Apr 27, 2011 | Latest Art Projects, Showing Off |
Mendenhall River Walk - December 2010 - Nikon Coolpix - no Photoshop; added black border - (I like this image very much; I use this image as my screensaver)
After taking my first (digital) photography class where we learned how to play with the variety of tools Photoshop has to offer, I prefer not to tamper with my photographs. I think Photoshop is a really cool tool and I enjoyed learning what I gained in this class, yet I guess I am from the “old school”; what I see is what I get. So the following 10 photo images submitted for my Finals project of this portfolio, unless otherwise noted, have been tampered with as little as possible (noted at the bottom of each of the ten images). Nature images begin the sequence ending in images of significant human beings. Thanks for visiting!
An oil on canvas painting propped on a lawn against a tree in Stanley Park, Vancouver, B.C. - January 2011 - Lumix Panasonic DMC-LX5 - cropped out skyscrapers in the background, small adjustments in hue & saturation, narrow black border
Who’s Rissy Rizal? That’s my “aka” photographer’s name.
Chilkat Range shot from Eagle River Beach during sunset - September 2010 - Nikon Coolpix - small adjustment in hue & saturation, no crop, black border
Chilkat Sunset from Boys Scout Camp, Eagle River Beach - August 2010 - Nikon Coolpix - light hue & saturation, no crop, black border
New Mexican cattails - April 2011 - Nikon Coolpix - Photoshopped "painting on canvas", no crop - black border
Tim's 53rd B-day - February 2011 - Lumix Panasonic DMC-LX5 - cropped top & bottom, adjusted levels, black border
Easter Buddies Bette & Violet - April 2011 - Nikon Coolpix - Photoshopped using "sketch" technique, sepia tone, no crop, black border
Violet Is A Doll - January 2011 - Lumix Panasonic DMC-LX5 - cropped, tampered with Photoshop's brightness/contrast, blur tool to create softness, black border
Portrait of Amelie - January 2011 - Lumix Panasonic DMC-LX5 - cropped, Photoshopped slightly with hue & saturation, black border
Bette Bird - February 2011 - Lumix Panasonic DMX-LX5 - slight crop, slight contrast/brightness, black border
This online class was offered by the University of Alaska Southeast in Juneau “UAS Art 222: Digital Camera Photography” taught by Photographer and Professor Timothy Schroeder, San Juan College, Farmington, N.M.
Apr 26, 2011 | Acting Out and Musical Chairs, Honoring Others |
Violin Virtuoso Gilles Apap
“Hailed as a true violinist of the 21st Century by Yehudi Menuhin, Gilles Apap is a classical violinist who is in great demand as a soloist with orchestras around the world. Among many are the Leipzig Gewandhaus Orchestra, Israel Philharmonic, Boston Philharmonic and San Francisco Symphony. He has also become widely known for his extraordinary ability to integrate a variety of musical genres. Gilles not only crosses boundaries, he unites music with his distinct talent for incorporating styles of music as diverse as American oldtime, Irish, and Gypsy fiddling, with the standards of the classical repertoire.
Born in Algeria, Gilles Apap was raised in Nice, France, where his violin studies commenced with Andre Robert. He continued his education at the Conservatoire de Musique de Nice with Gustave Gaglio, and then at the Conservatoire National Superieur de Lyon with Veda Reynolds. He traveled to the United States to attend the Curtis Institute of Music, and chose in 1986 to live in California, where he still resides. He was later appointed Concertmaster of the Santa Barbara Symphony Orchestra and served in that position for over a decade.” (to read more on Gilles, please visit Gilles’ website at: www.gillesapap.com)
So what’s guy like this doing in a little ho-dunk capital city of the most beautiful state in the Nation?
Well, it started out when local musician Lis Saya met Gilles back in the early 90’s…and that was that! With the hard organization work of Lis to benefit the Alaska Folk Festival, he has performed here in Juneau several times. Finally, due to my return to Juneau and my schedule working out, I got to see Gilles perform last Friday the 22nd at the Northern Lights Church; what a treat, that guy is pretty dang goooooood!
Opening (comedy) act and M.C., Collette Costa
I don’t know much about Collette except that she (next to my sister, Dee), can make people laugh. I have no idea if she gets up on stage with an idea of what she is about to say or she just shoots from the hip with spontaneous combustion of the practical sorts – (I’ll never look at another Bible the same way again!) Collette was the opening act M.C. for Gilles – I know you might ask the question of “how does her comedy act coincide with a violin virtuoso?”… – it doesn’t! And that’s just the fun of it! In my opinion, her act was perfect because it’s just what Gilles would want in the first place anyway for his opening act cuz he’s IS that: fun!
A "normal" image of Gilles
Gille Apap Trio (L to R: Gilles Apap, Chris Judge & Brendon Statom
Guitarist Chris Judge
A wonderfully, lively, uplifting concert! - Next time they come to town (next Spring?), you must attend!
