Tuesday, October 31, 2017

Red Overtone Dragon/ Red Solar Skywalker - Self-Existing Owl Moon of Form, Day 14





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Edmonia Lewis



Mary Edmonia Lewis (c. July 4, 1844 – September 17, 1907) was an American sculptor who worked for most of her career in Rome, Italy. She was the first woman of African-American and Native American heritage to achieve international fame and recognition as a sculptor in the fine arts world. Her work is known for incorporating themes relating to black people and indigenous peoples of the Americas into Neoclassical-style sculpture. She began to gain prominence during the American Civil War; at the end of the 19th century, she remained the only black woman who had participated in and been recognized to any degree by the American artistic mainstream. In 2002, the scholar Molefi Kete Asante listed Edmonia Lewis on his list of 100 Greatest African Americans.

Biography

Early life

Edmonia Lewis's birth date has been listed as July 4, 1844. She was born in Greenbush, New York, which is now the city of Rensselaer. Her father was an Afro-Haitian, while her mother was of Mississauga Ojibwe and African-American descent. Lewis's mother was known as an excellent weaver and craftswoman, while her father was a gentleman's servant. Her family background inspired Lewis in her later work.

By the time Lewis reached the age of nine, both of her parents had died. Her father died in 1847. Her two maternal aunts adopted her and her older half-brother Samuel. Samuel was born in 1835 to Lewis's father and his first wife in Haiti. The family came to the United States when Samuel was a young child. Samuel became a barber at age 12 when his father died.

The children remained with their aunts near Niagara Falls for about four years. Lewis and her aunts sold Ojibwe baskets and other souvenirs, such as moccasins and blouses, to tourists visiting Niagara Falls, Toronto, and Buffalo. During this time, Lewis went by her Native American name, Wildfire, while her brother was called Sunshine. In 1852, Samuel left for San Francisco, California, leaving Lewis in the care of a Captain S. R. Mills. Samuel provided for her board and education.

In 1856, Lewis enrolled at New-York Central College, McGrawville, a Baptist abolitionist school.During her summer term there in 1858, Lewis took classes in the Primary Department in preparation for college. In a later interview, Lewis said that she left the school after three years, having been "declared to be wild."

Until I was twelve years old I led this wandering life, fishing and swimming… and making moccasins. I was then sent to school for three years in [McGrawville], but was declared to be wild,—they could do nothing with me.

— Edmonia Lewis

Education

In 1859, when Edmonia Lewis was about 15 years old, her brother Samuel and abolitionists sent her to Oberlin College, one of the first U.S. higher-learning institutions to admit women and people of differing ethnicities. She changed her name to Mary Edmonia Lewis and began to study art. Lewis boarded with Reverend John Keep and his wife from 1859 until she left the college in 1863. Reverend Keep was white, a member of the board of trustees, an avid abolitionist, and a spokesperson for coeducation. Despite Oberlin's status as the first higher-learning institution to accept black women in a co-educational space with white men, Lewis was still subject to her societal position as a black woman. She, and all female students, was rarely given the opportunity to participate in the classroom or speak at public meetings. During the 1859-60 school year, Lewis enrolled in the Young Ladies' Preparatory Department, which was designed "to give Young Ladies facilities for the thorough mental discipline, and the special training which will qualify them for teaching and other duties of their sphere."

During winter of 1862, several months after the start of the Civil War, Edmonia Lewis was attending Oberlin when an incident occurred between her and two classmates, Maria Miles and Christina Ennes. The three women, all boarding in Keep's home, planned to go sleigh riding with some young men later that day. Before the sleighing, Lewis served her friends a drink of spiced wine. Shortly after, Miles and Ennes fell severely ill. Doctors examined them and concluded that the two women had some sort of poison in their system, apparently cantharides, a reputed aphrodisiac. For a time it was not certain that they would survive. Days later, it became apparent that the two women would recover from the incident, and, because of their recovery, the authorities initially took no action. There is no evidence that Lewis actually poisoned the two students, or that doctors actually found any traces of poison in the bodies of Miles and Ennes.

News of the controversial incident rapidly spread throughout the town of Oberlin, whose populace did not generally hold the same progressive views purported by the college, and through Ohio. While she was walking home alone one night, she was dragged into an open field by unknown assailants, badly beaten, and left for dead. After the attack, local authorities arrested Lewis, charging her with poisoning her friends. John Mercer Langston, an Oberlin College alumnus, and the only practicing African-American lawyer in Oberlin, represented Lewis during her trial. Although most witnesses spoke against her and she did not testify, the jury acquitted her of the charges.

