Fw: [Nativewriters] Digest Number 2527
0 views
Skip to first unread message
Judi Armbruster
Aug 7, 2012, 10:16:38 AM8/7/12
to karuknews
----- Forwarded Message -----
From: "Native...@yahoogroups.com" <Native...@yahoogroups.com>
To: Native...@yahoogroups.com
Sent: Tuesday, August 7, 2012 5:29 AM
Subject: [Nativewriters] Digest Number 2527
From: "Native...@yahoogroups.com" <Native...@yahoogroups.com>
To: Native...@yahoogroups.com
Sent: Tuesday, August 7, 2012 5:29 AM
Subject: [Nativewriters] Digest Number 2527
7 New Messages
Digest #2527
Messages
Mon Aug 6, 2012 6:39 am (PDT) . Posted by:
"fslafountaine" fslafountaine
In her 14 novels, children's stories, and poetry collections, Louise
Erdrich revisits the beloved and familiar Native American reservation of
her North Dakota childhood, grounding mythic and magical in the detail
of the everyday, "easily navigating the wavering line between a
recognizable, psychological world and the more arcane world of legend
and fable" (New York Times).
http://libwww. freelibrary. org/authorevents /index.cfm? ID=35428& type=2
<http://libwww. freelibrary. org/authorevents /index.cfm? ID=35428& type=2>
Upcoming Author Events
Louise Erdrich | The Round House (A)
When: Thursday, October 4, 2012 at 7:30PM
Where: Central Library
<http://libwww. freelibrary. org/branches/ branch.cfm? loc=CEN>
Cost: $15 General Admission, $7 Students
Ticket and Subscription Packages
<http://libwww. freelibrary. org/authorevents /tickets. cfm>
Tickets on sale August 24, 2012 at 10:00 a.m.
In her 14 novels, children's stories, and poetry collections, Louise
Erdrich revisits the beloved and familiar Native American reservation of
her North Dakota childhood, grounding mythic and magical in the detail
of the everyday, "easily navigating the wavering line between a
recognizable, psychological world and the more arcane world of legend
and fable" (New York Times). Her novels include Love Medicine,
winner of the National Book Critics Circle Award; The Last Report on the
Miracles at Little No Horse; and The Plague of Doves, a finalist for the
Pulitzer Prize. In The Round House, a teenage boy seeks vengeance for a
vicious attack against his Ojibwe mother.
Carole Phillips Memorial Lecture
Mon Aug 6, 2012 6:44 am (PDT) . Posted by:
"fslafountaine" fslafountaine
Louise Erdrich, known for her brilliant accounts of Native-American life
will discuss her novel The Round House on October 9. This new novel
tells the story of a boy coming of age on an Ojibwe reservation in North
Dakota in the aftermath of a horrible crime.
http://humanitieste nnessee.org/ event/louise- erdrich-salon615
<http://humanitieste nnessee.org/ event/louise- erdrich-salon615>
Louise Erdrich at Salon@615 Location: Nashville Public Library,
615 Church Street
Louise Erdrich, known for her brilliant accounts of Native-American life
will discuss her novel The Round House on October 9. This new novel
tells the story of a boy coming of age on an Ojibwe reservation in North
Dakota in the aftermath of a horrible crime.
All events will be held at 6:15 in the auditorium of the Main Library in
downtown Nashville. Events are free and tickets are not required, but if
you would like to guarantee a seat, they can be reserved for at
ticketsnashville. com two weeks in advance of the event. Tickets
Nashville charges a $2.50 service fee. Also, keep your eyes open for a
new dedicated Salon@615 website launching this August that will help you
stay up to date with all of our author events, and don't forget to
like us on Facebook! We hope to see you at the library!
Salon@615
See all events <http://humanitieste nnessee.org/ events>
Mon Aug 6, 2012 9:39 am (PDT) . Posted by:
"fslafountaine" fslafountaine
Here's the central irony of Naomi McIlwraith's life. Her
mother, Lavona, is Métis, of mixed Cree, Ojibwa, Scottish, English
and Norwegian descent — but she speaks no Cree, because she grew up
at a time when many people hid their aboriginal roots.
http://www.edmonton journal.com/ news/Edmonton+ poet+gives+ fresh+vital+ voic\
e+ancient+tongue/ 7038994/story. html
<http://www.edmonton journal.com/ news/Edmonton+ poet+gives+ fresh+vital+ voi\
ce+ancient+tongue/ 7038994/story. html>
Edmonton poet gives fresh, vital voice to ancient tongue (video)
Naomi McIlwraith's Kiyam explores family's unique multicultural
story in Cree and English By Paula Simons, Edmonton Journal August 4,
2012
*
* Photos ( 7 )
* Video ( 1 )
What do cucumbers have to do with grandmothers? Poet Naomi
McIlwraith explores her own roots, and the roots of the Cree word for
cucumbers in her English and Cree poem, Language Family. Soundslide
produced by Paula Simons, using pictures taken by Edmonton Journal
photographer Larry Wong, as well as pictures from the Journal and
McIlwraith family archives.
EDMONTON - Here's the central irony of Naomi McIlwraith's life.
Her mother, Lavona, is Métis, of mixed Cree, Ojibwa, Scottish,
English and Norwegian descent — but she speaks no Cree, because she
grew up at a time when many people hid their aboriginal roots.
Her late father, Mowat Edgar McIlwraith, was Scottish-Canadian. But he
grew up on Métis settlements in and around Frog Lake, Sask., where
his father worked as a teacher, his mother as a teacher's assistant.
His parents travelled so much from school to school that he was raised
largely by Cree elders, and grew up with Cree playmates — so he
spoke fluent Cree.
"He spent his time with the old Cree ladies and the little Cree kids
— that's how he learned to speak," says Naomi. "He
didn't just learn the language, he assimilated to the culture. He
was white, but he also had a Cree sensibility inside of him."
She remembers her father dropping Cree words into casual conversation.
If the family was downtown, and walked past people speaking Cree, her
dad took a mischievous delight in surprising them by joining in —
especially if he'd just heard a rude remark about white people.
When she was in Grade 6, she created a Cree-English dictionary —
getting her father to give her the Cree names of objects around the
house, then trying to come up with her own phonetic spellings of the
mellifluous words.
But McIlwraith, 49, an English instructor and counsellor at Grant
MacEwan University, didn't begin studying Cree seriously until about
a decade ago, when she began to take a deeper interest in her
family's buried aboriginal roots.
"It took a very long time. I'm not a pre-adolescent, so it comes
to me harder. My brain isn't young enough to absorb the
language," she says wryly. "The classroom is not the place to
become fluent."
