Native

Lahaina showcased centuries of Hawaiian history. Now its gems are gone.

Lahaina showcased centuries of Hawaiian history. Now its gems are gone.
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Situated in the heart of Lahaina, the 34-room Pioneer Inn was a piece of history built in 1901 by George Alan Freeland, a British adventurer who followed his star to Maui and started a family with a Native Hawaiian woman. The hotel became the linchpin of a modest business empire that eventually included a saloon, a liquor wholesale operation and movie houses in plantation camps.

Now the Pioneer Inn, owned today by Mr. Freeland’s grandson, figures among the architectural gems obliterated by the wildfire that swept through Lahaina, wiping out not just buildings but sites imbued with historical and cultural significance to many people in Hawaii.

“The Pioneer Inn was the place where crusty old sailor types used to hang out,” said Theo Morrison, the executive director of the Lahaina Restoration Foundation, which manages more than a dozen historic sites in the town. “But it was also where we would hold our Rotary meetings before the fire. It was part of Lahaina’s daily life for well over a century,” she said. “And now it’s gone.”

Indeed, while the community of about 12,700 people is known as a vacation destination for many visitors, for many locals it is simply their home — a place where the presence of some families, especially Native Hawaiians, harken back centuries to an era long before the tourists arrived, and well before the United States annexed Hawaii in the 1890s.

The Pioneer Inn in Lahaina, Hawaii, last year.Daejas Fallas for The New York Times

The losses in Lahaina from the fire now include the historic Baldwin Home, which houses the restoration foundation’s main office and was considered the oldest house still standing on the island of Maui. It was built between 1834-35 by the Rev. Ephraim Spaulding, a missionary from Massachusetts who prized its proximity to the waters where whaling ships once anchored.

The home contained the wooden rocking chairs that the family of the Rev. Dwight Baldwin had shipped all the way from their East Coast home in the 1830s when he took over the compound, their son’s antique shell collection and the medical instruments that Dr. Baldwin, a missionary and physician, had used to vaccinate much of Maui against smallpox.

Unlike others in Lahaina whose families in the area stretch back generations, Ms. Morrison, 75, from Berkeley, Calif., happened upon the town while sailing around the Hawaiian islands in 1975. She said her mind was made up when she set out on foot around the town, once known as a vacation spot for Mark Twain and as a gathering point for whalers, now featuring art galleries and restaurants. “I walked down Front Street,” she said, “and decided this was my place.”

In the wake of the fire on Thursday, the sense of loss — of history, of community, of friends and family — was coming achingly into focus for many of those who had long lived there.

Kiha Kaina, 46, a Native Hawaiian tattoo artist who grew up in Lahaina, was one of the few people allowed into town to drop off water and supplies for residents stranded there.

Family and friends had sent him videos of the fires, but none prepared him for the heartbreak he felt seeing the destruction in person: the smoke still rising from the flattened homes, the firefighters who looked like “zombies,” the downed power lines, the charred cars.

Destroyed cars in Lahaina in the aftermath of wildfires in western Maui on Thursday.Patrick T. Fallon/Agence France-Presse — Getty Images

Mr. Kaina said he personally knew more than 10 people who were still missing, including his biological father and one of his kickboxing students. “Everything that you could think of that meant a lot to this town were just gone,” he said.

Lee Anne Wong, the executive chef at Papa’aina, the restaurant in the Pioneer Inn, said one employee was still unaccounted for, and she said she expected that the death toll would climb significantly because there were so many old wooden buildings around town, making it a “tinderbox.”

“It happened very, very fast,” said Ms. Wong, who moved to Hawaii a decade ago from New York City, where she had been the executive chef of the French Culinary Institute. “A lot of employees are in shelters in the same set of clothes, and they are just thinking about their next meal.”

She added: “I’m thankful for the people who made it out alive, but an entire town has burned down.”

Originally called Lā-hainā — which roughly translates as “cruel sun” in the Hawaiian language, a nod to the area’s dry, sunny climate — the town was known before the fire as a place where one could reflect on centuries of Hawaiian history simply by walking around.

Shops and dining destination along the sidewalks and streets in Lahaina, Maui.Tony Novak-Clifford for The New York Times

“Many people don’t understand that Hawaiians have been in these islands for nearly 2,000 years,” said Ronald Williams, an archivist with the Hawaii State Archives who has researched Lahaina for decades. He likened the city to global capitals like Mexico City, where different layers of history are visible. Walking around Lahaina before the fire, Mr. Williams said, was a chance to listen to “voices from the 18th century that are clearly wanting their stories to be told today.”

The Front Street area includes, near Shaw Street, the Moku’ula archaeological site that once served as the Hawaiian kingdom’s capital; Prison Street, which served as the monarchy’s prison; buildings dating back to the whaling, missionary and plantation eras of Hawaiian history; and the trinket shops and retail outlets now symbolizing tourism’s importance in Hawaii.

“To locals, it’s a very touristy spot, but we embraced it,” said Jared Hedani, 37, a grant specialist of Japanese-Filipino ancestry and who has lived on Maui nearly his whole life.

Yes, many of Lahaina’s old wooden storefronts had gone from housing fish markets to high-end tourist spots like Tommy Bahama and Cheeseburger in Paradise, but the town maintained its charms. Mr. Hedani said the fabled beach areas on Oahu that Hawaii is best known for held nothing on Lahaina. “To me, Front Street is better than Waikiki,” he said.

Mr. Kaina, the tattoo artist, said he never took for granted the town’s stunning sunsets, temperate climes and pristine beaches. He recalls fondly nights spent with his family feasting on fresh-caught fish and working alongside laborers from around the world in the nearby pineapple fields.

“You’re sitting there, and you see the islands in front of you and the water, and the whales are jumping, and even as a local, I’m like ‘Bro, is this real?’” he said. “The sunset looks fake every time I see it.”

Sunset in Lahaina, Hawaii.Jim Wilson/The New York Times

For some Kānaka Maoli, as many Native Hawaiians call themselves, Lahaina was particularly notable as the place where Kamehameha the Great, the monarch who united all the Hawaiian islands, established his kingdom’s seat at the dawn of the 19th century.

Kaniela Ing, a former state legislator and Native Hawaiian organizer, said several buildings in town traced the story of Hawaii’s industrial and capitalist development, evolving from the era of the Hawaiian kingdom to the sugar and pineapple plantations and finally, in more recent years, tourism and luxury hotels.

Longtime residents, he said, have had to endure the effects of both displacement and climate change.

“The fire, to me, is a symbol of the terminal point of that trajectory, like where it all ends up if you keep down this road of extraction,” said Mr. Ing, who is the national director of the Green New Deal Network, which seeks a climate-conscious reconfiguration of government programs.

Still, until the fire hit, Lahaina was mainly known for its mellow vibe; small locally owned galleries still thrived among chain surf shops and jewelry stores. Mr. Hedani said he and his friends would stroll Front Street during nights out on the town and play “Spot the Local” — a difficult challenge among the hordes of visitors.

And whenever he passed the Kishi Building on the waterfront thoroughfare, he felt a rush seeing the historic name. It had once been his family’s fish market, opening in 1903 and closing in the mid-1970s.

“I’d always pass by there and I’d look up at the name and feel a little sense of pride,” he said.

It appeared to have been one of the first on Front Street to burn.

Mr. Hedani said he worries that buildings will not be rebuilt in the same style, that the owners of small galleries and eateries won’t be able to afford to rebuild, and there will only be room for businesses that cater to wealthy clientele, like in parts of Waikiki, where designer temples lure foreign shoppers.

“What happens when you take away the most important street on Maui?” he said.

Amy Qin, David W. Chen and Mitch Smith contributed reporting.

Here’s What’s Going in Indian Country, August 11

Here’s What’s Going in Indian Country, August 11
This weekend and next week in Indian Country, there is an array of concerts, webinars, festivals and more for all to enjoy.
The Anti-Racism Lab is hosting an online event on using Indigenous fire practices to reclaim culture and fight climate change. Join the New Mexico History Museum for a special showcase of Native cinema, or livestream a performance from Brulé, the Native American cultural rock music group that has sold more than a million CDs worldwide.

Here is Native News Online’s weekly round-up of arts, culture, and entertainment offerings around Indian Country.

Never miss Indian Country’s biggest stories and breaking news. Sign up to get our reporting sent straight to your inbox every weekday morning. 

