Sep 29, 2015 | Adventures of Rear-Mirror Rissy, Honoring Others, Poetry Alaskan |
Poet/writer Al Pizzarelli and his wife Tlingit artist/writer Donna Beaver Pizzarelli and their Mini-Coup
Eight years ago Al Pizzarelli and Donna Beaver met at a Haiku Poetry convention out there on the East Coast (but pardon me, I forget where!?). It was love-at-first-sight for Al; Donna didn’t know what to do with his notoriety, talent, charm and wit except to collaborate with him on a project that totally inspired both of them; years later, they are still at it!
Poet/writer Al Pizzarelli
Alan Pizzarelli is a poet, musician, and artist born in 1950 to an Italian-American family in Newark, New Jersey. He is the author of 13 collections of poetry. During the early 1970s, he began a serious study of haiku and related forms in New York City under the tutelage of Professor Harold G. Henderson, author of An Introduction to Haiku and Haiku in English. Since then, many of Pizzarelli’s poems have achieved worldwide acclaim and have appeared in a variety of textbooks, journals, and anthologies.
Alan Pizzarelli’s latest anthology hot off the press: “Frozen Socks”
I recently read Al’s “Frozen Socks.” Each brief piece of writing took me around the block and back again. It’s the first book of poetry I read from front to back and then again! I had three nights to hang out and work at Donna and Al’s home in New Jersey. I divided the book into three sections. When I tucked myself into bed each of those three nights, I read one section. The writings brought me to tears, made me laugh too loud and stopped me in my tracks. I tell you he is one heck of a Raven Trickster who reminds the reader of our vulnerable human condition!
This book is hot off the press available for purchase on Amazon for only $12.95 with additional shipping. Order your copy today by CLICKING HERE
For his review and input, Donna shows Al the covers of her hand-printed books
A member of the Tlingit Kaagwaantaan (Wolf) Clan, Donna Beaver Pizzarelli was born in 1961 in Juneau, Alaska. She hails from a long line of artists, most notably her late mother, beadworker/doll-maker Anna Beaver and her late grandfather, carver Amos Wallace. A media artist who specializes in web-design, research and podcasts, she is a visual artist extraordinaire, a writer and is about to embark on the path of her grandfather Amos: metal/stone jewelry.
In 2009, hosts Donna Beaver and Alan Pizzarelli produced the first Haiku Chronicles podcast. Today, more than 30 episodes later, what started off as a grass-roots effort with just a few hundred listeners has now grown to over two million plays of their episodes around the globe! You may visit their Haiku Chronicles website by CLICKING HERE.
Donna put Clarissa to work in giving a coat of gloss medium to the front and back of Donna’s book of poetry entitled “Rainforest Poems”
Donna and Al have a couple of weeks to complete their website updates, print and assemble Donna’s book of poems, receive their shipment of Al’s books, and pack their recorders, laptops, cameras, etc. into their little Mini-Cooper to drive up to Schenectady, New York State to attend the international Haiku Convention. Non-stop they work together in their writings, productions, art and music. Hanging out with them has reminded me of how a pair of people totally in love and committed to one another and their art forms can change a small aspect of the human race.
You may read more about Alan Pizzarelli and Donna Beaver Pizzarelli when their individual websites are back up and running.
Clarissa Rizal and Donna Beaver Pizzarelli
Sep 28, 2015 | Adventures of Rear-Mirror Rissy, Honoring Others |
Wayne Carlick and Debra Michel sing an honor song to commemorate the Frog Woman house post at the Montclair Art Museum in Montclair, NJ — September 27, 2015
Montclair Art Museum in Monclair, New Jersey is the very first museum in the state to host Native American art. A 9-foot house post carved a few years ago by Canadian Tlingit artist Wayne Carlick, was gifted to the museum by art collectors Carole and Malcolm Schwartz. MAM acknowledged the gift by a dedication of the “Frog Woman” house post on Sunday, September 27th. Wayne and his wife Debra Michel were the guests of honor, making their long drive from the remote village of Atlin, British Columbia down the ALCAN (Alaska/Canadian) Highway, then catching the flight from Seattle to Newark, New Jersey.
Montclair Museum staff, art collectors and the general public attended the dedication of the Frog Woman house post; Wayne gave a very moving story about the legendary Frog Woman
Wayne Carlick was born in 1958 in Atlin, Canada and was raised on the Taku River in British Columbia. He is a member of the Tlingit Taltan Nation and a clan member of the Xooxhitan House. His Tlingit name is Yaan Dec-kin Yeil, which translates to Flying Raven.