Still, those classroom hours have paid off. This summer, Athabasca
University Press published McIlwraith's first book of poetry,
kiyâm, a collection written primarily in English, with Cree phrases
woven in. McIlwraith provides translations at the back of the
collection. But to really feel the musicality of the poems, you need to
hear them read aloud, to hear the fluid, flowing rhythm of the long
sensual Cree compound words, tripping like water over river rocks.
Poetry, after all, is about sound. And by using two very different
languages at once, McIlwraith succeeds in crafting poetry that works,
not just metaphorically, but aurally.
Writing in Cree was also about taking ownership of her own roots and her
own complicated family saga, about telling her family's authentic
Canadian story in both their official languages. Some of the poems are
about her parents and grandparents — others about historic figures
such as Big Bear, still others about her own tentative efforts to learn
how to make pemmican or tan hides. The poems balance lush lyricism with
a playful, self-deprecating wit.
Still, writing in Cree was also a political risk. Some in the native
community blessed her efforts to give new life and artistic expression
to the language. Others were fiercely critical, accusing her of
appropriating a language and a narrative not her own, of colonizing Cree
for her own artistic and professional ambitions. And the politics of
written Cree itself are complex and divisive, with little unanimity on
how to write the language.
Within the poems, McIlwraith respectfully addresses those concerns,
asking permission to use Cree, stressing her own Métis heritage,
while acknowledging her distance from the culture. Yet some of the
hostility she's encountered has hurt, and deeply.
"As little as eight months ago, I said I didn't want to write
another damned Cree poem," she admits. Instead, she pushed through
the pain, and completed her remarkable book.
"It's a risk to let it out. I will get some flak. But I'm
ready. I'm less naive than I was."
I respect the concern of those in the aboriginal community who are
sensitive and defensive about self-appointed "wannabe Indians"
who claim to speak for them, about all the cultural tourists, the
latter-day Rousseaus and romantics, the sort who hang up dream catchers
and burn sweetgrass primarily because they think it makes them seem
soulful or hip or politically correct.
But McIlwraith's emotionally honest verse
<http://www.edmonton journal.com/ videos/edmonton- journal/video. html?embed\
Code=VlOTFqNTomZsbw zh3ZcqWH8Gy1Wqb3 LW> doesn't feel as though
she's playing at being Indian. Instead, she's giving fresh vital
voice to an ancient tongue, telling her family's unique
multicultural story as authentically as possible. Just as importantly,
she's starting a fresh vital conversation about the painful,
complicated history we share.
<mailto:psimons@edmontonjou rnal.com>
<mailto:psimons@edmontonjou rnal.com> psimons@edmontonjou rnal.com
<mailto:psimons@edmontonjou rnal.com>
Twitter.com/ Paulatics <http://twitter. com/Paulatics>
Facebook.com/ EJPaulaSimons <http://facebook. com/EJPaulaSimon s>
To read Paula's blog, go to edmontonjournal. com/Paulatics
<http://edmontonjour nal.com/Paulatic s>
© Copyright (c) The Edmonton Journal
Mon Aug 6, 2012 9:55 am (PDT) . Posted by:
"fslafountaine" fslafountaine
The annual award, established by SCBWI and funded by Martin and Sue
Schmitt, will be given to two writers or illustrators who are from
ethnic and/or cultural backgrounds that are traditionally
under-represented in children's literature in America and who have a
ready-to-submit completed work for children. The purpose of the grant is
to inspire and further the emergence of diverse writers and illustrators
of children's books.
http://nathaliemvon do.wordpress. com/2012/ 08/06/scbwi- debuts-on- the-verge\
-emerging-voices- award/
<http://nathaliemvon do.wordpress. com/2012/ 08/06/scbwi- debuts-on- the-verg\
e-emerging-voices- award/>
SCBWI Debuts On-The-Verge Emerging Voices Award Posted on August 6, 2012
<http://nathaliemvon do.wordpress. com/2012/ 08/06/scbwi- debuts-on- the-verg\
e-emerging-voices- award/> by Nathalie Mvondo
<http://nathaliemvon do.wordpress. com/author/ multiculturalism rocks/>
Dear readers,
Multiculturalism Rocks! resumes its activities after a much needed
hiatus, and does so with great news from the Society of Children's
Books Writers and Illustrators– SCBWI
<http://www.scbwi. org/Pages. aspx/Current- News?SCBWI- Debuts-On- The-Verge- \
Emerging-Voices- Award> . What follows is an announcement made Sunday
August 5, 2012, during the Golden Kite Luncheon and Awards Presentation
of the 41st Annual SCBWI Summer Conference, which I was fortunate to
attend.
FOR IMMEDIATE RELEASE: August 5, 2012
August 5, 2012, LOS ANGELES-–The Society
of Children's Book Writers and Illustrators (SCBWI) announced the
creation of the On-The-Verge Emerging Voices Award at their 41st Annual
Conference in Los Angeles. The annual award, established by SCBWI and
funded by Martin and Sue Schmitt, will be given to two writers or
illustrators who are from ethnic and/or cultural backgrounds that are
traditionally under-represented in children's literature in America
and who have a ready-to-submit completed work for children. The purpose
of the grant is to inspire and further the emergence of diverse writers
and illustrators of children's books.
The work will be judged by an SCBWI committee and two winners will each
receive an all-expenses paid trip to the SCBWI Winter Conference in New
York to meet with editors and agents, a press release to all publishers,
a year of free membership to SCBWI, and an SCBWI mentor for a year.
Deadline for submission is November 15, 2012. The winners will be
announced December 15, 2012. The On-The-Verge Emerging Voices Award will
be presented at the 2013 SCBWI Winter Conference in New York.
Submission guidelines and information can be found here
<http://www.scbwi. org/Pages. aspx/On-The- Verge-Emerging- Voices-Award> .
The award was inspired in part by the SCBWI's increasing efforts to
foster under-represented voices in children's literature. According
to SCBWI Executive Director Lin Oliver, "Every child should have the
opportunity to experience many and diverse of points of view. SCBWI is
proud to contribute to this all-important effort to bring forth new
voices."
The grant was made possible through the generosity of Sue and Martin
Schmitt of the 455 Foundation who state: "While our country is made
up of beautifully varied cultures and ethnicities, too few are
represented in the voices of children's books. We hope to encourage
participation by those not well represented, and look forward to having
these stories widely enjoyed by all children."
