Our blog tracks Jose Arguelles' Dreamspell Calendar. "As chaos and confusion rise, galactic consciousness based on the Law of Time serves as planetary medicine, lifting us into the awareness that we exist within a higher, more expanded realm of existence than the world of third-dimensional form and appearance. Daily practice will elevate consciousness and increase experiences of synchronicity." (Arguelles)
Margaret Gutierrez (born 1936) and Luther Gutierrez (1911–1987) were brother and sister Native American potters from Santa Clara Pueblo, New Mexico, United States. They continued the polychrome style of painting made famous by their parents Lela and Van Gutierrez. They learned the art from their parents and began making pottery together in the 1960's.
Margaret and Luther’s painted slips included unique color combinations. Their first creations included polychrome bowls, jars and wedding vases with designs centered on the Avanyu (water serpent), rain, clouds and lightning and sky bands. In the 1970's they came up with their original idea of making polychrome caricatures of animals and other smaller figurines rather than the jars made famous by their parents. These were painted with the same slips and pigments used on earlier pieces.
Margaret and Luther participated in the Seven Families in Pueblo Pottery exhibition at the Maxwell Museum of Anthropology, University of New Mexico in 1974, and the Popovi Da Studio of Indian Arts, gallery show in Santa Fe in 1976.
After Luther died Margaret continued to make pottery with the assistance of Luther’s daughter Pauline but Pauline died shortly thereafter. Margaret now works with her great-niece Stephanie Naranjo. Today, the manufacture of famous multicolored polychrome is waning. Luther’s son Paul and his wife Dorothy make blackware mudhead figures and animalitos (small animals) in large quantities.*
Give Away Horses dress (2006) created by Fogarty & her mother, Joyce. In the collection of the National Museum of the American Indian.
Juanita Growing Thunder Fogarty (born 1969) is an Assiniboine Sioux bead worker and porcupine quill worker, who creates traditional Northern Plains regalia.
Background
Juanita Growing Thunder Fogarty was born in Castro Valley, California in 1969; however, her family comes from the Fort Peck Indian Reservation, where Juanita spent much of her childhood.
Her mother, Joyce Growing Thunder Fogarty, is also an acclaimed bead and quill artist and the only artist to have won best of show three times at the Santa Fe Indian Market. Both artists come from a long line of Plains Indians bead workers. Juanita learned skills from her mother and has been beading since the age of three.
Artwork
Fogarty creates traditional Plains clothing and accessories, such as purses, pipe bags, dolls, cradle boards, rifle scabbards, and knife cases – all adorned with beadwork or porcupine quill embroidery.
Her quillwork is labor-intensive. She gathers her own quills from freshly killed porcupines, then washes and dyes them. She uses both synthetic and natural dyes, such as bloodroot, blackberries, and wolf moss. Sorting the quills by color and size is the lengthiest step in the process. The quills are then softened in a bath of warm water, and Fogarty flattens them with her own teeth. She then appliqués or wraps the quills to moose or deer hide to create intricate patterns.
The designs of her artwork are both abstract and realistic and are based on nature, daily life, and the mythology of her tribes. She says that traditional designs of her tribe would, "reflect what the people saw, and what they had going on in their lives at the time ... maybe somebody in their family had gone to war or battle."
Fogarty has won best of class four times at the Santa Fe Indian Market. She also dances at powwows in regalia created by her family over the course of seven years. Today she lives in North San Juan, California.*
By adopting a crystal for personal use, the crystalline frequencies can be absorbed by our psycho-sensory system while our brain waves and bio-psychic radiation are received and stored by the crystal.*
*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.
Teri Greeves (born 1970) is an award-winning Kiowa beadwork artist, living in Santa Fe, New Mexico. She is enrolled in the Kiowa Indian Tribe of Oklahoma.
Background
Teri Greeves was born on the Wind River Reservation in Wyoming in 1970 and is of Italian-American and Comanche descent. Her mother, Jeri Ah-be-hill, owned a trading post on the reservation, while Greeves was growing up. "By repeating to customers what I heard her saying when she was selling to and educating the public," Teri says, "I unknowingly gained a broad knowledge of different beadwork from tribes around the US." Greeves took up beadwork at the age of eight. Although she is primarily self-taught, she also received instruction from Zeedora Enos (Shoshone) and Calvin Magpie (Cheyenne). Greeves attended the University of California, Santa Cruz, where she earned her Bachelor of Arts degree in American Studies in 1995. She has also studied at St. John's College in 1988 and Cabrillo College in 1993.