The remainder of Lewis' time at Oberlin was marked with isolation and prejudice. Also, about a year after the trial, Lewis was accused of stealing artists' materials from the college. She was acquitted due to lack of evidence, but not fully cleared. She was forbidden from registering for her last term by the principal of the Young Ladies' Course, Marianne Dascomb, which prevented Lewis from graduating.

Art career

Boston

After college, Lewis moved to Boston in early 1864, where she began to pursue her career as a sculptor. The Keeps wrote a letter of introduction on Lewis' behalf to William Lloyd Garrison in Boston, and he was able to introduce her to already established sculptors in the area, as well as writers who then publicized Lewis in the abolitionist press. Finding an instructor, however, was not easy for Lewis. Three male sculptors refused to instruct her before she was introduced to the moderately successful sculptor Edward Augustus Brackett (1818–1908), who specialized in marble portrait busts. His clients were some of the most important abolitionists of the day including Henry Wadsworth Longfellow, William Lloyd Garrison, Charles Sumner, and John Brown. To instruct her, he lent her fragments of sculptures to copy in clay, which he then critiqued.Under his tutelage, she crafted her own sculpting tools and sold her first piece, a sculpture of a woman’s hand, for $8. Anne Whitney, a fellow sculptor and friend of Lewis', wrote in an 1864 letter to her sister that her relationship with her instructor did not end amicably. The reason for the split, however, was never mentioned. Lewis opened her studio to the public in her first solo exhibition in 1864.

Lewis was inspired by the lives of abolitionists and Civil War heroes. Her subjects in 1863 and 1864 included some of the most famous abolitionists of her day: John Brown and Colonel Robert Gould Shaw. When she met Union Colonel Robert Gould Shaw, the commander of an African American Civil War regiment from Massachusetts, she was inspired to create a bust of his likeness, which impressed the Shaw family, who purchased her homage. Lewis then made plaster cast reproductions of the bust; she sold one hundred at 15 dollars apiece. This was the most famous work to date and the money she earned from the busts allowed her to eventually move to Rome. Anna Quincy Waterston, a poet, then wrote a poem about both Lewis and Shaw.

From 1864 to 1871, Lewis was written about or interviewed by Lydia Maria Child, Elizabeth Peabody, Anna Quincy Waterston, and Laura Curtis Bullard. These were all important women in Boston and New York abolitionist circles. Because of these women, articles about Lewis appeared in important abolitionist journals including Broken Fetter, the Christian Register, and the Independent, as well as many others. Lewis was perceptive to her reception in Boston. She was not opposed to the coverage she received in the abolitionist press, and she was not known to deny monetary aid, but she could not tolerate the false praise. She knew that some did not really appreciate her art, but saw her as an opportunity to express and show their support for human rights.

Early works that proved highly popular included medallion portraits of the abolitionists John Brown and William Lloyd Garrison. Lewis also drew inspiration from Henry Wadsworth Longfellow and his work, particularly his epic poem The Song of Hiawatha. She made several busts of its leading characters, which he drew from Ojibwe legend.

Rome

The success and popularity of these works in Boston allowed Lewis to bear the cost of a trip to Rome in 1866. On her 1865 passport is written, "M. Edmonia Lewis is a Black girl sent by subscription to Italy having displayed great talents as a sculptor". The established sculptor Hiram Powers gave her space to work in his studio. She entered a circle of expatriate artists and established her own space within the former studio of 18th-century Italian sculptor Antonio Canova. She received professional support from both Charlotte Cushman, a Boston actress and a pivotal figure for expatriate sculptors in Rome, and Maria Weston Chapman, a dedicated worker for the anti-slavery cause.

Rome was where Lewis spent most of her adult career. Italy’s less pronounced racism allowed increased opportunity to a black artist. She began sculpting in marble, working within the neoclassical manner, but focusing on naturalism within themes and images relating to black and American Indian people. The surroundings of the classical world greatly inspired her and influenced her work, in which she recreated the classical art style. For instance, she presented people in her sculptures as draped in robes rather than in contemporary clothing.

Lewis was unique in the way she approached sculpting abroad. She insisted on enlarging her clay and wax models in marble herself, rather than hire native Italian sculptors to do it for her, which was the common practice. Male sculptors were largely skeptical of the talent of female sculptors, and often accused them of not doing their own work. Harriet Hosmer, a fellow sculptor and expatriate, also did this. Lewis also was known to make sculptures before receiving commissions for them, or sent unsolicited works to Boston patrons requesting that they raise funds for materials and shipping.

While in Rome, Lewis continued to express her African-American and Native American heritage. One of her more famous works, "Forever Free", depicted a powerful image of an African American man and women emerging from the bonds of slavery. Another sculpture Lewis created was called "The Arrow Maker", which showed a Native American father teaching his daughter how to make an arrow.