About Martin and Sue Schmitt
Martin and Sue Schmitt are the founders of We Can Build an Orphanage,
sponsoring the Kay Angel orphanage in Jacmel, Haiti. The organization
was established in 2007 with the mission to provide a home and education
for abandoned children infected with or affected by AIDS in Jacmel,
Haiti. The Schmitt's generous and continuous efforts to support
SCBWI's long-term goals also co-sponsored the 2007 Global Voices
Program, which highlighted Mongolian artists and authors. To find out
more information about the Kay Angel orphanage please visit
http://www.kayangel .org/ <http://www.kayangel .org/>
About SCBWI
[http://nathaliemvon do.files. wordpress. com/2012/ 08/scbwi- logo2.gif? w=150\
&h=58]
<http://nathaliemvon do.files. wordpress. com/2012/ 08/scbwi- logo2.gif>
Founded in 1971, the Society of Children's Book Writers and
Illustrators is one of the largest existing writers' and
illustrators' organizations, with over 22,000 members worldwide. It
is the only organization specifically for those working in the fields of
children's literature, magazines, film, television, and multimedia.
The organization was founded by Stephen Mooser (President) and Lin
Oliver (Executive Director), both of whom are well-published
children's book authors and leaders in the world of children's
literature. For more information about the On-The-Verge Emerging Voices
Award, please visit www.scbwi.org
<http://nathaliemvon do.wordpress. com/2012/ 08/06/scbwi- debuts-on- the-verg\
e-emerging-voices- award/www. scbwi.org> , and click "Awards &
Grants."
Spread the word? [:)]
Wishing you a wonderful week.
Mon Aug 6, 2012 10:39 am (PDT) . Posted by:
"fslafountaine" fslafountaine
Tribal historian and storyteller, Allen Pinkham, is Nez Perce (Nimiipuu)
and great great grandnephew of Chief Joseph. His Mother, Annett Black
Eagle, is a descendent of the Red Bear Band. His Father, Alex Pinkham,
is a descendent of Alpowa (Chief Timothy) Band. Originally the tribe was
geographically located on 13 million acres of land in N. Central Idaho,
NE Oregon and SE Washington. Today, the tribe is on 750,000 acres of
land in N. Central Idaho, just east of the heart of the Rockies and
Bitterroot Mountains.
http://wisdomofthee lders.org/ 2011/09/26/ turtle-island- storyteller- allen-\
pinkham/#more- 514118
<http://wisdomofthee lders.org/ 2011/09/26/ turtle-island- storyteller- allen\
-pinkham/#more- 514118>
Turtle Island Storyteller Allen Pinkham Nimiipuu: Children of the
Coyote
A Symbol of Peace
[http://wp.wisdomoft heelders. org/wp-content/ uploads/2011/ 09/a_pinkham_ tn\
.jpg]
Allen Pinkham
My name is Allen Pinkham. I'm a Nez Perce or Nimiipuu person. My
Indian name is Pax ut hi ka tin as given to me by my father, which means
five rays of light. My father's name, Qel qel qinewho, (old man
spider), was the son of Eloo si le katsit,(sending message from a high
point), who was involved in the 1877 War. From my mother's side, she
was Wi in ton, (singing while going to mountains). She's a Black
Eagle. The Black Eagles are descended from the Red Bears, who had met
Lewis and Clark in 1805 and '06. I partly grew up on a Nez Perce
reservation and partly over at the Yakama Reservation also.
Coyote, he's along the Clearwater there. He says, "Oh, I want to
catch salmon." So he makes a salmon trap, a net. He puts it in the
water and he's fishing. He's fishing away there and he
doesn't catch anything. Frog is there. Frog is watching Coyote.
Finally Frog asks Coyote, he says, "How many fish you caught?"
Says, "Oh, I haven't caught anything." Says, "Well,
salmon already went up the river." Says, "What you fishing
for?" That's what Frog said. "There's all the fish are
coming up. They're already coming up." Frog says, "Oh no!
They already went by." Coyote keeps fishing. You know, he's
waiting for salmon to hit his net. No fish. Frog says, "Well, what
are you fishing? You know, hey, you're not going to catch any
salmon. They're already gone."
So Coyote he gets mad. He throws his net up on the hillside and he grabs
Frog and throws him across the river. He hits the ground on the other
side and he's facing up the hill. Coyote says, "Oh, since
you're arguing with me, telling me there's no salmon, you'll
just be a stone now and when the people come by they'll say,
`Oh, there's Frog right there." So that's where Frog is
today.
So Coyote goes back to fishing. He doesn't catch anything. "Oh,
that darn Frog, he must have been right." So he throws his net back
up on the hillside. You'll see the net up on the hillside there. So
then Coyote, he goes on up the river. So that's a story about
Coyote's Fishnet and Frog.
You know that Samuel Morris collection, it's a really unique
collection. It's a wax cylinder.
Sam Morris had the foresight to acquire an Edison machine, a recording
machine. I think it's very unique that Sam had the foresight to
record some of the songs of the Nez Perce. He would go to various pow
wows, War Dances, some ceremonies or where people would just gather in a
house and talk and sing songs. He would record them.
WAZU, the Washington State University, and Loren Olsen acquired the wax
cylinders and they made recordings of those, put them on tape and
probably CDs. I think they do have them on CDs. So in that way those
songs are preserved. These songs are well over a hundred years old
probably even two hundred years old. It's very unique. I certainly
appreciate what Sam had done and what Loren Olsen has accomplished with
those.
I occasionally listen to them. Some of those old songs you still hear
them. They'll be sung at some ceremonies or maybe at powwows. Some
of our own people will sing these songs. Some of these are so well known
that other tribes sing them as well. So that way they're really
being preserved and passed on and I really appreciate that.
One song is "My Man Went Along". This song is about a woman
lamenting about her husband going on an expedition, either a hunting or
maybe even a war excursion. He's going to be gone for a long time.
He may not come back. He may get wounded or killed. So she sings this
song-"My Man Went Along" and that means that he is going along
with this expedition. That became a very popular song and it's used
at pow wows now. Once in awhile I hear that song and it really sounds
good.
Allen Pinkham
[Show as slideshow]
<http://wisdomofthee lders.org/ 2011/09/26/ turtle-island- storyteller- allen\
-pinkham/?show= slide> [a_pinkham2]
<http://wisdomofthee lders.org/ wp-content/ gallery/tis- allen_pinkham/ a_pin\
kham2.gif> [a_pinkham3]
<http://wisdomofthee lders.org/ wp-content/ gallery/tis- allen_pinkham/ a_pin\
kham3.jpg> [a_pinkham4]
<http://wisdomofthee lders.org/ wp-content/ gallery/tis- allen_pinkham/ a_pin\
kham4.jpg> [apinkham5]
<http://wisdomofthee lders.org/ wp-content/ gallery/tis- allen_pinkham/ apink\
ham5.jpg>
Tribal historian and storyteller, Allen Pinkham, is Nez Perce (Nimiipuu)
and great great grandnephew of Chief Joseph. His Mother, Annett Black
Eagle, is a descendent of the Red Bear Band. His Father, Alex Pinkham,
is a descendent of Alpowa (Chief Timothy) Band. Originally the tribe was
geographically located on 13 million acres of land in N. Central Idaho,
NE Oregon and SE Washington. Today, the tribe is on 750,000 acres of
land in N. Central Idaho, just east of the heart of the Rockies and
Bitterroot Mountains.