After completing his schooling, Carlick trained in carpentry. he began carving poles, posts, bowls and clan regalia in 1992 when he apprenticed with famed Northwest Coast Indian artists Dempsey Bob. Carlick has become a successful, versatile artists and his artwork is in many museums, including a few pieces in the Montclair Art Museum.
Traditionally, Tlingit families lived together in large clan houses often built in a row along a river bank or beach. Four carved, painted house posts were placed at each corner of the house where they functioned as supports for the wood framework along the massive tree trunks. If the posts became very worn over time and could no longer serve as supports, they were attached to undecorated posts since they continued to be held in high esteem.
Featured on house posts are crest figures belonging to certain Tlingit families or sometimes illustrating Tlingit legends such as the story of Frog Woman.
Debra Michel, Wayne Carlick, Frog Woman House Post, Clarissa Rizal and Donna Beaver Pizzarelli
After doing business in Seattle last week, I spent 4 days in Bloomfield working and visiting with my friends Donna Beaver and Al Pizzarelli. Donna is part of the organization crew working on the Tlingit Mentorship Program along with Preston Singeltary and Sue and Israel Shotridge and I. Earlier this month, Donna pointed out that MAM was hosting a house post dedication at the end of September and asked if I knew the carver. I shuffled my schedule a bit to make the trip out East. Amongst several other things I did in the brief visit, MAM’s dedication was intimate and moving, with lots of syncronicities. I’m glad I attended!
Sep 24, 2015 | Adventures of Rear-Mirror Rissy, Honoring Others, Latest Art Projects, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Miranda Belarde-Lewis, Sho Sho Esquiro and Clarissa Rizal plan the floor layout of their next year’s October 2016 exhibit at the Bill Reid Gallery in Vancouver, B.C.
A year after the initial idea of an exhibit featuring traditional and contemporary Northwest Coast regalia and clothing with Sho Sho Esquiro and Clarissa Rizal, we finally met up at the house of Curator Miranda Belarde-Lewis to review the basics of the exhibit!
The exhibit opens at the Bill Reid Gallery in Vancouver, B.C., Canada next year in October and will run for approximately 5 months. We will be featuring a total of 20 to 30 individual ensembles of which during opening night only will be modeled with the accompaniment of traditional songs set to Preston Singletary’s latest jazz funk band called “Ku’eex.” Directly after opening night, the ensembles will be placed on their respective mannequins.
Stay tuned for updates on the progress of our exhibit!
Curator Miranda Belarde-Lewis, Contemporary clothing designer Sho Sho Esquiro, and Ceremonial regalia-maker, Clarissa Rizal
Sep 23, 2015 | Adventures of Rear-Mirror Rissy, Honoring Others |
One of several carved pieces by Lyonel Grant for the Evergreen Longhouse Weavers’ Studio, Olympia, WA
I flew to Seattle for a number of reasons: alternative doctor diagnosis and treatment, work with Sue on a button robe, meet up with my niece and fellow artist to discuss our exhibit next year, and check out the Maori/Coast Salish carvings for the planned “Weavers’ Studio” at the Evergreen Longhouse campus in Olympia, Washington.
Maori carving by New Zealand’s number one Maori carver, Lyonel Grant
These carvings were designed and created by the top New Zealand Maori carver, Lyonel Grant. You may check out his website at: www.lyonelgrant.com
Collaborative piece carved by Maori carver Lyonel Grant and Coast Salish carver Peter Boome
Detail carving of Coast Salish artist Peter Boome and Maori artist Lyonel Grant
Sep 21, 2015 | Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, Tlingit Culture Accentuated, Tools-of-the-Trade |
One of the most up-town covered, outdoor fire pit shelter seats approximately 150 people in a cozy, intimate setting
A little over 10 years ago, when Preston and I had been talking about putting together the first gathering of Northwest Coast Artists to be held during Celebration 2006 in Juneau, Alaska, he had mentioned Islandwood retreat learning center on Bainbridge Island, Washington State as a possible location. He felt that the location of this beautiful retreat in a heavily wooded forest would foster a networking of life-long friendships, kindle collaborations, and create a very tight group of artists where we could truly focus on any art and cultural issues in a very real way. 10 years and 2 Northwest Coast Native artists gatherings later, we finally made it a point to visit IslandWood yesterday; it was obvious to me during this site visit why Preston insisted on IslandWood as the place for conducting next year’s gathering of Tlingit artists – the location of this retreat is astounding!