  

Youth GONA in the “D”
Friday, August 11- Sunday, August 13, 2023
Detroit, MI

Consider taking your youth to this event focused on gathering Native American youth together in order to learn about belonging, mastery, and interdependence. The event is free to any youth and their family who stays in the hotel, and anyone under 18 must be accompanied by a parent. 

In The Spirit Arts Market and Northwest Native Festival
Saturday, August 12, 2023, 10 am – 5 pm
Tacoma, WA

This event is an arts market and Northwest Native Festival, an annual summer celebration of diverse Native arts and culture. This festival is hosted by the Washington State History Museum, Tacoma Art Museum, and Museum of Glass. Consider enjoying the event by shopping among and talking with artist vendors, listening to Native music, watching dynamic cultural dance, making art, exploring exhibitions and more.

Hawk Henries, Native American Flute Player
Saturday, August 12, 3 pm-4 pm
UMF Ampitheater, Farmington, ME

Hawk Henries is a member of the Chaubunagungamaug band of Nipmuck, a people indigenous to what is now Southern New England. He has been composing original music and making Eastern Woodlands flutes using hand tools for more than 30 years. 

National Navajo Code Talkers Day in the United States
August 14, 2023
United States

National Navajo Code Talkers Day is observed annually on August 14. It was first proclaimed in 1982 to honor the contributions of the Natives who served in the US military during the Second World War, using the Navajo language to support the war effort.

Native American Dances with Catching Eagle Dancers
Tuesday, August 15, 2023, 9 am-Noon
Cortez Cultural Center, Cortez, CO

Free Native American Cultural Dance program with Catching Eagle Dancers from the Ute Mountain Towaoc, Colorado. Multigenerational dance performances ensure that the Ute tradition of storytelling, drumming, singing and dancing continues and thrives.

Native American Youth Basketball Camp
August 16-17
Great Falls, MT

Strong Life Basketball Camp is to teach campers enhanced basketball skills that will lead them to be better players both on and off the basketball court. We’ve put together a world-class team of coaches from both the high school and college ranks that will help you elevate your game while building confidence as a player and individual.

Brulé: Native American Experience in Sight, Sound & Soul
Sunday, August 13, 8:30 am
Online

Best known for thrilling audiences with an emergence of cultural rock and theatrical instrumentations, award-winning music group Brulé has pushed the boundaries of contemporary Native American rhythms and classic rock in their genre-blending selections. Their electrifying show consists of a rock ensemble augmented with an array of traditional Native American instrumentation. Paired with the stunning choreography of one of the top Native American dance troupes, their authenticity brings a multi-dimensional art form to this cultural rock opera. 

Decolonizing Fire: Indigenous Land Stewardship and Climate Futurity
Tuesday, August 15, 9 pm-10 pm
Online 

Climate change has been identified as a key factor in increasing the risk and extent of wildfires in the Western United States. Wildfires in California can be traced to the roots of colonialism through the establishment and persistence of “no burn” policies. Agencies have recognized the detrimental effects of fire suppression on ecosystems, and scholars have emphasized the need for climate adaptation partnerships with Indigenous communities. However, we are asking the same agencies that created the problem to be responsible for the solution. This talk will centralize the significance of working with Indigenous fire practitioners and cultural bearers to reclaim cultural practices in Northern California and now in the Midwest area of the United States. These demonstrations edify decolonial approaches to fire practices, land care, and Indigenous ecological intelligence towards our collective climate futurity.

The Education and Well-Being of Native Students
Tuesday, August 15, Noon
Online 

This webinar aims to address the unique challenges faced by Native students and explore strategies to enhance their educational experiences and overall well-being. We have assembled a panel of experts, educators, and community leaders who will share their insights, experiences, and best practices. Participants will have the chance to connect, exchange ideas, and gain valuable resources to support Native students’ success. Whether you are a student, educator, parent, or community member, this event is open to all passionate about improving the education system for Native students. 

Native Cinema Showcase Santa Fe 
Thursday, August 17-Sunday, August 20
New Mexico History Museum, Sante Fe

The National Museum of the American Indian’s Native Cinema Showcase is an annual celebration of the best in Native film. This year, the Showcase highlights films of Indigenous perseverance that inspire, uplift, and triumph against adversity—stories that prevail against the judicial system, generational trauma, and cultural appropriation through love and complex relationships, self-worth, and humor.

More Stories Like This

Robbie Robertson, of The Band, and Mohawk and Cayuga descent, Dies at 80
First-Ever Santa Fe Native Fashion Week Scheduled to Debut Next Spring
Legendary Native American Singer Buffy St. Marie Retires from Live Performances
Here’s What’s Going in Indian Country, Aug. 3 — 13

Native News is free to read.

We hope you enjoyed the story you’ve just read. For the past dozen years, we’ve covered the most important news stories that are usually overlooked by other media. From the protests at Standing Rock and the rise of the American Indian Movement (AIM), to the ongoing epidemic of Murdered and Missing Indigenous People (MMIP) and the past-due reckoning related to assimilation, cultural genocide and Indian Boarding Schools.

Our news is free for everyone to read, but it is not free to produce. That’s why we’re asking you to make a donation to help support our efforts. Any contribution — big or small — helps.  Most readers donate between $10 and $25 to help us cover the costs of salaries, travel and maintaining our digital platforms. If you’re in a position to do so, we ask you to consider making a recurring donation of $12 per month to join the Founder’s Circle. All donations help us remain a force for change in Indian Country and tell the stories that are so often ignored, erased or overlooked.

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As hip-hop turns 50, ASU experts weigh in on art form’s evolution

As hip-hop turns 50, ASU experts weigh in on art form’s evolution

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Reflecting on 50 years of hip-hop.

August 10, 2023

Global hip-hop culture embraces music, dance, fashion and identity

Hip-hop — that fresh, modern art form — is 50 years old.

The common origin story of hip-hop goes back to a house party in the Bronx on Aug. 11, 1973, when Kool Herc, a young DJ working the record player, played just the instrumental parts of the songs — the “breaks” — while his friend, Coke La Rock, talked on the microphone.

What started as a lively expression of 1970s house party music soon evolved into a reflection of life for Black Americans.

“I like to say that hip-hop is the ghetto CNN,” said Matt Kirkpatrick, a faculty associate in the popular music program at Arizona State University, who teaches about hip-hop.

“This was pre-social media. What avenue did we have other than going to parties and hearing stories and talking to one another?”

Hip-hop has grown to become an expansive culture of music, dance, fashion, art, language and identity that has been exported around the world and is now studied by scholars for political expression and gender construct.

To mark the 50th anniversary of hip-hop, ASU News spoke with five experts at the university about different facets of the genre:

Jorge “House” Magana, a hip-hop performer and clinical assistant professor in the School of Music, Dance and Theatre, teaches a hip-hop dance class at ASU. Photo by Chris Goulet/ASU News

The birth of hip-hop

While the Bronx house party generally gets the credit for inventing hip-hop, Ward says that current scholars are looking beyond the New York City borough.

“Because of how people moved around the country during the time when we name hip-hop’s origin — the ’70s — we need to think about how maybe it didn’t just start in New York — that it started all over the country in different places,” she said.

Geographic dislocation also makes it hard to pinpoint where Indigenous hip-hop was created, Clark said.

“Indian peoples, through various federal policies, were actively moved by the federal government from reservations to urban centers,” he said.

Some research has pointed to the late 1980s on the West Coast as the birth of Indigenous hip-hop. One of the early groups was WithOut Rezervation, based in California and composed of three men with different tribal affiliations.

What makes hip-hop, hip-hop?

At its core, Kirkpatrick said, hip-hop is beats and rhymes.

“It’s something dope — beat-wise, rhythmic or a loop — and somebody rapping a rhyming pattern over it, whether it’s four- or six- or 24-bar structures over that beat,” he said.

The beats are mastered by the DJ, who selects and plays the music, while the emcee raps the words.

The breakdancers are called B-Boys and B-Girls.

“The thing that makes hip-hop so amazing is that it’s not just a musical genre,” Kirkpatrick said. “You have the importance of the DJ, the emcee, the graffiti, the B-Boying, the dancing — all creating what the culture is.”

Magana said that hip-hop wasn’t called hip-hop in the early years.

“It was called breakers, or just ‘going off.’ It didn’t have a name because it was just life.”

While breakdancing was the first hip-hop dance, often highlighting an individual dancer, Barnes said that the culture also includes moves by people in the crowd.

“We also do make space to celebrate those who didn’t get on the floor but also partied. We usually call those party dances, like the Snake for those who were in the ’80s, and the Roger Rabbit,” she said.

