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.


Comments (0)

    » Post a Comment

August 14, 2015

Meet Native America: Cedric Cromwell, Chairman, Mashpee Wampanoag Tribe

In the interview series Meet Native America, the Smithsonian National Museum of the American Indian invites tribal leaders, cultural figures, and other interesting and accomplished Native individuals to introduce themselves and say a little about their lives and work. Together, their responses illustrate the diversity of the indigenous communities of the Western Hemisphere, as well as their shared concerns, and offer insights beyond what’s in the news to the ideas and experiences of Native people today. —Dennis Zotigh 

Chairman speaking at US CapitolChairman Cedric Cromwell, Mashpee Wampanoag Tribe, speaking in front of the U.S. Capitol during the Reservation Economic Summit. June 16, 2015; Washington, D.C. 

Please introduce yourself with your name and title.

Cedric Cromwell, chairman of the Mashpee Wampanoag Tribe.

Can you share with us your Native name and its English translation?

It's Qaqeemasq. It means Running Bear.

Where is your tribe located? 

We're in Mashpee, Massachusetts, on Cape Cod.

Where was your tribe originally from?

We have always been here, for over twelve thousand years. We were here when the Pilgrims touched the shores in Plymouth, Massachusetts, and we are still here and have a significant presence today. 

What is a significant point in history from your tribe that you would like to share?

A significant time for our tribe was in 2007 when we received federal recognition after 35 years of working and waiting for the process to be completed. Many people from the area and beyond celebrated with us, including the late Ted Kennedy, U.S. senator from Massachusetts and brother of President John F. Kennedy.

How is your tribal government set up? 

Our tribal government is council-run. The Mashpee Wampanoag Tribal Council is made up of 13 members. The council is led by four officers—chairman, vice chair, secretary, and treasurer. Of the nine other sitting members, two are our chief and medicine man. All council members are voted in by our membership at tribal elections.

Is there a functional, traditional entity of leadership in addition to your modern government system?

We have a Chief’s Circle that provides counsel to tribal members regarding family and community concerns for healing and medicine. We also have peacemakers who work to resolve disputes among tribal members to avoid the legal process.

How often are elected leaders chosen?

We have elections every four years. The terms are staggered to avoid ever having an entirely new council.

How often does your council meet?

Tribal Council meets weekly, mostly during the evening though there are some all-day meetings. Our tribe holds a meeting of the general membership every second Sunday of the month. 

Chairman Cromwell and his mother
Chairman Cromwell and his mother, Constance Lone Eagless Cromwell, at the Mashpee Wampanoag Tribal Ball. March 22, 2015; North Falmouth, Massachusetts.

How did your life experience prepare you to lead your tribe?

At an early age, my mother would bring my brother and me to all the tribal meetings. She was the tribal secretary for 35 years and at that time was responsible for keeping all the historical tribal records. There were even times when I would be sitting on her lap in the meetings. So I was exposed to tribal government at a very early age. I guess you could say being a member of the tribal government was in my blood. 

What responsibilities do you have as a tribal leader?

I have the same responsibilities as the president of the United States. We are considered to be a nation, and as leader I am expected to oversee the workings of this nation. I meet with community leaders on behalf of the tribe. I meet with Congress and many U.S. government agencies. I meet with Commonwealth of Massachusetts representatives and senators. I have been involved in the public school system to ensure our Native children are being well served. Our council has also been instrumental in securing our tribal rights for hunting, fishing, and gathering and seeing that these rights have been upheld in our community and the surrounding towns.

Who inspired you as a mentor?

My mother was my driving force to be “all that I can be” and more. She and my dad taught my brother and me that there are no obstacles in life that we can’t forge. She is gone now to that great Grand Lodge in the sky, but I can still hear her voice in my ear encouraging me to be strong and push on in spite of everything.

Are you a descendant of a historical leader? If so, who?

I am descendant of the great Wampanoag sachems Massasoit Ousamequin and Massasoit Popnomett.

Approximately how many members are in the Mashpee Wampanoag Tribe?

Approximately 2,700.