The purpose of this gathering of Tlingit artists is to establish a loose coalition of mentors to consciously create a mentorship “guide” for our younger generations so we continue to endorse our future artists in whatever field they work.
The warmth of solid oak and maple dining room
There are five, dedicated, professional Tlingit artists who are at the helm of helping to organize this retreat. They include: Sue and Israel Shotridge, Donna Beaver Pizzarelli, Preston Singletary and myself.
At this time, Artstream Alaska and the Evergreen Longhouse are two organizations who will help sponsor this gathering.
We will be re-vamping the Artstream Alaska website where we will have information on the gathering. The goal for website completion is by November this year.
In the meantime, although all of us work together on all aspects of organizing this gathering, we each have organically “fallen into our main roles.” Sue and Israel works on cultural values and the administration, Preston works on fundraising, Donna gathers materials to eventually design and create the website, and during my travels, I have been networking and collecting names of Tlingit artists.
Standing at the entry to Islandwood’s main hall, program coordinators L to R: Clarissa Rizal, Preston Singletary, Swil Kanim, Sue Shotridge (missing: Donna Beaver Pizzarelli)
At first we were going to invite any and all Northwest Coast artists from any background and tribe. Then we got to thinking about the differences in some of the values and we thought the gathering will already be challenging enough with the variety of egos, that we would like to keep it simple. We will be inviting only Tlingit artists for this gathering. We envision other tribes will be inspired to create their own mentorship program for their next generations.
The main lobby before the “Great Hall…”
IslandWood’s Story:
IslandWood is a nationally recognized outdoor learning center located across Puget Sound from Seattle’s urban center. IslandWood’s mission is to provide exceptional learning experiences and to inspire lifelong environmental and community stewardship. Each year, more than 25,000 people participate in IslandWood’s programs on the 225-acre campus and in communities throughout the region. In addition to our school programs, IslandWood offers a graduate program in partnership with the University of Washington, summer camps, and community programs for children and adults. Revenue from conferences and retreats and contributions from the community enable IslandWood to underwrite our outdoor education programs for children from low-income communities.
For more information on IslandWood, you may visit their website at: www.islandwood.org
Islandwood Program Director Christine welcomes the four of us to tour the small portion of the 250-acre landscape
As I mentioned earlier, Artstream Alaska will be our main sponsor for this project. When the re-vamped website is launched by November 1st, we will be inviting selected Tlingit artists to check out all the information to see if they would like to participate. We are inviting Tlingit artists based on their artistic merit, their involvement in the arts and culture and their obvious concern for the health and well-being of our people.
Sue Shotridge and Preston Singletary walk one of the many paths through the woods on the Islandwood Retreat
Currently, the dates for this 3-day Tlingit Mentorship Retreat is set for next year, September 16 through the 18th, 2016. This will be a retreat. We ask that each artist make a clear commitment all 3 days and nights. We encourage artists to book any outside activities (i.e. visit family and friends in the Seattle area, shopping, sightseeing, etc.) before or after the 3 days.
Just outside Islandwood’s “Great Room”
Once the Artstream website is re-vamped and we’ve got our ducks in order (goal is November 1st), we will send out our invites to our Tlingit artists pointing them to read about our mission statement, the confirmed dates and times, the agenda of the mentorship project, the cultural leaders who will be helping to guide this 3-day event, and the list of artists who will be committing to attend this historical event.
Islandwood’s Welcome plaque just before the shed of many hand carts
Our space has a capacity limit of up to 50 artists. The room and board is covered for each artist attending all 3 days. At this time, we are seeking funds to help pay up to $250 (or less) for each artist’s travel expenses. This will be invitation only, though we are open right now to receive names and contact info of anyone who you may know who fits the bill for a Tlingit mentor.
Stay tuned!
Swil Kanim and Preston Singletary discuss the meaning of being a mentor
Mentorship project coordinators L to R: Swil Kanim, Sue Shotridge, Preston Singletary, Clarissa Rizal
Sep 19, 2015 | Adventures of Rear-Mirror Rissy, Honoring Others, Latest Art Projects, Relationship Overdrive, Tlingit Culture Accentuated |
Clarissa pounces the paper pattern of a button robe designed by fellow Tlingit artist Israel Shotridge as he points out making sure she does not veer off the lines!
