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How To Say: ... 9

Gatherings ...10

Seeking Balance ...12

Pow Wow Dancers ...18

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OK Casino Guide ...20

Skiatook Casino ...22

Casino Trail Map ...24

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Cover: Balance by Anita Fields, 2013, 7’ x 8” x 1” (each figure) clay, slips, gold luster glaze, linen with transfer. This spread: winter fun in Pawhuska; Dreamcatcher Images

77FEBRUARY 20 14

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Dreamcatcher Images

888 FEBRUARY 20 14

TSALAGI

Nishnabek

WAH ZAH ZHI

Tsististas

TRIBES

>WICHITA

>CHEROKEE

>QUAPAW

>OSAGE

>KAW

>CHICKASAW

>CHEYENNE

>COMANCHE

>POTAWATOMI

Kanza

NUMINU

CHIKASHA

Kitikiti’sh

Ugakhpa

9

Send us details or photos of your Gathering: edit@dreamcatchermag.net

BINGER>Caddo Language Wednesdays, 6 pmCaddo Nation Cultural Building, Binger(App Now Available on Android Market)>>

ELGIN>Learn ComancheA Beginner’s Packet is free to enrolled tribal members, $70 for others, includes shipping.http://www.comanchelanguage.org clcpc@comanchelanguage.org >

>

NORMAN>National Native American Law Students Moot Court CompetitionUniversity of Oklahoma College of LawFriday, February 28 thru March 1http://nationalnalsa.org/events/mootcourt>>

PAWHUSKA>Osage Cultural CenterClasses on Ribbon work, Fingerweaving, Beading, Roach-making and more. Call 918-287-5539http://www.osagetribe.com/cultural >>

PERKINS>Iowa Nation Grey Snow Eagle House2 mi S of Perkins on Hwy 177Weekend tours by appointment, call 405-334-7471http://www.facebook.com/GreySnowEagleHouse

December 16, 1841:Cherokees created a school

system with 8 districts.

February 23, 1911 Quanah Parker (Comanche)dies of illness.

RADIO>Chickasaw Community RadioKCNP 89.5 FM>Indians For IndiansSaturdays at 10 am on KACO 98.5 FM>Kiowa VoicesSundays at 12 noon on KACO 98.5 FMMusic and more from the Kiowa and area tribes.>Seminole Nation Weekly Radio ShowLive on Tuesdays, 11 am on KWSH 1260 AMhttp://www.kadaradio.net>>

TALEQUAH>Cherokee Heritage Center Cultural Classes2014 class schedules for nine different activities online at: http://www.cherokeeheritage.org/cultural-outreach/cultural-classes. Or contact Tonia Weavel at 918-456-6007.>>

WWW>Mvskoke Trail of Tears Virtual Tourhttp://www.muscogeenation-nsn.gov/Pages/Tourism/virttot.html >Research Your Indian AncestryOklahoma Historical Society websitehttp://www.okhistory.org/research/dawes>Eye on NDN-Country with dg smalling Saturdays, 9 am on http://www.thespyfm.com Conversations with Native leaders.>Tribal Scene RadioFridays, 8 am live on http://www.kbga.org Conversations with host Jodi Rave.

10 G A T H E R I N G S

Chickasaw Nation

citizens in action,

clockwise from top:

Wayne Walker tests his

handmade bow and

arrows he uses to harvest

deer the way his ancestors

did centuries ago.

>Chickasaw citizen

Lucinda Shipley and

her husband, Mike,

celebrated their sixth year

as house parents at the

Chickasaw Children’s

Village, a place that

provides residential care,

education services and

opportunities for social,

spiritual and personal

development for Native

American children.

>Cynthia Highfield, Ambrie

Johnson and Joey Seeley,

environmental specialists

for the Chickasaw

Nation, carefully sift

through a soil sample

collected from a shovel

test pit at a recent dig.

>Wicked Courage, owned

by Chickasaw citizen and

Ardmore resident Andrew

Smith, almost became the

fourth horse in modern

history to win the Triple

Crown of quarter horse

racing. Unfortunately, he

lost to a 24-1 longshot.

Better luck next year!

>>

Courtesy Chickasaw Nation

1111

LIVING CULTURES12

SEEKING BALANCE>by heather ahtone>

Native American ceramics conjures images of Puebloan pottery, maybe women walking in a plaza with large ollas

precariously balanced on their heads. But for Anita Fields, those stereotypes had nothing to do with her culture, her traditions, nor her vision for the future. Her interest in ceramics was driven by curiosity about the clay’s natural pliability and personality, and an inherent symbolism for attachment to place. Fields has a vision for using clay to connect to her tribal traditions while stepping into a future where there are no limits for defining American Indian art. >

Anita Fields (b. 1951; Osage/Muscogee (Creek) began her formal art training at the Institute of American Indian Arts and

completed her studies at Oklahoma State University. However, a formal education in ceramics does not match the informal education in Osage philosophy and ethos that continues to be an integral component of Fields conceptual basis. The knowledge shared in a ceremony or as a regular participant cannot be quantified like a degree. The evidence of this knowledge rests in the art directly. Interestingly, there are few examples of Osage ceramics. Not having a tribal tradition to uphold in regards the medium actually gives Fields liberty in pursuing the craft.>

In Oklahoma the ceramics and pottery traditions are most often associated with the Southeastern tribes, Cherokee, Chickasaw,