Note: You may ask yourself: why does Clarissa post things like concerts, plays, funerals, other artists’ presentations, art shows, etc. on her blog when they seem to have no direct correlation to the work she is doing as an artist? Hmm….that’s what most people may think. However, the things I post on my blog DO HAVE A DIRECT CORRELATION TO MY LIFE AS AN ARTIST! How? These things affect my spirit, and can have direct affect on my life, which of course, can inspire me, depress me, anger me, or make me feel great love, and in turn, affects the work that I create and produce!
Apr 24, 2011 | Health and Wellness, Honoring Others, North Tide, Tlingit Culture Accentuated |
Subsistence gatherer Helen Watkins' - the photos to her right are her relatives including her mother, grandmother and an image of the cabin off of Mud Bay Road in Haines, Alaska where she would spend the Summers gathering the abundant variety of indigenous foods
Helen Watkins’ presentation on subsistence foods of the Tlingit in Southeast Alaska was a real hit which included information on gathering and preservation, a raffle for a number of jarred items including soapberries, smoked salmon, blueberry jelly, etc., AND a fantastic luncheon. This presentation was held at the University of Alaska Glacier View Room and was part of “The Art of Place” cultural series sponsored by the UAS coordinated by UAS English Professor, Ernestine Hayes.
Kathy Ruddy tries the fluffy, whipped soap berries
An essay from the Tundra Times, the following on Native Subsistence Rights was the handout at her presentation:
“NATIVE RIGHTS”
Central to the issue of Native Rights is the fact that Tlingit, Haida and Tsimshian cultures exist today as viable human communities. these cultures have not disappeared into history textbooks or museum shelves. each culture is composed of human beings who share attitudes, values and social patterns giving meaning and identity to the lives of individual members. food and its acquisition are involved by a culture’s value system and are considered important to a group’s survival. consideration of Native Rights as they concern wild vegetable foods requires that one respect the importance of wild foods to the cultural survival of Native groups.
Approximately 50+ folks showed up for the presentation; this image shows a small percentage of the eager and hungry audience
Attitudes, values and social patterns affect which foods are considered desirable, how the foods are prepared and in what manner served. native cultures are functioning communities: the importance of indigenous foods can be witnessed at Indian parties, celebrations,funeral gatherings, ANB and ANS social functions as well as in individual homes throughout Southeast. some of the vegetables included in this publication are important foods for Native people of Southeast: these foods contribute to cultural identity and traditions..
A stock of jarred goodies include soap berries, beach asparagus, smoked salmon, blueberry, raspberry and nagoonberry jams, to name a few
In the past, indigenous foods of Southeast Alaska provide for more than cultural identity: the foods made possible the vigorous existence of Native people. The journals, diaries and logs of explorers, traders and missionaries who first encountered the Native people of Southeast reported the people as being healthy and robust. The people were also noted for their intelligence in trading and their finely crafted material possessions. The Native diet provided for basic nutritional needs through utilization of indigenous plant and animal foods. Studies by social scientist, conducted primarily during this century, demonstrate an extensive knowledge of plant and animal resources by Native people. From their knowledge of the natural environment, Native people were able to effectively provide themselves with the necessary requirements for bodily growth, maintenance and well-being.
Photographs of Native raw or prepared foods
Much of the original knowledge concerning Native plant foods seems to have disappeared. The loss is directly attributable to the take-over of the land by non-Natives. As contact between Native and non-native cultures increased, change was inevitable; the Natives’ control of the environment was slowly taken away. Some changes were beneficial and offered material improvements. but for the most part, new changes weakened established cultural patterns, creating an unhealthy stress for Native people. In the transition, old knowledge of how to live off available plant resources became less and less important to survival. Learning how to adapt to a new economic system became more important for individuals and groups. Increased exposure to new technology, processed foods, alcohol and commercial goods created new pressures, changing aspects of Native culture along with its relationship to the natural environment.
Based on the decline in everyday use of wild vegetables and in the few species still collected, knowledge of plant foods seems to have suffered in the process. It is, however, the remaining knowledge and use of plant food which is important to contemporary Native identity. Some old patterns of plant food utilization have outlived the onslaught of westernization.
Micaela Kunz gives Helen a hug after winning a jar of precious smoked salmon in the raffle
Recognizing the contribution of Native food to cultural identity involves a concern for acquiring that food. Ownership of land affects how the land will be used. The Native concept of land ownership differers from that of the non-native. Native ownership is collective seasonally utilized and concerned directly with land use as a primary food or materials resource, while non-native ownership tends to be private, irrespective of season and to view land in terms of monetary value. Notice the difference in the following two hypothetical statements by a Native person and non-native person speaking about land at Elfin Cove.
Native: “Elfin Cove is where my family goes for summer camp. We collect our food there: fish, berries and roots that we need for winter.”
Non-native: “I own five acres of beach front property in elfin cove right beside a small salmon stream. I am going to build some rental units there.”
Both individuals have a sense of ownership over the land and both will use the land but in different ways. These two types of ownership have not proven able to co-exist to the mutual benefit of both cultures. The non-native culture has developed a stronger political and economic base and so largely controls land use. Consequently, Native use of the land as food resource has suffered; the availability of indigenous food has been limited.