Hip-hop’s evolution

The Sugar Hill Gang’s “Rapper’s Delight” became the first rap song to become a Top 40 hit, in 1979. The 15-minute song, which was cut in half in order to be aired on the radio, had lyrics about friends, cars, girls and celebrities. But hip-hop artists used their music to reflect all aspects of life for Black people in America.

“Everyone knows ‘Rapper’s Delight.’ If you close your eyes and listen, you can hear them rapping that at a house party,” Kirkpatrick said.

“Besides rocking parties and having fun, you have Grandmaster Flash and the Furious Five, and if you listen to their records, it rings true today. A lot of people like to brush under the rug what ‘gangsta rap’ evolved into, but they were referencing what they saw on the streets of Compton.

“It’s a clear evolution from that type of rap, very braggadocious about their sound system and DJ and crew, and fast-forward to drug use and overdoses and depression and gangs, very meaningful things that can be explored. There’s a lot of party, but hip-hop has always had, ‘Hey, look what’s going on in our neighborhood.’

“That’s the genius of Dr. Dre too. We want to have fun and chase girls, but there’s this other thing going on where our homies are getting killed and harassed by the police and we have to talk about it.”

Video by Josh Belveal and Alex Cabrera/ASU VisComm

Taking on colonialism

Indigenous hip-hop artists expressed what they were living with, too — colonialism and oppression, Clark said.

“They’re talking about what that looks like both in a national context and specifically what it looks like on the reservation,” he said.

For example, the songs of WithOut Rezervation address loss of tribal land, social injustice, cultural erasure and portrayals of Native Americans as violent or a mascot.

But there’s a wide range of hip-hop created by Native artists, he said.

“You also have songs talking about what it looks like to be a young Indigenous person in an urban context and hanging out with friends, and writing about love and lost love,” he said.

Indigenous hip-hop is a modern cultural act, Clark said.

“The way Indian people are thought about politically and culturally and the ideas of how they should look and act is based on Indian people of the past,” he said.

“And if you don’t resemble that image or that ideal, you are somehow less Indigenous. But we are very much modern and very much still here, and we exist culturally and politically.

“Hip-hop is an act of asserting life. This is one way we can say, ‘We’re here and alive, and we have something to say.’”

‘Rollling around on the floor’

Breaking, or breakdancing, is considered the original hip-hop dance and originated in the Bronx, according to Magana.

Breaking consisted of “top rocks” — moving the top of the body — and then transitioning to the floor.

“That’s the DNA of breaking – footwork or downrocking some legwork,” he said.

Breakingdancing is not random, he said.

“My mom would say, ‘You’re just rolling around on the floor.’ But it’s very intricate patterns, very thought out, you know?”

Breaking includes influences from other forms, such as martial arts and tap.

Popping and locking — two separate dance forms — originated on the West Coast, Magana said. Dancer Don Campbell invented the “Campbellock” move, which was shortened to “locking.”

“It stems from dances like the Funky Chicken and the Funky Robot,” Magana said.

Popping came out of influences including miming and animatronics.

“When these forms are created, it’s a reaction to the music and a reaction to what’s going on in the world,” he said.

“And it’s a reaction to what these kids have access to, to be able to watch.”

Before the internet and even before music videos were on TV, breakdancers hungered to see new moves, he said.

“So you could literally be at home and somebody would give you a phone call and be like, ‘Yo, there’s somebody breaking at Dairy Queen.’ And you would run out there and be like, ‘You break, cool, let’s battle!’” Magana said.

“And that was because we wanted that exchange. We wanted to learn. And so even the people that are your rivals or your competition, we were really just elevating each other.”

Two students performing hip hop dance in classroom

Students dance in Jorge Magana’s hip-hop class. Photo by Chris Goulet/ASU

Connecting to hip-hop’s roots

Barnes sees hip-hop on a full continuum of dance.

“By the continuum, I mean the cyclical evolution of these art forms. So not just the linear historiography of jazz to hip-hop, but how one continues to influence and inform new manifestations of it.

“So that would be, from my perspective, focusing on jazz first and then looking to funk, rhythm and blues, and that evolved into disco, house and hip-hop,” she said.

The jazz impact is seen in the structure and stylization of hip-hop.

“One of my favorites is the playing style of Charlie Parker and the rhyming signature of Busta Rhymes. It was just unmistakable to me. That’s an embedded influence that Busta Rhymes carries. It’s really powerful,” she said.

Common to the different dance forms is “the bounce.”

“Because they are African in their origin, they are earth-sourced, and the basic, fundamental or foundational aspect that sometimes gets overlooked when people are learning these forms is the bounce,” she said.

“And your application of the bounce is what denotes which particular form you’re engaging in.

“The triple bounce gives us a specific jazz-swing feel. And then that four-on-the-floor bounce gives us that pulse for house. And then that grounded but also very breath-influenced deep bounce gives us our hip-hop groove.”

Both jazz and hip-hop were created in the Black community, became celebrated in the white community and then were exported globally as “the best of American culture,” she said.

“And are still, sadly, not celebrating the people that created it here at home. So it’s a fascinating juxtaposition in their similarities.”

A different scene in every city

“With any art form that directly speaks to youth, like grunge or punk, it evolves in the underground of each city. In every city there’s a hip-hop scene, and every scene is going to be different,” said Kirkpatrick, who is from San Diego.

“Living on the West Coast, it was about palm trees and gang culture and parties because that’s what we saw.

“East Coast is about hustling and drug dealing and sitting in tall buildings — very dark, menacing and ominous.

“Down South it’s very upbeat and clubby because the club was the driver of a lot of music. If you listen to JID or Kris Kross, it’s very much party music, in the club, on the radio.

“In Memphis you have Three 6 Mafia, very soul-stack driven. Detroit was very gritty and dark. Houston is very much car culture — slow-and-roll, trunk-rattle music.”

New York was an epicenter for hip-hop dance as well, Barnes said.

“But as I always say when I’m teaching — people in the South weren’t waiting for someone from New York to come down to teach them how to dance to the music. They were coming up with their own ways.”

Students learn hip-hop dance moves in a class taught by Jorge “House” Magana at ASU. Photo by Chris Goulet/ASU

Women in hip-hop

Ward said that she argues in her upcoming book that women have always been central to the development of hip-hop music and the culture. In fact, Sylvia Robinson, a Black woman who founded Sugar Hill Records, produced “Rapper’s Delight,” which sold millions of records.

“We talk about women emcees like Roxanne Shanté or Queen Latifah or Monie Love,” she said.

“And then moving through the ’90s, the 2000s, we look at artists like Lil’ Kim and Rah Digga, and the place of women across different subgenres of hip-hop music.”

Ward said there has always been tension between how corporate rap music presented women and how independent female artists presented themselves.

“So independent women artists, like Bahamadia or Medusa, are either not part of a record label by choice or want to maintain a particular distance to the corporate music industry,” she said.

Native women in hip-hop have addressed patriarchy and how colonialism is gendered, Clark said, citing the First Nation artist Eekwol as a favorite.

“These songs talk about what gendered violence looks like and specifically violence against Indigenous women,” he said.

“Hip-hop is one of the places they can talk about what’s happening in their communities. They’re writing from a position of reclaiming their matriarchal position in society.”

While women in hip-hop music are celebrated, according to Barnes, “Women in hip-hop with regard to the dance, not so much.”

“Fortunately, icons like Big Lez (Leslie Segar), TweetBoogie and a few others are still actively present and — as we say — will still actively throw down and show you why they are who they are.”

“I most readily credit the full empowerment of women in hip-hop, particularly on the dance side of things, to Michele Byrd-McPhee and the efforts that she’s pioneered with the Ladies of Hip-Hop organization,” she said.

“It’s not just the battles, not just the showcases, but her efforts to educate and to ensure that women and girls have a space to celebrate themselves in hip-hop culture.”

Students dancing in hip hop class

Students practice in an ASU hip-hop class taught by Jorge “House” Magana. Photo by Chris Goulet/ASU

New business models

“In the 1970s and ’80s, the record labels were the gatekeepers, and it was, ‘Only the people we allow through the gate will be here.’ There was a time and a place for that, and it created phenomenal music,” Kirkpatrick said.

“But now there is a more even and level playing field for anybody who is interested in sharing any type of music they do. You can record yourself and put it on social media within an hour and get people to comment on it. That’s the upside to the technology we have now.”

Kirkpatrick sees the erosion of big record labels.

