TSAILE, AZ — Diné College celebrated its inaugural Native American Art Market June 9-11, a three-day event that featured the artistic works of approximately 43 pre-selected artists and musicians from the Navajo Nation and the wider Four Corners region.

The market, held at the heart of the Diné College campus, showcased a diverse range of Native artists, including experts in silverwork, basketry, textiles, moccasin-making, painting, pottery, woodwork, and sculpture.

The event aimed to highlight Diné College’s commitment to Native art and establish the College as a focal point for generations of Navajo artists in the region. With its resounding success, the market is set to become an annual tradition open to artists from all tribes.

In contrast to larger markets like the Southwest Association for Indian Arts Market in Santa Fe and the Heard Museum Guild Indian Fair & Market in Phoenix, the Diné College event offered a unique opportunity for visitors and artists of all ages to reconnect with their roots and engage in art transactions within a serene educational setting.

Diné College, nestled amidst a dramatic landscape, proved to be an inspirational center for many Native artists, fueling their creative vision and fostering a sense of community.

The Native American Art Market kicked off with a juried competition at the Ned Hatathli Museum, where local artists, college professors, and collectors evaluated the artworks on display. On the evening of June 9, a public reception honored the winners, who received hand-made sash ribbons adorned with silver Diné College pendants.

Crafted by Aaron Begay and Delia Wanueka, alumni from the Navajo Cultural Arts Program at the College, these one-of-a-kind award ribbons added a touch of distinction to the event.

The market’s success was made possible through the support of the Navajo Cultural Arts Program at Diné College, the College President’s Office, and an anonymous donor. The event was organized by Crystal Littleben, Program Manager of the Navajo Cultural Arts Program, and Nonabah Sam, adjunct faculty at the School of Arts & Humanities and museum curator at Diné College.

The highlight of the event was the announcement of the Best of Show winner, Tim Washburn, a renowned sculptor from Kirtland, New Mexico. Washburn, a member of the Diné tribe, is celebrated for his lifelike depictions of traditional Navajo warriors, mothers, children, and grandparents in stone and bronze.

His winning sculpture, titled “Looking Forward and Holding to Our Traditions,” depicted a Navajo grandmother in traditional attire alongside her young granddaughter, who carried a rag doll in one hand and a cell phone in the other. Washburn expressed his delight in being part of the Diné College Native American Art Market, praising the talent of the participating artists and stating, “This is Navajo country. The show can only move forward.”

In addition to Washburn, several other artists received first prizes and honorable mentions in their respective categories. Jennifer Curtis won in the Jewelry and Lapidary category, Myron Denetclaw excelled in 2-Dimensional Art, Penny Singer impressed with Weaving and Textiles, Darius M. Charley showcased expertise in Diverse Art Forms, and Leander Goldtooth’s Basketry stood out. The Honorable Mentions went to Cheyenne Grabiec (Jewelry and Lapidary), Bob Lansing (Pottery), Antoinette A. Thompson (2-Dimensional Art), Duwayne Chee, Sr. (Sculpture), Deborah Teller-Tsosie (Weaving and Textiles), Rain.

Marion Donnelly is excited to unveil the Pathway to Reconciliation.

“It’s just an incredible opportunity for us to do a visual representation of what does reconciliation mean, not to Indigenous people, but to all people. We are all treaty people. We all have a responsibility to be part of the efforts of reconciliation, to make sure that everybody.Is working together,” said Donnelly.

The project — a 2.4-metre-wide mural/foot path at the F.W. Hill Mall on the 1800 block of Scarth Street in Regina — is a collaboration between Creative City Centre and the Regina Downtown Business Improvement District.

Artists started on the mural on June 1 so that it would be completed in time for National Indigenous People’s Day on June 21, when an opening ceremony will be incorporated in the day’s events at Victoria Park.

Donnelly, the founder of the Creative City Centre, said she was happy to partner on this project as the centre has always been interested in engaging the public in art downtown.

Once Donnelly heard it was going to be on Scarth Street, she knew it had to be a reconciliation project involving Indigenous artists, Elders and cultural advisors to make sure it was done properly.

“We will be putting up signage that explains what the significance is of the work that is being done. You know there are going to be flower motifs, they’re going to be bones. There’s going to be things that have cultural significance to Indigenous culture,” said Donnelly.

Two lead Indigenous artists designed and directed the project, with many volunteers helping paint and stencil the path.