Allen's accomplishments and memberships include: Board of Trustees
and Secretary, National Museum of the American Indian at Smithsonian
Institution; National Council of the Lewis and Clark Bicentennial; Idaho
Governors Lewis and Clark Bicentennial Committee; founding Chairman,
Chief Joseph Foundation; Vice-Chairman, Nez Perce Tribal Health Board;
Chairman, Cultural Committee of the Wisdom Keepers; board member of
Morning Star Foundation; presenter/speaker at Executive Leadership of
Political and Social Forces in Natural Resources Management;
storyteller/ presenter at American Indian Basket Makers Gathering;
presenter/lecturer, "Horses and the Nez Perce", at the Heard
Museum and New Mexico State University. He is co-author with Dan Landeen
of "SALMON AND HIS PEOPLE" published in 1999 by Confluence
Press, Lewiston, ID. Presently he is conducting research with Dr. Steve
R. Evans about the oral history of the Lewis and Clark Expedition with
the Nez Perce Tribe. He's also been Nez Perce tribal liaison, forest
fire fighter and a corporal in the US Marines, receiving an Honorable
Discharge for duty in Okinawa, Japan.
Allen is a gifted tribal storyteller. He shares creation, coyote and
Stoneface stories and legends about landmarks and travel. He is also a
tribal historian and likes to recall stories about elders, Red Bear, Cut
Nose, Timothy Wahitits, Red Moccasin Tops, and, of course, Chief Joseph.
He discusses the Lewis and Clark Expedition and the 1877 Nez Perce War,
and issues involving salmon and other natural resources. He has given
lectures and other presentations at public forums and symposiums at
Smithsonian Institution, and in Canada, France, and Japan. Allen will be
featured Wisdom of the Elders Radio Series Three (Turtle Island
Storytellers in Program Two) at www.wisdomoftheelde rs.org
Allen Pinkham, Sr.
32153 Pinkham Lane
Lenore, ID. 83541
(208) 836-5707
5blueskys@syringa. net <mailto:5blueskys@syringa. net>
<http://www.addtoany .com/share_ save#url= http%3A%2F% 2Fwisdomoftheeld ers.o\
rg%2F2011%2F09% 2F26%2Fturtle- island-storytell er-allen- pinkham%2F& title=T\
urtle%20Island% 20Storyteller% 20Allen%20Pinkha m&description=>
Tags: Allen Pinkham <http://wisdomofthee lders.org/ tag/allen- pinkham/> ,
Idaho <http://wisdomofthee lders.org/ tag/idaho/> , Turtle Island
Storytellers <http://wisdomofthee lders.org/ tag/tis/> , Turtle Island
Storytellers Network
<http://wisdomofthee lders.org/ tag/turtle- island-storytell ers-network/>
This entry was posted on September 26, 2011 at 9:56 pm and is filed
under Idaho <http://wisdomofthee lders.org/ category/ idaho/> . You can
follow any responses to this entry through the RSS 2.0
<http://wisdomofthee lders.org/ 2011/09/26/ turtle-island- storyteller- allen\
-pinkham/feed/> feed.
Mon Aug 6, 2012 10:55 am (PDT) . Posted by:
"fslafountaine" fslafountaine
Ofelia Zepeda is a renowned poet and linguist and an enrolled member of
the Tohono O'odham (formerly Papago) Nation of Arizona. She grew up in
Stanfield, Arizona, a rural cotton farming community near the Tohono
O'odham reservation. The first of her family to attend school, she
received her Master's degree and Ph.D. in linguistics from the
University of Arizona where she is now a Regent's Professor. This
honor is awarded only to full professors whose exceptional achievements
have brought them national and international distinction.
http://www.universe ofpoetry. org/tohono_ oodham.shtml
<http://www.universe ofpoetry. org/tohono_ oodham.shtml>
Tohono O'odham Ofelia Zepeda is a renowned poet and linguist
and an enrolled member of the Tohono O'odham (formerly Papago) Nation of
Arizona. She grew up in Stanfield, Arizona, a rural cotton farming
community near the Tohono O'odham reservation. The first of her family
to attend school, she received her Master's degree and Ph.D. in
linguistics from the University of Arizona where she is now a
Regent's Professor. This honor is awarded only to full professors
whose exceptional achievements have brought them national and
international distinction.
Ofelia has authored and edited several books, including, Where Clouds
are Formed (University of Arizona Press); Jewed 'I-hoi / Earth
Movements: O'odham Poems, (Chapbook/CD published by Kore Press); Ocean
Power : Poems from the Desert (University of Arizona Press); Mat He kid
o ju: When It Rains : Papago and Pima Poetry; and Home Places:
Contemporary Native American Writing from Sun Tracks. She is currently
the series editor of Sun Tracks and a member of the editorial board of
The Smithsonian Series of Studies in Native American Literatures.
Ofelia published the first grammar of the Tohono O'odham language A
Papago Grammar, and has actively worked with her tribe to improve
literacy in their native language and in English. She is commonly
employed as a consultant, not only by the Tohono O'odham, but also by
other tribes, in the development of language curricula.
In 1999, Ofelia was awarded a MacArthur Fellowship from the John D. and
Catherine T. MacArthur Foundation for her work as a linguist, poet,
editor, and community leader devoted to maintaining and preserving
Native American languages and to revitalizing tribal communities and
cultures. She has also received a grant from the Endangered Language
Fund; the Tanner Award from the American Indian Alumni Association at
the University of Arizona; and a Lannan Literary grant.
Former director of the American Indian Studies Program, she is currently
co-director of the American Indian Language Development Institute
(AILDI), an annual summer institute for American Indian Teachers, where
she has taught for the entire period of its existence. Ofelia co-chairs
the Planning Symposium for a "Clearinghouse" on Endangered Languages of
the Americas (IPOLA) in Santa Fe, NM and is an Executive Board member of
IPOLA. She is an Executive Board member of the National Museum of the
American Indian, a branch of the Smithsonian Institution. She has been
Chairman of the Division of American Indian Literatures and a member of
the Committee on Languages & Literatures of the Americas of the Modern
Language Association, an Advisory Board member for the D'Arcy McNickle
Center for the History of the American Indian, and a representative at
large for the Society for the Study of Indigenous Languages of the
Americas. Currently she is a member of the Advisory Committee on
Research for the National Museum of the American Indian.
