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smol-ish-rose · 4 months

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Feature artist Friday!!

Hi guys! As an art student who spends a lot of my free time looking for interesting contemporary artists to study, I thought I could create a little series on some minority artists whose work I personally find absolutely amazing, to hopefully share their art with a wider range of people, since appreciating indie/contemporary minority artists is something that is extremely important and not particularly accessible to the general public.

This is especially important to me as a minority (lqbtq+, disabled/chronically ill, afab, neurodiverse) artist myself. My goal in making these artists and their work more accessible to everyone may include explaining things that many people already know, including art terminology that many artist will be familiar with but not the general public, and explaining the artists minority backgrounds in detail as I feel as though a major step in minority inclusion stems from wider-spread understanding. I am white British and obviously not a member of every minority that I will be covering so if I get things wrong, especially in regards to ethnicity, please feel free to correct me and edits will be made to the post.

Our first artist is, drumroll please…

CRYSTAL WORL

Tw//Animal skin

We’re focusing on Alaska and its native populations today with Crystal Kaakeeyáa Rose Demientieff Worl (She/her), who is an absolutely amazing multimedia, multidisciplinary artist. She also shares part of her name (Rose) with me! (this isn’t important I just find it cool).

She is Deg Hit’an Athabascan from Fairbanks Alaska and Tlingit from Raven moiety, Sockeye Clan, from the Raven House, (Groups of native Alaskan people) as well as Filipino (People from the Philippines).

-Check out Crystal’s page on the First Peoples Fund here and find out ways to give here

-Find out more about Athabascan people here and here (wikipedia page here)

-Find out more about Deg Xinag, the extremely (like very extremely omg) endangered native language of the Deg Hit’an people here and here (wikipedia page here)

-Find out more about Tlingit people here (wikipedia page here)

-Find out more about Philippine history here (wikipedia page here)

Her work centres strongly on her ethnic background, as she recreates and modernises her clan's stories, as well as focusing on relationships and bonds between her people, the land, and the animals. One of her aims is to bring attention to Indigenous issues relevant to Alaska, such as protecting the environment and wildlife in Alaska.

Now this woman is absolutely amazing. I have never seen anyone who employs such a range of multimedia (different types of art) techniques the way she does. She does things like graphic design (a type of art that’s about communicating things and transmitting messages), printmaking (which is- like stamping designs you make from a rubber stamp to something like fabric or wood) , and painting. Those are pretty common forms of visual art, but that's not all she does! She also does less typical forms of art! Beading (art created using beads), stuff in fashion design and also traditional skin sewing (which is all about sewing animal skins into clothing (source)) She also makes jewellery and does some awesome things with glass.

She’s painted some pretty weird (and massive) things, like a basketball court in Sitka (a part of Alaska), a mural that’s 125 feet by 48 feet in Anchorage (Alaska's largest city) and some resin panels which were installed as guard rails in the newly renovated Juneau (Alaska’s capital city) International Airport. Some other strange and cool things she's designed art for include an ambulance, and an entire plane!

She also has some art that you can use as your Google Chrome background!

Here is a link to her website, and you can shop her work here. You can learn more about and find out ways to donate/support Alaskan native people here.

#artist features #Crystal worl #athabascan #native alakan #indiginous artist #indigineous people #Feature artist Friday

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telekitnetic-art · 1 year

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Have you seen the formline art in splatoon? It's present in a variety of salmon run decals and on some of the locker graffiti. Idk if the Devs just googled "salmon art" and got indigenous art and decided to copy it or what. Not sure how I feel about it personally.

Long post incoming, gonna put a break here. Also sorry for the late response, I wanted to take a couple days to formalize my thoughts together before responding fully.

I have, I remember noticing in 2018-2019 (when i first started playing splatoon 2) how much one of the decals/graffiti located on the ruins of ark polaris back in 2 sort of resembled a formline bear and salmon. (near the logo in this screenshot, I couldn't find a clear picture online)

Back in 2019, it was pretty easy to think of it as coincidence or a stretch for a comparison. But with splatoon 3's salmon run decals, the resemblance is far easier to see, specifically with the TS-ORBRS graffiti and the TS-SCHL graffiti.

(also this was the best image size I could find for the graffiti images, sorry)

A couple of the banners have the designs on them as well:

The website Sealaska Heritage has info such as textbooks and an online doc about formline art (specifically geared towards Haida, Tlingit, and Tsimshian nations' style) with lots of info about formline art, and the Seattle Art Museum website has an info sheet (with credits listed as being from the Sealaska Heritage site as well) breaking down some of the basic shapes of formline art.

with this chart, you can definitely begin to notice the similarities between the Salmon Run graffiti and formline art. the ovoids, crescents, and u-shapes appear noticeably in some of the graffiti such as ORBRS and SCHL.

For perspective, here are some formline pieces featuring salmon or fish from various Indigenous artists from various nations.

"sk’ug sdang" (Two Dog Salmon) by Robert Davidson (Haida)

"metal medallion", by Crystal Kaakeeyáa Rose Demientieff Worl (Tlingit Athabascan)

"Salmon People" by Alano Edzerza (Tahltan)

"Jumping Chum" by Stephanie Anderson (Wet'suwet'en)

"Salmon" by Art Thompson (Nuu-chah-nulth)

And that's literally just the surface of dozens of Indigenous artists from the PNW.

With these pieces, you can begin to see the resemblance that the graffiti designs have. A lot of the heads follow the pattern of utilizing ovoids for both the head and eyes, and u-shapes for the bodies and crescents to fill in specific areas are also common. For example, TS-SCHL has a small school of fish where the bodies are entire ovoids.

However, there are a couple flaws in the graffiti designs too. With a few of the designs, you can see they utilize the u-shape (see the formline shape breakdown from Sealaska again) in designs like TS-WHP and TS-SMFR. I can't speak for every Indigenous formline artist ever, but from how I've been taught to design formline art from my family, the u-shape should connect to the rest of the form instead of free-floating. I drew a quick example here:

you can see similar mistakes with a different kind of u-shape with TS-RLPL and TS-C0HK.