Brandy Jones is one of the lead artists. She is an Inuvialuit and Gwitch’in artist from Williams Lake, B.C., but moved to Regina when she was 12 years old.

Jones’s work is a mixture of native arts, with bright colours representing every Indigenous nation. She said she is excited to be a part of a project that has her working in the community.

“I absolutely love it because I always say my job is 80 per cent about community and 20 per cent about the art. So any time that I can be out in my community and just making those connections and relationships with people is the best day for me,” said Jones while taking a break from painting the mural.

Geanna Dunbar, a Cree-Métis multi-disciplinary artist from Regina, is the second lead artist.

Dunbar’s work includes spoken word and body modification, including body piercing, skin branding, and tattooing using both modern techniques and traditional practices like Plains Cree skin stitching.

Jones and Dunbar decided to use beadwork as a visual motif for the piece, because it would allow them to represent different nations.

They mapped it out row by row, made chalk outlines and then, with the help of volunteers, started painting. Dunbar estimated that the final piece would feature hundreds of rows and thousands of paints “beads.”

“It’s going to be a very large project. I just want to see people be excited. I want to see people interact. I want to see people have conversations during it,” said Dunbar.

Signs along the fence surrounding the project as the work was underway explained what was going on and who the artists are, to spark conversations about the mural.

Elder Brenda Dubois was also at the site. She smudged before each day to set good intentions for the mural and bring her cultural knowledge to the project.

Everyone is welcome to the opening ceremony for the mural on June 21, during the annual National Indigenous People’s Day Celebrations.

WASHINGTON – Native American artists say they continue to struggle with the theft of their work, and tribal leaders are urging Congress to strengthen the Indian Arts and Crafts Act.

IACA was passed in 1990 to prohibit any advertisement and all sales of counterfeit Indian arts and crafts. Choctaw Nation artist D.G. Smalling says the act must adapt to the new ways of buying and selling art through online sales.

“We have just a very different kind of engagement with intellectual property now,” Smalling said. “This is why my principal attorney is an expert in intellectual property. It is to defend what I create and to defend what is mine.”

Cherokee Nation Chief Chuck Hoskin Jr. urged Congress to strengthen the IACA during the Cherokee Days in Washington, D.C., this spring. He is working with members of Congress on a proposed the Amendments to Respect Traditional Indigenous Skill and Talent – or ARTIST – Act of 2023.

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“We haven’t engaged the delegation just yet,” Hoskin said. “We will be setting up some opportunities to visit with them. The Senate Committee on Indian Affairs is where this matter sits at the moment. The chair of that committee is Chairman (Brian) Schatz of Hawaii and he and ranking member Sen. (Lisa) Murkowski have asked for input on the ARTIST Act, so that is the particular forum through which we are channeling our advocacy.”

The proposed legislation would increase and expand protections on Indian arts and crafts, as well as enforce stricter punishments for those who are selling or making counterfeit goods which could lead to being arrested for the crimes. These counterfeit items are often recreated by non-Indian artists or printed off and seen on portraits, shirts, mugs, online shops and many other places throughout the world.

“The law must be changed in order to protect actual Cherokee artists, artisans, and craftspeople – those who are citizens of one of the three federally-recognized Cherokee tribes – and ensure their arts and crafts are the only works permitted to be presented as Cherokee,” Hoskin wrote in a March 29 letter to the Senate Indian Affairs Committee.

Smalling is supportive of Hoskin and other tribal leaders as they push for change.

“They are asking that the law and the act can be adapted for our time and we need to cover all things that are digital, all things that are traditional and analog and we need to have a much more robust set of laws that can then be used to act against those who are chronic violators who profit off of theft,” Smalling said.

“I stand 100% with Chief Hoskin and the other tribal leaders who are seeking to defend our right to our own identity on our own terms.”

–Cronkite News is partnering with Gaylord News, a reporting project of the University of Oklahoma Gaylord College of Journalism and Mass Communications, to expand coverage of Indigenous communities.

Zachary Gibson is a Tribune-Review staff writer. You can contact Zachary by email at zgibson@triblive.com or via Twitter .

A Ketchikan man agreed to plead guilty this month to federal charges in conjunction with a long-running scheme to sell fake Alaska Native souvenirs manufactured in the Philippines.

Travis Lee Macaset’s plea deal follows several other guilty pleas this summer that stem from a scheme to sell mislabeled products from two businesses in Ketchikan. 