Helen creates a subsistence salad with the help of an audience volunteer
The manner in which Native people traditionally practiced gardening further reflects their concept of land ownership. Large patches of fireweed and red clover were cleared of debris and harvested carefully so as to allow for regrowth during the following season. These plots, found throughout the tribe’s territory were the property of either the entire village, a specific clan or perhaps an individual household.
Native rights, as considered in this publication, involve recognizing the importance of Native foods to cultural survival and honoring Native land use patterns. These patterns reflect Native rights to acquire indigenous foods. Respect should be based on an understanding and acceptance of the values and traditions of the Tlingit, Haida and Tsimshian people of Southeast Alaska. Respectful attitudes should be extended into respectful behavior. the person who intends to use this material to teach should seek the approval and guidance of Native elders before exposing the food resources of an area. too often native people have lost a valuable food resources of an area. Too often Native people have lost a valuable food resource because of thoughtless non-native ownership. Wild vegetables are a sensitive issue with many Native people because of the threat to an aspect of their cultural heritage. Respect for Native rights means: 1) being sensitive to Native culture; 2) accepting the differences, and 3) seeking approval and guidance from Native elders in the community.
I only ask of you that if you do pick from the land, you do so with the thought of us: the Alaskan Natives who live off the land. Thank you.”
— Helen Abbott Watkins
The cross-cultural explosion of a fantastic feast!
Thank you, Helen for keeping up the traditions of our people, sharing your knowledge, sharing your hospitality and sharing your food! We appreciate every bit and bite!
Apr 22, 2011 | For Crying Out Loud, Honoring Others |
Bobby Vonda's bass guitar graced with bouquets
Probably the last time we spoke to one another was about 45 years ago when we were in Mrs. Berlin’s 5th grade class. Every school day, we’d run home during lunch hour. He lived off of Gastineau Avenue and I lived off of Carrol Way at the very end of Gastineau Avenue. After eating a quick lunch, on my run back to school Bobby would wave me down and yell out my name to wait up for him. We’d walk back talking, talking, talking. He sat in the row to my right. During art classes, I’d show him my latest drawing tips from my father. During music class, he sang best, always with that big smile. Funny how he grew up being a musician, I grew up being an artist. Funny how we really hadn’t changed much.
I remember a loving, spirit freely flashing a quiet kind smile, a young gentleman and always helpful at the drop of a hat. A few years ago, when I was thinking of childhood friends, I thought of Bobby; suddenly it hit me that the 10-year-old was sweet on me – a sweet innocence! I didn’t even realize this until I was almost 50!–Goodness!
It wasn’t until attending Bobby’s memorial service last night that I was reminded he was a bass player with his brothers’ band and had played music all his life. I forgot he could play pool. I forgot his father was Filipino. I forgot he was married and had a family. I didn’t know he was a Grandfather. Reading his obituary, I was reminded of that 10-year-old running with that free compassionate spirit. It was sad for me to realize we did not grow up as lifelong friends – we had a lot in common: I’ve played music, I was once a pool shark, my father was also Filipino and I was also married with a family and am now a Grandparent too.
The following is his obituary taken from the memorial service’s program:
“Robert Joseph Vonda was Raven/Beaver; Deisheetaawn, Dei shu hit. He was a member of the Central Council of Tlingit and Haida Indian Tribes of Alaska, Sealaska Corporation and Goldbelt Corporation.
Bob completed his GED. He worked with the Forestry Service, then with a local restaurant as a dishwasher and as a Musician which became his top job. He learned how to play his guitar with his brothers and they formed their own band called “The Vonda Brothers.” He also played in a number of other bands with his friends Stan Brown and John Peterson and then with his beloved brother Nicholas Vonda where he enjoyed traveling to Sitka and being with him for weeks at a time; they became “Nick at Night.”
Bob enjoyed all the different seasons especially fishing from the beaches and walking along the shores collecting any interesting item he could find. He fell in love with Hoonah and was truck by the beauty and its surroundings feeling very comfortable in their regular visits back and forth. He received one the of his highest honors during his last trip to Hoonah and was invited up with the tribes to hold the Bear Hat over his loving spouse Myrna’s head during their recent loss of Tony.
Bob was known to family as Bobby too. He had and loved three other special women in his life; his momma Ella, his daughter Becka and his granddaughter Hailey who is portrayed in their room. An important quality Bob had was that he was not ashamed to show emotions and would cry and share tears during happy and sad times. He would hold photos to his chest and talk with them. He shared many times that one day he would be with his dad, his children and with his brothers. I am sure that he is probably playing his bass guitar with his brothers and making his dad and children smile.
Bobby loved all his family; his sisters Jo and Jan. He remembers and still played and sang “All I Have To Do Is Dream” remembering his sisters so his grand kids learned many older songs listening to him. He loved his nephews and nieces always making them feel special; making them laugh or just enjoying a game of pool with them. He really loved Nick, Donna, Bev, Ramon and Jason’s company. He even has catch phrases that all the older grandchildren can recite like “Girls, girls I told you time after time but noooo…” Whenever they did this it made him laugh.
Bob was a well-loved man; a remarkable person and someone we will miss and treasure as he left an imprint on our hearts. He had a genuine spirit and loved life to its fullest.”