Artwork
Greeves employs a variety of beadwork techniques in her art. She uses a loom for beaded bracelets. Her larger pictorial work involved beads stitched onto brain-tanned deerhide, which she often mounts onto wood or other structures. For instance, she beaded a parade scene onto hide stretched onto an antique umbrella in her piece that won Best of Show in the 1999 Santa Fe Indian Market. She strives to portray Kiowa realities and oral history, her own life experiences, and pop imagery. She is widely known for her fully beaded tennis shoes, which feature pictorial elements on solid, lane-stitched backgrounds. Her humor is evident throughout her work.
Reflecting on her tribal history, Greeves said, "A long time ago, a Kiowa woman brought beadwork to her Kiowa people. She was compelled to express herself and her experience as a Kiowa woman of her day. My grandmother was a beadworker. She too was compelled to bead/express herself and her experience as a Kiowa living during her time. ... I must express myself and my experience as a twenty-first-century Kiowa, and I do it, like all of those unknown artists before me, through beadwork."
Honors
Her beadwork and dedication to furthering Native American art has earned Greeves innumerable awards and honors. Greeves won Best of Show at the 1999 Santa Fe Indian Market and has since won many more awards at the Heard Museum, Indian Market, and Eight Northern Pueblos Arts and Crafts Show. She was awarded the Eric and Barbara Dobkin Fellowship from the School of American Research in 2003. Her work is found in such public collections as British Museum, Heard Museum, Montclair Art Museum, the Museum of Arts and Design, the Brooklyn Museum, the Denver Art Museum, the Haffenreffer Museum of Anthropology, the Hampton University Museum, the Heard Museum, the Joselyn Museum, the School of American Research, the National Museum of the American Indian, the New Mexico Museum of Art, the Sequoyah National Research Center in Little Rock, Arkansas, and the Museum of Indian Arts and Culture.
Writing
Greeves is a regular contributing writer to First American Art Magazine.
Personal
Teri Greeves is married to Dennis Esquivel, an Odawa-Ojibwe painter and woodworker enrolled in the Grand Traverse Band of Ottawa and Chippewa Indians. They have two sons. Teri's sister, Keri Ataumbi, is a noted jeweler, painter, and conceptual artist. Greeves frequently travels back to Oklahoma to maintain a close connection to her Kiowa relatives and friends.
Selected exhibitions
2016 Sherry Leedy Contemporary Art Gallery, Kansas City, MO: Back Where They Came From
2014 Crystal Bridges Museum, Bentonville, AR: State of the Art
2013 New Mexico Museum of Art, Santa Fe, NM: Alcoves 12.9
2011 Brooklyn Museum, Brooklyn, NY: Tipi: Heritage of the Great Plains
2011 O’Kane Gallery, University of Houston, Houston, TX: Storied Beads: The Art of Teri Greeves
Dorothy Grant CM is both designer and founder of the following fashion lines: Feastwear, Dorothy Grant, and Red Raven. Her high-end products have gained public recognition as expressions of living Haida culture.
Biography
Early life
Grant was born in Hydaburg, Alaska, but was raised in Ketchikan. She is a Kaigani Haida of the Raven Clan from the Brown Bear house of Howkan. Her family crests include Two-Finned Killer Whale, Shark, Berry Picker in the Moon, and Brown Bear. Grant attended the Helen Lefeaux School of Fashion Design in 1987.
Professional development
Grant broke onto the scene in the early 1980s when she began sketching Haida artwork onto clothing. Grant's first collection was debuted in 1989 and featured 55 pieces. About the collection's debut, Grant has said, "It had a big impact because nobody was doing it at the time". Lisa Tant noted in her article "Dorothy Grant's Haida Couture", for BC Woman, that Grant was the first "Aboriginal designer to combine traditional Haida ceremonial dress with contemporary fashion." For example, some of her pieces utilize the tapering lines of the Haida ceremonial copper, notably its central T-ridge. Indeed, Grant has gained international acclaim for producing garments that infuse myth with fabric and for using fashion to share Canadian Northwest culture with a broader audience. This event brought much demand for Grant's work, "I just remember being so busy for several months after that with people coming and wanting to order things". In 1994, the Dorothy Grant Boutique opened at the Sinclair Centre in Vancouver, BC.
Grant's critics have accused her of "going commercial", however Grant refutes such claims, arguing that if fashion products are produced with a "certain finesse that represents Haida culture and Canada, I don't think that's a sell-out. I think that's a positive step toward creating an employment for Native people and a national identity."
By 1999, after five successful years in retail, Grant was granted the National Aboriginal Achievement Award, now the Indspire Awards in recognition of her successful venture, the First Nations Drum, Canada's largest First Nation's newspaper. Grant closed her retail store in 2008 and moved into a studio in Vancouver’s SOMA District.