Her work sold for large sums of money. In 1873 an article in the New Orleans Picayune stated: "Edmonia Lewis had snared two 50,000-dollar commissions." Her new-found popularity made her studio a tourist destination. Lewis had many major exhibitions during her rise to fame, including one in Chicago, Illinois, in 1870, and in Rome in 1871.

Later career

A major coup in her career was participating in the 1876 Centennial Exposition in Philadelphia. For this, she created a monumental 3,015-pound marble sculpture, The Death of Cleopatra, which portrayed the queen in the throes of death. Of the piece, J. S. Ingraham wrote that Cleopatra was "the most remarkable piece of sculpture in the American section" of the Exposition. Much of the viewing public was shocked by Lewis’s frank portrayal of death, but the statue drew thousands of viewers. Cleopatra was considered a woman of both sensuous beauty and demonic power. Her self-annihilation has been portrayed numerously in art as well as literature and cinema. In Death of Cleopatra, Edmonia Lewis added an innovative flair by portraying the Egyptian queen in a disheveled, inelegant manner, a departure from the Victorian approach of representing death. Although her white contemporaries were also sculpting Cleopatra and other comparable subject matter (such as Harriet Hosmer’s Zenobia), Lewis was more prone to scrutiny on the premise of race and gender due to the fact that she, like Cleopatra, was female:

The associations between Cleopatra and a black Africa were so profound that… any depiction of the ancient Egyptian queen had to contend with the issue of her race and the potential expectation of her blackness. Lewis’ white queen gained the aura of historical accuracy through primary research without sacrificing its symbolic links to abolitionism, black Africa, or black diaspora. But what it refused to facilitate was the racial objectification of the artist’s body. Lewis could not so readily become the subject of her own representation if her subject was corporeally white.

After being placed in storage, the statue was moved to the 1878 Chicago Interstate Exposition where it remained unsold. The sculpture was acquired by a gambler by the name of "Blind John" Condon who purchased it from a saloon on Clark street to mark the grave of a Racehorse named "Cleopatra". The grave was in front of the grandstand of his Harlem race track in the Chicago suburb of Forest Park, where the sculpture remained until it was moved to a construction storage yard in Cicero. While at the storage yard, The Death of Cleopatra sustained extensive damage at the hands of well-meaning Boy Scouts who painted and caused other damage to the sculpture. Dr. James Orland, a dentist in Forest Park, and member of the Forest Park Historical Society acquired the sculpture and held it in private storage at the Forest Park Mall.

Later, Marilyn Richardson, an independent curator and scholar of African-American art who was working on a biography of Lewis, went searching for The Death of Cleopatra. Richardson was directed to the Forest Park Historical Society and Dr. Orland by the Metropolitan Museum of Art who had earlier been contacted by the historical society regarding the sculpture. Richardson, after confirming the sculpture's location, contacted African-American bibliographer Dorothy Porter Wesley and the two gained the attention of NMAA's George Gurney. According to Gurney, Curator Emeritus at the Smithsonian American Art Museum, the sculpture was in a race track in Forest Park, Illinois, during World War II. Finally, the sculpture came under the purview of the Forest Park Historical Society, who donated it to Smithsonian American Art Museum in 1994.Chicago-based Andrezej Dajnowski, in conjunction with the Smithsonian, restored it to its near-original state after repairing the nose, sandals, hands, chin, and extensive "sugaring" (disintegration) at a cost of around $30,000.

A testament to Lewis's renown as an artist came in 1877, when former US President Ulysses S. Grant commissioned her to do his portrait. He sat for her as a model and was pleased with her finished piece. She also contributed a bust of Charles Sumner to the 1895 Atlanta Exposition.

In the late 1880's, neoclassicism declined in popularity, as did the popularity of Lewis's artwork. She continued sculpting in marble, increasingly creating altarpieces and other works for Roman Catholic patrons. In the art world, she became eclipsed by history and lost fame. By 1901 she had moved to London. The events of her later years are not known.

Reception

As a black artist, Edmonia Lewis had to be conscious of her stylistic choices because her largely white audience often gravely misread her work as self-portraiture. In order to avoid this, her female figures typically possess European features. Lewis had to balance her own personal identity with her artistic, social, and national identity, a tiring activity that affected her art.

In her 2007 work, Charmain Nelson wrote of Lewis:

It is hard to overstate the visual incongruity of the black-Native female body, let alone that identity in a sculptor, within the Roman colony. As the first black-Native sculptor of either sex to achieve international recognition within a western sculptural tradition, Lewis was a symbolic and social anomaly within a dominantly white bourgeois and aristocratic community.