Please visit www.nativewiki. org/Ofelia_ Zepeda
<http://www.nativewi ki.org/Ofelia_ Zepeda> to read more about Ofelia
Zepeda, and watch a short film
<http://www.youtube. com/watch? v=bxFj1eKFgaI> about Ofelia's life
and work.
("Pulling Down the Clouds," "O'odham Dances," and
"Ocean Power" reprinted with permission by the author from Ocean
Power: Poems from the Desert, University of Arizona Press, 1995.)
("Jewed I-hoi/Riding the Earth" and "B 'o e-a:gi mas 'ab him
g Ju:ki/It is Going to Rain" reprinted with permission by the author
from Earth Movements, Kore Press, 2005.)
Audio
"Jewed 'I-Hoi/Earth Movements (Introduction) "
© 2005 Ofelia Zepeda
"Jewed 'I-Hoi/Earth Movements"
© 2005 Ofelia Zepeda
"Those That Walk the Earth"
© 2005 Ofelia Zepeda
Riding the Earth Tohono O'odham
<http://www.universe ofpoetry. org/tohono_ oodham.shtml# tohono1> | English
<http://www.universe ofpoetry. org/tohono_ oodham.shtml# english1>
Mon Aug 6, 2012 10:58 am (PDT) . Posted by:
"fslafountaine" fslafountaine
Alfred Young Man, Ph.D. or Kiyugimah ("Eagle Chief") (b. 1948) is a Cree
<http://en.wikipedia .org/wiki/ Cree> artist, writer, educator, and an
enrolled member of the Rocky Boy Indian Reservation
<http://en.wikipedia .org/wiki/ Rocky_Boy_ Indian_Reservati on> , Montana
<http://en.wikipedia .org/wiki/ Montana> , USA; his Montana birth
certificate lists him as 13/16th Cree by blood quantum
<http://en.wikipedia .org/wiki/ Blood_quantum> but one of his full
sisters, Shirley, is listed as 16/16ths, illustrating the arbitrary
nature of blood quantum listings. He is the former Department Head
(2007–2010) of Indian Fine Arts at the First Nations University of
Canada <http://en.wikipedia .org/wiki/ First_Nations_ University_ of_Canada>
in Regina, Saskatchewan
<http://en.wikipedia .org/wiki/ Regina,_Saskatch ewan> and former Chair
(1999–2007) of Native American Studies, University of Lethbridge,
Lethbridge, Alberta, Canada.[1]
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#cite_ note-wheel- 0> He is
Professor Emeritus at the University of Lethbridge
<http://en.wikipedia .org/wiki/ University_ of_Lethbridge> and University
of Regina <http://en.wikipedia .org/wiki/ University_ of_Regina> .
http://en.wikipedia .org/wiki/ Alfred_Young_ Man
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man>
Alfred Young Man From Wikipedia, the free encyclopedia Jump to:
navigation <http://en.wikipedia .org/wiki/ Alfred_Young_ Man#mw-head> ,
search <http://en.wikipedia .org/wiki/ Alfred_Young_ Man#p-search>
Alfred Young Man/Kiyugimah (trans: Eagle Chief) Born 1948
Blackfeet Indian Reservation
<http://en.wikipedia .org/wiki/ Blackfeet_ Indian_Reservati on> in
Browning, Montana <http://en.wikipedia .org/wiki/ Browning, _Montana>
Field artist, writer, and educator. Training Slade School of Fine Arts
<http://en.wikipedia .org/wiki/ Slade_School_ of_Fine_Arts> in London,
England and Rutgers University
<http://en.wikipedia .org/wiki/ Rutgers_Universi ty>
Alfred Young Man, Ph.D. or Kiyugimah ("Eagle Chief") (b. 1948) is a Cree
<http://en.wikipedia .org/wiki/ Cree> artist, writer, educator, and an
enrolled member of the Rocky Boy Indian Reservation
<http://en.wikipedia .org/wiki/ Rocky_Boy_ Indian_Reservati on> , Montana
<http://en.wikipedia .org/wiki/ Montana> , USA; his Montana birth
certificate lists him as 13/16th Cree by blood quantum
<http://en.wikipedia .org/wiki/ Blood_quantum> but one of his full
sisters, Shirley, is listed as 16/16ths, illustrating the arbitrary
nature of blood quantum listings. He is the former Department Head
(2007–2010) of Indian Fine Arts at the First Nations University of
Canada <http://en.wikipedia .org/wiki/ First_Nations_ University_ of_Canada>
in Regina, Saskatchewan
<http://en.wikipedia .org/wiki/ Regina,_Saskatch ewan> and former Chair
(1999–2007) of Native American Studies, University of Lethbridge,
Lethbridge, Alberta, Canada.[1]
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#cite_ note-wheel- 0> He is
Professor Emeritus at the University of Lethbridge
<http://en.wikipedia .org/wiki/ University_ of_Lethbridge> and University
of Regina <http://en.wikipedia .org/wiki/ University_ of_Regina> .
Contents
* 1 Background
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#Background>
* 2 Academic career
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#Academic_ career>
* 3 Community involvement
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#Community_ involvement>
* 4 Published works
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#Published_ works>
* 5 Notes <http://en.wikipedia .org/wiki/ Alfred_Young_ Man#Notes>
* 6 References
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#References>
* 7 External links
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#External_ links>
Background
Born in 1948 on the Blackfeet Indian Reservation
<http://en.wikipedia .org/wiki/ Blackfeet_ Indian_Reservati on> in
Browning, Montana <http://en.wikipedia .org/wiki/ Browning, _Montana> ,[1]
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#cite_ note-wheel- 0>
Alfred is the ninth child of fifteen brothers and sisters. His father
Joseph Young Man (Saustiquanis) and mother Lillian Katherine Boushie
were Cree and both fluent in Cree
<http://en.wikipedia .org/wiki/ Cree_language> and English; they are
deceased. His father was what is generally known today as a "medicine
man <http://en.wikipedia .org/wiki/ Medicine_ man> ," although men of his
father's generation and before were never privy to using such
nomenclature, not until the white man invented the vernacular did the
succeeding college and university educated American Indian generation
begin using such terminology to describe this practise and even then
they used it advisedly, if at all. The traditional and grass roots
people never used the word shaman which is as foreign to them as using
the description deficit spending. The word shaman is liberally used by
anthropologists to describe the Siberian origin of the practitioners of
netherworld spirituality in northern Russia and has nothing to do with
Native practises of spirituality pe se in North American accept through
anthropological theory and description.
