Check out traditional Polynesian dancer Novelyn Tavita on the Oregon Culture Keepers Roster.
Watch TAAP Master Artist Jayanthi Raman (2015) and her apprentice Bakul Godbole demonstrate Bharatha Natyam Indian Dance.
OFN is pleased to announce that Traditional Arts Apprenticeship Program (2013) master artist Esther Stutzman received a prestigious 2017 Lifetime Achievement Governor’s Art Award for her work in Oregon as a traditional Kalapuya/Coos storyteller. OFN nominated her for the 2017 Governor’s Art Awards, Oregon’s highest honor for exemplary service to the arts, which Gov. Brown revitalized after a 10-year hiatus. Ms. Stutzman was recognized during a ceremony that preceded the 2017 Oregon Arts Summit on Oct. 6, in Portland.
In addition to being a 2012 Oregon Folklife Network TAAP awardee, Esther Stutzman (Kalapuya/Coos) is the primary storyteller for Mother Earth’s Children, an American Indian theatre group that has performed for school assemblies and a variety of events and conferences for the past 42 years. Stutzman also works with Title VII Indian Education programs and Arts in Education Programs throughout the state of Oregon as a cultural resource specialist with children as well as with teacher in-service programs. She has been a long-time presenter for the Oregon Chautauqua History Series and is a recipient of several folklife awards formerly administered by the Oregon Historical Society. She recently shared her Tribes’ Mother Wolf and Coyote stories at the Museum of Natural and Cultural History in Eugene for their Wolf Talks celebration.
Jennie Flinspach and Brad McMullen
The 2017 Warm Springs Folklife Field School engaged rising eighth graders from the Confederated Tribes of Warm Springs K-8 Academy in a week-long adventure to explore their heritage and document their cultural traditions.
Students learned fieldwork skills by interviewing each other. Using OFN’s recording equipment, students questioned each other about treasured family objects.
Students worked in groups to conduct interviews with tribal elders. We were honored to hear the elders’ share moving accounts of their heritage and traditions.
On Wednesday, students and staff took a field trip to the Warm Springs Culture and Heritage Department. Tribal archivist, Creston (Dana) Smith, one of our on-site teachers, showed us how he preserves the recorded history and culture of Confederated Tribes of Warm Springs.
After their interviews, students learned to process and analyze audio clips from their audio recordings. They wrote reflections, recorded narration, and assembled clips into a group presentation.
One of the special highlights of the week was Thursday’s visit to the Warm Springs radio station, KWSO 91.9 FM, where Marge Kalama, local radio personality, conducted a live on-air interview with the students.
At the end of the week, the students presented their research to the Warm Springs community. It was the perfect way to end a great week of cultural documentation! But there was still more in store for these young folklorists…
Two weeks later, the students traveled to the University of Oregon for an overnight campus visit. They visited Special Collections, where Corrigan Solari University Historian and Archivist Jennifer O’Neal showed them the Edward Curtis photographic collection, an invaluable collection of late 19th-century Native American portraits and images of traditional occupations and lifeways.
At the Jordan Schnitzer Museum of Art, Curator Cheryl Hartup gave a tour of “Conversations in the Round House: Roots, Roads, and Remembrances,” an exhibit of native works including one from Warm Springs elder, Lillian Pitt.
A stop at the Museum of Natural and Cultural History included a tour of the new Cultural Wing, which includes exhibits and short documentaries about Oregon’s native Tribes, past and present.
Our guests enjoyed a backstage tour of Matthew Knight Arena, where they got to “throw their O” at center court. Capping off the afternoon was a walk through Kalapuya Ilihi Hall, the newest residence hall on campus and home to the new Native American and Indigenous Studies academic residential community.
The next morning, Warm Springs students presented their research at the Many Nations Longhouse to UO Native students, faculty, and staff. At a special luncheon that followed, audience members reciprocated and shared with students the many opportunities and resources available to them as future UO Ducks.
Before heading back to Warm Springs, students had some fun with Professor Kirby Brown (English Department, Native literature), who taught them how to play sjima. Sjima, also known as Shinny Ball, is a traditional game with similarities to hockey and lacrosse and is specific to Oregon’s Klamath tribes.
On Monday November 13th, state officials recognized Oregon’s 2016-2018 Traditional Arts Apprenticeship Program master artists at the State Library in Salem, Oregon.