Family

Lewis never married and had no known children. Her half-brother Samuel became a barber in San Francisco, eventually moving to mining camps in Idaho and Montana. In 1868, he settled in the city of Bozeman, Montana, where he set up a barber shop on Main Street. He prospered, eventually investing in commercial real estate, and subsequently built his own home which still stands at 308 South Bozeman Avenue. In 1999 the Samuel Lewis House was placed on the National Register of Historic Places. In 1884, he married Mrs. Melissa Railey Bruce, a widow with six children. The couple had one son, Samuel E. Lewis (1886–1914), who married but died childless. The elder Lewis died after "a short illness" in 1896 and is buried in Sunset Hills Cemetery in Bozeman.

Death

She lived in the Hammersmith area of London, England, before her death on September 17, 1907, in the Hammersmith Borough Infirmary. According to her death certificate, the cause of her death was chronic Bright's disease. She is buried in St. Mary's Roman Catholic Cemetery, in London.

There were earlier theories that Lewis died in Rome in 1907 or, alternatively, that she had died in Marin County, California, and was buried in an unmarked grave in San Francisco.

Works
Descriptions of most popular works

Hiawatha, 1868, by Edmonia Lewis, based on the Henry Wadsworth Longfellow poem
Forever Free (1867)

This white marble sculpture represents a man standing, staring up, and raising his left arm into the air. Wrapped around his left wrist is a chain; however, this chain is not restraining him. To his right is a woman kneeling with her hands held in a prayer position. The man’s right hand is gently placed on her right shoulder. Forever Free represents the emancipation of African-American slaves after the Civil War, a celebration of black liberation, salvation, and redemption. Lewis attempted to break stereotypes of African-American women with this sculpture. For example, she portrayed the woman as completely dressed while the man was partially dressed. This drew attention away from the notion of African-American women being sexual figures. This sculpture also symbolizes the end of the Civil War. While African Americans were legally free, they continued to be restrained, shown by the fact that the couple had chains wrapped around their bodies. The representation of race and gender has been critiqued by modern scholars, particularly the Eurocentric features of the female figure. This piece is held by Howard University Gallery of Art in Washington, D.C.

Hagar (1868)

Inspired by a character from the Old Testament, this was made of white marble. It shows Hagar with her hands in prayer and staring slightly up but not straight across. Hagar was the handmaid or slave of Abraham's wife Sarah. Being unable to conceive a child, Sarah gave Hagar to Abraham so that he could have a son by her. Hagar gave birth to Abraham's firstborn son Ishmael. After Sarah gave birth to her own son Isaac, she resented Hagar and made Abraham "cast Hagar into the wilderness". Lewis uses Hagar to symbolize the African mother in the United States. She represented the abuse of African women. Lewis had a tendency to sculpt historically strong women, as demonstrated not just in Hagar but also in Lewis's Cleopatra piece. Lewis also depicted regular women in great situations, emphasizing their strength.

Old Arrow-Maker and his Daughter (1866)

This sculpture was inspired by Lewis's Native American heritage. An arrow-maker and his daughter sit on a round base. They are dressed in traditional Native American clothes and the male figure has recognizable Native American facial features. Lewis chose to "whitewash" the facial features of her female figures, removing all facial features associated with "colored" races. Lewis pushed the limits with the accuracy of her sculptures. She wanted to be as realistic as possible.

List of major works

John Brown medallions, 1864–65
Colonel Robert Gould Shaw (plaster), 1864
Anne Quincy Waterston, 1866
A Freed Woman and Her Child, 1866
The Old Arrow-Maker and His Daughter, 1866
The Marriage of Hiawatha, 1866–67
Forever Free, 1867
Colonel Robert Gould Shaw (marble), 1867–68
Hagar in the Wilderness, 1868
Madonna Holding the Christ Child, 1869
Hiawatha, collection of the Metropolitan Museum of Art, 1868
Minnehaha, collection of the Metropolitan Museum of Art, 1868
Indian Combat, Carrara marble, 30" high, collection of the Cleveland Museum of Art, 1868
Henry Wadsworth Longfellow, 1869–71
Bust of Abraham Lincoln, 1870
Asleep, 1872
Awake, 1872
Poor Cupid, 1873
Moses, 1873
Bust of James Peck Thomas, 1874, collection of the Allen Memorial Art Museum, her only known portrait of a freed slave
Hygieia, 1874
Hagar, 1875
The Death of Cleopatra, marble, 1876, collection of Smithsonian American Art Museum
John Brown, 1876, Rome, plaster bust
Henry Wadsworth Longfellow, 1876, Rome, plaster bust
General Ulysses S. Grant, 1877–78
Veiled Bride of Spring, 1878
John Brown, 1878–79
The Adoration of the Magi, 1883
Charles Sumner, 1895