Another very specific mistake that takes a bit of squinting to make out is that ovoids are sort of top-heavy, for lack of a term I can't think of right now. The line or the area should be thicker on the top then the bottom. This mistake is frequent in the graffiti designs utilizing ovoid or ovoid adjacent face or body shapes, like TS-ORBRS, TS-C0HK or TS-SCHL.

Full disclaimer, I am not an expert at formline art. I've been practicing it under the tutelage of my aunt and father for about 3 or so years now, and there are definitely cultural variations that come into play as well. My culture's formline art style can look completely different from someone who is Haida or otherwise. This critique of the graffiti designs is based off my knowledge and skill at formline art, as well as critique and feedback that I've gotten from family. Formline art isn't just something you look at and replicate, there is a specific process of utilizing the shapes and negative space that you need to account for too. Some shapes have their own rules for how they're used as well.

Despite the beginner mistakes, the clear resemblances are pretty definitive proof that a good section of the sticker/graffiti designs for the salmonids are meant to be, or at the very least based off of or inspired by, formline art.

Splatoon's lore has a lot of elements of taking inspiration from real life culture (which is sort of one of the main elements of the story, the squids and octos are basing their society off long dead humans). Hell, Shiver and Frye are two prime examples of Splatoon working in real world culture into their setting and characters.

With that in mind, using an art style that's exclusive to an ethnicity of people as inspiration or baseline reference for the game mode that's all about taking natural resources from a species that in-game dialogue tends to treat as dangerous and lesser-minded is... not a good choice. Especially an ethnicity that has historically been ravaged and attacked by settlers for natural resources.

Now, technically if you do digging into lore for salmon run, you can find out that the salmonid are not as simple-minded as the dialogue in-game (I am staring directly at the deep cut big run announcement dialogue we've gotten so far -_-) makes them out to be. The salmonids do trades and commerce with the octarians for equipment and gear. That's why they have such technically high tech gear, like the scrappers with their shields that actually resemble octarian shields and the flyfish with their missiles and flying aircraft. That's also why power eggs show up in the story mode; they're from the salmonids' trades with the octarians.

So the salmonid could technically be as just as smart as the inklings, which is why the dialogue and some of the portrayals of the salmonid are confusing and contradictory (shiver's dialogue from the first big run, that one promo picture of an inkling walking a smallfry on a leash????). I think a good bit of the fanbase sort of thinks of the little buddy we get during the game as a pet, and I'm sure that much more of the fanbase/playerbase doesn't really care about the lore whatsoever. Salmonids sort of have a similar vibe to me as hilichurls from Genshin Impact, where the lore tells you that they're smarter than people assume while NPCs talk of them as less intelligent monsters. And you're also caught in this paradox where killing/fighting them feels morally wrong but the gameplay loop has you continuously doing that while also telling you on the downlow that you should sort of feel bad about it.

Rassicas did a really good video on translating salmonid lore from various interviews, which is where I learned a lot about the salmonid lore that doesn't really get explained/brought up in the game.

The usage of formline art in Splatoon has me sort of mixed on my opinion, because besides using an Indigenous art style for an enemy species that are considered lesser in intelligence by the NPCs, Indigenous art and culture as a whole has suffered a lot under colonialism. I don't know how much awareness whoever is reading this has about Indigenous history and colonialism, but Indigenous culture as a whole was banned in North America by the respective governments from being practiced by the respective cultural groups. Things such as ceremonies, regalia, and even practicing formline art were banned from being used by Indigenous people. Non-Indigenous people however were free to use it, which is why a lot of bastardized versions of Indigenous regalia and culture exists. You can see it in non-indigenous spiritual practices utilizing Indigenous practices and terminology like spirit animals and dreamcatchers, and sports teams utilizing Indigenous culture in its labelling and mascots. That is where cultural appropriation comes into play. And before I get anybody commenting about this, the salmonid formlines don't count as "cultural appreciation" because as far as the info available is concerned, there wasn't any Indigenous people that were consulted for the designs. And even if there were, I again have mixed feelings about Splatoon utilizing an Indigenous art style as a design piece for an enemy character in the franchise.

On another note, this isn't the first time Indigenous cultural appropriation has popped up in the Splatoon franchise. There was actually a headgear that was unreleased in the first Splatoon game called "Warrior Headdress", and you can guess what it looked like.

Yeah. That was all levels of yikes and I'm thankful as hell that it didn't make it into the game (technically it's not in the game as a wearable item, but you can spot it at the very back of the headgear shop ingame)

So Splatoon has utilized Indigenous culture as inspiration beforehand with the games, so it's not much of a stretch anymore to think that the salmon run graffiti designs were based off formline art or was an attempt at formline art.

I'm not really sold on the idea that the salmonid are meant to be representative of Indigenous people though, nor do I believe that utilizing formline art for the salmonid was a malicious decision. But it was a slightly ignorant decision at best, because again using Indigenous specific art for a species of enemies that gets fought for their natural resources and is referred to by some of the NPCs as basically being lesser-minded animals is really not a good decision.

This whole thread is not meant as a guilt trip for anyone who likes the salmonid lore, has bought any of the salmonid graffiti stickers, or enjoys salmon run, nor is it an accusation of the devs for maliciously misusing Indigenous culture. I actually really enjoy salmon run for it's PSP and concept, but this design aspect gives me mixed feelings as an Indigenous person. And to be honest it's hard to label intentions or the thought process because there isn't any info available on the development of salmon run and those graffiti designs specifically. So it's hard to know if the devs employed an Indigenous artist for feedback or if they indeed just looked at some formline art of salmon and tried to replicate it or used it as inspiration. I'm inclined to believe the latter judging by the beginner formline mistakes seen in some of the designs. There is an art book coming out soon for Splatoon 3, so maybe that will give more info.

To wrap this all up, I don't think there is really anything to be done about the designs. The game has been out for a while and I don't know if the game would change the designs at this point. I also don't think this should stop people from buying the sticker designs in game or playing salmon run. However, it is important to learn about the context of these designs so that you know why they exist and why they can be harmful, and so devs and creators can avoid making the same mistake in the future, and so Indigenous issues with cultural appropriation can be made more aware in the public space and not be ridiculed by non-Indigenous people. And again, I am just one Indigenous person so there may be other opinions from other Indigenous people on the graffiti designs and how they should be handled or viewed.