“I think hip-hop has not been afraid to embrace new technology and new ways of doing things faster than other genres of music. I think you’ll see more brand partnerships and brand cooperative releases versus the traditional record labels,” he said.

“In the past, there was always this conversation in the culture about, ‘Oh, am I selling out? Am I selling my music to sell other products?’” Ward said.

“That conversation isn’t as robust as it used to be, in the ‘90s and 2000s, because now that’s really one of the only ways that artists who aren’t heavily engaged in the corporate industry make their money. They have to diversify their streams of income.”

Ward writes about the impact of streaming in her upcoming book.

“The restructuring of the music industry has created opportunities for certain artists to really have agency over what they choose to write about, what they choose to produce and then how their music gets out to a global audience.”

Why does hip-hop resonate globally?

Ward said her answer, as a fan, is: “There’s something that is hyper modern about rap music. The process of remixing is a heightened postmodern exercise. It’s a very modern way of engaging with the past, through sampling and remixing.

“It’s also about nostalgia. It’s about homage. It’s about this kind of holding onto a lineage through sound to Black music specifically.

At the same time, hip-hop is individualistic, she said.

“There is this ethic, this kind of adage of not only keeping it real, but this desire to always put front and center the absolute freedom of the individual.

“I liken the contemporary movement of hip-hop music to the Harlem Renaissance, and artists like Zora Neale Hurston, and Langston Hughes, and Countee Cullen, and others who were making arguments about art as sites for absolute freedom, and how artists, particularly Black artists and artists of color, have to have the freedom to produce and express themselves without the constraints of respectability, politics, racism, sexism, etc.

“And I think that there’s something very appealing worldwide about that message.”

Mary Beth Faller

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August 10, 2023

New ASU course uses Taylor Swift to demonstrate social psychology phenomena

Taylor Swift is an American singer-songwriter, savvy businesswoman and advocate for women’s empowerment whose adoring fans have helped her sell more than 200 million records worldwide.

The musician is also central to a new Arizona State University course called Psychology of Taylor Swift — Advanced Topics of Social Psychology. The class is being offered in the fall semester.

In an academic version of “What Would Taylor Swift Do?” the class content will draw on themes from her songs, such as family, friends, fame and more.

Alexandra Wormley, who is teaching the class, believes this content will spark meaningful conversations and serve as a teaching tool for learning advanced psychology concepts. 

“The course is basically using Taylor Swift as a semester-long example of different phenomena — gossip, relationships, revenge,” said Wormley, emphasizing that “the class is not a seminar on how much we like or dislike her — we want to be able to learn about psychology.” 

ASU News spoke with Wormley, a PhD student in the Department of Psychology, about her new interactive class. 

Alexandra Wormley is teaching a new class connecting Taylor Swift to psychological concepts

Question: Why did you decide to incorporate Swift into an advanced psychology class? 

Answer: The story is actually funny. Right after Taylor Swift performed in Glendale (in March), a few of my research assistants were sitting in my lab and joked that they would love a course about her. I liked the idea and jokingly made a rough outline of what that sort of course might look like. I pitched it to my department and apparently they liked it!

Q: Are you a Swift fan?

A: I learned almost everything I know about Taylor Swift from my partner’s sister, who has been a Swiftie forever. She played a huge role in shaping the topics of the course. Her enthusiasm is pretty contagious — so in the span of two years, I went from indifferent to being one of her top listeners on Spotify last year.

There is so much to appreciate about Taylor Swift, even beyond her music. 

Q: How would you describe the class? 

A: We will be doing deep dives into very specific topics, so that students have some expertise in each of these areas by the end of each week. I find this method of learning much more engaging than survey courses that have to cover every topic within a semester. 

Each week, I will connect a theme from a Swift album to a topic in social psychology. 

Q: How will you incorporate topics such as revenge into the class? 

A: Taylor’s sixth album, “Reputation,” is her comeback after disappearing from the spotlight due to conflicts with Kim Kardashian and Kanye West. She enacts her revenge on them — and the broader media landscape — by dropping an incredibly successful album along with a stadium tour. 

The students know this — but do they know why we like revenge? Do they know how we enact revenge? Social psychology can tell us.

Q: Do students need to be Swift fans to get anything out of this class? 

A: I actually hope someone who is not a fan takes the class. The class will be much more engaging if we can challenge ourselves to think from other perspectives, like that of a Taylor Swift hater. I have provided students with some websites and YouTube videos that provide background, but I do not presume any prior knowledge about Taylor Swift in my lectures.

Q: How will the Swift angle make learning psychology concepts easier and more engaging?

A: Research has shown time and time again that when students can relate their course material to their own lives, it increases comprehension and retention. As educators, we should be taking advantage of this little quirk in our brains to foster learning. If that takes a little extra work on my part to think through how to connect social psychology to Taylor Swift, then that is well worth it. It makes the learning — and the teaching — more fun.

Q: We’ve been talking about what the class is; can you explain what it is not?

A: This class will not be a three-hour fan club meeting. Every week, we will engage seriously with the course topics for the first half of the class and then apply what we have learned to the phenomenon that is Taylor Swift.

Top photo of Taylor Swift performing at a concert by Alexandra Wormley

Dolores Tropiano

NASA, ASU-led L’SPACE Academy selected for IAF Excellence in 3G

NASA, ASU-led L’SPACE Academy selected for IAF Excellence in 3G

August 10, 2023

The International Astronautical Federation (IAF) has announced the 2023 recipients of the prestigious IAF Excellence in 3G Diversity Award, and the NASA Space Technology Mission Directorate (STMD)/Arizona State University-led L’SPACE Program — the NASA Proposal Writing and Evaluation Experience (NPWEE) Academy was selected by the IAF Inclusion, Diversity and Equity Administrative Committee (IDEA) for its outstanding contributions to the fostering of “3G” (geography, generation, gender) diversity within the space sector. 

Founded in 1951, the IAF is the world’s leading space advocacy body to foster dialogue between scientists worldwide and support international cooperation in all space-related activities. 
L'SPACE logo.
NASA L’SPACE: Lucy Student Pipeline Accelerator and Competency Enabler. Image courtesy NASA
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The NASA L’SPACE Program is a free, online, interactive experience open to undergraduate STEM students attending a U.S. college or university and early-career professionals interested in pursuing a career with NASA or other space organizations within the exploration ecosystem. L’SPACE is the student collaboration program for the Lucy mission, which is managed by the Southwest Research Institute

L’SPACE consists of two 12-week online academies. NPWEE, the L’SPACE academy that has been selected by the IAF for the 3G Diversity Award, is led by NASA Marshall Space Flight Center’s Chief Technologist John Dankanich, and his team is facilitated by the ASU L’SPACE staff — Sheri Klug Boonstra, L’SPACE principal investigator, and Dan Garcia, L’SPACE deputy principal investigator.

NPWEE helps undergraduate through early career STEM professionals provide ideas to help NASA innovate and propose new concepts that can be used in exploration. The second academy is the Mission Concept Academy, which provides undergraduate students the opportunity to create mission designs based on requirements that adhere to NASA near-term needs within their planned mission architecture.

Lucy mission logo.

The Lucy mission was the first space mission to explore a population of small bodies known as the Trojans. Image courtesy NASA

“L’SPACE Academy is designed for the needs of the STEM space exploration workforce,” said Klug Boonstra, a School of Earth and Space Exploration instructor. “Our goal is to provide NASA-focused STEM mentoring and technical science and engineering training that is accessible and equitable at a national scale.”

More than 4,500 students have participated in the L’SPACE NPWEE Academy, representing all 50 U.S. states, Puerto Rico and Guam. Since the program’s inception, instructors have provided over 300,000 hours of mentoring and STEM workforce training.

IAF recognizes the outstanding and innovative efforts of the NASA L’SPACE Academy. The recipients of this highly competitive award were selected for their exemplary accomplishments through NPWEE.

Each winning IAF Excellence Diversity Award category will receive a commemorative statue and a certificate presented to ASU during the annual IAF Excellence in 3G Diversity Luncheon at the International Astronautical Congress (IAC) in Baku, Azerbaijan, in early October. On that occasion, Klug Boonstra will accept the award.

For information about the NASA L’SPACE Program and its accomplishments, visit https://www.lspace.asu.edu/.

Kim Baptista

Media Relations and Marketing Manager, School of Earth and Space Exploration

480-727-4662

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Reflecting on 50 years of hip-hop.

August 10, 2023

Global hip-hop culture embraces music, dance, fashion and identity

Hip-hop — that fresh, modern art form — is 50 years old.