Posthumous exhibitions

Art of the American Negro Exhibition, Chicago, 1940
Howard University, Washington D.C., 1967
Vassar College, New York, 1972
Michael Rosenfeld Gallery, New York, 2008
Edmonia Lewis and Henry Wadsworth Longfellow: Images and Identities at the Fogg Art Museum, Cambridge, Massachusetts, 18 February–3 May 1995.
Smithsonian American Art Museum, Washington D.C., June 7, 1996 – April 14, 1997
Wildfire Test Pit, Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio, August 30, 2016 – June 12, 2017

Recognition

Namesake of the Edmonia Lewis Center for Women and Transgender People at Oberlin College.
Honored with a Google Doodle on February 1, 2017.*





IMIX



Kin 161: Red Overtone Dragon



I empower in order to nurture
Commanding being
I seal the input of birth
With the overtone tone of radiance
I am guided by the power of universal water.


Through the Cube, imaginal and phenomenal planes of reality are joined into a unified whole.*


*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.







The Sacred Tzolk'in 





Anahata Chakra (Silio Plasma)




Monday, October 30, 2017

Yellow Self-Existing Sun/ Yellow Galactic Human - Self-Existing Owl Moon of Form, Day 13





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Sacheen Littlefeather



Sacheen Littlefeather (born Marie Louise Cruz; November 14, 1946) is an American actress and activist for Native American civil rights. She gave a speech at the 45th Academy Awards ceremony on March 27, 1973, for actor Marlon Brando, to decline the Academy Award for Best Actor for his performance in The Godfather. The speech was a protest at the treatment of Native Americans by the film and television industry.

Early life

Littlefeather was born in Salinas, California. Her ancestry is Apache, Yaqui, and Pueblo on her father's side, while her mother is of French, German, and Dutch descent. She claims that her father was from the White Mountain Apache and Yaqui tribes of Arizona and that "Cruz" is her father's recognized tribal name.

Activism

A member of Indians of All Tribes, Littlefeather participated in the occupation of Alcatraz Island by American Indians' rights activists in 1969.

Academy Awards acceptance speech

Marlon Brando became involved with the American Indian Movement (AIM) in the early 1970s. Despite being the favourite to win the Best Actor Oscar for his portrayal as Don Vito Corleone in The Godfather (1972), Brando decided to boycott the ceremony as a protest against the ongoing siege at Wounded Knee and his views on how American Indians were being portrayed in Hollywood movies or on American television. In early 1973, he contacted AIM about providing a person to accept an Oscar on his behalf. Native American leaders, Dennis Banks and Russell Means, picked Sacheen Littlefeather to collect the award.

Brando wrote a 15-page speech about the ongoing federal siege at Wounded Knee for Littlefeather to give at the ceremony. However, when a producer met her backstage he threatened to physically remove her or have her arrested if she spoke on stage for more than 60 seconds. Wearing a traditional Apache dress for the occasion, her on-stage comments were therefore improvised. She then went backstage and read the entire speech to waiting journalists.

Roger Moore, who presented the award (and had recently been announced as the new "James Bond, Agent 007"), stated in his autobiography My Word Is My Bond, that he took the Oscar home with him and kept it in his possession until it was collected by an armed guard sent by the Academy. Moore repeated this story on Johnny Carson's The Tonight Show in 1982.

Littlefeather's appearance prompted the Academy of Motion Picture Arts and Sciences to rule out future proxy acceptance of Academy Awards.

Inspiration

Jada Pinkett Smith wrote to Littlefeather saying that watching her Oscars speech encouraged her to boycott the 88th Academy Awards.

Filmography

The Laughing Policeman (1973) (uncredited)
Counselor at Crime (1973)
45th Annual Academy Awards (TV) (1973) (Representing Marlon Brando to explain his boycotting of his Best Actor award for The Godfather)
Freebie and the Bean (1974) (uncredited)
The Trial of Billy Jack (1974)
Winterhawk (1975)
Johnny Firecloud (1975)
Shoot the Sun Down (1978)
Reel Injun (2009)*




AHAU


Kin 160: Yellow Self-Existing Sun

I define in order to enlighten
Measuring life
I seal the matrix of universal fire
With the self-existing tone of form
I am guided by the power of intelligence
I am a polar kin
I convert the yellow galactic spectrum.


Through practice we come to realize that it is not only in doing, but in refraining from doing that we learn.*


*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.