There have been a few times I have collaborated with an artist; they design something and I make it, or I design something and they make it. In this case, I am preparing to transfer a design onto wool melton cloth to begin making a buttonrobe designed by Israel Shotridge for his daughter, Autumn.
While working on the pouncing (the wheel has many sharp, tiny spokes that punch tiny holes into the paper), Israel asked me if I come to other people’s homes and hang out with them. I laughed. Like what? Do you think I go to someone’s home and help them get a button robe made? No…
Going to the Shotridges’ house is a special treat. Why? Because Israel and Sue are quite the team and they are a kick in the pants to hang out with. And Israel’s wife, Sue is one of my best friends. Bottom line. We talk business, art, Native politics, spiritual stuff and of course, men. What else?
Sep 16, 2015 | For Crying Out Loud, Honoring Others, Relationship Overdrive |
Hankyboy Hudson – on his master’s 28th birthday
7 years and 2 days ago, Hank was given as a birthday gift from a boyfriend to a girlfriend. A sensitive young pup who never outgrew his loving kindness, he passed today in his master’s arms. She said it was the first time she had experienced the spirit pass from its body; as it was leaving, just for a few seconds Hank looked like a bear. Not surprised as his master’s name is Ursala.
Sunset Hank
We’re missing you Hankyboy!
Sep 8, 2015 | Honoring Others, Poetry Alaskan, Relationship Overdrive, To See or Not to See |
Towards Telluride
A woman as you were not born of man’s legendary rib
Nor from any salt of this earth
A cosmic slipstream bore your name and called you forth way before
The first sun melted mist from the birth of a new island
You walked barefoot amongst the thorns in the wounded wood
Even honoring all those who fell
You and innocence were one with the pines and the willow
And mountains and rooftops could hear you whisper
Even so you planted seeds in protected soil sprouting rainbows
That arched their backs to reflect all divine light rooted in love
Even so child-like laughter blossomed forever in the sound of your name
Above yellow above green above blue above purple
Curtains could keep us separated from a woman like you
Though you moved between the lines with grace, respect and honor
Curtains gathered aside you made pillars of them flexible in the wind
Defining the space of what is and what isn’t
Where are we to come now where are we to go as you have flown higher
Leaving hearts broken but not broken worn but not worn
Where you come from to where you go we will follow in our due time
Upon that cosmic slipstream bearing your name our names forever named
—Clarissa R. in honor of Danielle C.
Sep 3, 2015 | For Crying Out Loud, Honoring Others, North Tide, Tlingit Culture Accentuated |
“Haa Shagoon” film written, directed and produced by Joseph Kawaky – 1981
I was not even 25 years old when this film was shot. In the Summer of 1980, because of sudden news of a death of a dear love, I was in Haines on a private retreat in a small cabin on Paradise Cove with my then 9-month-old daughter, Lily Hope. I remember hearing about the struggles the local Tlingit were having with the local, state and federal governments regarding the Native rights and use of the Chilkoot Lake and River. It was an emotional time for many of the local Tlingits. Over the next couple of decades, I had come to know many of the folks in this film. I watched this film many years ago when it first came out in 1981, just a year after it was filmed. I bought this copy for only $10 at the Sealaska Heritage Institute retail shop and watched it again. All but one or two of the elders in the film have all passed. It was emotional 34 years ago as it was today.
Aug 31, 2015 | Class Act, Honoring Others, Relationship Overdrive, Tlingit Culture Accentuated, To Market To Market, To See or Not to See |
What is an artist gathering without breakfast!? L to R: Teri Rofkar, Diane Douglas-Willard, Delores Churchill, Allison Bremner, David Boxley, Jr., Nathan Jackson, Wayne Price, Jerrod Galanin, Israel Shotridge, Sue Shotridge
What is the purpose of a small group of large egos coming together in a cozy space for two full days have to do with creating art?
L to R: Lily Hope, Sue and Israel Shotridge, Wayne Price, Jeremiah James, Allison Bremner, David Boxley, Jr., Delores Churchill, Gordon Greenwald, Deborah Head, Da-ka-xeen Mehner
The Sealaska Heritage Institute sponsored it’s first Northwest Coast Artist Gathering to seek advice from approximately 26 Sealaska shareholder (or descendants of shareholder) artists for their Native Artist Program. Some of the programs include: the SHI Retail Shop, the Native Artist Market held during the bi-ennial Celebration, the Apprentice/Mentorship Program, and the most recent proposal of the Dugout Canoe Project.