The common origin story of hip-hop goes back to a house party in the Bronx on Aug. 11, 1973, when Kool Herc, a young DJ working the record player, played just the instrumental parts of the songs — the “breaks” — while his friend, Coke La Rock, talked on the microphone.

What started as a lively expression of 1970s house party music soon evolved into a reflection of life for Black Americans.

“I like to say that hip-hop is the ghetto CNN,” said Matt Kirkpatrick, a faculty associate in the popular music program at Arizona State University, who teaches about hip-hop.

“This was pre-social media. What avenue did we have other than going to parties and hearing stories and talking to one another?”

Hip-hop has grown to become an expansive culture of music, dance, fashion, art, language and identity that has been exported around the world and is now studied by scholars for political expression and gender construct.

To mark the 50th anniversary of hip-hop, ASU News spoke with five experts at the university about different facets of the genre:

Jorge “House” Magana, a hip-hop performer and clinical assistant professor in the School of Music, Dance and Theatre, teaches a hip-hop dance class at ASU. Photo by Chris Goulet/ASU News

The birth of hip-hop

While the Bronx house party generally gets the credit for inventing hip-hop, Ward says that current scholars are looking beyond the New York City borough.

“Because of how people moved around the country during the time when we name hip-hop’s origin — the ’70s — we need to think about how maybe it didn’t just start in New York — that it started all over the country in different places,” she said.

Geographic dislocation also makes it hard to pinpoint where Indigenous hip-hop was created, Clark said.

“Indian peoples, through various federal policies, were actively moved by the federal government from reservations to urban centers,” he said.

Some research has pointed to the late 1980s on the West Coast as the birth of Indigenous hip-hop. One of the early groups was WithOut Rezervation, based in California and composed of three men with different tribal affiliations.

What makes hip-hop, hip-hop?

At its core, Kirkpatrick said, hip-hop is beats and rhymes.

“It’s something dope — beat-wise, rhythmic or a loop — and somebody rapping a rhyming pattern over it, whether it’s four- or six- or 24-bar structures over that beat,” he said.

The beats are mastered by the DJ, who selects and plays the music, while the emcee raps the words.

The breakdancers are called B-Boys and B-Girls.

“The thing that makes hip-hop so amazing is that it’s not just a musical genre,” Kirkpatrick said. “You have the importance of the DJ, the emcee, the graffiti, the B-Boying, the dancing — all creating what the culture is.”

Magana said that hip-hop wasn’t called hip-hop in the early years.

“It was called breakers, or just ‘going off.’ It didn’t have a name because it was just life.”

While breakdancing was the first hip-hop dance, often highlighting an individual dancer, Barnes said that the culture also includes moves by people in the crowd.

“We also do make space to celebrate those who didn’t get on the floor but also partied. We usually call those party dances, like the Snake for those who were in the ’80s, and the Roger Rabbit,” she said.

Hip-hop’s evolution

The Sugar Hill Gang’s “Rapper’s Delight” became the first rap song to become a Top 40 hit, in 1979. The 15-minute song, which was cut in half in order to be aired on the radio, had lyrics about friends, cars, girls and celebrities. But hip-hop artists used their music to reflect all aspects of life for Black people in America.

“Everyone knows ‘Rapper’s Delight.’ If you close your eyes and listen, you can hear them rapping that at a house party,” Kirkpatrick said.

“Besides rocking parties and having fun, you have Grandmaster Flash and the Furious Five, and if you listen to their records, it rings true today. A lot of people like to brush under the rug what ‘gangsta rap’ evolved into, but they were referencing what they saw on the streets of Compton.

“It’s a clear evolution from that type of rap, very braggadocious about their sound system and DJ and crew, and fast-forward to drug use and overdoses and depression and gangs, very meaningful things that can be explored. There’s a lot of party, but hip-hop has always had, ‘Hey, look what’s going on in our neighborhood.’

“That’s the genius of Dr. Dre too. We want to have fun and chase girls, but there’s this other thing going on where our homies are getting killed and harassed by the police and we have to talk about it.”

Video by Josh Belveal and Alex Cabrera/ASU VisComm

Taking on colonialism

Indigenous hip-hop artists expressed what they were living with, too — colonialism and oppression, Clark said.

“They’re talking about what that looks like both in a national context and specifically what it looks like on the reservation,” he said.

For example, the songs of WithOut Rezervation address loss of tribal land, social injustice, cultural erasure and portrayals of Native Americans as violent or a mascot.

But there’s a wide range of hip-hop created by Native artists, he said.

“You also have songs talking about what it looks like to be a young Indigenous person in an urban context and hanging out with friends, and writing about love and lost love,” he said.

Indigenous hip-hop is a modern cultural act, Clark said.

“The way Indian people are thought about politically and culturally and the ideas of how they should look and act is based on Indian people of the past,” he said.

“And if you don’t resemble that image or that ideal, you are somehow less Indigenous. But we are very much modern and very much still here, and we exist culturally and politically.

“Hip-hop is an act of asserting life. This is one way we can say, ‘We’re here and alive, and we have something to say.’”

‘Rollling around on the floor’

Breaking, or breakdancing, is considered the original hip-hop dance and originated in the Bronx, according to Magana.

Breaking consisted of “top rocks” — moving the top of the body — and then transitioning to the floor.

“That’s the DNA of breaking – footwork or downrocking some legwork,” he said.

Breakingdancing is not random, he said.

“My mom would say, ‘You’re just rolling around on the floor.’ But it’s very intricate patterns, very thought out, you know?”

Breaking includes influences from other forms, such as martial arts and tap.

Popping and locking — two separate dance forms — originated on the West Coast, Magana said. Dancer Don Campbell invented the “Campbellock” move, which was shortened to “locking.”

“It stems from dances like the Funky Chicken and the Funky Robot,” Magana said.

Popping came out of influences including miming and animatronics.

“When these forms are created, it’s a reaction to the music and a reaction to what’s going on in the world,” he said.

“And it’s a reaction to what these kids have access to, to be able to watch.”

Before the internet and even before music videos were on TV, breakdancers hungered to see new moves, he said.

“So you could literally be at home and somebody would give you a phone call and be like, ‘Yo, there’s somebody breaking at Dairy Queen.’ And you would run out there and be like, ‘You break, cool, let’s battle!’” Magana said.

“And that was because we wanted that exchange. We wanted to learn. And so even the people that are your rivals or your competition, we were really just elevating each other.”

Two students performing hip hop dance in classroom

Students dance in Jorge Magana’s hip-hop class. Photo by Chris Goulet/ASU

Connecting to hip-hop’s roots

Barnes sees hip-hop on a full continuum of dance.

“By the continuum, I mean the cyclical evolution of these art forms. So not just the linear historiography of jazz to hip-hop, but how one continues to influence and inform new manifestations of it.

“So that would be, from my perspective, focusing on jazz first and then looking to funk, rhythm and blues, and that evolved into disco, house and hip-hop,” she said.

The jazz impact is seen in the structure and stylization of hip-hop.

“One of my favorites is the playing style of Charlie Parker and the rhyming signature of Busta Rhymes. It was just unmistakable to me. That’s an embedded influence that Busta Rhymes carries. It’s really powerful,” she said.

Common to the different dance forms is “the bounce.”

“Because they are African in their origin, they are earth-sourced, and the basic, fundamental or foundational aspect that sometimes gets overlooked when people are learning these forms is the bounce,” she said.

“And your application of the bounce is what denotes which particular form you’re engaging in.

“The triple bounce gives us a specific jazz-swing feel. And then that four-on-the-floor bounce gives us that pulse for house. And then that grounded but also very breath-influenced deep bounce gives us our hip-hop groove.”

Both jazz and hip-hop were created in the Black community, became celebrated in the white community and then were exported globally as “the best of American culture,” she said.

“And are still, sadly, not celebrating the people that created it here at home. So it’s a fascinating juxtaposition in their similarities.”

A different scene in every city

“With any art form that directly speaks to youth, like grunge or punk, it evolves in the underground of each city. In every city there’s a hip-hop scene, and every scene is going to be different,” said Kirkpatrick, who is from San Diego.

“Living on the West Coast, it was about palm trees and gang culture and parties because that’s what we saw.

“East Coast is about hustling and drug dealing and sitting in tall buildings — very dark, menacing and ominous.

“Down South it’s very upbeat and clubby because the club was the driver of a lot of music. If you listen to JID or Kris Kross, it’s very much party music, in the club, on the radio.