The Sacred Tzolk'in 





Manipura Chakra (Limi Plasma)




Sunday, October 29, 2017

Blue Electric Storm/ Blue Resonant Monkey - Self-Existing Owl Moon of Form, Day 12





Kelsey Leonard



Kelsey Leonard is the first Native American woman to earn a degree from the University of Oxford, which she earned in 2012. She earned a MSc in Water Science, Policy and Management from St. Cross College, one of the thirty-eight colleges of the University of Oxford. Her master's thesis, “Water Quality For Native Nations: Achieving A Trust Responsibility”, discusses water quality regulation and how water resources on tribal land are not protected. Kelsey Leonard is an enrolled member of the Shinnecock Indian Nation and is originally from the Shinnecock Indian Reservation in Long Island, New York. In 2010 she was the first member of the Shinnecock Nation to graduate from Harvard University. Her Harvard degree is a Bachelor of Arts degree in Sociology and Anthropology with a secondary field in Ethnic Studies.*




CAUAC



Kin 159: Blue Electric Storm


I activate in order to catalyze
Bonding energy
I seal the matrix of self-generation
With the electric tone of service
I am guided by the power of abundance.


On Earth, the lost planet analphs are stored in the archaic depths of mind as legends and myths, such as the Greek legend of Icarus, who flies too close to the sun and melts his artificial wings, falling to his death.*


*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.







The Sacred Tzolk'in 





Visshudha Chakra (Alpha Plasma)




Saturday, October 28, 2017

White Lunar Mirror/ White Rhythmic Dog - Self-Existing Owl Moon of Form, Day 11





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Moscelyne Larkin



Edna Moscelyne Larkin Jasinski (January 14, 1925 – April 25, 2012) was one of the "Five Moons", Native American ballerinas from Oklahoma who gained international fame in the 20th century. After dancing with the Original Ballet Russe and the Ballet Russe de Monte Carlo, she and her husband settled in Tulsa, Oklahoma, where in 1956 they founded the Tulsa Ballet and its associated school. It became a major regional company in the American Southwest and made its New York City debut in 1983. She is portrayed in the mural Flight of Spirit displayed in the Rotunda of the Oklahoma State Capitol building.

Early life and education

Edna Moscelyne Larkin was born in Miami, Oklahoma in 1925, the only daughter of Eva Matlagova-Larkin, a young dancer from Russia, and Ruben Larkin, a Shawnee-Peoria Indian. Her mother trained her in ballet until the girl was old enough to move to New York City to further her studies. There she studied under Vincenzo Celli, Mikhail Mordkin, and Anatole Vilzak-Shollar.

Dancing career

In 1941, at age 15, Larkin joined Colonel Wassily de Basil's Original Ballet Russe. She performed with the company in Europe and the Americas. While dancing with the company, Larkin met her future husband Roman Jasinski, a premier danseur from Poland.

In 1948, she achieved the rank of ballerina; she and her husband had both moved to the Ballet Russe de Monte Carlo, directed by Serge Denham. Radio City Music Hall often showcased her as a prima ballerina. In 1954 Larkin toured Asia, performing in Alexandra Danilova's "Great Movements in Dance". She excelled in comical roles as a soubrette. She played the can-can dancer in Gaîté Parisienne. Agnes de Mille, the choreographer and dancer, admired Larkin's performance as the Cowgirl in Aaron Copland's Rodeo, a role which was premiered by de Mille.

Marriage and family

Larkin married Roman Jasinski in 1943. After they had a son, Roman Larkin Jasinski, on February 21, 1954, they decided to retire from performing. They moved to Tulsa, Oklahoma, where they created a ballet school and founded the Tulsa Civic Ballet (later known as the Tulsa Ballet). It became a major company in the Southwest and made its premier in New York in 1983. Larkin introduced area schoolchildren to ballet and also taught ballet to higher level students at the University of Tulsa.

Honors

In 1967, Quapaw-Cherokee composer Louis Ballard wrote the music for the ballet, The Four Moons, for the Oklahoma Indian Ballerina Festival. The ballet honors the Five Moons: Larkin, Yvonne Chouteau, Rosella Hightower, and sisters Maria and Marjorie Tallchief. In its solos, the dancers evoked their four distinct tribal cultures.

Larkin was inducted into the Oklahoma Hall of Fame in 1978. In 1988, she received the annual Dance Magazine Award. In 1993, she was inducted in the Oklahoma Women's Hall of Fame. The Council of American Indians honored her as "Outstanding Indian" that same year. Chickasaw artist Mike Larsen included Larkin in his monumental mural, Flight of Spirit, displayed in the Great Rotunda of the Oklahoma State Capitol in Oklahoma City.