If you made it this far, thanks for reading and have a good day!! Be sure to check out some actual Formline art made by Indigenous people, like the ones I listed near the top of the post!

#long post #salmon run #indigenous discussion #cw cultural appropriation #whoof that took a while to write #I really don't think this whole situation is one of maliciousness #but one of ignorance.#the devs had the foresight to (almost completely) remove the headdress item from the first game #so good on them for that #I just sort of wish they'd thought through using Indigenous art for the salmonids a lot better.#I wish the salmonids had a different sticker design entirely tbh #graffiti is such an open-ended style concept so they could've found lots of inspiration there #instead of using an Indigenous specific art style #(and making beginner mistakes while doing it)#also if you're here to cry cultural appreciation or about how “oh this is preserving Indigenous culture actually” I'm gonna need you #to walk back out that door.#I did not spend four hours writing this whole post to deal with “but cultural appreciation actually!!!” chuds.#Look up the definition of cultural appreciation vs cultural appropriation and get back to me.

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formlines · 1 year

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Sockeye Salmon Forever Postage Stamp

Crystal Worl

from the website: Crystal Worl, co-founder of Trickster Company, is the artist of one of the four stamp designs featured on this stamp sheet. Her stamp is the blue and indigo formline sockeye salmon. Sheets are shipped in clear cello and sandwiched between two 50pt chipboards to minimize any bending.The bold artwork emblazoned on a skateboard deck is often as eye-catching and individualistic as a skater’s most breathtaking moves. These four stamps celebrate the Art of the Skateboard with vibrant designs that capture skateboarding’s excitement and reflect the diversity and influences of the four artists whose work is featured. On a pane containing five rows of four stamps, each skateboard appears once per row. Each subsequent row begins by repeating the last stamp from the previous row, creating a staggered arrangement of designs. Alaskan Crystal Worl reflects her Indigenous Tlingit/Athabascan heritage with a blue and indigo salmon rendered in formline, the striking curvilinear design style of the northern Northwest Coast. A bold graphic abstraction embellishes a deck by self-taught Virginia artist William James Taylor Junior. His skateboard features a design of red lines and curves against an orange background.

Arizona native and expert skateboarder Di’Orr Greenwood created a skateboard design with paint, artistic woodburning, and inlaid crushed turquoise. Her Navajo culture is further reflected on a deck featuring eagle feathers and a colorful burst in hues evoking a rising or setting sun. A black, white, and gold jaguar design is the work of muralist MasPaz (Federico Frum), a Colombian native raised in the Washington, D.C., area. The largest cat in the Americas, the jaguar symbolizes authority and power in the art and lore of Indigenous peoples. Art director Antonio Alcalá designed the stamps. The Art of Skateboards stamps are being issued as Forever® stamps. Forever stamps are always equal in value to the current First-Class Mail® one-ounce price.

Issue Date: March 24, 2023

#Crystal Worl #Tlingit #Athabascan #trickster company

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mikwendaagwad · 2 years

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Week 2, Deconstructing Foundation notes from listening to materials

Material approaches of artists:

John Akomgrah: Akomgrah was born on May 4, 1957, just two months before Ghanna gained independence from the United Kingdom on March 6, 1957. Akomgrah was born in Accra, the capital city of Ghana. Accra resides along the Gulf of Guinea which is part of the Atlantic ocean. John Immigrated to London with his mother when he was 4. His mother and father were both involved in anti-colonial activism. Akomgrah's father was a cabinet minister to Kwame Nkrumah's Convention People's Party (The CPP is an anti-colonial socialist party that still exists). While Nkrumah was the first Prime Minister and President of Ghana (preceded in office by Elizabeth II as Queen of Ghana) and a revolutionary, he led a deeply nationalist and authoritarian state. Nkrumah tried to eliminate "tribalism" in Ghana (really Indigenous culture). Nkrumah's main opposition to tribes was that these communities were often loyal to themselves over the nation-state. Akomgrah's father died leading up to the coup against Nkrumah in 1966, and his mother's life was in danger because of her involvement in the coup. Akomgrah and his mother left Accra for London when he was 4 years old.

John Akomgrah is a film director, screenwriter and curator of work. He likens his work to be a "choreographer rather than a creator" He is a film director, screenwriter and curator. Seems like most of his work involves bringing people together. Collective work. Feels like Akomgrah is the glue and director in many of his works.

"once you've understood that you are a product of things, you can't shake off realizing that from across your life." This quote has stayed rattling around in my brain and I don't think it'll ever leave, or at least the spirit of it.

Herba Y. Amin: disrupting dominant historical narratives, to learn the history not often told. Connects back to " a new type of land acknowledgement"

Born in Cairo in 1980. Attended an American international school in Maadi, Cairo, Egypt. Undergrad in Mathematics and studio art, Master of Fine Arts. Earned undergrad and master's degrees in the U.S.A. Post-Graduate certificate in computing in Berlin. Two fellowships, Centre for Digital Cultures in 2017 and Doctorate Fellow, Art History from 2016 to now. So, currently a Doctorate fellow (Freie Universität), Professor at ABK-Stuttgart, a curator at Mizna, co-founder of the Black Athena collective on the Editorial board of "The Journal of Digital War". I feel overwhelmed even imagining doing all of those things across decades, let alone involved all at once. Obviously the history of collonization in Egypt is extremely relevent to Amin's works. Hosni Mubarak would have been in power for most of her life. Mubarak was the fourth president of Egypt, in power from 1981-2011. Mubarak died on 25 February 2020, aged 91

Uses Mixed media, using archives, video, installation, digital tech and curration.