“In Memphis you have Three 6 Mafia, very soul-stack driven. Detroit was very gritty and dark. Houston is very much car culture — slow-and-roll, trunk-rattle music.”

New York was an epicenter for hip-hop dance as well, Barnes said.

“But as I always say when I’m teaching — people in the South weren’t waiting for someone from New York to come down to teach them how to dance to the music. They were coming up with their own ways.”

Students learn hip-hop dance moves in a class taught by Jorge “House” Magana at ASU. Photo by Chris Goulet/ASU

Women in hip-hop

Ward said that she argues in her upcoming book that women have always been central to the development of hip-hop music and the culture. In fact, Sylvia Robinson, a Black woman who founded Sugar Hill Records, produced “Rapper’s Delight,” which sold millions of records.

“We talk about women emcees like Roxanne Shanté or Queen Latifah or Monie Love,” she said.

“And then moving through the ’90s, the 2000s, we look at artists like Lil’ Kim and Rah Digga, and the place of women across different subgenres of hip-hop music.”

Ward said there has always been tension between how corporate rap music presented women and how independent female artists presented themselves.

“So independent women artists, like Bahamadia or Medusa, are either not part of a record label by choice or want to maintain a particular distance to the corporate music industry,” she said.

Native women in hip-hop have addressed patriarchy and how colonialism is gendered, Clark said, citing the First Nation artist Eekwol as a favorite.

“These songs talk about what gendered violence looks like and specifically violence against Indigenous women,” he said.

“Hip-hop is one of the places they can talk about what’s happening in their communities. They’re writing from a position of reclaiming their matriarchal position in society.”

While women in hip-hop music are celebrated, according to Barnes, “Women in hip-hop with regard to the dance, not so much.”

“Fortunately, icons like Big Lez (Leslie Segar), TweetBoogie and a few others are still actively present and — as we say — will still actively throw down and show you why they are who they are.”

“I most readily credit the full empowerment of women in hip-hop, particularly on the dance side of things, to Michele Byrd-McPhee and the efforts that she’s pioneered with the Ladies of Hip-Hop organization,” she said.

“It’s not just the battles, not just the showcases, but her efforts to educate and to ensure that women and girls have a space to celebrate themselves in hip-hop culture.”

Students dancing in hip hop class

Students practice in an ASU hip-hop class taught by Jorge “House” Magana. Photo by Chris Goulet/ASU

New business models

“In the 1970s and ’80s, the record labels were the gatekeepers, and it was, ‘Only the people we allow through the gate will be here.’ There was a time and a place for that, and it created phenomenal music,” Kirkpatrick said.

“But now there is a more even and level playing field for anybody who is interested in sharing any type of music they do. You can record yourself and put it on social media within an hour and get people to comment on it. That’s the upside to the technology we have now.”

Kirkpatrick sees the erosion of big record labels.

“I think hip-hop has not been afraid to embrace new technology and new ways of doing things faster than other genres of music. I think you’ll see more brand partnerships and brand cooperative releases versus the traditional record labels,” he said.

“In the past, there was always this conversation in the culture about, ‘Oh, am I selling out? Am I selling my music to sell other products?’” Ward said.

“That conversation isn’t as robust as it used to be, in the ‘90s and 2000s, because now that’s really one of the only ways that artists who aren’t heavily engaged in the corporate industry make their money. They have to diversify their streams of income.”

Ward writes about the impact of streaming in her upcoming book.

“The restructuring of the music industry has created opportunities for certain artists to really have agency over what they choose to write about, what they choose to produce and then how their music gets out to a global audience.”

Why does hip-hop resonate globally?

Ward said her answer, as a fan, is: “There’s something that is hyper modern about rap music. The process of remixing is a heightened postmodern exercise. It’s a very modern way of engaging with the past, through sampling and remixing.

“It’s also about nostalgia. It’s about homage. It’s about this kind of holding onto a lineage through sound to Black music specifically.

At the same time, hip-hop is individualistic, she said.

“There is this ethic, this kind of adage of not only keeping it real, but this desire to always put front and center the absolute freedom of the individual.

“I liken the contemporary movement of hip-hop music to the Harlem Renaissance, and artists like Zora Neale Hurston, and Langston Hughes, and Countee Cullen, and others who were making arguments about art as sites for absolute freedom, and how artists, particularly Black artists and artists of color, have to have the freedom to produce and express themselves without the constraints of respectability, politics, racism, sexism, etc.

“And I think that there’s something very appealing worldwide about that message.”

Mary Beth Faller

On the Hudson, Visions for a New Native American Art

On the Hudson, Visions for a New Native American Art
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A frisky group of Indigenous performers, videomakers and sculptors have a presence in the art world they haven’t had before.

A MAGA-style baseball cap, scarlet and sloganeering, sits on a shelf, as if for sale, surrounded by other promotional retail: T-shirts, totes, lighters. “Make Amerika Red Again” is embroidered on the front of the cap, which is also stitched with pretty bead work and topped by a yellow feather.

Where are we? Apparently in the merchandise section of what looks like a combination campaign headquarters, tech showroom, surveillance center and stage set. It’s furnished with desks, chairs, posters and multiple digital screens all belonging to something called the New Red Order, a self-declared “public secret society” of artists and filmmakers seeking to lay bare the “open secret” of Western expansion. Want to know more, maybe join? Call l 1-888-NEW RED1 on the (red) office rotary phone (or your cellphone) for details.

James Luna’s “Make Amerika Red Again,” 2018.Tony Cenicola/The New York Times

Where we also are is at the Hessel Museum of Art here at Bard College, and more specifically at an exhibition called “Indian Theater: Native Performance, Art, and Self-Determination Since 1969.” The college recently established a Center for Indigenous Studies, and under its auspices a Bard faculty member, the Indigenous scholar Candice Hopkins, has organized a frisky intergenerational group show of some 30 Native American artists (oldest 96; youngest 29), among them Jeffrey Gibson, who will be representing the United States at the 2024 Venice Biennale.

Acknowledgment by the art world — never mind by the real world — of even the existence of contemporary Native American art has been pitifully slow to arrive, and has mostly been generated from within the Indigenous community itself. Hopkins takes one of their initiatives as the springboard for the show.

This one dates from 1969 and coincided with the politically galvanizing occupation of Alcatraz Island by a group of Indigenous activists called Indians of All Tribes. Earlier in the same year, the Native American fashion designer Lloyd Kiva New (1916-2002), co-founder of the Institute of American Indian Arts, then a fledgling school in Santa Fe, N.M., introduced a quietly radical cultural project.

Fiber weavings modeled on Indigenous jewelry in an installation by Eric-Paul Riege, who performs with his sculptures, and invites the audience to do so too. Karl Rabe

In collaboration with the institute’s dance and drama instructor, Rolland R. Meinholtz, he wrote a treatise proposing the development of a new “American Indian Theatre,” basing it on the premise that much traditional Indigenous art was fundamentally theatrical in nature, incorporating movement, sound, masking, storytelling, communal action, and that these elements could be marshaled to create distinctive new forms. He printed the proposal as a 40-page booklet, an original copy of which opens this show.

His ideas had takers, among them three New York sisters of Kuna/ Rappahannock descent — Lisa Mayo (1924-2013), Muriel Miguel and Gloria Miguel, the show’s senior artist — who in 1976 formed Spiderwoman Theater, now one of the longest-running female companies in the United States.

The group’s low-budget, high-energy presentations were fueled — still are — by a head-spinning cocktail of radical feminism, ethnic consciousness, and raucous humor, all evident at Bard in a full-length video of their “Cabaret: An Evening of Disgusting Songs and Pukey Images” from the late 1970s. (I saw them perform it at the Theater for the New City and they practically blew out the walls.)

The California performance artist James Luna (1950-2018), creator of the beaded “MAGA” cap, also picked up on the notion that humor applied to grim histories could work. (He referred to himself as an “American Indian ceremonial clown.”) In 1985, in response to objectification of Native Americans and the notion that the only good Indigenous art was in the past, he lay wearing only a loin cloth, for hours in a museum display case, motionless but perceptibly breathing.

And in a 1990 installation recreated at Bard called “AA Meeting/Art History,” he tackles the lethal effects of alcoholism on Native life. In a video we see people sitting in a circle talking about trying to stay sober, and we see Luna guzzling what appears to be booze and monologuing about his love of art, as if the two were inseparable.