“It occurs more often than we would like,” said Jack Schmidt, the assistant U.S. Attorney who prosecuted the cases.

With tourism rebounding from the COVID-19 pandemic, so is the market for souvenirs. In the shops along the Southeast Alaska waterfront, authentic Alaska-made items sell for many times the cost of mass-manufactured ones created overseas, and the threat of fake products appears to be growing.

“The temptation is always there,” Schmidt said.

In the United States, souvenirs sold as authentic products of tribes or tribal members and identified as coming from American Indians and Alaska Natives are specifically protected under the federal Indian Arts and Crafts Act.

That law makes it illegal to market and sell artwork falsely labeled as created by an Alaska Native or a Native tribe. The act is enforced by the federal Indian Arts and Crafts Board, which collects complaints and investigates violations.

Breaking that law might seem like a minor crime, said attorney Jacob Adams, but the long-term consequences are large.

“Allowing non-genuine products like that to be out there in the market, and essentially take over a lot of areas, it makes the environment that much more difficult for Indigenous craftspeople to live off of their culture, and that causes many follow-on effects,” Adams said.

“If people are unable to make use of their culture, to live off their culture … then it disincentivizes upcoming generations to pick up those crafts,” he said.

Three years ago, Adams represented Sealaska Heritage Institute, a Southeast Alaska Native cultural group, and several other plaintiffs in a lawsuit against Neiman Marcus, the luxury retailer. At the time, Neiman Marcus was selling a “Ravenstail” coat that the plaintiffs said was the copyrighted work of a Native weaver.

The parties later settled the suit with an undisclosed agreement.

Statistics for the scale of the problem are hard to come by, Adams and others said.

In 2011, the federal Government Accountability Office concluded that it was impossible to gauge the size of the illegal market with available data but noted that of 649 complaints filed with the Indian Arts and Crafts Board between 2006 and 2010, almost a quarter involved apparent violations of federal law.

Anecdotally, officials and artists pointed to the number of prosecutions and actions against the sellers of fake products as a demonstration of both the problem and actions being taken to combat it via the Indian Arts and Crafts Act.

“To a great extent, for the most part, we’re seeing more of its use both in the private and the criminal side in recent years, in the past decade or so,” Adams said, referring to the law.

This spring, the U.S. Attorney’s office in Seattle prosecuted a man who sold fake American Indian and Alaska Native artwork at Pike’s Place Market.

Two years ago, the attorney’s office in Alaska prosecuted the former owner of the Arctic Treasures gift shop in Anchorage. Seven years ago, four shops were charged by federal prosecutors.

Fines for violations of the Indian Arts and Crafts Act are common, but jail time remains rare, Tribal Business News reported in 2021.

The arts board operates a special investigations unit, Schmidt said, with one investigator based out of Juneau and another out of Anchorage.

“There’s a lot of potential for fraud out there,” Schmidt said.

The state of Alaska also investigates complaints via its consumer protection unit and in 2022 filed a civil lawsuit against the owners of an Anchorage business, accusing them of shipping Alaska-bought bones and antlers to the Philippines before turning them into knives and other products there.

At the start of this year’s tourist season, the Department of Law sent a warning letter to 44 tourism businesses, warning them not to remove foreign country markings from souvenirs.

“In the past, CPU has received information indicating that some businesses serving the tourist market may be removing foreign country of origin markings from products, which confuses or misleads consumers into believing that the products were made in Alaska,” the letter said in part.

Patty Sullivan, an attorney and spokesperson for the department, said that the letters weren’t intended to target particular businesses and aren’t a sign that the state believes those businesses are doing something wrong.

“These are stores that we believe serve the tourist market. There have been allegations that this conduct is happening in stores that serve the tourist market. We may send a second round of letters to additional shops in the future,” she said.

Adams said the issue is worth continued attention.

“Many people would think this discussion is trivial, but it’s actually essential to the identity of Indigenous groups,” Adams said.

“If we are going to support not only the Indigenous people but also celebrate the idea of diversity, we have to protect and secure these types of valuable pieces of identity,” he said.

DJ sets, poetry readings, art-making opportunities, and more:Summer Social is an event series that invites you to partake in artist-designed programs at the Walker Art Center. 

Co-created with over a dozen local artists and community partners, these weekly Free Thursday Night activities at the Walker extend beyond the museum walls and onto the hillside for summer evenings that are sure to delight and inspire, reminding us all how great it is to be together.