Death

Larkin suffered from Alzheimer's disease and died in Tulsa, Oklahoma, April 25, 2012 from pneumonia. She is survived by her son, Roman Larkin Jasinski.*




ETZNAB


Kin 158: White Lunar Mirror

I polarize in order to reflect
Stabilizing order
I seal the matrix of endlessness
With the lunar tone of challenge
I am guided by the power of heart.


The point of activating sacred sites is to transform the psychic energy of the human species in resonance with a cosmic template or map planted on the Earth.*


*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.









The Sacred Tzolk'in 




Svadhistana Chakra (Kali Plasma)






Friday, October 27, 2017

Red Magnetic Earth/ Red Overtone Moon - Self-Existing Owl Moon of Form, Day 10





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LaDuke at the Dream Reborn Conference, April 2008



Winona LaDuke (born August 18, 1959) is an American environmentalist, economist, and writer, known for her work on tribal land claims and preservation, as well as sustainable development. In 1996 and 2000, she ran for Vice President as the nominee of the Green Party of the United States, on a ticket headed by Ralph Nader. In the 2016 presidential election, she became the first Native American woman to receive an electoral vote for Vice President of the United States, from faithless elector Robert Satiacum Jr..

She is the executive director of Honor the Earth, a Native environmental advocacy organization that plays an active role in the Dakota Access Pipeline protests.

Winona (meaning "first daughter" in Dakota language) LaDuke was born in 1959 in Los Angeles, California, to Betty Bernstein and Vincent LaDuke (later known as Sun Bear). Her father was from the Ojibwe White Earth Reservation in Minnesota, and her mother of Jewish European ancestry from the Bronx, New York. Though LaDuke spent some of her childhood in Los Angeles, she was primarily raised in Ashland, Oregon. Due to her father's heritage, she was enrolled with the Ojibwe Nation at an early age, but she did not live at White Earth, or on any other reservation, until 1982. She started work at White Earth after she graduated college, when she got a job there as principal of the high school.

After her parents married, Vincent LaDuke worked as an actor in Hollywood, with supporting roles in Western movies, while Betty LaDuke completed her academic studies. The couple separated when Winona was five, and her mother took a position as an art instructor at Southern Oregon College, now Southern Oregon University at Ashland, which was then a small logging and college town near the California border. In the 1980s, LaDuke's father Vincent reinvented himself as a New Age spiritual leader and went by the name Sun Bear.

While growing up in Ashland, LaDuke attended public school and was on the debate team in high school. She attended Harvard University, where she became part of a larger group of Indian activists, and graduated in 1982 with a Bachelor of Arts in Economics (rural economic development). When LaDuke moved to White Earth she did not know the Ojibwe language, or many people, and was not quickly accepted. While working as the principal of the local Minnesota reservation high school she completed research for her master's thesis on the reservation's subsistence economy and became involved in local issues. She completed an M.A. in Community Economic Development through the distance-learning program of Antioch University.

Career and activism

While working as a principal at the high school, LaDuke became an activist. In 1985 she helped found the Indigenous Women's Network. She worked with Women of All Red Nations to publicize American forced sterilization of Native American women.

Next she became involved in the struggle to recover lands for the Anishinaabe. An 1867 treaty with the United States had originally provided a territory of more than 860,000 acres for the White Earth Indian Reservation. Under the Nelson Act of 1889, an attempt to have the Anishinaabe assimilate by adopting a European-American model of subsistence farming, communal tribal land had been allotted to individual households. The US classified any land in excess as surplus, allowing it to be sold to non-natives. In addition, many Anishinaabe sold their land individually over the years; these elements resulted in the tribe's losing control of most of its land. By the mid-20th century, the tribe held only one-tenth of the land within its reservation.

In 1989, LaDuke founded the White Earth Land Recovery Project (WELRP) in Minnesota with the proceeds of a human rights award from Reebok. The goal is to buy back land within the reservation that had been bought by non-Natives and to create enterprises that provide work to Anishinaabe. By 2000, the foundation had bought 1200 acres, which it held in a conservation trust for eventual cession to the tribe.

The non-profit is also working to reforest the lands and a revive cultivation of wild rice, long a traditional food. It markets that and other traditional products, including hominy, jam, buffalo sausage and other products. It has started an Ojibwe language program, a herd of buffalo, and a wind-energy project.

LaDuke is also Executive Director of Honor the Earth, an organization she co-founded with the non-Native folk-rock duo, the Indigo Girls in 1993. The organization's mission is:

to create awareness and support for Native environmental issues and to develop needed financial and political resources for the survival of sustainable Native communities. Honor the Earth develops these resources by using music, the arts, the media, and Indigenous wisdom to ask people to recognize our joint dependency on the Earth and be a voice for those not heard.