Still from Asinnajaq’s 2015 film “Rock Piece”; on the table is Jeneen Frei Njoontli’s sculpture, “He coats the warp and weft until a field emerges (Orange upright bottle),” 2021.Tony Cenicola/The New York Times

Other performance videos are different from Luna’s in tone. Over four brief autobiographical pieces, Theo Jean Cuthand travels a path from lesbian to trans male identity with buzzing enthusiasm. Cannupa Hanska Luger’s 2016 drone’s-eye view of mirror-bearing demonstrators at Standing Rock turns a protest into a surging processional. And in a sweet short video by the Montreal-based Asinnajaq (a.k.a. Isabella Rose Rowan-Weetaluktuk), a figure (the artist) rises like an earth spirit from under a pile of stones, looking every bit as surprised by her emergence as we are.

Other artists approach theatricality more obliquely, through costuming. KC Adams’s T-shirts stitched with politically loaded phrases — “Former Land Owner,” “Scalping Is in My Blood” — were originally made for performances. In a series of large color portraits of Indigenous women by the photographer Dana Claxton, the sitters (including Claxton) wear layers of beads and fabrics so dense as to suggest ceremonial regalia.

A multifigure painting titled “Paperdolls for a Post-Colombian World” (2021) by Jaune Quick-to-See Smith — whose powerful Whitney Museum career retrospective closes this Sunday — tells an entire, continuing history of colonial manipulation and repression through details of attire. A near-abstract early painting by Kay WalkingStick embodies a history too, a personal, domestic one. Its single image is of the plain gray work apron WalkingStick wore in the 1970s, as a young mother at home and as a young artist funding her way in her studio.

Gabrielle L’Hirondelle Hills, “Counterblaste,” 2021, a life-size figure part human, part animal, made from pantyhose stuffed with tobacco, street debris and wildflowers. Jessann Reece/Image courtesy of Gabrielle L’Hirondelle Hill and Cooper Cole, Toronto.

Big stand-alone sculptures are inherently dramatic. “Deer Woman’s New Certificate-of-Indian-Blood-Skin” by Natalie Ball, which suggests a kind of quilted explosion, certainly has presence. So, in a spooky way, does Gabrielle L’Hirondelle Hill’s “Counterblaste,” a life-size nude female figure, part human, part animal, made from pantyhose stuffed with tobacco, street debris and wildflowers. Larger than either are fiber weavings, modeled on Indigenous jewelry forms, by Eric-Paul Riege, the exhibition’s youngest participant. But though monumental in size, they’re intimate in effect. Riege uses them as props in performances — pushes them aside, moves them around — and visitors are permitted (encouraged, even) to touch them.

(Several performances — by Gibson, Rebecca Belmore and Maria Hupfield — were commissioned for the show, but experienced only on a limited schedule.)

Sound was a vital component of the 1969 vision for a new American Indian Theater, which I take to mean a new Indian Art. In the early 1960s, when a craze for folk and ethnic music was high, a company called Indian Records, Inc. released many LPs of Native music. The company later went bust but some of the LPs survive and we hear them — the drumming, the chanting — playing on a gallery turntable and filtering through the show.

In the same gallery, but displayed under glass, are recordings made by Ida Halpern, an ethnomusicologist who came to British Columbia from Vienna in the 1930s to document Indigenous music, only to learn that not only was the playing of Native music outlawed by the government, but that Indigenous communities considered certain religious music too sacred to be heard by non-Native listeners. The doubly enforced silence turns Halpern’s recordings into visual artifacts — you can look at but not listen to them — and is commemorated in Sonny Assu’s wall installation of 136 glowing but unplayable copper records.

There’s no such ban in effect in the loquacious audiovisual installation, “Conscientious Conscripture,” that is the New Red Order (N.R.O.) headquarters. Founded by the artists Jackson Polys, Adam Khalil and Zack Khalil, the collective’s project is essentially an extended satirical performance, soaked in dark humor and intent on exposing America’s love/hate relationship with Native culture, which it has embraced in fantasy form and in reality made every effort to erase. N.R.O.’s goal is to get beyond land acknowledgments and diversity box-checking to, in its own words, “promote Indigenous futures and collect on colonial debts.”

How’s it doing on that agenda? Who can say? The project’s still new and, after all, it’s only art. But if enough “only art” accumulates — remember its role in the AIDS crisis? — it can generate usable power. And at the moment, Native American art has a presence in the art world it hasn’t had before.

Venice is still a year away, but there’s a major survey of contemporary Native work opening on Sept. 22 at the National Gallery of Art in Washington in D.C., organized by Jaune Quick-to-See Smith. Earlier in the month a show of four young Native artists will open at James Fuentes Gallery on the Lower East Side, with Natalie Ball as co-curator. In November Ball will make a solo Whitney bow.

And with more coming, maybe new American art will finally trend red, as Luna insisted.


Indian Theater: Native Performance, Art, and Self-Determination Since 1969

Through Nov. 26, Hessel Museum of Art, Bard College, Annandale-on-Hudson, N.Y., 845-758-7598, ccs.bard.edu.

‘Art at the Grill’ celebrates summer in Maine

‘Art at the Grill’ celebrates summer in Maine

A new show opens Aug. 21 at the Damariscotta River Grill featuring seasoned artists Sandra Leinonen Dunn, Susan Tilton Pecora and Kimberly Skillin Traina.  Three distinct styles and mediums explore a number of themes, each capturing a unique viewpoint depicting the natural beauty of Maine. The “Art at the Grill” opening reception is Thursday, Aug. 24.  Art is on display through Oct. 16.

Join us for a special Prix Fixe three course menu that will be offered for $29, with a choice of wine pairings for $10, or choose a selection from the regular menu, from 4 to 8:30 p.m. and celebrate the artists.  A portion of the dinner proceeds will be used to fund a scholarship for a Lincoln Academy student pursuing an art education. Please call ahead to make a reservation. Stop in to enjoy beautiful art and delicious savory food offerings.

Native Mainer Sandra Leinonen Dunn is a prominent Maine artist. Her works are part of collections throughout the U.S, and abroad and she is represented by several galleries in Maine and Massachusetts. Using her intuitive sense of color, and her lyrical brushwork, Ms. Dunn creates paintings which express both her passion for beauty as well as her interest and respect for classical painting techniques. She shares, “ I am a traditional painter working mainly in oils. Painting for me is like mediation.  When I am working on a  subject, I am in my right brain where logic and words do not exist, and where the world becomes only nameless shapes and infinite shades of color. I want my paintings to contain a little bit of something beautiful  frozen in time. The only thing certain in this life is change. Through  painting, I can capture, (and hold onto) a moment, a bit of  light, a splash of vibrant color, which I can then share with others.” She has a studio at her home in Chelsea.

Susan Tilton Pecora N.W.S., was raised in Marblehead, Massachusetts. In this seashore community she grew to appreciate the quality of light and the intrinsic beauty of New England, painting the streets and seaports of New England since she was a child.  “I have been painting the harbors, farms and factory towns of New England since childhood.  I have made a living as an artist for over 40 years. I work in watercolor, egg tempera and oil.  My paintings begin with a pencil or ink sketch then a watercolor or underpainting in oil on location.  I finish the piece in my studio. New England is so beautiful and diverse.”Susan exhibits and sells her work through galleries and art associations throughout the country and is a signature member of The New England Watercolor Society (NWS).

Kimberly Skillin Traina is a graphic designer, photographer and pastel artist living in Edgecomb. Kim creates her pastel paintings utilizing the pure pigments of soft pastels and her fingers to layer many colors on top of an underpainting, creating depth and luminescence. Her work is a spiritual interpretation of nature, light and atmosphere. “Making art is how I make sense of, and honor, both my challenges and joys in this life,” said Traina. “I love being outdoors, observing and connecting with nature, creating in my studio, losing all sense of time and place. Whether I’m painting “plein-air” or from a photograph, the end result is always it’s own story, conveying my passion for this beautiful place I call home.”

The Grill is located at 155 Main St., Damariscotta. For more information, call 207-563-2992; find us on Facebook or check  www.damariscottarivergrill.com.