Summer Social features experiences such as James Beard Award–-winning chef Justin Sutherland cooking custom bites after an artist talk, a reading curated by All My Relations Arts’ Native Author Program (one of three poetry readings this summer), and inspired activities developed by numerous Filipinx community organizations. The series concludes with the annual Sounds for Silents program that combines live music and silent films for a one-of-a-kind concert from this year’s musician, Papa Mbye. 

Between the fresh air, free gallery admission, and refreshments available to order fromCardamom’s menu, there’s something for everyone at the Walker this summer! 

Explore the full lineup below or atwalkerart.org/summersocial.

Green Roof Poetry: Curated by All My Relations Arts’ Native Author Program

June 22, 6 pm

Green Roof Poetry invites several of the Twin Cities’ most dynamic writers for an evening of readings on the Walker’s hillside. All My Relations Arts’ Native Authors Program will curate a lively lineup of writers and mentors.

Community Opening: Kahlil Robert Irving  

June 29, 6 pm

Celebrate Kahlil Robert Irving’s Archaeology of the Present exhibition with a dynamic conversation between the artist,creative consultant Jerald Cooper (@hoodmidcenturymodern), and writer and curator Antwaun Sargent. Following the talk, enjoy conversation and small bites by James Beard Award–winning Chef Justin Sutherland (Handsome Hog, Iron Chef winner, Top Chef alum).

What’s in Your Crate: Curated by Yasmeenah  

July 6, 6 pm

Multidisciplinary artist and DJ Yasmeenah invites local DJs to get to know each other through their respective music collections. She shares: “I’m looking forward to people getting to know some of the Twin Cities most exciting DJs in a more intimate way.” The artists will spin songs in response to questions and conversation. What song would they play if they were stuck on an island? What song is their favorite but doesn’t translate well on the dance floor? As the evening gives way to dusk, we’ll get to know these DJs and their relationship to music. 

To Green Roof Poetry: Homage to Hip Hop curated by Tish Jones  

July 13, 6 pm

Poet, narrative strategist, educator, and cultural producer Tish Jones has a deep and resounding love for Black people, arts and culture, youth development, and civic engagement. Join us for an evening celebrating 50 years of hip hop, from its signature beats to the community it fosters.

Place + Making: July 2023

July 20, 6 pm

Mutual care, history, interconnectedness, and resilience are but a few of the many things we can learn from plants and the places we are rooted within. Participate in plant tours throughout the evening and get creative with the artist-led artmaking station.

Buhay Na Buhay: Curated by the MN Filipinx Community

July 27, 5 pm

The hillside will be so alive – “Buhay Na Buhay” – as Filipinx community organizations come together to curate a night of inspiring activities. The event celebratesPacita Abad’s work and the rich community in Minnesota through performance, art, and togetherness. The Cultural Society of Filipino Americans, Filipinx for Immigrant Rights & Racial Justice Minnesota, and the Philippine Study Group of Minnesota are just a few of the organizations curating the evening.

Green Roof Poetry: Curated by Danez Smith

August 3, 6 pm

Award-winning poet, writer, and performer Danez Smith is the author of three poetry collections, including Homie and Don’t Call Us Dead. Bring your blanket and relax for an evening of fresh-air readings by writers Farah, Isha Camara, Arleta Little, and Tish Jones, as curated for what Smith is proclaiming “an Official Unofficial Birthday Reading” in celebration of their 34^th birthday.

Place + Making: August 2023

August 10, 6 pm

Find inspiration in the natural world while exploring the native plants found around the Walker campus and the Minneapolis Sculpture Garden. Participate in plant tours throughout the evening and get creative with the artist-led artmaking station.

Sound for Silents 2023: Film + Music on the Walker Hillside 

August 17, 7 pm

Annual favorite Sound for Silents pairs electrifying live music with films from the Walker’s Ruben/Bentson Moving Image Collection. The event features a newly commissioned score from musician and visual artist Papa Mbye and his collaborators, including Symbioscia and Zak Khan.

Arrive early for a DJ set by Diane Miller from The Current’s Local Show.

To learn more: Visit walkerart.org/summersocial. See all summer programming atwalkerart.org/summer. 

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The cruise vessel with approximately 1,000 guests had anchored off Nome, too huge to squeeze into the tiny port of tundra city. Its tourists reportedly had to shimmy into significantly small boats for yet another ride to the shore.

It was 2016, and at the time, the cruise vessel Serenity was the greatest vessel to sail via the Northwest Passage.