Young Man's paternal Cree grandmother Theresa Ground Woman Big Springs,
spoke only Cree and was herself a "medicine woman" married to a
Blackfeet Indian man by the name of Don't Talk Many White Horses. Since
Don't Talk was deaf and mute he went by the nickname "Deafy"; he was
stricken with scarlet fever as a child in the late 19th century as many
Blackfeet children of his generation were. Theresa and Deafy
communicated their entire married lives using Indian sign language and
were great conversationalists. Theresa outlived Deafy to the approximate
age of 113 years by some estimates, approximate because exact birth
records were not kept by people of her generation before the white man
began the practise. Young Man's maternal grandfather Edward Boushie was
Cree/Métis and Edward's wife Eliza was also Cree from the Erminskin
Reserve in Hobbema, Alberta - both were fluent in Cree and English and
are deceased.
Young Man grew up in East Glacier, Montana
<http://en.wikipedia .org/wiki/ East_Glacier_ Park,_Montana> and spoke
Cree as a child with his extended family, however like nearly all Indian
children of his generation, when he was six years old he and his
siblings were taken away to the Bureau of Indian Affairs Cut Bank
Boarding School located a short distance north of Browning where Cree
customs and traditions were illegal to practise thus also forbidden was
speaking the Cree language under US government law. This was true of
Indians across North America. Young Man stayed in government Indian
boarding schools at various times and places until he was 20 years old
until he went to the Slade School of Art in London, England in 1968
which was the first time he ever attended an all white school for any
length of time. Alfred's memory of the Cree language is sparse and he
speaks and understands a smattering of it, however, because of the U.S.
government decree he was unable to converse with his grandmother
Theresa; fortunately many members of his immediate and extended family
still speak and understand fluent Cree, the third most widely spoken
language in Canada.[2]
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#cite_ note-abbot- 1>
Academic career
Young Man attended the Institute of American Indian Arts
<http://en.wikipedia .org/wiki/ Institute_ of_American_ Indian_Arts> in
Santa Fe, New Mexico <http://en.wikipedia .org/wiki/ Santa_Fe, _New_Mexico>
(1963–1968) where the German painter Fritz Scholder was his painting
teacher for two years (1966–68). The IAIA Museum of Contemporary
Native Arts retains a considerable number of Young Man's paintings in
its collection from the five years he spent there. Young Man went on to
study painting, film history and photography at the Slade School of Fine
Arts <http://en.wikipedia .org/wiki/ Slade_School_ of_Fine_Arts> ,
University College London in London, England for four years (1968 –
72) where he met many famous and influential artists and musicians,
amongst these were Pop artist's Richard Hamilton and David Hockney who
were visiting artists and who stopped by his painting studio on random
occasions. While at the Slade, Young Man was tutored and mentored for
two years (1970–1972) by Bernard Cohen, an idiosyncratic painter;
another tutor was landscape painter William Townsend (b.1909 - d.1973).
The director of the Slade during Young Man's time at the school was Sir
William Coldstream, founder of the Euston Road School. While in London,
Young Man met Jimi Hendrix just a month before the famous rock musician
died in September 1970, introduced to Hendrix by Steven Stills of CSN&Y
who was cutting what Stills described as his pink giraffe album in a
sound studio in London.
Young Man earned his M.A. at the University of Montana (1972 – 74)
where George Longfish (Seneca-Tuscarora) was his teacher and mentor in
the Graduate Program in American Indian Art. He graduated with his
doctor of philosophy degree (Ph.D.) in Anthropology from Rutgers
University <http://en.wikipedia .org/wiki/ Rutgers_Universi ty> in New
Jersey <http://en.wikipedia .org/wiki/ New_Jersey> in 1997 where he
studied anthropology as a student of William Powers.[2]
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#cite_ note-abbot- 1>
Young Man has been an art teacher since the early 1970s, beginning on
his home reservation at the Rocky Boy Elementary School (1973–1974)
after which he moved to the K.W. Bergan Elementary School in Browning,
Montana on the Blackfeet Indian reservation for a short time. He
continued on to the Flathead Valley Community College in Kalispell,
Montana (1975 – 77) where he helped found the Total Community
Education television training program. When that program came to a close
he moved on to the University of Lethbridge
<http://en.wikipedia .org/wiki/ University_ of_Lethbridge> in 1977 where
he eventually became Chair of Native American Studies (1999–2010).
He taught in the Faculty Exchange Program at the University of
Lethbridge/Leeds University Leeds, UK in 1985 and the Faculty Exchange
Program University of Lethbridge/Hokkai Gakuen University Sapporo,
Hokkaido, Japan in 1992. He remained tenured at the U of L up until 2007
when he chose early retirement and began work as Department Head of
Indian Fine Art at the First Nations University of Canada in Regina,
Saskatchewan. [3]
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#cite_ note-fnu- 2> In
addition to his teaching activities at the First Nations University,
Young Man also worked as archival curator and custodian of the school's
1500 piece art collection. In August 2010 his employment at FNUC was
terminated along with approximately 52 other professors and support
staff, due to financial exigency budget cuts.
Most recently Young Man did an artist/writer' s residency at the Lab 26
Tejiendo Identitdad Entre Las Culturas Originarias de America, Galeria
de Arte Contemporaneo Paul Bardwell, Centro Colombo Americano de
Medellin, Medellin, Colombia in 2011. He has spoken at numerous
conference and other venues on every continent on the planet throughout
his career from Aberdeen, Scotland to London to Paris to Rome to Mexico
to Australia to South America to Yale University to Ottawa to Toronto to
Santa Fe to Japan to Nuremberg, Germany to Spain to Finland and Sweden.
Pedagogically Young Man teaches his courses from the Native perspective,
something unheard of when he began teaching Indian fine art at the
University of Lethbridge in 1977 and something that, even today, very
few if any Native art professionals of whatever category claim to do.[4]
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#cite_ note-3>
Community involvement
Young Man served as chair of the board of the Society of Canadian
Artists of Native Ancestry
<http://en.wikipedia .org/w/index. php?title= Society_of_ Canadian_ Artists_o\
f_Native_Ancestry& action=edit& redlink=1> , which was instrumental in
convincing the National Gallery of Canada
<http://en.wikipedia .org/wiki/ National_ Gallery_of_ Canada> to include
First Nations art <http://en.wikipedia .org/wiki/ First_Nations_ art> and
artists in its vast collection.[ 3]
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#cite_ note-fnu- 2>
Published works
The Buckskin Ceiling: A Native perspective on Native art politics.
Aboriginal Issues Press, University of Manitoba. 2012. 108 pages.