L to R: Allison Bremner, Crystal Worl, David Boxley, Jr., Wayne Price, Nathan Jackson, Da-ka-xeen Mehner, Clarissa Rizal, Steven Jackson, Jeremiah James, Preston Singletary
I think that I can speak for most if not all of us, that it was an honor for all of us to be in the presence of one another while we touched upon a number of subjects having to do with the creation of art, the passing on of the knowledge, and the marketing of our work while still maintaining a sense of balance in our lives within the basis of our Native spirituality. I think all of us had a good time getting to know one another since we come from many different backgrounds and communities along the Northwest Coast of this continent. I know that all of us felt that natural high of being in the same room with one another and having the opportunity to share ideas and inspire one another during our breakfasts and lunches together. Thank you to Sealaska Heritage Institute for putting together a fine Gathering.
Wayne Price explains the method to his madness of his adz work in the new Walter Soboleff Center to: Steve and Nathan Jackson, David Boxley, Jr., and Da-ka-xeen Mehner
Back in 1981, I was hired (as the 5th employee) of Sealaska Heritage Institute as their Scholarship Coordinator. There was Executive Director David Katzeek, Secretary Lisa Sarabia, Scholarship Coordinator Mary McNeil who was training me to take her position, and my Aunt Katherine Mills who was recording our language and many of the Native stories and songs that eventually Dick and Nora Dauenhauer transcribed and translated into written books published by SHI. The Bi-ennial “Celebration” had not even been created yet, though in 1981 there was a gathering of the elders who at that time felt there needed to be an event which provided an opportunity for the sharing of the oratory, the stories, history and legends, and the song and dance. Hence, Celebration began in 1982.
Guest Artist, Aleutique carver Perry Eaton explains the invite to the French exhibit in 2016, L to R Rosita Worl, Preston Singeltary, Holli Churchill, Lily Hope and Rico Worl.
Rosita Worl has been at the helm of Sealaska Heritage Institute for the past 17 years. I have watched SHI grow into the institute that it has become. As I said in my introduction at the gathering, although I don’t agree with some of Rosita’s business tactics, I commend her on the dedication she has towards making things happen at SHI, not to mention her dream of creating the beautiful Walter Soboleff Building that now houses the inner workings of SHI with all of its language, art and culture programs, publications, retail shop, exhibit hall, simulated clan house and archives.
1981 was nearly 35 years ago. I was a kid, really. I was going through the motions of being a responsible young parent, a young artist, a young mind full of ideas, hopes and dreams. I’m still kind of like that, but now I am facing another type of dream which includes more responsibility than I thought I had 35 years ago. I feel a responsibility towards our younger generations. There are many of us who are not going to be around much longer; many of us in our 50s and 60+ are beginning to feel like we have to pass on our knowledge before our time is up! And it’s not just the technique we teach, it is our Native values and our process of being in how we pass on our knowledge. No Westerner is going to be able to teach what we know spiritually, emotionally, and mentally. It is next to impossible because they don’t “have the connection” – that DNA that innately is passed from one generation of a people to the next. For example, it would be impossible for me to teach the African weavers how to weave their style with their ways because I was not born to that bloodline or landscape or culture; nor would I want to take away from their livelihood.
Right side of the room: Closest to furthest away…Sue Shotridge, Israel Shotridge, Wayne Price, David Boxley, Sr., Allison Bremner, David Boxley, Jr., Chuck Smythe, Gordon Greenwald, Konrad Frank, Deborah Head, Nobu Kock (w/camer) and Da-ka-xeen Mehner
So when SHI talks about their “Formline Curriculum” (which was just published at the disappointment of many of our artists), and their idea of partnering with the University of Alaska Southeast in Juneau to create the Northwest Coast Art Academy, to inspire and teach our younger generation of artists and scholars, then judging by this most recent past and the fact that the formline curriculum was drafted (by non-Natives with the token Native advisers), printed and distributed, and SHI puts our Non-Native scholars up on a pedestal and is not in the habit of employing our own Native scholars, advisers, teachers and artists, then what makes us believe and think that our own Native teachers will truly be at the helm of the Native Art classes offered at UAS to give the “stamp of approval and credit” that now we have taught and created true “Northwest Coast Native artists?”