Caddo. The Osage people are part of the Plains tribal community, descendants of ancient Cahokia and linguistic relatives of the other Siouxan tribes. Traditions are more likely textile ribbonwork, carving, and there are many painters and writers from the community. Fields is adept working in her tribe’s ribbonwork traditions and is known to be a good cook, one of several appointed cooks for the Zon-Zoli, Hominy district during the annual In-Lon-Schka dance (a traditional Osage ceremonial). One might expect that her ceramics would overtly incorporate markers of her tribal traditions, to make sure that their influence was recognizable. As a Native ceramicist, she might be expected to build forms that fit in the Native pottery genre, wide bodied bowls with small mouths. But Fields does not comply so

Standing Up, 2013, 25x15x24in,Clay, Paint, Linen, Paper Collage

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LIVING CULTURES14

easily with market demands that often govern Native American art. As an Osage woman and as a contemporary artist, Fields says, “My creative efforts are how I acknowledge what I know to be true. It is the language I employ to define my place within culture and the world.” Without specific traditions to follow, Fields has set her own path with the medium. The visual vernacular Fields has developed is vested in the broad use of black and white, anonymous male and female figures, and, more often than not, spare applications of gold. She has developed recurring stamps of spirals and roses, incorporates handprints–which is quite common in Osage works–and pays special attention to the balance of the overall composition.>

The piece Standing Up, two armless figures are conjoined at the hip and the shoulder, walking in synchronicity. The male figure on

the left, is all black covered in small white crosses placed without a controlling pattern and yet never overlapping or crowding in the liberal distribution. The female figure on the right, also all black, is covered in white polka dots with slightly more order in their placement, though also freely placed. The balance that these two figures strike while seemingly in motion expresses a tenet of Osage culture—that life is ordered in dichotomy. There are earth-sky, man-woman, inside-outside, black-white, etc. The ordering in oppositional but equal pairs is evident in nature as a critical system. Standing Up expresses that order in a manner that communicates joy, celebrates the partnership, and shares with the viewer the potential of following nature’s guidance. Both figures are wrapped across the midsections with collaged center bands. Enigmatic symbols, like handprints, more x-marks, abstract patterns of reds and grays cross the white swaths. The only areas of color, the red communicates both vibrancy and blood, though never clearly confirmed as either. Both heads have golden adornments in place of the ears. The metallic glow contrasts sharply with the black forms, and contrast in their shimmer against the bands. >

Dichotomy is also an over arching theme in the aptly titled Balance, composed of two black-bodied figures that hang

against the wall. The male is covered in white crosses, spirals, and clouds, all elements of the sky. The female body is colored similarly with white corn stalks and cobs, spirals, floral references, rain clouds, and rain drops that seem to move in every direction. They are each outlined in gold, with an x-mark. The primary difference is that the female figure

Movement Of The Sun #2, 2013, 20x45in, Clay, Slips, Gold Luster Glaze, Gold Enamel

Movement Of The Sun #2, 2013, 20x45in, Clay, Slips, Gold Luster Glaze, Gold Enamel

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LIVING CULTURES16

holds portions of a page from an Osage dictionary in her hand. A small gesture, but the critical relationship between tribal ethos and language is undeniable. Placed in the woman’s hand, Fields creates a visual relationship between regeneration and linguistic continuity. A powerful message strengthened by the presence of the male figure, for the Osage are a patriarchal society. Through this pairing, Fields implicates the importance of traditional social structure, language, male and feminine primal forces into a black and white statement on the importance of all these in seeking a balanced identity for the continuity of the community.>

Seeking balance is as much for humanity as it is for the planet in Over the Earth. The curved surface of the free-standing square

form is covered with a whimsical landscape. The composition is equally divided into sky and earth, using the rolling hills of Oklahoma as a horizon line. The sky has intermittent gold appliquéed circles that could be the starry night. The landscape is formed of polka-dotted hills with a textured foreground, the texture a mix of Fields’s signature stamps layered across the field. A small river diagonally moves from the center of the horizon to the lower right corner. Balance is indicated as a necessity, not only for the health of the tribal community, but for the earth itself.>

It is perhaps in seeking balance through the clay that Fields’ message about her tribal community is best expressed. Rather than

using the expected visual markers, she is creating a new language to speak for the value of her ancient tribal traditions in a new century. Balancing between the roles of mother, wife, artist, and cook, Fields is using the clay to reference the shifting nature of culture. As the community uses Osage culture to guide them in making contemporary decisions, the art expresses the beauty of finding that balance.>

Fields was recently in a two-person exhibition with fellow Oklahoman Tony Tiger in Link the Past to the Present at the

Walton Art Center. See her work at Lovett’s Gallery in Tulsa and find out more at her website: http://www.nativefieldsart.com >Heather Ahtone (Choctaw/Chickasaw) is the James T. Bialac Assistant Curator of Native American and Non-Western Art at the Fred Jones Jr. Museum of Art at the University of Oklahoma.

Earth And Sky, 2013, 30x8in, Clay, Slips, Gold Luster Glaze

17

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POW-WOW DANCERS

19

>Joli Herrera

Wichita/Comanche

/Cherokee

>Jenessa Herrera

Wichita/Comanche

/Cherokee

>Baydon Tah

Apache

>Photograph by

John Jernigan

>>

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AE Elisa Silva

AB Mia Chong-Hanssen

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