Nicholas Galanin: Tlingit + Unangax artist. The Unangas are called the Aleuts by settlers, Aleut also refers to Sugpiat, a related but different dialect. My understanding of the relatedness of the two Nations draws a line between Odawa and Ojibwe, both Anishnabek but differing dialects enough that you wouldn't want to assume we're the same. Although Athabascan is still used as the name for language families throughout the area. (analogous to the Algic Algonquian language family, think of how Kimmerer uses the Ojibwe letter tiles from her sister to learn Potawatomi, but there are really only a few similar words. Ojibwe and Potawatomi are actually considered really closely related, as we are both Anishnaabe. There are many Algic languages that are almost completely mutually unintelligible to eachother)

The Tlingit and Unangas are very much separate nations/peoples. Land wise the Tlingit are from" southeastern Alaska" and "southwestern Canada" and Unangas are from "western Alaska". (I am using the settler colonial nation names for brevity and ease of land distinction, to highlight that the land bases for these peoples are far apart.) If people have different land bases, of course, they are going to have different cultures and histories and artistic traditions. Both of these Nation's art commonly get grouped under Inuit or E art. ( I say "E" here because I really don't feel comfortable typing out a word that has been used as a slur against Nations I am not a part of, but I still think it is worth mentioning the history of these geographically distinct and culturally distinct groups being grouped under the same name.

Galanin was born in Sitka. Sitka has been under Russian and U.S. occupation. Sitka was under Russian rule/occupation from 1799-1867. Sitka has been under U.S. Occupation/rule from then on after the Russian–American Company's land holding's were sold to the U.S. government in 1867. Before all of this colonial occupation, the Tlingit have occupied parts of the "Alaska Panhandle" (where the city of Sitka is situated) for about 11,000 years

Occupation of this land in the U.S. is called "Alaska", and under the Russian administrative division, "Kamchatka Krai".

While the Inuit experience is very different from my own Nishnaabe life, the shared history of forced assimilation, residential schools and life under a settler-colonial government makes sense as to why it was still important and meaningful for Galanin to make work in conversation with colonial monuments in other parts of Turtle Island. A lot

For every artist's work, I just end up spending a lot of time reading about the history and context of the land. I am finding it difficult to engage with the work itself, and have been focusing on the context that would create someone that would make the work they made.

John Akomgrah's quote "once you've understood that you are a product of things, you can't shake off realizing that from across your life." extends to other people. I feel like I am doing math with humans, some sort of algebra equation to solve for the variables across all of human history that would create the context for the work to be made.

I realize I am also severely biased towards histories that relate to my life. Outside of school I am trying to learn Anishnabemowin, record and learn family history, and piece together the history that stole my family and nation's history. Maybe it is ok to be selfish right now though. I still do care about other people's experiences, but my brain is hyper-focusing on the NDN experience of colonization and our histories before settler colonialism right now.

Feels like all three artists are directors/curators to some degree. Works all feel very large, never finished.

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indigenouscontemporaryart · 3 years

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Brian Jungen | top: Warrior 1. 2017 | bottom: Warrior 2. 2017. Made from Nike Air Jordans and leather.

Brian Jungen’s internationally acclaimed art practice involves the re-purposing of everyday commercial objects including Nike Air Jordans, golf bags and patio chairs. Jungen's work speaks to a long history of cultural inequality, a concern for the environment and a profound commitment to Indigenous ways of knowing and making.

#Dane-zaa art #Dane-zaa artist #Indigenous art #contemporary art #INDIGENOUS CONTEMPORARY ART #brian jungen #nikesportswear #warrior #repurposed #athabascan art #athabascan artist #sculpture #indigenous sculpture #contemporary sculpture

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dreamweaverak-blog · 7 years

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Hand Crafted Sea Glass wire wrapped necklace.

Sea glass origin: Homer, Alaska

$55 shipped within the US.

#Handmade #alaska #wire wrap jewelry #crafty #love #Alaskan artist #native American artist #good vibes #flow #athabascandreamweaver #athabascan artist #Alaskan art #nature art

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catdotjpeg · 3 years

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my partner is working on something (maybe) featuring athabascan snavid so ive been thinking about it .. i like to think he was able to go home sometime

the beadwork on the medallion is referenced from a piece by koyukan athabascan artist, brenda mahan. you can see it here on her pinterest and read more about her work here.

#mgs #nico draws sometimes #metal gear #metal gear solid #solid snake

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anniekoh · 3 years

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In this webinar, we explore storytelling through artifacts, cultural landscapes, comics, graphic novels, and video games as a means of counter-history, illuminating new ways of imagining pasts, presents, and futures for Black and Indigenous people. Panelists will discuss how they engage storytelling as an intellectual entryway into interpretations of the material evidence of Black and Indigenous histories.

Panelists:

Weshoyot Alvitre (Tongva), Comic Book Artist and Illustrator

Antoinette Jackson, Ph.D., Professor and Chair of the Anthropology Department, University of South Florida

John Jennings, Professor, University of California at Riverside

Ora Marek-Martinez (Diné, Nimiipuu, Hopi), Ph.D., Assistant Professor and Executive Director of the Native American Cultural Center, Northern Arizona University

Moderator: Dian Million (Tanana Athabascan), Ph.D., Associate Professor and Chair of the American Indian Studies Department, University of Washington

Captioning: CART captioning provided by Lori Stavropoulos.

Sponsors: Cotsen Institute of Archaeology, UCLA; Society of Black Archaeologists; Indigenous Archaeology Collective; Cornell Institute of Archaeology and Material Studies; SAPIENS

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directheat-stuff · 4 years

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First Nations Musicians and Native American Musicians There were no borders.

· • Susan Aglukark.

Susan Aglukark, OC, is an Inuk musician whose blend of Inuit folk music traditions with country and pop song writing has made her a major recording star in Canada. Susan Aglukark. Uuliniq Susan Aglukark, OC, singer, songwriter (born 27 January 1967 in Churchill, MB). Susan Aglukark is a Juno Award-winning Inuk singer and songwriter

Buffy Sainte-Marie.

Buffy Sainte-Marie, OC (born Beverly Sainte-Marie, February 20, 1941) is a Canadian singer-songwriter, musician, composer, visual artist, educator, pacifist, and social activist. Throughout her career in all of these areas, her work has focused on issues of indigenous peoples of the Americas. Her singing and writing repertoire also includes subjects of love, war, religion, and mysticism.In 1997, she founded the Cradleboard Teaching Project, an educational curriculum devoted to better understanding Native Americans. She has won recognition and many awards and honours for both her music and her work in education and social activism.