What are the criteria to become a member of your tribe?

Direct family lineage from specific families identified in the Earle Report—the Report to the Governor and Council, concerning the Indians of the Commonwealth, under the Act of April 16, 1859. We have a very strong Genealogy Department that has very strict and appropriate guidelines.

Is your language still spoken on your homelands? If so, what percentage of your people would you estimate are fluent speakers?

Our language was lost for many years. In the past 10 years, behind the vision of our Vice Chairwoman Jessie Little Doe Baird, we have had the privilege of seeing our language reclaimed. It is being taught to our children, our young people, and our elders. We have several fluent speakers of the Wômpanâak language and in the not too distant future will have many more who will be able to speak our language fluently. 

What economic enterprises does your tribe own?

We have a shellfish farm and a museum. Currently we provide historic cultural monitors for the Commonwealth of Massachusetts. We are in the process of obtaining land in trust and developing a $500-million destination resort in the city of Taunton, Massachusetts. 

What annual events does your tribe sponsor?

We have our powwow—next July will be the 95th annual Mashpee Wampanoag Powwow—Quahog Day, Ancestors Day, and our annual Mashpee Wampanoag Tribe Thanks Giving Day—which is observed for different reasons than America traditionally celebrates on Thanksgiving.

What attractions are available for visitors on your land?

Powwow attracts a few thousand people each year to this area. We have a museum of our history that visitors from all over the world come to visit and a new, award-winning $15-million Community and Government Center.

Opening the Mashpee Wampanoag center

Opening the new Mashpee Wampanoag Tribal Community and Government Center. March 29, 2014; Mashpee, Massachusetts. 

How does your tribe deal with the United States and Canada as a sovereign nation?

Being a federally recognized tribe means we have a nation-to-nation relationship with the U.S. government. I'm glad you asked about Canada, as well. The indigenous peoples of this part of the United States and Canada share traditions and many other aspects of culture together. My father is from Yarmouth, Nova Scotia, Canada; he is Micmac and Mohawk Indian. 

What message would you like to share with the youth of your tribe?

We are intelligent Native American people and a historical tribal nation with a strong culture that is tied directly to our homelands in the Commonwealth of Massachusetts. Mashpee was the first Indian-governed town recognized as such in the United States, incorporated by the Commonwealth of Massachusetts in the year 1870.

Is there anything else you would like to add?

It is very important that we as Native Americans remember our past so that our future is bright with all that we can be to lift our tribal nations. I have a vision that Indian Country’s culture and people will thrive through diverse economies that will extend our prominence and forward-thinking for next seven generations and beyond, for us and all of mankind.

Thank you.

Kutâputush—thank you.

Photographs courtesy of the Mashpee Wampanoag Tribe. 

To read other interviews in this series, click on the banner below. Meet-native-america

From left to right: Representative Ponka-We Victors (Tohono O’odham/Southern Ponca) taking the oath of office in the Kansas House of Representatives; photo courtesy of Kansas Rep. Scott Schwab. Bird Runningwater (Cheyenne/Mescalero Apache) at the Sundance Film Festival; photo courtesy of WireImage. Sergeant Debra Mooney (Choctaw) at the powwow in Al Taqaddum Air Force Base, Iraq, 2004; photo courtesy of Sgt. Debra Mooney. Councilman Jonathan Perry (Wampanoag) in traditional clothing; photo courtesy of Jonathan Perry. Suzan Shown Harjo (Cheyenne/Hodulgee Muscogee) at Blackhorse et al. v. Pro Football, Inc., press conference, U.S. Patent and Trade Office, February 7, 2013; photo courtesy of Mary Phillips. All photos used with permission. 

Comments (0)

    » Post a Comment

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. 


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


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.

Comments (0)

    » Post a Comment

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

Comments (0)

    » Post a Comment

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! 

P1000238 c

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.

Royce workshop 1

Royce workshop 2

Royce workshop 3

Royce workshop 4 Royce workshop 5

Royce workshop 5aRoyce workshop 5+






















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.  

Comments (5)

    » Post a Comment

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.