The ceremony opened with words of welcome from MaryKay Dahlgreen (State Librarian), Riki Saltzman (Executive Director, Oregon Folklife Network), Brian Rogers (Executive Director, Oregon Arts Commission and Oregon Cultural Trust), and Beth Dehn, newly appointed Manager, Oregon Heritage Commission. Brian Rogers and state legislators, Representative Margaret Doherty (District 35), Representative Cliff Bentz (District 60), Representative Andrea Salinas (District 38), and Greg Mintz, Legislative Director for Senator Ken Helm (District 34), presented commemorative certificates to master artists (pictured R-L) Tonya Rosebrook, Hossein Salehi, Azar Salehi, Marjan Anvari, Jack Armstrong, Sara Siestreem, Anita Menon, and Feryal Abbasi-Ghnaim. Apprentice Miguel Ruiz and his son Miguel Jr. accepted the award on behalf of his mentor, Antonio Huerta. Representative Cliff Bentz and Brian Rogers presented a certificate to Roberta Kirk in absentia. The ceremony, which recognized the artistic excellence of these exemplary culture keepers, featured virtuosic performances by Azar Salehi (Persian storytelling) and Hossein Salehi (Persian santoor, a trapezoidal-shaped stringed instrument similar to the hammered dulcimer).
During a reception in their honor, TAAP master artists had the opportunity to interact with each other as well as elected officials, state government representatives, OFN staff, and members of the Oregon Arts Commission and Cultural Trust boards. Many brought examples of their works to share, demonstrate, and display their artistry. Charrería apprentice, Miguel Ruiz, treated everyone to an impromptu display of the roping skills required for Mexican rodeo.
Congratulations again to all of the 2016-18 TAAP master artists. We also extend our appreciation to all who were able to attend and honor those artists and their contributions to Oregon’s living cultural heritage.
[Eugene]—National Endowment for the Arts Chairman Jane Chu has approved more than $82 million to fund local arts projects across the country in the NEA’s second major funding announcement for fiscal year 2017. Included in this announcement is an Art Works award of $80,000 to the Oregon Folklife Network to support Oregon’s folk and traditional arts programming and research. The NEA received 1,728 Art Works applications and will make 1,029 grants ranging from $10,000 to $100,000.
“The arts reflect the vision, energy, and talent of America’s artists and arts organizations,” said NEA Chairman Jane Chu. “The National Endowment for the Arts is proud to support organizations such as the Oregon Folklife Network in serving their communities by providing excellent and accessible arts experiences.”
“We are thrilled to have the NEA’s funding and endorsement of our efforts to engage with communities, organizations, and Tribes to document, preserve, and celebrate Oregon’s living cultural heritage,” commented Riki Saltzman, OFN’s executive director. “We are also pleased to have additional funding from the Oregon Arts Commission for this important cultural work.”
NEA and OAC funding supports OFN’s Traditional Arts Apprenticeship Program, our statewide multi-year folklife survey, and our Regional Collaborative Partnerships. Since 2012, OFN has supported over 30 Traditional Arts Apprenticeship teams to teach and make public presentations. Master artists mentor apprentices from the same cultural community or Tribe in a chosen traditional art form such as rawhide braiding, Coos basket weaving, and Persian storytelling.
Our next and 5th region of our statewide folklife survey will be the Willamette Valley; during 2018 we’ll be out and about to interview river guides, musicians, storytellers, quilters, and more. Previous surveys have identified and documented hundreds of traditional artists in communities and Tribes in southern and eastern Oregon, the Gorge, and the Portland Metro.
Following each region’s folklife survey, OFN staff provides support to create or supplement projects that focus on and documented artists from that region. For 2017-18, we’ll be partnering with cultural organizations and Tribes in eastern Oregon for our next round of Regional Collaborative Partnerships.
Check out our ever-growing Culture Keepers Roster to discover and hire Oregon folk artists. Many of those culture keepers have performed in Oregon parks, taken part in festivals, conducted public workshops, and been featured in exhibits.
To join the Twitter conversation about this announcement, please use #NEASpring17, #Oregonfolk, and #thisisculture. For more information on projects included in the NEA grant announcement, go to arts.gov.
Follow OFN on Twitter @OregonFolklife and follow us on Facebook at Oregon Folklife Network.
We are pleased to announce the release of Oregon Folklife Network’s latest publication: Oregon Traditional Arts Apprenticeship Master Artists: 2012-2016, featuring highly skilled traditional artists in Oregon. This publication and the Traditional Arts Apprenticeship Program in Oregon was made possible through grant funds, and so is not for sale. Instead, we share it for free with cultural organizations, libraries, funding partners, and elected officials. Doing so achieves key parts of our mission: investing in traditional artists, creating new outlets to show Oregon’s traditional arts, and providing public access to information about traditional ways being practiced in Oregon today.