Carlos Nakai

This collection of solo flute pieces from Navajo-Ute musician R. Carlos Nakai is an evocative delight. The album consists of mostly original material, from the composition "Canyon Reverie," to the improvisational "In Media Res," to "Athabascan Song," an arrangement of a traditional song. The latter in particular stands out, with a faster rhythm and more lilting melody than most of the other pieces. There's also "Ancient Dreams," performed on a bone whistle; the instrument almost exceeds the upper range of human hearing, and Nakai occasionally sounds like he's imitating bird calls. A classically trained musician, Nakai blends musical traditions to create a whole that reminds one, on occasion, of Japanese shakuhachi music.

Alexandro Querevalú

A great artist Alexandro Querevalu brings to us Amerindian music that can easily touch the soul of every human. We know that music is vibrant and on different frequencies, it brings different emotions. An epic place like Promenade in Swinoujscie, Poland, he is performing the theme song from the movie The Last of The Mohicans. The people gathered there are really privileged to witness so much beauty. Alexandro Querevalú was born in Peru of native Amerindians parents. Alexandro plays a large variety of songs, including The last of the Mohicans, El Condor Pasa and many other favourites.

Alexandro Querevalú

His live performances in different Native American costumes are breathtaking. Alexandro lives in Poland now and gives regular live performances on the promenade in Swinoujscie. He was a contestant on a Talent Show in Poland and also played at the Kuwait City Festival in Kuwait for 2 weeks.

A Tribe Called Red Sisters

Watch a Tribe Called Red’s ‘Sisters’ Turn Their Day Into a Dance Party

Recent Juno award winners release video from their 'Nations II Nations' debut

Three aboriginal girls prepare for A Tribe Called Red's monthly Electric Powwow rave in Ottawa, just like any other excited young people might: dancing, trying on outfits. Sisters ft Northern Voice

Encouraged by A Tribe Called Red

The three “sisters” are Sarain Fox (Anishinaabe), Aria Evans (mixed race, Mi’kmaq) and Kawennáhere Devery Jacobs (Mohawk). They are dancers and actresses.

Lloyd Cheechoo.

Listen to songs and albums by Lloyd Cheechoo, including "James Bay", "Winds of Change", "Winds of Change" and many more. Free with Apple Music.

A Tribe Called Red

In 2014, the band withdrew from a scheduled performance at the official opening ceremonies of the Canadian Museum for Human Rights, citing concerns about the museum's depiction of aboriginal human rights issues.

In 2016, they released LP We Are the Halluci Nation in September. Guest collaborators on the album included Narcy, Yasiin Bey, Lido Pimienta Shad, Tanya Tagaq, Joseph Boyden and Black Bear. The group won the Jack Richardson Producer of the Year Award at the Juno Awards of 2017.

Alexis Utatnaq

Music has always been an integral part of Alexis Utatnaq’s life. Born in Chesterfield Inlet, N.W.T., the singer relocated with his family to Baker Lake, Nunavut, to be with relatives. The Inuk singer-songwriter would later create records that would eventually play on the air waves in the Arctic. He has performed at numerous concerts over the years including Nunavut, Yellowknife, Toronto and Ottawa.

#NativeIndianMusicians #FirstNationMusicians #native education #world education

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brutuskorov · 5 years

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betrayal never comes from the enemy...

(a character analysis)

basic information

FULL NAME: boris korov PRONUNCIATION: BO-ris KO-rov MEANING: boris - fight, fighter. REASONING: his father named him long before he was born. boris, fighter, if he was a boy. sezia, protector, if he’d been born a girl. for his father, his child (regardless of gender) was to be his legacy -- he meant for the name ‘korov’ to mean something. boris is not as ambitious as his father; he’s more of a follower than a leader, but he’ll be damned if he doesn’t follow his father’s words. (it is lesser known that is mother called him borya, little snatches of affection he holds close to his chest.) NICKNAME(S): brutus, borya PREFERRED NAME(S): brutus BIRTH DATE: december 23rd AGE: 33 ZODIAC: capricorn GENDER: male PRONOUNS: he/him/his ROMANTIC ORIENTATION: panromantic SEXUAL ORIENTATION: heterosexual (while boris has experienced attraction towards multiple genders, he only ever acts on it with women) NATIONALITY: russian ETHNICITY: alaskan native; kuyokan-athabascan CURRENT LOCATION: verona, italy LIVING CONDITIONS: simple & stark, though he has the means for a more luxurious life. TITLE(S): emissary

background

BIRTH PLACE: yekatrinburg, russia HOMETOWN: verona, italy (since he was a teen) SOCIAL CLASS: boris was born poor. his father earned well enough through his criminal dealings, but spent it just as quickly -- he was a man who enjoyed life and didn’t believe in the notion of saving. boris himself made his way up EDUCATION LEVEL: boris’ education is haphazard and all over the place due to the instability of his father’s career. he completed his 12th year in italy, but went back to russia to spend some time in the conscripted army. boris didn’t return to school for a while, focusing more on mafia activities. he did return to school and started a degree in strategic management when he left verona, but dropped the program when he returned to the Montagues. FATHER: vadim korov MOTHER: juniper korov née locklear SIBLING(S): talia korov (deceased before boris’ birth) BIRTH ORDER: i. talia -- ii. boris CHILDREN: n/a PET(S): a moroccoan uromastyx named ‘lizard’ OTHER IMPORTANT RELATIVES: cousin -- ava locklear (located in america); niece -- sonya locklear (located in america) PREVIOUS RELATIONSHIPS: n/a ARRESTS?: a couple times for teenage stupidity, but his connections to the mafia meant he always got off PRISON TIME?: n/a

occupation & income

PRIMARY SOURCE OF INCOME: private military contractor through almaz-antey SECONDARY SOURCE OF INCOME: montague emissary TERTIARY SOURCE(S) OF INCOME: n/a APPROXIMATE AMOUNT PER YEAR: appx. �� 180,000 / year CONTENT WITH THEIR JOB (OR LACK THERE OF)?: boris knows he didn’t earn his job -- he was placed there with the intention of smoothing the way for montague goals. he’s specifically assigned to various pharmaceutical and drug companies where he intentionally suggests security plans that leave room for the montagues to take their share. it also allows him to play the part of a bodyguard when necessary. the job satisfies the hum under his skin that demands action but it isn’t exactly his passion. PAST JOB(S): montague soldier SPENDING HABITS: he doesn’t really spend money beyond essentials. of course, at this point, essentials includes paying off contracted killers, bribing government officials, etc. picking apart a mafia empire isn’t cheap, but he doesn’t really spend money on himself. he’s not thrifty but his income to expenditure ratio means he ends up having plenty in his bank account. MOST VALUABLE POSSESSION: tucked in a cabinet by his flat’s front door is a getaway bag -- it contains burner phones, travel documents, everything he could need to run again.