Pallbearers: Bruce Nelson, Jordon Sharclane, Robert Sharclane, Jason Vonda, Nick Vonda, Jr., Clifford Brown, Franky Brown Honorary pallbearers: Beatrice Brown, Alfred McKinley,Sr., Marjorie Buckner, Pat Owen, Ben Coronell, Cyril George, Sr., Andy Gamble, Paul marks Guest Receptionists: Ellen Sharclane, Jenny Sharclane, Audrey Brown
Apr 18, 2011 | Acting Out and Musical Chairs |
Sales table at the 37th Annual Alaska Folk Festival featuring T-shirts, mugs, caps, stickers and the program guide!
“Once again the musicians, dancers, callers, performers, volunteers and sound technicians have worked hard through the cold, dark winter months to bring this week of fun-filled merriment. AFF had our share of set backs and tragedies this year, not the least of which was the loss of our sound engineer, Warren Argo, but in spite of it all we pulled it together once again to bring you the annual event that heralds spring and puts smiles on the faces of all who attend. From one night at the Alaska State Museum (in 1974) to the week-long string of concerts, dances and workshops, the Alaska Folk Festival has grown into a delightful musical smorgasbord with something for everyone!” – Greg McLaughlin, President, AFF (Note: Greg has been the AFF for approximately 15 years – let’s give a big hand to Greg and every volunteer throughout the years: clap, clap clap, clap, clap…!)
While 15-minute per performance are going on in the main hall, musicians play in the lobby and children are hula-hooping on the lawn
Local musician Leif Saya
At the Thursday night dance bands, The "C" Notes (aka Danny and the C-Notes) Danny Constanstine with friends John Hartle, Bob Banghart, Jeff Bridges, Clay Good (and I apologize I do not remember the others' names)
Cutting loose at the dances (Thursday, Friday and Saturday night dances at the JACC - Old Armory)
MC and 37-year festival member and performer, Jeff Brown
Buddy Tabor and friends - If I am not mistaken, I think Buddy has been performing every Folk Festival since the very 1st one in 1974
Buddy Tabor fans sing along
Jerry Fiscus & Friends Tom Paul, George Trani and Lis Saya
Musicians continue to play and play and play whether on or off the stage! - Here we have the elders teaching the up and coming new performers of the next generations
Apr 13, 2011 | Adventures of Rear-Mirror Rissy, Latest Art Projects, North Tide, Showing Off |
"Icebergs"
Lis and I have been friends for about as long as our eldest sons’ age (who are also friends): 35 years. Wow, 35 years seems like a long time, but it really isn’t. So what does Lis have to do with the Folk Festival poster? Lis lead me into designing the 37th Annual Alaska Folk Festival poster.
Last Fall, Lis and I were thinking about the Alaska Folk Festival’s request for their annual folk festival which always happens in the early Spring. 2011 would be the 37th year. Being recently divorced, with a large divorce debt, she encouraged me to make a few dollars creating this year’s Folk Festival poster. We threw around a few ideas. Lis insisted on having something that reflected the unique environment of Alaska – like glaciers, bald eagles, spectacular mountains, big rivers, etc. She mentioned icebergs that have musical instruments sticking out of them…and as soon as she said that, I exclaimed “hey, what about icebergs that ARE the musical instruments!? That’s IT!” For a moment, we stared at one another, then laughed…I give her the credit.
The 37th Annual Alaska Folks Festival poster design by Clarissa Rizal - April 2011
In the 1980s to early 1990’s, my ex-husband and I used to hand-silkscreen the Folk Festival posters, a limited edition of 200. He was the designer, I was the assistant printer and would occasionally consult with him on the designs. The last poster he designed was for the 25th Folk Festival (12 years ago), a design influenced by the Russian-orthodox icons, a Raven playing a balalaika – the painting was done in gold leaf. You can check out all his old posters on the Alaska Folk Festival website.
Clarissa painting the folk festival poster
The acrylic painting was painted on 300-lb. watercolor paper. I do not consider myself a painter of this kind. Yet, I’ll try my hand at whatever, even if I think I will fail. My daughter Ursala, pointed out that my design perspective was off and I had to tweak it a bit (you can see that in the rough draft below). Painting the musical instruments to look like musical instruments was a challenge; painting a glacier was even MORE of a challenge. This glacier turned out okay, but it just was not up to my sense of par. I think I’ll stay away from painting glaciers…
The rough outline of the sketch presented to the AFF board members to see if they would be interested in seeing the finished product
Opening night of the festival was this past Monday, April 10th; the festival is free and runs the entire week through Sunday, April 17th. There are the usual items on sale sporting the design; all except the mugs and hats. They could not figure out what aspect of the poster to place on these two items so they drafted up nice-looking wording with an image of fireweed. It looks good. The stock of T-shirts, sweatshirts, and even babies’ “one-zies” are going fast. Do not wait until the weekend to buy this year’s souvenir; get down to Centennial Hall as their stock is limited.