However, as the ice of the Arctic Sea relents under the pressure of global warming and opens up the shipping lanes across the top of the world, many more tourists are venturing toward Nome — a northwest Alaska destination popular more for the Iditarod Trail Sled Dog Race and the 1898 gold rush compared to luxury travel.

The problem continues: There is no place to park the big boats. While smaller cruise vessels are capable of docking, officials mention that half of the dozen reaching this year will anchor offshore.

That is likely to transform into a $600 million+ expansion making Nome, with a population of 3,500, the nation’s first-ever deep-water Arctic port. The expansion, likely to be operational by the decade’s end, will be able to accommodate not larger cruise vessels of up to 4,000 guests but cargo vessels to deliver additional items for 60 Alaska Native villages in the region and military vessels to counter the presence of both Chinese and Russian vessels in the Arctic.

The prospect excites business owners and relevant officials in Nome. Still, it does concern others who are worried about the effect of additional tourists as well as vessel traffic on the environment and all the animals Alaska Natives are dependent on for subsistence.

The expansion aims to support the local economy and local and indigenous artists who have access to visitors and teach and share their culture and language and how they make beautiful art, stated Alice Bioff, an Inupiaq resident based in Nome.

Bioff, a tour guide, greeted the Serenity’s passengers as they returned in 2016. One of the guests admired her kuspuk, a traditional Alaska Native garment that she was wearing. A kuspuk is similar to a smock. The guest wanted to know if what she was wearing was water-resistant. It was not.

However, the interaction inspired Bioff to create her line of waterproof jackets similar to the kuspuks. She sells to locals and tourists alike from her Naataq Gear gift store, a retail spot in the post office building, where nearly 20 Alaska Native artists also offer beadwork, ivory carvings, or paintings via consignment.

Studies reflect that cruise ship passengers generally spend nearly $100 daily in Nome, Glenn Steckman, the city manager, said.

With the expansion, he has been hoping that guests on larger cruise vessels will extend their stay to experience more of the tundra and Nome, view its wild musk ox or sip a nice drink at its Board of Trade Saloon, which is 123 years old.

Climate change has made this possible.

Nome, discovered after gold had been found in 1898, has seen six of the ten warmest winters on record in this century alone. The Bering Strait shipping lanes have gotten busier since 2009.

On average, the Bering Sea ice typically reaches Nome around late November/December, two to three weeks later than it used to be 50 years ago, explained Rick Thoman, a climate expert associated with the International Arctic Research Center at the University of Alaska Fairbanks.

Back in 2019, mushers in the Iditarod, who typically drive dog teams on the Bering Sea ice to the finish line in Nome, were compelled onto the beach due to open water. The ice season tends to get shorter, Thoman mentioned.

The existing port causeway was executed in the mid-1980s. The expansion will likely be done in three phases and double its size. The first part is funded by $250 million in federal infrastructure money, with an additional $175 million from the Alaska Legislature. The fieldwork is also likely to begin in 2023.

Currently, three vessels can dock simultaneously; the expanded dock can accommodate seven to 10 such ships.

Employees will dredge a new basin that is 40 feet deep, permitting large cruise vessels, cargo vessels, and all U.S. military ships except only the aircraft carriers to dock, Joy Baker, the Port Director, informed.

The expanded port is expected to become the centrepiece of the strategic infrastructure of the U.S. in the Arctic. The military has been building up its resources in Alaska, strategically placing its fighter jets at bases in Fairbanks and Anchorage, setting up a brand new Army airborne division based in Alaska, training its soldiers for cold-weather conflicts, and has missile defence abilities.

The northern seas near Alaska are starting to get more crowded. A U.S. Coast Guard patrol board has faced seven Russian and Chinese naval vessels cooperating in an exercise in 2022 approximately 86 miles north of Kiska Island, Alaska.
In 2021, coast guard vessels encountered Chinese vessels almost 50 miles off Alaska’s Aleutian Islands.

Last year, Jens Stoltenberg, NATO’s Secretary General, warned that China and Russia have pledged to extend their cooperation in the Arctic. This strategic collaboration challenges its values as well as interests.

However, the prospect of Nome wanting to welcome more tourists and increased military presence bothers some residents. An Inupiaq native, Austin Ahmasuk, said that the port’s first construction had displaced an area conventionally used for fishing or subsistence hunting, and the expansion would not help.

References: ABC News, Military Times, stltoday

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