Lunch time with Perry Eaton connecting with several of the Northwest Coast artists
The teaching of Northwest Coast Native Art taught in an academic setting by non-Native art instructors is a big concern to some of us Native artists. Big concern, though many of us do not voice our opinions about it for a number of reasons. Why? Fear. There is a possibility we get ousted out by SHI and UAS and ousted by other fellow artists who are “part of the academic circle” — we are accused of being racists, we fear to be ousted out by grant organizations, other art institutions, galleries, cultural centers, etc. etc.
Notice the small binder provided for every artist attending the NWC Artist Gathering: each binder was personalized with the artist’s name. Like how cool is that?
None of us want to be accused of racism, or not have the opportunities that other Native artists have in the art world, or not be able to provide for our families because we fear that eventually there is no support for us, and we find ourselves alone because even our fellow Native artists may shun us. It’s a horrible feeling to THINK about these things. So what do we tend to do? We keep our mouths shut. There are many of us who will not speak up about our disappointments in how the non-Native artists, academics and cultural centers such as SHI have not hired our own people for prominent jobs. Why not? Some of the reasons may be because they feel that the non-Native have more experience at teaching in the academic arena, or are “better” teachers, or that the non-Native is more knowledgeable about the topic(?). Of course, that is how it is going to be. We are not of the western mind-set and do not necessarily teach in the same way that is for sure, however, this is no excuse, because as studies have shown, Native people learn in an entirely different manner than non-Native so therefore, it is only sensible that a Native person teach our own Native students, right?
Two artists of the younger generation: Jerrod Galanin and Crystal Worl
SHI Art Director Kari Groven, Sealaska Chairman of the Board Joe Nelson, basketweaver Delores Churchill and silversmith Chilkat weaver Darlene See share a moment of laughter as they stage their interaction for the camera!
Two buddies, Clarissa Rizal and carver Wayne Price
Weaver Teri Rofkar and carver Wayne Price discuss the politics around mountain goat hunting
Sure we have the Artist Gathering to provide advice and guidance to assist SHI (and other institutions for that matter). And we touched upon all kinds of topics to assist them in assisting us. But truly, how many of us Native artists will directly benefit from donating four days of our precious time to SHI (two days of prep/travel and two days of actual gathering time)? We each gave SHI and our communities 4 days of our time; in a culture where reciprocity is important, how will those four days be reciprocated? And how many of our younger generation of artists will benefit from the advice we gave to influence the actions and decisions of SHI, and eventually UAS and other institutions that say that they are here to help us preserve and perpetuate Native art, language and culture? How much of the advice we provided will these institutions actually use? The answers will remain to be seen.
After breaking out in three working groups, each group presented their advice for the topics at large (some of the comments are written on the large Post-It notes on the wall. Listening are: Preston Singletary, Holli Churchill, Rico Worl, Ronnie Fairbanks, Deborah Frank-McLavey, Diane Douglas-Willard, Nathan Jackson, Steven Jackson, Teri Rofkar, Jerrod Galanin and Crystal Worl
How come the topic of Native indigenous hire as opposed to non-Native hire was not ever brought up during the gathering?
Because all of us know this is a topic of “hot” discussion and no one wanted to rock the boat; this was not the purpose of this gathering, yet the topic is something that many of us are passionate about. No one brought it up because many of us have the same fears and we don’t speak up for reasons named above. And the topic was not discussed because both SHI (and UAS) know that they will not be able to live up to the idea, let alone the promise or written agreement, that no matter what, they will always hire the Native over the non-Native. Bottom line.
Crystal Worl presents her design method concepts to the gathering
If we do not bring these “hot” subjects up at artists’ gatherings, and many of us feel that we are not being “heard” elsewhere, then how do we go about presenting the issue so that those who need to hear it are actually listening without being defensive? How do we propose the concepts of Native hire, and the buying of Native art and product over the overseas-made “art” and “product”? How many times, how many ways, how many places, and how many people need to hear these are really big issues for the Northwest Coast Artists before they BELIEVE us, BELIEVE IN US?
Holli Churchill, Gordon Greenwald and Deborah Head in action…
So with all that I have said here, then you may ask: what was the true purpose of this SHI Artists Gathering? As I mentioned earlier: we came together invited by SHI’s Native Artists Committee to provide advice to SHI for their various projects to help them work out the bugs to advance their offerings to help advance the careers of their Shareholders who are artists. We are all in this together; there is no “us” and “them.” What affects one, affects us all.
Parting: Sue Shotridge, Deborah Frank-McLavey, Diane Douglas-Willard, Teri Rofkar