If you are like me who likes to dance, their are all kinds of dance bands playing Thursday, Friday and Saturday night’s dances at the Old Armory’s Juneau Arts and Culture Center. Check out the folk festival’s website for the program guide. If you are from out of town, and you want to tune into the music, there is a link from the Alaska Folk Festival website to the local radio station KTOO, otherwise, we’ll see you at the festival!
Apr 13, 2011 | Adventures of Rear-Mirror Rissy, Honoring Others, Latest Art Projects, Showing Off, To Market To Market |
Jennifer Coots Marketing Class - Spring 2011 - Institute of American Indian Arts, Santa Fe, New Mexico
On Wednesday, March 30th, I was invited to present my business’ marketing plan for the Marketing Class taught by Jennifer Coots. I created this marketing plan last year Spring 2010. This marketing plan has helped change the way I have run my business. I also attribute my acquisition of a First Peoples Fund grant to having learned so much about running a business through these classes I had taken at IAIA.
During the Fall and Spring 2010 semesters at the Institute of American Indian Arts in Santa Fe, I completed a 5-course business certificate. I have been a self-employed artist working in a variety of artistic mediums since 1977 and I had not any formal training in the area of running a business. I shot from the hip, attended the school of hard knocks and didn’t ever question why I hadn’t ever taking any classes and lessons…until I took these classes! What a difference!
It was so much fun doing this presentation for this Marketing class. Jennifer distributed a copy of my Marketing Plan to the students; that was pretty cool. Little would I know that a plan I created last year would be an example for other artists in this very same class. I just loved sharing my intentions, my experiences and my success. It’s been a year since I laid out this plan. I have accomplished every marketing method I had outlined in my Marketing Plan last year. (Golly, you’d think I was proud of myself!–Of course I am! Who wouldn’t be!?) When the students asked what my most valuable marketing method has worked for me; I answered: (surprisingly enough) my blog! — And I told them why…
You may be only five courses away from creating a successful business of your own. The Institute of American Indian Art’s College of Contemporary Native Arts is offering a Business and Entrepreneurship Program, to art students and small business owners seeking to develop their business skills and discover their inner entrepreneur. Courses cover issues relevant to artists and Native-owned businesses, but non-Native students and non-art related business owners will also benefit from the business and entrepreneurship certification earned through this program.
Jennifer Coots in her office at the Institute of American Indian Arts
Jennifer Coots brought this program to IAIA; I wish I had been educated way back when I first began supporting my family via my art. I encourage every artist who is serious about making a living doing what they love to do, to do themselves a favor and sign up for these classes IAIA has to offer. The unique thing about these classes is we learn differences in values in Western vs. Native American ways of going about our lives and business, as there are some real conflicting issues that may or can, inhibit us from moving forward with our work.
Learn more about the Business & Entrepreneurship Program: visit IAIA’s website or contact Jennifer Coots at jcoots@iaia.edu or 505-424-2356
By the way, Jennifer Coots lived in Juneau, Alaska pretty near 20 years. She was a fisherwoman and aspired to becoming a musician/singer/songwriter. She got side-tracked when she moved to the Navajo reservation to take care of her mother who was diagnosed with cancer. While living on the reservation, Jenn saw the level of poverty and she wanted to do something about it. She had the idea that the local artists needed to learn business sense, so she set out on a mission to finish her degree in Business and assist her fellow Native American artists to bring up their level of existence, workmanship and craft.
Jennifer Coots’ vision is totally awesome. I would take up her classes again if I wasn’t on to learning more about the art of business while doing the business of art!
Apr 5, 2011 | Adventures of Rear-Mirror Rissy, To Market To Market |
Day 2: 1st People's Fund Business Seminar
In my previous recent blog entries regarding the First People’s Fund Business Seminar for their Artists in Business Leadership grant program, I forgot to tell you about who the heck FPF is anyway! Here’s some info on the folks at First People’s Fund out of Rapid City, South Dakota:
(Unidentified), Carol , Alaina Buffalo Spirit, , Alfred "Twilly" Gosuk,
Founded in 1995, First Peoples Fund’s mission is to honor and support the creative community-centered First Peoples artists; and nurture the collective spirit® that allows them to sustain their peoples.
“Our vision is to communicate to the world the roots and philosophy of Indigenous artistic expression and its relationship to the collective spirit of First Peoples. We will strive to provide support and voice to the creative Indigenous artists who share their inspiration, wisdom, knowledge and gifts with their communities.”
Local Minneapolis photographer, Joseph Allen from Ogema, Minnesota was an invited artist sharing a recent triptych
The main drive behind First People’s Fund is the their hard-working, compassionate, visionary President, Lori Pourier. “Her philanthropy work began at First Nations Development Institute based in Virginia where she served as the Associate Marketing Director. Following her tenure at First Nations, she operated her own marketing consultant business specializing in developing marketing strategies for nonprofit American Indian organizations, multicultural arts organizations and tribal communities. Ms. Pourier served on the Board of Directors of the Western States Arts Federation, the Honor the Earth Fund, the Chinook Fund and the National Indian Business Association. She currently serves on the board of directors for Grantmakers in the Arts and is the co-chair of the Indigenous Resource Network. She also is a board member of the Native Americans in Philanthropy and Red Cloud Indian School. In 1993, she participated in AIO’s American Indian Ambassadors Leadership Program funded by the W.K. Kellogg Foundation. She holds a Masters of Science from Southern New Hampshire University, Graduate School of Business. Nominated by the Ford Foundation, Ms. Pourier was selected for the Center for Social Innovation fellowship at the Stanford Graduate School of Business, a partnership between Stanford University and National Arts Strategies. The Executive Program for Nonprofit Leaders-Arts (EPNL-Arts) honors fifty outstanding arts and culture leaders by selecting them to receive a CSI fellowship for the program.”