skills & abilities

PHYSICAL STRENGTH: 8/10 OFFENSE: 7/10 DEFENSE: 7/10 SPEED: 7/10 INTELLIGENCE: 8/10 ACCURACY: 9/10 AGILITY: 6/10 STAMINA: 9/10 TEAMWORK: 5/10 TALENTS: tactics & strategy, far-sighted, detailed SHORTCOMINGS: disloyal, selfish, detached LANGUAGE(S) SPOKEN: russian (fluent), italian (fluent, but accented), english (passable) DRIVE?: yes JUMP-STAR A CAR?: yes CHANGE A FLAT TIRE?: yes RIDE A BICYCLE?: yes SWIM?: no PLAY AN INSTRUMENT?: no PLAY CHESS?: yes BRAID HAIR?: yes TIE A TIE?: no PICK A LOCK?: yes

physical appearance & characteristics

FACE CLAIM: martin sensmeier EYE COLOR: dark brown HAIR COLOR: black HAIR TYPE/STYLE: usually short -- he wore it in a buzzcut during his brief stint in military GLASSES/CONTACTS?: n/a DOMINANT HAND: right HEIGHT: 6′1″ WEIGHT: 75 kg BUILD: tall, solid -- not buff, but not lean either EXERCISE HABITS: he’s very regimented in his exercise -- runs early every morning, weight trains every other day, practices hand to hand fairly frequently. he likes moving in any form. SKIN TONE: dark brown with warm, coppery undertones TATTOOS: though he’s often contemplated getting one, he hasn’t found a design he’d like to commit to PEIRCINGS: none MARKS/SCARS: a scar on his leg from jumping a barbed wire fence, a bullet scar on his shoulder, a couple others here and there he doesn’t even remember getting -- he fought too often to remember every scar NOTABLE FEATURES: high cheek bones and full lips; his gaze is very flat USUAL EXPRESSION: stoic, veering towards a scowl CLOTHING STYLE: he gets cold easily, so he wears jackets well into summer. he prefers neutral tones. dark jeans, beige turtleneck and an army jacket is a very typical basic outfit that he’ll wear anywhere. JEWELRY: n/a. ALLERGIES: peanuts BODY TEMPERATURE: normal DIET: his diet is unhealthy in that he very rarely cooks for himself, but he does eat a variety of food and prefers high protein diets. PHYSICAL AILMENTS: n/a

psychology

JUNG TYPE: ISTJ JUNG SUBTYPE: Type A ENNEAGRAM TYPE: type 8 – the challenger MORAL ALIGNMENT: true neutral TEMPERAMENT: choleric ELEMENT: earth PRIMARY INTELLIGENCE TYPE: kinesthetic/spatial APPROXIMATE IQ: 110 MENTAL CONDITIONS/DISORDERS: n/a SOCIABILITY: introvert EMOTIONAL STABILITY: stable, his mood does not shift easily OBSESSION(S): damiano montague COMPULSION(S): he’s very particular about the state of things in his home. he likes it clean and neat. PHOBIA(S): n/a ADDICTION(S): he knows his father had a problem with gambling so he avoids it DRUG USE: he prefers alcohol to drugs ALCOHOL USE: he drinks to unwind, sticking to beers mostly. at parties he’ll go for dark liquors but he doesn’t particularly care for booze. PRONE TO VIOLENCE?: ha. yes. but he’s tempered his instincts well.

mannerisms

SPEECH STYLE: when he speaks, it is short and concise, never more than necessary. he will answer questions at face value and doesn’t elaborate unless asked. He takes lots of pauses and is slow to reveal his thoughts. ACCENT: his russian is flawless, his italian less so -- the words tend to come out a bit harsher. his english is passable with a strong russian accent. QUIRKS: if boris can walk somewhere instead of taking a vehicle, he will. he hates public transportation however, and prefers motorcycles to every other vehicle. HOBBIES: running, walking, listen to music HABITS: he runs every morning, immediately after waking up. he drinks his coffee black (he doesn’t like espresso). he wakes up at 5:45 am every morning, no matter what time he went to bed. boris is inherently a man of habit, he likes routines. NERVOUS TICKS: fist clenching and setting his jaw DRIVES/MOTIVATIONS: revenge, justice, respect, family FEARS: failure POSITIVE TRAITS: driven, reliable, dedicated, detailed NEGATIVE TRAITS: selfishness, fails to see bigger picture, disloyal SENSE OF HUMOR: sarcasm, understatements, subtle humor DO THEY CURSE OFTEN?: to emphasize a point. CATCHPHRASE(S): n/a

favorites

ACTIVITY: running ANIMAL: gazelle BEVERAGE: water BOOK: he doesn’t really read. CELEBRITY: natalie dormer COLOR: navy blue DESIGNER: he doesn’t know designers. FOOD: pierogies FLOWER: red poppies (his mother’s favorite) GEM: diamonds HOLIDAY: winter holidays in general MODE OF TRANSPORTATION: walking MOVIE: the good, the bad, the ugly MUSICAL ARTIST: jidenna QUOTE/SAYING: “no legacy is so rich as honesty.” SCENERY: wide open lakes that are frozen over SCENT: pine SPORT: boxing SPORTS TEAM: italian football TELEVISION SHOW: 24 WEATHER: cold & brisk VACATION DESTINATION: mountains

attitudes

GREATEST DREAM: destroying the montagues GREATEST FEAR: failing his father’s legacy MOST AT EASE WHEN: running LEAST AT EASE WHEN: attending fancy parties WORST POSSIBLE THING THAT COULD HAPPEN: getting caught in his schemes before he’s ready BIGGEST ACHIEVEMENT: returning to the montagues despite his betrayal BIGGEST REGRET: leaving in the first place -- he has to re-prove himself MOST EMBARRASSING MOMENT: when he was young, he once cried after falling. his father laughed so hard, he never cried over little things again. BIGGEST SECRET: he betrayed the montagues to a russian mob TOP PRIORITIES: slowly dismantling the montague empire

#[ about ]

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meret118 · 3 years

Text

The stamp was created by Tlingit/Athabascan artist Rico Worl. The stamp design depicts a raven just as he escapes from his human family and begins to transform back into his bird form. To create the stamp art, Worl used formline, the traditional design style of the Indigenous people of the northern Northwest Coast.