Grant continues to be recognized for both her artistic talent and business skill. In 2003, the Asper Business Institute named Grant “Business Woman of the Year.” Six years later, B.C. Aboriginal Business Awards awarded Grant the “Individual Achievement Award.”
Notable clients include Robin Williams, Marie Osmond, and Susan Aglukark.
Collector recognition
In addition to clothing North American dignitaries and celebrities, Grant’s detailed garments are available for public viewing in 13 museums from Canada to the United Kingdom.
The Canadian Museum of Civilization in Ottawa purchased, “Raven Creation Tunic,” a garment depicting a Raven myth, and “Hummingbird Copper Panel Dress” for their permanent collection. Also available for public viewing in Ottawa, ON, is Grant’s “Seven Raven Button Blanket,” part of the permanent exhibit at the National Gallery of Canada. Further west, the Museum of Anthropology in Vancouver, BC, holds Grant’s “Raven Greatcoat."
Other notable museum displays include: “Raven Cape,” Vancouver Museum in Vancouver, BC; “Supernatural Frog Button Robe,” in DeYoung Museum in San Francisco, CA; “Raven Coat,” formerly displayed by the Seattle Art Museum in Seattle, WA; “Shark Blanket,” in Burke Museum in Seattle, WA; “Raven Chilkat Robe,” in the Natural History Museum in New York NY; “Raven Button Robe” in the Liverpool World Museum in Liverpool, UK.
In 2016, Grant designed a tuxedo for The Revenant's Duane Howard to wear to the Oscars.
Product lines
Dorothy Grant, Grant’s designer label, offers men and women’s clothing in fabrics like cashmere, silk, wool, and leather. Products range from gowns and tuxedos to skirts and collared shirts.
While her designer label work has gained recognition by Hollywood and collectors alike, she launched Red Raven in 2010 in conjunction with the 2010 Winter Olympics in Vancouver, BC. Items in the Red Raven target a broader audience, ranging from $30.00 - 300.00. Grant designed this line specifically for "everyday wear."
Awards and honors
Royal Canadian Academy of Arts
Member of the Order of Canada.
Best Professional Design Award
Winds of Change design competition – “Best Designer” award
Voted One of 100 Most Influential Women in British Columbia by Vancouver Sun Newspaper
BC Achievement Award for Individual Lifetime Achievement Award in Business
“A Single Thread: Celebrating Native American Indian Design & Style” design award
Dobkin Fellowship
Royal Canadian Academy Prestigious Award for the Arts
Asper Business Institute – “Business Woman of the Year” award
National Aboriginal Achievement Business Award
Winds of Change design competition – “Best Designer” award
National Aboriginal Achievement Award (now the Indspire Awards)
Asper Business Institute “Business Woman of the Year”*
Gouyen (in Mescalero Góyą́ń, "the one who is wise") (c. 1857-1903), was a 19th-century Apache woman noted for her heroism.
Early life and education
Góyą́ń (Gouyen) was born circa 1857 into Chief Victorio's Warm Springs Apache or Chihenne band of Chiricahua Apache. She married as a young woman.
Vendetta against the Comanche
Gouyen's first husband was killed in a Comanche raid in the 1870s. She took heroic actions to avenge his death, which have become legendary in Apache oral history. She tracked to his camp the Comanche chief who scalped her husband. There she found the chief watching a victory dance around a bonfire, and he was wearing her husband's scalp from his belt.
Gouyen donned a buckskin puberty ceremony dress and slipped into the circle of dancers. She seduced the drunken chief to go with her to a secluded spot. After a struggle, she stabbed the Comanche to death with his own knife, scalped him, and took his beaded breechcloth and moccasins. Stealing a horse, Gouyen rode back to her camp. She presented her in-laws with the Comanche leader's scalp and clothing as evidence of her triumphant revenge
Battle of Tres Castillos Gouyen was a member of Victorio's band during their final days evading U.S. and Mexican troops along the U.S.-Mexican border. On October 14, 1880, the group was resting at Tres Castillos, Mexico when they were surrounded and attacked by Mexican soldiers. Victorio and 77 other Apache were killed, and several taken prisoner. Only 17 Apache escaped, including Gouyen and her young son Kaywaykla. Her infant daughter was said to have been killed in the attack. Later life Gouyen married a second time, to an Apache warrior named Kaytennae. He also escaped during the Battle of Tres Castillos. Afterward, Kaytennae was a member of Nana and Geronimo's band during the early 1880s. He and Gouyen escaped with Geronimo from the San Carlos Reservation in 1883.