Lillian Pitt presents her marketing materials including her portfolio, brochures and resume's
I received one of the Artist in Business Leadership grants from FPF. The purpose of this grant is “to cultivate entrepreneurial artists to a small business level (consistent and reliable income) where business concepts are understood and applied.”
It’s Strategy: “First Peoples Fund selects artists based on demonstrated artistic talent, evidence of possessing the qualities of an entrepreneur, and indication of embodying the values of First Peoples Fund.
This self-directed, independent business arts fellowship is a one-year self-directed program is supported by individualized professional development training, and working capital funds to strengthen their marketing strategies. The fellowship also provides a focus on new work to stimulate creativity and a renewal of energy in Native art expression.”
For more information and eligibility for this grant or the other two they have to offer to Native American artists, visit First Peoples Fund’s website.
Ceramist Shirley Brauker from Coldwater, Michigan demonstrates the using her new iPad which displays her gallery housing all 4000+ images of her life's work
Once you have obtained a First People’s Fund grant, you are automatically eligible to apply for the other two grants they have to offer. I encourage any and all Native American artists to apply for their grants. Once you receive a grant from FPF, you become one of their “family members.” This grant organization is like none other.
Beadwork artist Douglas Limon from White Bear Lake, Minneapolis was another invited, local artist sharing his most recent work
Break out session - notice FPF new publication in the foreground
Theresa, Lillian, Ben and Wade share good laughs with the group
Lunch is served!
Between all three grant categories, there were a total of 13 FPF grant awardees and invited local artists in attendance for this business seminar
Apr 4, 2011 | Adventures of Rear-Mirror Rissy, Honoring Others, Showing Off, To Market To Market |
The "All My Relations" gallery where the First People's Fund business seminar is held
Like I mentioned in my last blog about “Museums: I thought they were like haunted houses”, during the weekend of March 24th through the 26th. I was one of the grant awardees to receive the First People’s Fund “Artist in Business Leadership” program. For three days, several Native American artists from around the country met for a marketing seminar in Minneapolis at the new “All Our Relations” gallery/coffee shop facility.
Justin Huenemann, Director of the Native American Community Development Institute (nacdi.org) explains the American Indian Cultural Corridor in Minneapolis - one of the largest blocks of land owned by Native Americans in the nation; no, not reservations, but actual land-owners for self-governance
I was impressed with the information from the presentations by FPF with our hosts, the Native American Community Development Institute. Visit their wesbite to find out more information about the NACDI.
First People's Fund Program Coordinator Miranne Walker explains FPF's goals and objectives to Stephanie, wife to artist Paul Peterson
The following are images of this year’s FPF artists.
Ivory & whalebone Yupik carver Alfred "Tillie" Gosuk from Togiak, Alaska
All the artists were asked to prepare a 10-minute presentation on where we were from, what kind of work we do, and how we were going to use the funds from our First People’s Fund grant. Since I was sitting at the very end of the table, I was the first to do my presentation. I am fortunate to have taken a Marketing class and an Introduction to Digital Media class at the Institute of American Indian Arts during the Spring Semester 2010. I took pride in presenting some of my marketing tools that I created in my classes: my first brochure, my business cards, and my power point presentation which kind of tells it all.
Basket-weaver Carol Emarthle-Douglas from Bothell, Washington explains her basketweaving technique and materials used to create the exquisite basket in the Power Point
My favorite part about the entire seminar was watching my fellow artists introduce themselves and their work. I am always interested in meeting other artists and seeing their work. (This was one of the main motivators as to why Preston Singletary and I started the biennial “Northwest Coast Artists’ Gathering” in Juneau, Alaska back in 2006.) I was thoroughly impressed with the quality and artistry of each individual’s work. I am proud of my fellow artists. It was an honor to be rubbing shoulders with some of the most influential artists of their communities. I introduce them here:
Cheyenne ledger painter and jeweler Alaina Buffalo Spirit from Billings, Montana
Northwest Coast artist Paul Peterson, Sr. from Hoodsport, Washington specializes in making bentwood boxes
Beadwork and parfleche artist Lauren Good Day Frank from Bismarck, North Dakota
From Hays, Montana, Roni Stiffarm presented the ancient art of drummaking
One of the few Ash bark basket weavers, Kelly Church from Hopkins, Michigan
Wasco Warm Springs artist Lillian Pitt from Portland, Oregon
Birch bark basket maker Sandy Peterson from Lac du Flambeau, Wisconsin
Menominee singer-songwriter Wade Fernandez from Keshena, Wisconsin
To find out information about First People’s Fund there is a part two to this blog entry entitled with the same name, but includes “Part II” to the title…AND there are additional photographs…check it out in next week’s blog entry…
Apr 3, 2011 | Adventures of Rear-Mirror Rissy, Honoring Others, Showing Off |
In Minneapolis' 8:00 Morning rush hour; what's that?