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On sale now.

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formlines · 3 years

Photo

Raven Story 2021 US Postal Service Stamp

Rico Worl

From the website: Merging traditional artwork with modern design touches, this stamp depicts one of many stories about Raven, a figure of great significance to the Indigenous peoples of the Northwest Coast. Among the cultures of the region, Raven plays an essential role in many traditional tales, including stories about the creation of the world. Inspired by the traditional story of Raven setting free the sun, the moon and the stars, Tlingit/Athabascan artist Rico Worl depicts Raven just as he escapes from his human family and begins to transform back into his bird form. Antonio Alcalá served as art director.

#Rico Worl #Tlingit #Athabascan #usps.com

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yuriartibise · 3 years

Video

Black and Indigenous Storytelling as Counter-History from Wenner-Gren Foundation on Vimeo.

For untold centuries, storytelling has been foundational to the ways Black and Indigenous people understand and connect to the world around them. However, knowledge systems upheld in academic settings continually disavow these narratives and those who hold them as valid sites of intellectual production. For BIPOC heritage professionals, storytelling taps into historically marginalized ways of knowing. It offers ways to reclaim and retell histories that often counter the harmful and one-sided narratives told about Black and Indigenous peoples through archaeology, museums, and heritage sites. In this webinar, we explored storytelling through artifacts, cultural landscapes, comics, graphic novels, and video games as a means of counter-history, illuminating new ways of imagining pasts, presents, and futures for Black and Indigenous people. Panelists discussed how they engage storytelling as an intellectual entryway to interpretations of the material evidence of Black and Indigenous histories.

Panelists:

Weshoyot Alvitre (Tongva), Comic Book Artist and Illustrator

Antoinette Jackson, PhD, Professor and Chair of the Anthropology Department, University of South Florida

John Jennings, Professor, University of California at Riverside

Ora Marek-Martinez (Diné, Nimiipuu, Hopi), PhD, Assistant Professor and Executive Director of the Native American Cultural Center, Northern Arizona University

Moderated by Dian Million (Tanana Athabascan), PhD, Associate Professor and Chair of the American Indian Studies Department, University of Washington

CART captioning provided by Lori Stavropoulos.

Sponsored by the Society of Black Archaeologists, Indigenous Archaeology Collective, Cotsen Institute of Archaeology at UCLA, Cornell Institute of Archaeology and Material Studies, Wenner-Gren Foundation for Anthropological Research, and SAPIENS

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mrsrcbinscn · 3 years

Text

Franny’s NPC Music Pals

Alternatively: McKala rudely writes a novel about Daniel Maitland and everyone else just gets bullet points.

Obvs she’s got a million but these are her main NPC music buddies that will be referenced in game.

Daniel “Dan” Maitland (June 14, 1980)

FC: Martin Sensmeier

Born in Alaska, moved to Payne Lake, Georgia when he and Franny were in middle school

Alaska Native, Tlingit and Koyukon Athabascan

Beginning of his contact with Franny

Daniel has been Franny’s best friend since middle school. They were an inseparable trio with the late Molly Vaughn, who was Franny’s best friend since Kindergarten. The three of them got matching tattoos when they were twenty. It’s bluebonnets because of the song Cowboy Take Me Away

Daniel and Franny got a second matching tattoo the year Daniel was inducted into the Native American Music Awards Hall of Fame and they were both inducted into the Songwriters Hall of Fame -- it’s matching banjos on their wrists

His dad always liked country music so he got into it a little as a kid, but mostly listened to rock in the early 90s, got real into grunge, but in late high school he rediscovered country and bluegrass music

He and Franny played in a rock band in their last two years of high school but they were both getting really into country and bluegrass together at this time so they’d get together and jam

Acquiring a love for country/folk music

Daniel has said in interviews that, “Unlike Franny, my music taste wasn’t very diverse until I was in high school. I was a product of the 80s and 90s, you know, rock n roll, grunge, Franny and I were even part of a rock band with some classmates. I got a car and could drive us around. Franny usually commandeered the cassette player. She really opened my ears to influences outside of rock music.”

On how a Nirvana fanboy grew up to study bluegrass music academically and become a bluegrass musician; “It was really our senior year of high school that I fell head over heels for country and bluegrass music. He isn’t always considered country, but I discovered the music of John Denver in the late nineties. After his death, Franny and I went to a record store and purchased one of his Best Of compilation albums because all we really knew [...] Country Roads, the obvious. We sat on my bedroom floor, I had my guitar, Franny had her thrift store mandolin, we played with that album and came up with harmonies until my sister bangs on my door at almost midnight to tell us to shut up. I found a cassette tape we recorded from that day actually, I still have it. We have a lot of recordings of our early- I don’t even want to call it work, we were just playing around. That night sent me down the rabbit hole.”

He hasn’t just ditched rock music though, he’s a guitarist and backup singer in a female-fronted alt-rock band Venus and The Flytraps.

He has a prolific career as a songwriter, a successful career as a solo artist, he and Franny Robinson form an americana-bluegrass duo called Dara & Danny, and he’s one of the members of a kind of “supergroup” of musicians living in Appalachia called Pardon My Banjo. Daniel used to play mandolin in a band called NDN Cowboys- a country-folk band made up of all Native Americans, but he left the band on friendly terms in 2010, the year after Dara & Danny was formed.

Daniel went to East Tennessee State University to pursue a degree in Country, Bluegrass, and Old Time Music, the only place in the world to offer such a degree.