"Edward Poitras: Lost Homelands". Lost Homelands (Co-eds.) Annette
Hurtig and Trish Keegan. Published by the Kamloops Art Gallery &
Confederation Art Gallery & Museum, January 2001
Indian Reality Today: Contemporary Indian Art of North America.
Westphalian State Museum of Natural History: Muenster, Germany. 1999
North American Indian Art: It's a Question of Integrity. Kamloops
Art Gallery: Kamloops, British Columbia. 1998 (Second printing Fall
2002)
The Socialization and Art-Politics of Native Art. UMI Dissertation
Services: Ann Arbour, Michigan. (Doctoral Thesis microfilm facsimile
book)(604 pages) 1997
Kiskayetum: Allen Sapp, a Retrospective. The Mackenzie Art Gallery and
the University of Regina: Regina, Saskatchewan. (multi-lingual text in
English, French and Cree) 1994
"The co-Existence of non-Contemporary Realities" Remote Control
v.3, n.2, Definitely Superior Art Gallery: Thunder Bay, Ontario. (ed.
and writer) 1993
Indigena: Contemporary Native Perspectives. Co-authored with Gerald
McMaster and Lee Ann Martin et al. Canadian Museum of Civilization:
Ottawa, Ontario and Douglas & McIntyre: Vancouver/Toronto. 1992
Jeff Funnell: Notes From the Inquest. "Banana Republic North".
Introduction by Donald Goodes. Southern Alberta Art Gallery: Lethbridge,
Alberta. 1992
Visions of Power. Co-authored with Bryce Kanbara and Ingo Hessel. York
Quay Gallery/Leo Kamen Gallery, Harbourfront: Toronto, Ontario. 1991
A Dominican Experience: Three Aboriginal Artists of Canada in the
Dominican Republic. (ed.) Om niiak Native Arts Group: Ottawa, Ontario.
1989
Networking: National Native Indian Artists Symposium IV. (ed.) Graphcom
Printers: Lethbridge, Alberta. Copyright Alfred Young Man. 1988
Articles and essays
"A Critique of Anthropology from the Native Perspective" , Native
American Studies Across Time and Space: Esssays on the Indigenous
Americas, Oliver Scheiding (ed.), American Studies Monograph Series v.
191, published by Universitatsverlag Heidelberg, Johannes Gutenberg
University, Mainz, Germany Winter 2010
"Racism & the Politics of Indian Art Study" CAUT BULLETIN, Vol
57, No 6, published by the Canadian Association of University Teachers,
2705 Queensview Drive, Ottawa (Ontario) K2B 8K2, June 2010
"Edward Poitras: Showing Us The Way", Art Quantum, The Eiteljorg
Fellowship for Native American Fine Art, Eiteljorg Museum of American
Indians and Western Art, Indianapolis, Indiana, November 2009
IndiVisible: African-Native American Lives in the Americas, published by
the Museum of the American Indian, Washington, D.C. 2009
"Segregation of Native art by ethnicity: is it self-imposed or
superimposed? " (Re)Inventing the Wheel: Advancing the Dialogue on
Contemporary American Indian Art, January 28, 2006. Published by Denver
Art Museum 2008. (includes cd-rom)
Fritz Scholder: Indian Not Indian Lowry Stokes Sims (eds) Prestel
Publishing Munich Berlin London New York 2008
"Bob Boyer and SCANA" Bob Boyer: His Life's Work Canadian
Museum of Civilization/ MacKenzie Art Gallery 2008
"Majesties Lost" in Eating Fire, Tasting Blood: Breaking the
Silence of the American Indian Holocaust. An Anthology of essays by
American Indian Writers edited by Marijo Moore, published by Thunders
Mouth Press/NYC, Spring 2007.
A Book Of….. published by the Aboriginal New Works Residency, Banff
Centre, Banff 2005
"The Primitive White Mind" in Beyond the Reach of Time and
Change: The Frank A. Rinehart Collection Revisited. Simon Ortiz (ed.).
University of Arizona Press, 2004.
"Lost Homelands" in Indian Stories, Indian Histories. Fedora
Giordano and Enrico Coma (eds.) Published by Otto Editore – Torino
2004
"Indians as Mascots: Perpetuating the Stereotype" in The
Challenges of Native American Studies: Essays in Celebration of The
Twenty-Fifth American Indian Workshop (Studia Anthropologica) . Barbara
Saunders and Lea Zuyderhoudt (eds.). Leuven University Press, Belgium
2004.
"Landscaping the political environment" in Spirit Magazine, vol.
1, n. 2, Spring-Summer 2003.
"Indians as Mascots: Perpetuating the Stereotype" in Genocide of
the Mind An Anthology by Urban American Indians: One Spirit Living In
Two Worlds. edited by Marijo Moore published by Nation Books, 33 Irving
Place, New York, NY in conjunction with AMERINDA, a nonprofit American
Indian organization Fall 2003.
"Native American Art: Phonix aus der Asche?" for the
LEBENSZEICHEN 2001 Calendar, published by gesellshaft fur bedrohte
volker, GFBV - Ostrreich, Prinz Eugen-Strafe 52 2001. (Written for month
of September, misspelled my name as Alfred Longman.)
"Full Circle". Last Word (editorial) written for aboriginal
times: National Business and News Magazine, v. 5, Issue 8, June 2001.
"Kohkominahkasas: Grandmother Spider" in Craft Factor Magazine,
v.25:2, published by the Saskatchewan Craft Council, 813 Broadway
Avenue, Saskatoon, Saskatchewan, March 2001.
"Teaching North American Indian Art in Native American Studies" in
Indigenous Intellectual Sovereignties. University of California, Davis,
2001. (Publication date and publisher still to be determined.)
"Edward Poitras: Lost Homelands". Lost Homelands. (Co-eds.) Annette
Hurtig and Trish Keegan. Published by the Kamloops Art Gallery &
Confederation Art Gallery & Museum, January 2001.
"Bradlee LaRocque: Electric Catalogue". Internet site. Published
by the Estevan National Exhibition Centre, Art Gallery and Museum,
Estevan, Saskatchewan, 2000. URL:
http://www.cap. estevan.sk. ca/enec/stretche d/youngman. html
<http://www.cap. estevan.sk. ca/enec/stretche d/youngman. html>
"Native American Art: Phonix aus der Asche?" Lebenszeichen 2001
Calendar, published by gesellschaft fur bedrohte volker, GFBV -
Ostrreich Prinz Eugen-Strafe 52 2000. (Month of September - misspelled
my name as Alfred Longman.)
"Native American Indian Art: Theory and Permutations in Western
Cognitive Thinking". Aboriginal Health, Identity and Resources.
Edited by Jill Oakes, Skip Koolage, Leanne Simpson and Nancy Schuster.