LaDuke was selected by The Evergreen State College Class of 2014 to be a keynote speaker and delivered her address at the school's graduation on June 13, 2014.

In 2016, LaDuke was involved in the Dakota Access Pipeline protests, participating at the resistance camps in North Dakota as well as speaking to the media on the issue.

Political career

In 1996 and 2000, LaDuke ran as the vice-presidential candidate with Ralph Nader on the Green Party ticket. She was not endorsed by any tribal council or other tribal government. LaDuke endorsed the Democratic Party ticket for the president and vice-president in 2004, 2008, and 2012.

In 2016, Robert Satiacum, Jr., a faithless elector from Washington cast his presidential vote for Native American activist, Faith Spotted Eagle; he then cast his vote for Vice President for Winona LaDuke, making her the first Native American woman to receive an Electoral College vote for Vice President.

White Earth Land Recovery Project

Main article: White Earth Land Recovery Project
WELRP has worked to revive cultivation and harvesting of wild rice, a traditional food of the Ojibwe people. It produces and sells traditional foods and crafts through its label, Native Harvest.

Honor the Earth

Main article: Honor the Earth
Honor the Earth is a national advocacy group encouraging public support and funding for Native environmental groups. With Honor the Earth, Winona works nationally and internationally on issues of climate change, renewable energy, sustainable development, food systems and environmental justice. Members of Honor the Earth are active in the Dakota Access Pipeline protests.

Books, films, and media

LaDuke has authored many books:

Last Standing Woman (1997), novel.
All our Relations: Native Struggles for Land and Life (1999), about the drive to reclaim tribal land for ownership
Recovering the Sacred: the Power of Naming and Claiming (2005), a book about traditional beliefs and practices.
The Militarization of Indian Country (2013)
The Sugar Bush (1999)
The Winona LaDuke Reader: A Collection of Essential Writings (2002)
All Our Relations: Native Struggles for Land and Life (2016)

She has also co-written several other books including:

Conquest: Sexual Violence and American Indian Genocide
Grassroots: A Field Guide for Feminist Activism
Sister Nations: Native American Women Writers on Community
Struggle for the Land: Native North American Resistance to Genocide, Ecocide, and Colonization
Cutting Corporate Welfare
Ojibwe Waasa Inaabidaa: We Look in All Directions
New Perspectives on Environmental Justice: Gender, Sexuality, and Activism
Make a Beautiful Way: The Wisdom of Native American Women
How to Say I Love You in Indian
Earth Meets Spirit: A Photographic Journey Through the Sacred Landscape
Otter Tail Review: Stories, Essays and Poems from Minnesota's Heartland
Daughters of Mother Earth: The Wisdom of Native American Women
LaDuke's editorials and essays have been published in national and international media.

Television and film appearances:

Appearance in the documentary film Anthem, directed by Shainee Gabel and Kristin Hahn.
Appearance in the TV documentary The Main Stream.
Appearance on The Colbert Report on June 12, 2008.
Featured in 2017 full-length documentary First Daughter and the Black Snake, directed by Keri Pickett. Chronicles LaDuke’s opposition against the Canadian-owned Enbridge plans to route a pipeline through land granted to her tribe in an 1855 Treaty.

Legacy and honors:

1994, LaDuke was nominated by Time magazine as one of America's fifty most promising leaders under forty years of age.
1996, she was given the Thomas Merton Award
1997, she was granted the BIHA Community Service Award
1998, she won the Reebok Human Rights Award.
1998, Ms. Magazine named her Woman of the Year for her work with Honor the Earth.
Ann Bancroft Award for Women's Leadership Fellowship.
2007, she was inducted into the National Women's Hall of Fame.
2015, she received an honorary doctorate degree from Augsburg College.

Marriage and family

LaDuke married Randy Kapashesit, a Cree leader, when working in opposition to a major hydroelectric project near Moose Factory, Ontario. They had two children together: a daughter Waseyabin (born 1988) and a son Ajuawak (born 1991). They divorced after several years.

LaDuke's current partner is Kevin Gasco. They had a child in 1999. She has also cared for a niece and nephew for an extended period. She and Gasco share her grandchildren.

On November 9, 2008, LaDuke's house in Ponsford, Minnesota, burned down while she was in Boston. No one was injured, but all of LaDuke's personal property burned, including her extensive library and indigenous art and artifact collection.*





CABAN



Kin 157: Red Magnetic Earth


I unify in order to evolve
Attracting synchronicity
I seal the matrix of navigation
With the magnetic tone of purpose
I am guided by my own power doubled.


Cosmic Science provides a key tool for understanding and activating multidimensional paranormality.*


*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.






The Sacred Tzolk'in 





Ajna Chakra (Gamma Plasma)