Was I really in Minneapolis? Yep, but just for the weekend of March 24th through the 26th. I was one of the grant awardees to receive the First People’s Fund “Artist in Business Leadership” program. For three days, several Native American artists from around the country met for a marketing seminar in Minneapolis at the new “All Our Relations” gallery/coffee shop facility.
"Twilly", Roni and Lauren were crammed in the back seat of our escort's cushy van!
During the afternoon of the first day, we visited the Minneapolis Institute of Art. I am not one who enjoys visiting museums. I have this ingrown pattern of thought that I think stemmed from our own local Alaska State Museum in Juneau, where as a child, the museum was dark, grungy, lifeless with stale air and I saw no purpose in looking at these dark mysterious objects, let alone hang out in spooky “haunted house” of sorts. Like the only thing to do in a museum was to tell ghost stories and play boogie man! – Thank goodness I have grown out of that mode!
The entry to the Minneapolis Institute of Arts
Our tour guide was the Associate Curator of Native American art, Joe Horse Capture originally from Montana. Joe’s father was the first Native American curator. Joe is presently the only Native American curator of a significantly large museum in the nation.
Joe Horse Capture introduced the drift-wood mosaic created by Annishnabe artist George Morrison
A close-up of the wood mosaic by George Morrison - I liked this piece immediately even before Joe Horse Capture pointed it out to us
I’ve kept the text to a minimum in this blog entry; I want to show images of a few pieces of work collected for this museum.
At the introduction of the tour, Joe Horse Capture explains how he curated the entire display of Native American art at this museum organized by region and not by the political state or national boundaries. The map has no reference to geographical borders, no division of lands, nor reference to Canada, Mexico and the U.S. - The map is laid out with reference to the location of tribes
A carved ceremonial headdress by George Hunt in the foreground; a reproduction of a carved and painted house screen by Gordon Locksley in the background - the museum is hoping that George will eventually donate the house screen..
1st People's Fund Executive Director Lori Pourier, Program Coordinator Miranne Walker, and Montana Cheyenne artist Alaina Buffalo Spirit take a rest
Joe Horse Capture says he has collected 42 pair of Plains Indian tribe moccasins - there are approximately 22 pair displayed in the glass case
A close-up of some of the moccasins - notice the child moccasins in the center
A beaded, leather Plains Indian "war shirt" stood in the center of the round of moccasins
Two cradle boards from the late 1800's; the one on the left is quillwork, the one on the right is beaded - the beaded bonnet is modern day
A beaded, leather travel satchel from the 1930's
Lauren, Miranne, Carol and Stephanie prepare for the group photo shoot
Group shot
Mar 26, 2011 | Honoring Others, North Tide |
The Barrow Dancers performed for a full audience at Juneau's High School Auditorium
Lis, Greg and Leif pulled me out of the house last Saturday night, March 19th. I could have continued weaving on my robe, finish my homework due on Sunday, prepare for my business trip this week, or gone to the movies with my mother and brother; even though I love the dances of the Far North people, I was reluctant to go to the performance because of my stack of responsibilities. Of course, I was glad to have gone. The way of “Eskimo” dance is very different than any other kind of dance I have seen or have done; a happiness is reflected in the dances and songs of these people. The first time I had seen Eskimo dancing was about 25 years ago when the King Island Dancers performed at the ANB Hall here in Juneau. I was pleasantly surprised at how my spirit was uplifted by this kind of dance and song. I hadn’t heard anything like it. There is a quality that is highly spiritual – those are the only words I can find to describe the experience, a happy, spiritual experience. Watching the Barrow Dancers was as equally another spiritual experience.
A young man dances solo this story while the men drum with women sitting behind them singing the chant.
The Barrow Eskimo Dancers are all Inupiaq Eskimo. They are the oldest dance group in Barrow, Alaska and love to pass down their traditional motion dances that tell stores of life long ago and modern times. They are an all-ages group with over 60 members varying in age from two years old to almost 100! Some begin training while still toddlers and others join when they are in their 60’s.
The women wore purple, cotton kuspuks (traditional dress) and the men wore white shirts with bolo ties; every member wore black pants tucked into the traditional mukluks
The locally-derived songs of the Barrow Dancers were composed largely by original dance group members the late Walter Akpik, Sr. and Warren Matumeak and their forebears, and have their roots in the north central North Slope of Alaska. Other, more recently composed songs and motions were composed by some of the other dance performers. May of the recently-composed songs are performed with a smile (one dance, for example, mimics the pre-flight briefing of airline stewardesses). Some songs have been borrowed and exchanged with groups from as far away as Savoonga and Chukotka in the Bering Sea and Arctic Canada.
Dancing the famous "Walrus" dance!