Published by Department of Native Studies and Zoology, and Faculty of
Graduate Studies, University of Manitoba, 2000.
"Token and Taboo: Native Art in Academia". Wacaso Sa Review.v.14
n.2, University of Minnesota Press 1999
"Larry Abbott interview with Alfred Young Man". Abbot, Larry.
Co-authored by Alfred Young Man. The Canadian Journal of Native
Studies.v.16, n.2 Brandon University: Brandon, Manitoba. 1996 (pp.
315–362)
"Indian Art Centre Retrospective" . ACS Bulletin AEC. v.18, n.2-3,
Association for Canadian Studies: Montreal, Quebec. Su-Fa 1996.
"First Nations Art, `Canada', and the CIA: A Short
Non-fiction Story". Australian -Canadian Studies: Music/Image/ Text:
A Special Issue On Indigenous Media. v.14, n.1-2, University of
Wollongong: New South Wales, Australia.1996 (pp. 179–206)
"Native Arts in Canada: the State, Academia, and the Cultural
Establishment" . Beyond Quebec: Taking Stock of Canada.
McGill-Queen' s University Press: Montreal, Quebec. 1995 (pp.
218–248)
"Silencing the Native Voice at the University of Lethbridge".
The Meliorist. v.29, n.12, The University of Lethbridge: Lethbridge,
Alberta. 1994
"Institution/ Revolution: Contemporary Native American art". The
Lethbridge Herald. November 18, 1994
"Savage Graces & Cultural Amnesty". Talking Stick Magazine. v.1,
n.4, Circle Vision Arts Corporation: Regina, Saskatchewan. Indian Summer
1994
"Savage Graces Raises Questions". The Lethbridge Herald.
CoverSTORY/7. Lethbridge, Alberta. May 15, 1994
"First Nations Art, `Canada' and the CIA: A Short
Non-fiction Story". Studies In Critical Practises.
Canadian/Communicat ions Research Group: University of Calgary, Calgary,
Alberta. (The unabridged version of "An Historical Overview and
Perception of Native Art, Culture, and the Role of the Native Curator:
Non-fiction Story") 1994
"To: John Bentley Mays From: Alfred Young Man". Talking Stick:
First Nations Arts Magazine. v.1, n.2, Circle Vision Arts Corporation:
Regina, Saskatchewan. 1994
"Challenge to the Status Quo". Talking Stick: First Nations Arts
Magazine. v.1, n. 2, Circle Vision Arts Corporation: Regina,
Saskatchewan. Winter 1994.
"Teaching North American Indian Art in Native American Studies".
Gakuen Ronshu: The Journal of Hokkai-Gakuen University. n.73,
Sapporo-shi, Hokkaido, Japan. September 1992 (pp. 71–82)
"An Historical Overview and Perception of Native Art, Culture, and
The Role of the Native Curator: Non-fiction Story". (abridged) New
Territories 350/500 Years After. Pan-Canadian exhibition catalogue.
Vision Planetaire: Montreal, Quebec. June 1992 (pp. 33–37)
"The Metaphysics of North American Indian Art". Canadian Music:
Issues of Hegemony and Identity. Diamond, Beverly and Robert Witmer
(eds.). Canadian Scholars' Press Inc.: Toronto, Ontario. 1994
"The Savage Civilian: The Work of Rebecca Belmore". (abridged)
Between Views exhibition catalogue. Walter Phillips Gallery: Banff,
Alberta. June–September 1991 (pp36–39)
"Token and Taboo: Academia vs. Native Art". European Review of
Native American Studies. v.5, n.2, Salztorgasse 7/21, A-1014 Wien,
Austria: Christian F. Feest. 1991 (pp. 11–14) .
"On A Contemporary Ecological Anthropology" . Commentary. Native
Art Studies Association of Canada Newsletter. Summer 1990 v.4, n.2 (4
pages/insert+ pp. 15,16)
"Issues and Trends in Contemporary Native Art". (abridged
feature) Artscraft. A National Indian Arts and Crafts Publication, v.1,
n.1 (NIAC): Ottawa.Winter 1989 (pp. 5–8)
"Issues and Trends in Contemporary Native Art". Parallelogramme
Magazine, v.13, n.3 Toronto. February/March 1988 (English: pp.
24–31; French: pp. 32–39)
"Token and Taboo: Academia vs. Native Art". Fuse Magazine. v.11,
n.6, Toronto. July 1988 (pp. 46–48)
Notes
1. ^ a
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#cite_ ref-wheel_ 0-0> b
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#cite_ ref-wheel_ 0-1>
Blomberg 159
2. ^ a
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#cite_ ref-abbot_ 1-0> b
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#cite_ ref-abbot_ 1-1>
Abbot, Larry. "Alfred Young Man, Cree."
<http://www.britesit es.com/native_ artist_interview s/aman.htm> Time of
Visions. (retrieved 9 Dec 2010)
3. ^ a
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#cite_ ref-fnu_2- 0> b
<http://en.wikipedia .org/wiki/ Alfred_Young_ Man#cite_ ref-fnu_2- 1>
"Faculty Profile #1: Alfred Young Man."
<http://fnuniv. wordpress. com/2010/ 02/13/faculty- 1/> First Nations
University. 13 Feb 2010 (retrieved 9 Dec 2010)
4. ^ <http://en.wikipedia .org/wiki/ Alfred_Young_ Man#cite_ ref-3>
"Native perspective not easily taught."
<http://www.uregina. ca/news/urreport .php?issue= 63&article= 209&PHPSESSID= \
d1dacf9875825273a8d 4c28d54fc46e0> University of Regina Report. 14 June
2010 (retrieved 9 Dec 2010)
[http://upload. wikimedia. org/wikipedia/ en/thumb/ 4/4a/Commons- logo.svg/ 30\
px-Commons-logo. svg.png] Wikimedia Commons has media related to: Alfred
Young Man
<http://commons. wikimedia. org/wiki/ Special:Search/ Alfred_Young_ Man>
References
* Blomberg, Nancy J., ed. [Re]inventing the Wheel: Advancing the
Dialogue on Contemporary American Indian Art. Denver: Denver Art Museum,
2008. ISBN 978-0-914738- 59-6
<http://en.wikipedia .org/wiki/ Special:BookSour ces/978091473859 6> .
External links
* Interview with Alfred Young Man by Larry Abbott
<http://www.britesit es.com/native_ artist_interview s/aman.htm>
* "Towards A Political History of Native Art," essay by Alfred Young
Man <http://www.ccca. ca/c/writing/ y/young%20man/ you001t.html>
* http://www.myspace. com/video/ vid/107727108
<http://www.myspace. com/video/ vid/107727108>
Reply all
Reply to author
Forward
0 new messages