, and I am Cherokee. I live on a ranch near Tahlequah, Oklahoma, where I get a lot of inspiration for my work. My primary art form is hand-coiled pottery, but I also create twined textiles and feather capes based on historic descriptions. The 1700s is my favorite century.

Part of my work is demonstrating cultural arts and living history, so I want to maintain cultural and historical integrity, even though I also want to try new things and move in new directions. I don’t want my art to become stagnant or just to copy artifacts, I want to create new things with old influences while maintaining that cultural integrity.

The reason I applied to the National Museum of the American Indian (NMAI) Artist Leadership Program was to study feather capes and early textiles, to learn the different methods of textile-making and to help with historic accuracy in my work. I also want to study what Cherokees were wearing at specific points in more modern time periods to help with my impressions when I demonstrate living history.

The NMAI Artist Leadership Program was so much more than I expected! I almost gave up on submitting my application, because I had applied a few times before and not been chosen, and I was really frustrated with my project proposal and research proposal. But Keevin Lewis, NMAI outreach program coordinator, gave me some guidance, and I got the application in just before the deadline, despite the Wi-Fi in my studio going down.

ALP artists December 2014
The four individual artists in the Artist Leadership Program for 2014-2015 (from left to right): Lisa Rutherford (Cherokee), Anita Paillamil Antiqueo (Mapuche), Jacob Butler ((Salt River Pima Maricopa Indian Community), and Irma Alvarez Ccoscco (Quechua). NMAI Cultural Resources Center, Maryland; December 2014.

To other artists, my advice is don’t give up! Keep applying! The museum staff is there to help us, and they are good at their jobs. I’ve already suggested to several artist friends that they apply to this program. In addition to offering opportunities to see cultural items in the collections, the NMAI staff is also knowledgeable in film and photo archives, documents, and books, and they'll try to make other resources available.

My fellow program participants and I also had training from the First Peoples Fund and assistance developing our staff and public presentations, which we gave three times. Speaking to diverse audiences was a good experience. But the exposure to so much wonderful art in all the museums on the National Mall, by other ALP participants, and in the NMAI collections will provide so much inspiration for new projects.

One of the most exciting times was when I first walked into the collections section of the museum's  Cultural Resources Center (CRC) in Suitland, Maryland, and saw two rolling shelves with my name on them, filled with deerskin coats, twined textiles, and beadwork for me to study. I saw cultural objects I had studied only in photos. I was so excited that I couldn’t wait to get to the next group of materials! I got to see a couple of twined skirts found in Tennessee that have been attributed to the Cherokees. Although one is incomplete, they are in unbelievably good condition, and I could clearly see how they were made. Studying the textiles inspired me to try a different, complicated technique for my community project. Most of my community workshop participants are skilled artists with some experience with twining, so I think they will like the challenge. I hope others are encouraged to do their own research and perhaps apply to ALP themselves.

Many of the things I studied were made to be utilitarian items or for everyday use, not for artistic expression. But I noticed the quality of the artifacts in the collection. Many items were well made and had stood the test of time. Stitches were tiny, even, and strong. Repairs were imperceptible. Beadwork was flawless, no thread or stitches showing. There were extra decorative touches that had no purpose other than to make the items more aesthetically pleasing. Sometimes today we rush to make deadlines and don’t take the time to add extra little touches. Although these things were meant to be used, they were still made attractively and with obvious pride in workmanship.

Lisa Rutherford on the Washington subway
Lisa Rutherford exploring the area's cultural resources via the Metro. Washington, D.C.; December 2014.

I’m pretty much an introvert, so spending a week basically on my own in the city was an exciting experience that I enjoyed a lot. I was out of my comfort zone at times, but I loved every minute of it.

I feel that I now have validation of some of my theories, and new information to help me move ahead on new projects. I also have new questions to research. One thing I gained from the program that I didn’t anticipate was confidence in myself. When I was in the collections, I realized I already have a lot of knowledge and am even able to share information about some of the objects with the museum staff. I gained knowledge that I will share when I teach and when I do living history. I learned that I can gain a lot of information from the resources at the CRC and the Smithsonian Museum Support Center to share with others and help them with their art.

I posted a lot of my experiences on social media during my trip and am surprised by how many people have mentioned they were following me. My community workshop will be limited in size, and the subject probably won’t appeal to a large audience. In addition, though, I am doing a presentation and slideshow to share my newfound experiences with whoever wishes to attend. 

—Lisa Rutherford

Lisa Rutherford is giving a public presentation about her research experience Friday, January 16, 2015, at 6 p.m. Central time, at the Cherokee Arts Center's Spider Gallery in Talequah, Oklahoma.

All photos are by Keevin Lewis (Navajo), NMAI

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September 02, 2014

Protecting a Way of Life: Royce Manuel Leads a Workshop and Demonstration on Traditional Bows and Arrows

By Keevin Lewis 

Bow & Arrow Reception 1 019 a

On Thursday, June 12, 2014, at the Talking Stick Visitor Center in Scottsdale, Arizona, around 60 interested people attended a bow and arrow showcase and reception highlighting a commmunity art project conceived and led by Royce Manuel (Ak-Mierl Aw-Thum). In the snapshot above, you can see community artists Chris Hughes (holding a quiver) and Jacob Butler (in the baseball cap) talking about the bows and arrows they made from trees found in their home regions. And then, of course, there were bow and arrow demonstrations for guests at the reception and, that Saturday, for interested families at a nearby park. The results were wonderful to see, as some arrows easily cleared 30 yards! 

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Leading up to these events, Royce held a four-week bow and arrow workshop that focused on how to make a self bow and arrows that are good enough for hunting. The workshop targeted fathers and sons, uncles and nephews, and each participant had the opportunity to harvest wood for his own bow and gather plants for his arrows. Obsidian was provided for making arrowheads.

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The National Museum of the American Indian supported Royce’s project—his research into bows and arrows and other objects in the museum’s collections outside Washington, D.C., the workshop, and the reception—through the Artist Leadership Program.

You can see Royce talking about his experience at the museum and his plans for the community art workshop in a short video on the museum’s YouTube channel. For more information on other artists’ projects supported by the Artist Leadership Program, scroll through our section of the museum’s blog or visit our photo album on Facebook. Information about the program, including its goals and detailed instructions on how to apply, is available 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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This is really nice. college & university students must read this.

Great archery learning pictures!

Its like going back to basics & learning what our forefathers used or practiced.

Same with our food. Now we all our going back towards Organic Food.

Cool program to protect the culture.

thanks for sharing.