“Even though most of our elders have passed on, what they taught us still lives on in many of the dances we do. Especially during practices when we are learning new dances or bringing back old dances. Teaching the young ones the songs and dances makes me feel like we are passing down our culture and the knowledge so that it lives on when we are gone.” Fred Elavgak.
Grandma Priscilla and grandson dance in friendship
Barrow is the northernmost city in the United States being 320 miles above the Arctic Circle. It is a desert averaging less than 5 inches of rain a year, a land of harsh extremes with extended darkness, strong winds, dense cloud cover and unforgiving temperatures. Archaeological sites in the area indicate the Inupiat lived around Barrow as far back as 500 A.D. Some remains of 16 dwelling mounds from the Birmirk culture of about 800 A.D. are still in evidence today on the shore of the Arctic Ocean.
Priscilla's son has created some of the dance groups new songs and dances
The Barrow Dancers participated in the inaugural parade for President-Elect Obama on January 20, 2009 in Washington, D.C. They have performed as a group as far away as China and are very excited for their first performance in Juneau.
This was such a cool dance, I just had to add another image of it!
The Barrow Dancers performance in Juneau was sponsored by Alaska Airlines and co-sponsored by the Driftwood Lodge.
Alaska Governor Sean Parnell dances with the Barrow Dancers - it was one of the highlights of their performance - you can see that everyone was digging it!
Governor Parnell's wife was also asked to join the dance - such an honor!
During the audience invitational dance, I got to take a close-up of the drummers
Backstage you can see a small portion of the big crowd who joined the dancers on stage during the audience invitational dance
A surprising number of audience members joined in the invitational dance - so much fun!
The Barrow Dancers stood for their Honor Song as the Tlingit Dancers joined them
Lyle James leads his Tlingit dancers to welcome the Barrow Dancers
The Barrow and Tlingit dancers merge as one
Mar 25, 2011 | Health and Wellness, North Tide |
A view from the md-way walk across frozen Mendenhall Lake looking towards the Glacier (in the foreground are icebergs landlocked in ice)
My friend Jan and I walked the frozen Mendenhall Lake to reach the Falls; me walking on ice, no matter how thick the ice, is NOT something that is easy – I have never been comfortable with my imagination of falling through into icy water and drowning! Yet, I wanted to taste one of the rare things unavailable to most of us in “civilized” nations: wild water.
A couple of hikers on an iceberg
I grew up on wild water. Of course we had running water, and of course I drank water from the tap using my cupped hands or putting my mouth a few inches below the faucet like the methods I would as if catching from a water fall. While growing up on South Franklin Street, we would take walks out to Thane Road with waterfalls to quench our thirst. And when I had children of my own, we would fetch wild water from the same areas until we moved away from Alaska in the Spring of 1993.
Getting closer to our destination: Nugget Falls - Where and what is Nugget Falls? It's the big waterfall to the right of Mendenhall Glacier in Juneau, Alaska. You didn't know it had a name, eh?
Since 1993, I have missed drinking wild water. On occasion, while visiting someone or even passing through Haines, I make a point to hit the Mud Bay Road Wild Water Station” – that little pipe on the left side of the road about 2 miles out of town heading South. I can taste, smell and feel the difference!
The frozen waterfall with a narrow opening
Jan and my journey started a couple of weeks ago when we had watched a video on the Kangen (Japanese for “returning to the source”) Water where the host had tested the PH balance of various bottled water in comparison to the Kangen ionized water. We did a little research about ionized water online. One of the sources had said the most pure, potent, alkaline water came from our glaciers. Oh heck, it doesn’t take a scientist to tell us that! Yet, Jan and I wanted to know for ourselves.
We wanted to test the antioxidant power of our near-extinct wild water. Why? Because according to doctors who have proven that all, or at least most, diseases can only live in an acidic as opposed to an alkaline system. And since we are made up of 80% water, if our water content in our body is alkaline we can avoid diseases including diabetes, gout, Alzheimer’s and last but not least, cancers. Generally, one of the methods for those of us who want an alkaline system, is to drink and eat foods high in antioxidants.
When we reached Nugget Waterfall, most of the surface was thick, frozen ice with an opening where we could see the falling water. We were not sure about the thickness of the icy threshold – was it as thick as the lake ice? Would it hold our weight? There was only one way to find out.
We shoved the red ladder over to the edge
Nearby we borrowed a Forest Service red-painted ladder. We dragged the ladder towards the Falls where we hung about a foot of the ladder over the Fall opening. Jan placed herself at one end to keep the ladder from sliding and to keep my end from tipping, while I carefully walked out to the Falls stepping cautiously on each rung. I looked down under the ice into the dark hole of an icy-cold rock face; I quickly reached out and snatched a cup of water and backed down the ladder. So far so good! (No I do not have a photograph of the hole cuz I could only fetch the water – however, Jan took a photo of me while handing her the cup of wild water!)
Of course I took a swig of that delicious water before handing it to Jan for the test!
We immediately put our little machine called the to work. Immediately the numbers worked themselves up above 200. What did this mean?
The meter read 256
By no means are we experts on any of this information, however, we just wanted to find out for ourselves the level of antioxidants our wild water was on this day at this source. According to this meter,