Alumni at Work: Jared Ash, Collection Development Librarian at The Metropolitan Museum of Art

Alumni at Work: Jared Ash, Collection Development Librarian at The Metropolitan Museum of Art

How family ties and a museum exhibition ignited a lifelong passion:
I started studying Russian in high school, after having studied French for many years. My family comes from different areas within the Pale of Settlement—what is now Belarus, and Austria or Poland—and I always enjoyed listening to the Russian language, even though it had been multiple generations since any of my relatives spoke it. My family had also been involved in Russian resettlement in our community in the 1980s, when waves of Soviet Jews fled to the US to escape anti-Semitism and persecution. I continued studying Russian in college and became increasingly interested in Russian art and culture. Freshman year, I saw an exhibition at the Guggenheim titled “The Great Utopia,” which celebrated art of the Russian avant-garde—a dynamic period from the 1910s to the 1920s, when you had these really brilliant artists, architects, poets, and others coming together to create completely new forms of art. After the Revolution, they were quite literally tasked with transforming their world and replacing all traces of Imperial Russia, and the more I learned about them, the more I wanted to learn.

Following a love of books all the way to the Met:
Since middle school, I’ve always loved gathering information and resources for research. I have really clear memories of thumbing through the card catalogs in my local and county libraries, and even some specialized indexes. I completed my undergraduate degree at Brown University, graduating with a double major in Russian Studies and Anthropology. I spent a semester abroad in St. Petersburg during my junior year, and knew that when I graduated, I wanted to do something Russian-related. I had pretty much accepted that that would likely mean working for a consulting firm in Moscow, even though I had minimal interest in that sphere of work.

After graduation, I went to see a Russian avant-garde photography exhibition at a gallery on the Upper East Side. I started asking the gallery director questions about the work, and she said, “Wait, you know this stuff?” I told her I had just written about the artists in my honors thesis, and I wound up getting offered a part-time job doing translation and cataloging for them. It had never occurred to me that a gallery specializing in Russian avant-garde books and photographs might even exist, or that I would ever actually be able to work with material that I was really passionate about. I stayed in the city and began to carve out a niche career doing cataloging and research for dealers and collectors who were buying and selling Russian avant-garde books, posters, and photographs, but didn’t speak or read Russian. That eventually led to an opportunity with the Judith Rothschild Foundation, where I got to serve as the curator of a major collection of Russian and Ukrainian avant-garde books that was donated to MOMA and featured in an exhibition there in 2002. I completed my Master’s degree in Russian Studies at NYU while I was working with the foundation, and then got an MLIS degree in library science at Rutgers University. I spent six years as Special Collections Curator and Librarian at the Newark Public Library in Newark, New Jersey, which I will forever love dearly, before joining the Met as a Slavic Language and Special Collections Librarian. That was nearly eleven years ago, and I’ve been in my current Met role a little over a year.

Arts on the Square Saturday

Arts on the Square Saturday
Jessie Fritsch creates encaustic paintings using molten beeswax, powdered pigments and resin.
Submitted Photo

Waupaca hosts lively, colorful activities

Three live-music stages, 40 juried fine-arts-and-crafts vendors, 10 art workshops, four art demonstrations, three dance performances and seven food trucks with a beer/wine tent.

Arts on the Square will bring a full day of activities to Waupaca from 10 a.m. to 4 p.m. Saturday, Aug. 19.

Hosted by the Waupaca Community Arts Board, the free annual event showcases professional artists and musical performers from throughout the state and beyond, filling the streets and areas surrounding downtown Waupaca’s City Square.

Artists

The festival’s Juried Fine Arts and Crafts Show features local and national artists, including ceramics, photography, painting, jewelry, encaustic painting, woodworking and more.

WCAB’s Art Show Jury and Judge Joye Moon will presenting four Awards of Excellence, the Parry Vaux Award and Best in Show at noon.

Waupaca’s pop-up Phantom Art Gallery will be featured this year, in Loot Vintage & Supply, 219 Jefferson St., offering the works of area artists for viewing and for sale.

Main Tent

The Arts on the Square Main Tent Stage opens two acts geared toward families – the Aber Suzuki Center Student performance, 10-11 a.m., and long-time, interactive children’s performer, Tom Pease from 11:15 a.m. to 12:15 p.m.

In the afternoon, Gin, Chocolate & Bottle Rockets take the stage from 12:30 p.m. to 1:30 p.m., with their blend of tight three-part harmonies and pop-rock songwriting.

Solo artist Amelia Ford appears from 1:45-3 p.m., mixing her soft soprano with raw grit as she performs more than 50 original alternative folk-rock songs.

From 3:15 to 4:30 p.m., The aTOMix Band from Wisconsin Rapids will fill the dance floor as they showcase their rocking three-part harmonies on hits from the ‘60s and ‘70s.

Jazz Stage

Arts on the Square also offers an indoor Jazz Stage at Union Street Emporium, 110 E. Union St., featuring two separate performances in the afternoon.

Daddio, a contemporary improvisational music group that plays jazz with the drive of rock and funk, performs from noon to 1:45 p.m.

Janet Planet, Wisconsin’s own, “voice of the new jazz culture with seemingly limitless expression,” according to Jazziz Magazine, takes the Jazz State from 2-4 p.m.

Bandstand

Vibhas Kendzia will perform Native American music on a Native American flute, 9:30 a.m. to 12:15 p.m., in the City Square Bandstand, as well as strolling throughout the venue.

From 12:30-3 p.m., Robin McDumphy will perform her live-loop violin expressions, using her octave pedal magic combined with looping layers to create the sound of a full orchestra.

Waupaca artist Jim Lang has been a long-time participant in Arts on the Square.
Submitted Photo

Workshops, Demonstrations

Free drop-in, interactive art workshops for all ages occur throughout the day in the Workshop Tent.

Workshops include dot painting, face painting, paper marbling, paper airplanes. soap carving, rock painting, “Shine” catchers, the Woven Together community art project, handsewn sachets, and Dungeons & Dragons character creation.

All-day demonstrations by professional artists will include glass blowing by Brady Looker, Aquatic Koi Painting by Ben Nendza, and Encaustic Painting by Ashley Ellis.

Dance Tent

Three local groups will perform in the Dance Tent throughout the day.

Waupaca’s Senior Center is bringing their Cardio Drumming squad for a high-energy 10-10:45 a.m. performance.

The Waupaca High School Varsity Dance Team performs 11-11:45 p.m.

Center for Living Well owner, Tammie Jo Berg, is offering a Tai Chi demonstration where audience members are encouraged to join in for healthful fun.

Food Trucks, Beverages

Seven food trucks will form a food court next to the Beverage Tent.

Food trucks attending the event are Aftershock Smokers, Diablo’s, Street Grub, Hmong Eggrolls, Cottontail Cotton Candy, Java Jive, and Moo’s Ice Cream.

The Beverage Tent will include beer and wine for sale this year, as well as non-alcoholic beverages.

For more details, go to WCAB’s website – Arts on the Square Schedule 2023.

Two new creations unveiled for Blackpool Illuminations

Two new creations unveiled for Blackpool Illuminations
Bruce Alfred Blackpool Illuminations displayBlackpool Council

Two new creations have been unveiled for Blackpool’s famous light show.

One of the displays at Blackpool Illuminations by a Native American artist follows last year’s replacement of a controversial “Wild West” tableaux.

The display was accused of reinforcing racial stereotypes.

Canadian Bruce Alfred of the Kwakwakaʼwakw tribe has designed a piece alongside Liverpool-born Dr Chila Kumari Singh Burman.

Blackpool Council said Mr Alfred, who specialises in Native American art, has created “an evocative design featuring hand-drawn images of eagles and Orca whales”.

The council added it was the first display to be designed by a north American artist and one of the first to be developed using 3D printing technology.

The tableau, which incorporates more than 13,000 programmable LED lamps is intended to be the first of a new series of tableaux entitled “Light Around The World” that will celebrate international cultures.

‘Ice-cream dream’

Merseyside-born Dr Burman has produced installations for the Tate Gallery and Covent Garden in London, as well as special commissions for film companies, including Netflix.

She said: “This is a dream come true. I visited the Illuminations from the age of five every year with my mum and dad, siblings and family from Punjab.

“This is my childhood gone full circle and I can’t believe it is happening. My late mum and dad would have been over the moon to see their ice cream van on a Blackpool Illuminations tableau.”

Dr Chila Kumari Singh Burman Blackpool Illuminations display

Blackpool Council

Councillor Lynn Williams, leader of Blackpool Council, said the new works were “truly stunning” and showed the “sheer scale of ambition as we continue to reinvent one of the UK’s most enduring tourist attractions”.

Jen Cleary of Arts Council England said: “It is exciting news that new installations are being designed by renowned artists Dr Chila Kumari Singh Burman, who is making a return to Blackpool, and Bruce Alfred.”

The Illuminations will be launched on 1 September for a four-month season.

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