This book highlights the cultural traditions of those master artists who received TAAP awards from 2012-2016. Each awardee mentored at least one apprentice in an art form significant to their shared community, and all allowed us to document their processes. The book provides a glimpse into just a few of Oregon’s cultural traditions, ranging from Umatilla dentalium piecework and Palestinian embroidery to Czech and Slovak egg decoration and Plateau shell dress making. Included are western occupational art forms such as silversmithing, saddle making, and rawhide braiding, which speak to Oregon’s ranching heritage. Among the featured multicultural performance forms are Chinese rod puppetry, hip hop and rap, old time banjo, Guinean drumming, Indian Bharatha Natyam dance, and Mexican ballet folklórico. Throughout the pages, you will read the artists and culture keepers’ own words about their commitment to preserving and passing on their heritage.
We share this book to honor Oregon’s diverse cultural heritage while raising public appreciation for traditional arts and artists. The Oregon Folklife Network, in association with our funding partners, is proud to present the master artists who keep Oregon’s traditional arts a vital and living expression of Oregon’s cultural heritage. Contact us for copies.
As the contract staff folklorist for the Four Rivers Cultural Center in Ontario, Oregon, I’ve been busy this summer developing public programs celebrating the traditional culture and folklife of eastern Oregon. Although very rural, expansive country, there is an incredible diversity of folklife in the region. Native American, Basque, European, Hispanic, and Japanese represent a few of the constant flow of people of varied ancestries who have relied on the four rivers that converge in the western Treasure Valley—the Snake, Malheur, Owyhee and Payette – for which the Four Rivers Cultural Center is named. Each of these cultural groups have contributed their own folklife to the culture of the region.
Kawa Taiko, traditional Japanese drumming group based in Ontario, performing in Baker City on August 6th, 2017
National Endowment for the Arts is funding the partnership between Four Rivers Cultural Center and the Oregon Folklife Network to hire a staff folklorist dedicated to supporting the folklife and traditional culture of eastern Oregon. Back in March, I traveled across the 8 easternmost Oregon Counties, holding listening sessions with County Cultural Coalitions, museums, arts centers, and Tribes, to learn what kind of programs people would like to see.
Based on those meetings, I developed four programs collaborating with different host organizations and traditional artists spread across eastern Oregon in Ontario (Malheur County), Pendleton (Umatilla County), Frenchglen (Harney County), and Baker City (Baker County). Highlights from these programs include a community conversation with James Dionne (Chippewa and Cree), a Native powwow dancer and sweat lodge leader in Ontario; demonstrations with various traditional artists like rawhide braider Dan Fowler, cradleboard and basket maker Sara Barton (Mono Lake Paiute and Yosemite Miwuk) during the Frenchglen Jamboree; a performance and conversation in Baker City with Ontario’s traditional Japanese drumming group, Kawa Taiko, and a community conversation with Native bead worker Margaret Johnson (Crow/Chippewa/Cheyenne, whose children are enrolled Umatilla) in Pendleton. Read a first-hand account of these programs in Riki Saltman’s article below.
Sara Barton demonstrating willow preparation technique for use in a cradleboard in Frenchglen (Harney County), on August 5th, 2017.
Next year, we plan to focus on buckaroo and ranching folklife, including functional traditional arts such as silversmithing, saddle making, twisting mecates, and more. Keep your eyes open for next year’s exhibit exploring these traditions, and an all-day celebration with demonstrations of traditional arts, alongside performances of cowboy poetry and music. Stay tuned for more information as this project develops!
Portland-based Hip-Hop artist Mic Crenshaw and his apprentice Baqi Coles, recipients of a 2015-2016 Traditional Arts Apprenticeship Program award.
From August 4-7, 2017, I had the privilege of traveling about a thousand miles through eastern Oregon—to Burns, Frenchglen, Baker City, Pendleton, and back through the Gorge. I’m always struck by the vastness of our state, its overwhelming beauty, and the diversity of its terrain and eco-systems. In a few hundred miles, I passed through many national forests, mountains (Cascades, Blue, and Steen), high desert, sage prairie, great basin, hot springs, some surprising wetlands, and lava beds. A smoky haze hung over all, due to the fires raging throughout the state.
What brought me out of Eugene was the opportunity to attend two of a series of folklife programs that Four Rivers Cultural Center (Ontario) put together with cultural partners in Harney and Baker Counties.