Personal Life

Daniel was born in Juneau, Alaska, to a Koyukon-Athabascan mother and a Tlingit and white father. His paternal grandfather is of English, Croatian, and Czech descent. Daniel maintains a home in his native Alaska, and in Kentucky, his primary residence. Shortly after his birth, he, his father, and his siblings moved to the Hoonah–Angoon Census Area where they lived in various communities with friends and relatives of his father, primarily Hoonah and Pelican, while his mother worked as a civil engineer in England and sent money home. He didn’t live with his mother until, in 1991, she got a job opportunity with the Georgia Department of Transportation, and the family relocated to the town of Payne Lake in Clayton County.

“Payne Lake’s this little nowhere town sandwiched between Jonesboro and Lovejoy, in the rural part of Clayton County,” Maitland explained in an interview. “You’re driving south from Jonesboro, you blink and you passed through Bonanza and Payne Layne, then you’re in Lovejoy.”

Daniel became a classmate of Franny Sor Robinson at Lovejoy Middle School and Lovejoy High School. “She’s been my best friend for 30 years,” Maitland said in a 2021 interview. “It’s been a gift to know her for long. We’ve been through marriages, kids, all of the good and bad in life together. It’s great to have somebody besides your family and partner to lean on and to knock some sense into you when you need it. Apart from my family, the only non-negotiable people in my life are Franny and, uh, Madalaine, my oldest kids’ mom. I’ve always just had a better time being one or two token guys in a friend group of mostly women.”

In 2009, he and Robinson formed the duo Dara & Danny together after having regularly collaborated since the start of their music careers.

Twice divorced, his divorces were the inspiration behind Dara & Danny’s “The Divorce Album”, a critically acclaimed and fan-beloved album about divorce and the lead up and aftermath. Daniel wrote most of the lyrics and Franny wrote the music to go with Dan’s lyrics, which was unusual because she usually writes most of the lyrics. In addition to his divorces, Daniel’s had several rocky serious relationships that have served as song inspiration.

In 2003, Daniel married Madalaine Snow, daughter of English banjo-player John Mitchell and North Carolina Cherokee and Lumbee Native American activist, sociologist, poet, and musician Atsila Snow in Gatlinburg, Tennessee. They had two children together, son Larkin Maitland Snow (b. 2003), and daughter Kalia Maitland Snow (b. 2004). They divorced in 2006 but they’ve remained friends.

Snow’s children and older step-children from her current relationship occasionally visit Kentucky with Maitland’s children. “They’re my kids’ siblings. They’re welcome in my home anytime for a trip to the mountains with or without my kids.” Maitland has said in an Instagram live with Kalia, where he was teaching other dads how to do their daughters’ hair. “Her brother -- okay, for the sake of clarity I’m going to say just once stepbrother and stepsister, but those aren’t words we really use in our family. Her brother and sister literally call me like ‘hey, Dan, can my friends and I come crash at your place some weekend this month? We want to go hiking and white water rafting somewhere different’ and I’m like ‘great, any vegans or food allergies I need to know about for dinner?’ If you are my kids’ family, you are my family too. I stay at Maddy and Eric’s house when I have a show within an hour and a half drive to hangout with them and Larkin and Kalia. Eric and I have gone on fishing weekends together. We’re very fortunate that our divorce was a very mutual, natural conclusion to that part of our relationship, and that we’ve gotten to maintain a wonderful friendship. I feel like our marriage ending made my family grow, not shrink. And I hope all of Larkin and Kalia’s siblings through Maddy and Eric feel welcome in my family. Like a weird bonus uncle.”

Larkin and Kalia mainly lived in Swain County, North Carolina, with their mother and attended New Kituwah Academy, a private Cherokee-language-immersion K-6 school. In 2019, Kalia moved to Cumberland, Kentucky to live with Daniel so she could graduate from high school there and get Kentucky tuition at University of Kentucky.

In 2006, Daniel began dating Canadian actress and Mohawk indigenous rights activist Gina Taylor, but they split in 2009. They have one daughter together, Ariadne Maitland (b. 2007). Daniel is on good terms with Gina, and Ariadne lives primarily in Kentucky with him.

He briefly dated Oscar-nominated actress Amanda Dunham in 2009.

He married Australian journalist Sasha Teller in 2010. They divorced in 2014 and had two children together, boy girl twins Jack and Maxie (b. 2011). In 2018, he sued her for primary custody, citing Teller withholding his right to see the twins. He won primary physical and joint legal custody of Jack and Maxie, and was court-ordered to have the twins spend Christmas and three weeks in the summer with Sasha in Australia.

In 2019, his son Larkin came out as pansexual and two-spirit. Dan retweeted their tweets that clarified their pronouns are “he/xe/they” and that “I don’t dislike the terms nephew, son, grandson, but do not call me a man.” He has been supportive of his son’s identity, appearing at North Carolina and Kentucky pride events with them, his daughter, and their mother.

In February 2016, Daniel began dating American artist, poet, writer, and singer-songwriter Whitney Sullivan (born April 8, 1991). Her mother is from the Zuni tribe and she grew up on the Zuni reservation with her siblings, mother, and her father, whose ancestry comes from the Lummi, Ute, and Omaha tribes, and one Irish great-grandfather, hence the last name.

On her friend’s current girlfriend, Franny Sor Robinson has said, “If Daniel don’t marry her, I might have to.”

............

Serghei Adamescu (November 24, 1982)

FC: Andrei Tiberiu Maria

Romanian-born sound engineer that Franny regularly words with

Met when he was studying at Pride U when she was getting her Masters’ there and they #vibed

He’s a dope guy

Not much to say about him other than he’s damn good at his job

Lora Lopez (November 1, 1978)

FC: Sandra Hinojosa

Mexican-American singer and songwriter she went to NYU with

Franny’s collaborated with with and written songs for her

She stared in one of her music videos as the love interest and they got to makeout half-naked which Franny described as “fun as hell”

Lora makes music in English and Spanish

Padraig Chen (May 10, 1987)

FC: Lewis Tan

Irish-Chinese alt-rock singer and musician

Met through her Scottish Seoul Hanoi’d bandmate Max Cho

They’ve written together a few times

Mostly just jam and vibe together

He sends her a lot of his demos for her opinion

#&&...hc

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