During their maneuvers to evade capture, Gouyen saved Kaytennae's life by killing a man who was trying to ambush him. In 1886, Gouyen and her family were taken prisoner by the U.S. Army, along with others in Geronimo's band. They were held as prisoners of war at Fort Sill, Oklahoma, where she died in 1903.* *https://en.wikipedia.org/wiki/Gouyen
ETZNAB
Kin 218: White Planetary Mirror
I perfect in order to reflect
Producing order
I seal the matrix of endlessness
With the planetary tone of manifestation
I am guided by the power of death.
I am a galactic activation portal
Enter me.
The origin of the CM108X contains the keys of knowledge pertaining to the science of our arrival on this particular star system.*
*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.
Rose Cata Gonzales (1900-1989) was born in San Juan Pueblo in the U.S. state of New Mexico. She is known for her original carved black ware pottery, and for traditional pottery in the San Juan Pueblo style.
Biography and artistic career
When she was very young, her parents died during a swine flu epidemic.[2] She and her sister Pomasen were left orphans and lived with a relative, Mary Cata. In 1920 Gonzales married Robert Gonzales and, along with her sister, moved to his native pueblo of San Ildefonso.
It was her mother-in-law, Ramona Sanchez Gonzales, who taught Gonzales how to make pottery.[2] She learned the methods of black-on-black, polished black ware and black-on-red. By 1930 she began to create very refined and highly polished, black ware and red ware. The fine red ware she made came from her home tradition of San Juan Pueblo.
In 1930 she also began her innovative process of deep carved pottery. Her carved black ware pottery was an original creation. She credits a shard of carved pottery that was found by her husband while deer hunting for giving her the idea. Using a sharp knife and a chisel she would carve out her designs. She carefully sanded her edges to create a “cameo” style with the design standing out in low relief. She would then sand the edges of her design to create more rounded forms. She used an old-style yucca brush when adding painted designs to her pieces. Some of her favorite designs were the Avanyu (water serpent), birds, clouds, seeds uncurling, thunderbird (mythology) figures and kiva steps.
When firing she used juniper wood and cow dung, placing the pots upside down on a metal grate to allow the flames to swirl evenly around them. She would often fire up to twenty pots at a time.
During the 1930s and 40s she traded these innovative pots for food, allowing her to feed her large family. By the 1970s she had received numerous awards from the Santa Fe Indian Market, the Gallup Intertribal Ceremonial and had become a well-known and successful potter.
Gonzales taught her son Tse-Pe to make pottery along with his wife Dora and their daughter Irene. Gonzales and Tse-Pe sometimes worked together, especially when creating pottery in duotones (two shades of the same color). While Tse-Pe also carves pottery he prefers sgraffito, which is carving designs in low relief.
Gonzales had a major influence on pottery making at San Ildefonso, and today her pieces have become highly valued by collectors. She died in 1989.*
Elaine Fleming was mayor of Cass Lake, Minnesota, a position to which she was elected in 2003. Cass Lake—officially a city, but with a population under 1000—is located within the reservation boundaries of the Leech Lake Band of Ojibwe. She is a professor at Leech Lake Tribal College and the first Native American mayor of Cass Lake; she is aligned with the Green Party of Minnesota and is one of the organizers of Rock the Vote - Rez Style.
Cass Lake is a Superfund site, as a result of chemical dumping by the St. Regis Paper Company. Fleming has characterized St. Regis' activities as "environmental racism", which, in turn she has characterized as "terrorism in our communities". Fleming was elected mayor for her first term by seven votes. Fleming was elected mayor for a second term as a write-in campaign. As of 2006, Fleming is serving her second and last term as Mayor of Cass Lake, Minnesota.*
Elaine is an enrolled member of the Leech Lake Nation who lives in Cass Lake, Minnesota. Her parents are Simon and Dorothy Howard. Raised in Cass Lake, Elaine followed the annual rounds of the Ojibwe with her family. As a child, she was introduced to the spring’s sugar bush, summer’s berry picking and gardening, fall’s wild ricing, and winter’s storytelling. In addition, her family has always followed the powwow trail, and made their own regalia.
Elaine spent ten years in the U.S. Army where she completed her baccalaureate degree with a major in history. She attained her Master of Fine Arts degree in 2003 and a Master of Education degree in 1998. She currently chairs the Arts and Humanities Department and teaches at Leech Lake Tribal College.