My family and I had a long drive Friday night, broken up by a wonderful dinner at Diego’s Spirited Kitchen in Redmond. Douglas Manger, one of OFN’s contract folklorists, introduced me to Diego’s during his folklife survey fieldwork in 2016. It’s been a staff favorite ever since, especially the tacos de pescado with sautéed halibut.
We arrived in Burns that evening, and the next morning my family and I set off for Frenchglen and the traditional craft demonstrations that Josh Chrysler, Four Rivers staff folklorist, had planned alongside the Frenchglen Jamboree taking place at the Frenchglen Hotel State Heritage Site. Read about the full scope of Eastern Oregon Folklife programs that Chrysler designed elsewhere in this newsletter.
An hour’s journey through the mostly arid basins, along twists and turns, and over dramatic basalt ridges led us to Frenchglen, located on the edge of the Steens Mountain. Frenchglen Jamboree, complete with a youth rodeo, included barrel racing, roping, and a spoon race as well as a Dutch oven dessert cook off, and live music. The folklife demonstrations took place on the side lawn at the Frenchglen Hotel, which was also hosting a cribbage match and a barbeque dinner.
Under shady tents, we visited with Native beadworker, cradleboard, and basket weaver Sara Barton; rawhide braider Dan Fowler; and leather worker John O’Connor of the Steens Back Country Horsemen. Both Barton and Fowler are part of OFN’s Culture Keepers Roster.
Barton, who is of Mono Lake Paiute and Yosemite Miwuk heritage, lives at the Burns Paiute reservation, where she makes and teaches folks how to make cradleboards for babies of different ages and sizes as well as a variety of baskets.
Dan Fowler, a long-time rancher and cowboy, is known throughout the region for his fine rawhide braiding. Each of the buttons—the intricately woven bumps on mecates, lariats, and comals—take hours to complete.
I was particularly charmed by the miniature reins that he had displayed, which are about 1/6 scale.
O’Connor (on Fowler’s right), also a rancher and horseman, makes a variety of leather vests. Both he and Fowler regaled everyone with stories about horses (Fowler’s favorite “Old Strawberry”), rattlesnake dens, and more.
We also took a few breaks to sample the tasty food at the Hotel; the homemade raspberry crisp was a perfect ending to a meal of salads, burgers, and fries.
After a full day in Frenchglen, we traveled through the stunning lava beds of Diamond Craters and the Malheur National Wildlife Refuge wetlands to Crystal Crane Hot Springs. Soaking in the seven-foot deep hot springs pond, which hovers around 100 degrees, amidst the quiet, star-filled evening, was a true Oregon experience.
But before winding down, we drove back into Burns for the annual Burns Paiute powwow at the Harney County Fairgrounds. There we enjoyed a variety of traditional powwow dancers and their stunning, hand-crafted regalia. I found out later that some of the dancers had been part of OFN’s Traditional Arts Apprenticeship Program, which funded Burns Paiute elders, Betty Hawley, Myra Peck, Phillis Miller, and Ruth Lewis, to teach moccasin making to children ranging in age from 3 to 6.
One of the benefits of attending a powwow is the yummy food. While we missed out on the meat and potato stuffed frybread, we did inhale some “rez dogs” (a hotdog wrapped in frybread dough and deep fried) as well as chili rez dogs (a rez dog topped with chili, cheese, and condiments).
As we strolled around the powwow grounds, we even found some Oregon Ducks.
The next day, we enjoyed a morning soak in the hot springs before a filling breakfast at Ed’s Fast Break & Grille at the edge of Burns.
After breakfast, we journeyed north and east through the dramatic terrain of the Strawberry Mountain Wilderness as we made our way to Baker City and a performance and community conversation with Janet Komoto and the Kawa Taiko Drummers of Ontario, Oregon.
Komoto and her Taiko drummers have long been a mainstay of eastern Oregon’s performing arts circuit. With the able assistance of Josh Chrysler, this traditional Japanese drum group performed and engaged with a crowd of about 100 on Sunday afternoon, August 6, at Geiser Pollman Park. In 2000, several members of Ontario’s Japanese American community came together to practice the traditional Japanese art of taiko. Komoto became part student, teacher, and group leader. Thanks to Base Camp Baker for posting this video of the Kawa Taiko Drummers.
These programs were made possible by the Four Rivers Cultural Center, the Harney County Cultural Coalition, Crossroads Carnegie Arts Center, the Oregon Folklife Network, and the National Endowment for the Arts. Josh Chrysler, Staff Folklorist at Four Rivers Cultural Center in Ontario, developed this series of programs and exhibits that celebrate the traditional culture and folklife of eastern Oregon.