In her personal life, Elaine is an Ojibwe storyteller and jingle dress dancer. She is also known as the first female, Native American mayor in the state of Minnesota. Her most important role in life is as a mother of three children and grandmother of two.*
Fidelia Ann Hoscott Smith Fielding (1827–1908), also known as Dji'ts Bud dnaca ("Flying Bird"), was the daughter of Bartholomew Valentine Smith (c. 1811-1843) and Sarah A. Wyyougs (1804-1868), and granddaughter of Martha Shantup Uncas (1761-1859).
She married Mohegan mariner William H. Fielding (1811-1843), and they lived in one of the last "tribe houses," a reservation-era log cabin dwelling. She was known to be an independent-minded woman who was well-versed in tribal traditions, and who continued to speak the traditional Mohegan Pequot language during her elder years.
Mohegan Language
Fidelia insisted upon retaining the everyday use of the Mohegan language during an era when most New England Native peoples were becoming increasingly fluent in English. Her maternal grandmother Martha Uncas spoke it with family members, and other Mohegan people continued to speak and understand some of the language, but by 1900, few were as fluent as Fidelia and her sister. As an adult, Fielding kept four diaries in the language, which later became vital sources for reconstructing the syntax of Mohegan Pequot and related Algonquian languages.
Fidelia was regarded as a nanu (respected elder woman) and mentor to Gladys Tantaquidgeon, a traditional Mohegan woman who also studied anthropology at the University of Pennsylvania and served as a research assistant to Frank Speck. Gladys conducted field work and service work for a variety of Native communities and agencies before coming home to Uncasville. In Uncasville, Gladys and her family founded the Tantaquidgeon Indian Museum, and she became a respected elder herself, working on material and cultural preservation.
Many modern sources suggest that anthropologist Frank G. Speck, as a child, lived with Fidelia Fielding, but there is no evidence to support that in any Mohegan tribal records or oral memories. Speck recalled, in his own publications and correspondence, that he first met Fidelia around 1900, when he was an anthropology student at Columbia University. Speck was in the midst of a camping trip to Fort Shantok, Connecticut, when he met up with several Mohegan young men---Burrill Tantaquidgeon, Jerome Roscoe Skeesucks, and Edwin Fowler---who introduced him to Fielding. This encounter sparked a lifelong friendship with the Tantaquidgeon family. Speck interviewed Fidelia, recording notes on the Mohegan language that he shared with his professor, John Dyneley Prince, who encouraged further research. Fidelia eventually allowed Speck to view her personal day books (also called diaries) in which she recorded brief observations on the weather and local events, so that he could understand and accurately record the written version of the Mohegan language.
This material that Speck collected from Fidelia Fielding inspired four publications in 1903 alone: “The Remnants of our Eastern Indian Tribes” in The American Inventor, Vol. 10, pp. 266–268; “A Mohegan-Pequot Witchcraft Tale” in Journal of American Folklore, Vol. 16, pp. 104–107; “The Last of the Mohegans” in The Papoose Vol. 1, No. 4, pp. 2–5; and “Mohegan Traditions of ‘Muhkeahweesug,’ the Little Men” in The Papoose No . 7, pp. 11–14. Speck also co-authored a 1904 article with J. Dyneley Prince, “The Modem Pequots and their Language” in American Anthropologist, n. s., Vol. V pp. 193–212.
In 1908, after Fidelia Fielding's death, her relative John Cooper gave Fidelia's diaries to Frank Speck for safekeeping. Speck later deposited them in George Gustav Heye's Heye Foundation/Museum of the American Indian in New York City. These documents were later relocated, as part of the Huntington collection, to the Division of Rare and Manuscript Collections at Cornell University, where they are archived today.
Legacy and honors
Fidelia Hoscott Fielding died in 1908, and was buried at the Ancient Burial Grounds of the Mohegans at Fort Shantok State Park in Montville, Connecticut. A memorial marker was placed there to honor her, at a ceremony with an estimated 1,000 people in attendance on May 24, 1936.
Credited with being an instrumental influence in recording and preserving the language, in 1994 she was posthumously inducted into the Connecticut Women's Hall of Fame under the category Education & Preservation. Fielding is one of only three American Indians who have been inducted into the Connecticut Women's Hall of Fame. Years later, Gladys Tantaquidgeon, a Mohegan woman trained by Fielding who similarly insisted on preserving traditional ways, was also inducted into the Hall of Fame.
During Fidelia's lifetime, parents were reluctant to use or teach the Mohegan language to their children, for fear of prejudice or reprisals from the English speakers around them. In the present day, linguists from the Mohegan Language Project, including Fidelia Fielding's relative Stephanie Fielding, have been carefully working with materials compiled and archived by Fielding and Speck in order to reconstruct and re-animate Mohegan-Pequot as a living language for new generations.*
