Empowering Warm Springs Artists: A Partnership with Warm Springs Community Action Team
First Peoples Fund (FPF) staff recently visited the Warm Springs Reservation to meet with the Warm Springs Community Action Team (WSCAT), our first Oregon-based FPF Native Arts Ecology Building (NAEB) grantee.
WSCAT is a community-based nonprofit focused on financial empowerment and small business development on the Confederated Tribes of the Warm Springs Reservation. Central to WSCAT’s programming is its Individual Development Account (IDA) program, an asset-building savings account that is one of the most extensive reservation-based IDA programs in the country. WSCAT is making tremendous inroads, helping Warm Springs artists expand into new and growing art markets in Central Oregon (which includes the rapidly growing city of Bend) and increasing its work with young artists.
FPF site advisor Felecia Freeman, with support from NAEB Program Manager Ryan Parker, visited WSCAT staff to learn more about the programs they have developed to support artists on the reservation. Led by Executive Director Chris Watson, WSCAT has an energetic staff working hard to help improve the economic conditions on the reservation as economic development and employment opportunities are lagging behind.
One such project WSCAT is carrying out is renovating a century-old commissary building once operated by the Bureau of Indian Affairs to serve as a small business incubator. WSCAT recently moved the building near US Highway 26, which runs through the reservation from Portland and leads to Bend, Oregon. The commissary will also house a restaurant, space for art vendors and an outdoor food cart pod. In addition to other tribal member-owned food carts, the pod will feature WSCAT’s very own Twisted Teepee, which provides popular comfort foods and training to young tribal members.
The community is relatively young, with a median age of 26. WSCAT chose to focus on this age demographic in its First Peoples Fund NAEB grant. One of its objectives was for ten Warm Springs youth to complete a filmmaker training course and create a short film called "Arthur's Voice."
WSCAT staff, in particular Reina Estimo, brought in Warm Springs filmmaker LaRonn Katchia and Wichita & Kiowa actor Cara Jade Myers (Killers of the Flower Moon) to work with ten youth to create this film featuring a teenager from Warm Springs, Arthur Miller, Jr. (Yakima, Wasco, Warm Springs), who is an active member of the Warm Spring Youth Council. A positive role model, Arthur is a singer and drummer who loves basketball and fishing with his family. His tribes' homelands are along the Columbia River and the salmon are integral to his culture.
Upon completion of the project, the film was featured at the Scalehouse Art Gallery in Bend, Oregon, in conjunction with a showing of Killers of the Flower Moon, which Cara Jade Myers attended.
Thanks to a grant funded by Margaret A. Cargill Philanthropies, the Warm Spring Community Action Team will continue in the NAEB program. First Peoples Fund is looking forward to the strides they will make in the upcoming year!
Wicahpi Olowan releases “Compilation, Vol. 1”
Listen to how diverse we are. Listen to how unified we are through our diversity. Listen how proud we are of our diverse voices.
First Peoples Fund’s Wicahpi Olowan Music Program and Studio is proud to have unveiled the inaugural Wicahpi Olowan Compilation Album, Volume I. This project, produced entirely by an all-Native staff and featuring a diverse group of Native artists, marks a major milestone as we recently marked the first anniversary of FPF’s Oglala Lakota Artspace and the Wicahpi Olowan Music Studio.
“We really wanted to do this to celebrate the hard work that everybody's been doing, who's been in any way, shape or form a part of this [album]. This is a way to demonstrate how artists are rising to the occasion,” Talon Bazille Ducheneaux (Cheyenne River Sioux Tribe), Program Manager of the WO Music Program, said.
Inspired by the Pine Ridge Reservation and surrounding communities like Rosebud and Cheyenne River, the album shares the talent and culture of these areas. More than a compilation of songs, it reflects the rapid growth and impact of the music program at FPF in just its first year while also extending a hand to other Indigenous communities to create similar projects in their communities.
“I am a huge believer in diversity as a strength of society, and I believe this album puts that out front and center. it's like, ‘Listen to how diverse we are. Listen to how unified we are through our diversity. Listen how proud we are of our diverse voices.’ I think that is a remarkable feat not just of the album but also of the endeavors of the music studio at OLA,” Thomas Duncan, the Chief Programs Officer of the Playing for Change Foundation, said.
The Playing for Change Foundation played a significant role in creating the album by providing critical support, resources, and connections that helped the project’s quality and reach. According to Talon, PFCF has provided FPF with high-end equipment that is usually only found in professional studios and can cost up to $150 an hour to use.
Featuring a diverse range of Indigenous artists, they each bring their unique sound and perspective to the project. From traditional music to modern genres like hip-hop and blues, the hour-long album captures the wide range of talent within the Indigenous community.
“I have two songs on the album. I have one with Terrance [Jade], and then I have one with my brother Noah,” said Jacob “Conquest” Bianas (Oglala Lakota); the first song is called ‘Shine,’ and it’s pretty much about how we’re now able to find ourselves with access to equipment and a place to record- going from having nothing to suddenly having something out of nowhere.”
it’s pretty much about how we’re now able to find ourselves with access to equipment and a place to record- going from having nothing to suddenly having something out of nowhere.
Conquest blends rock, hip-hop, and traditional singing into his songs on the compilation album. Being a part of a project that includes so many other Indigenous artists felt meaningful to him, “It feels good because working with a lot of artists and then hearing them on the same album as you is eye-opening. It’s not just one genre, it’s all kinds,” he said.
“It’s so cool to represent our community in this way and the different hues we all paint from. I want to see more talent in our language, singing in our language, or rapping in our language, as well as experimentation with different things. Being able to have that space and have this moment to be myself in a project like this is just so cool because we're all respectively representing each other as well as our communities at the same time," Nyna "9a" Matowin (Oglala Lakota), another artist on the album, said.
Nyna describes her style of music as “Lakota pop,” blending pop and R&B and focusing on including the Lakota language in her music. She felt her song in the album fit well with its message, bringing her energy and perspective. Her music shares the themes of perseverance and dreaming beyond one’s circumstances, encouraging her listeners to pursue their passions regardless of where they start out.
“It’s not just the music; it’s also being able to sing in our language,” she said, hoping that the message of resilience and determination would resonate with her listeners in English or Lakota.
The Wicahpi Olowan Compilation Album, Volume I, stands as evidence of the colorful and diverse musical talent that can be found within the Pine Ridge community and its surrounding areas. Through the partnership with Playing for Change Foundation and the artists' dedication, this album celebrates the culture of its contributors and marks the start of future collaborations. This inaugural album marks a milestone for the music program, promising growth and inspiration.
It’s so cool to represent our community in this way and the different hues we all paint from.
The album is available to stream on Spotify and Apple Music.
Multicultural Arts Leaders Unite in Rapid City for ILI-South Dakota
From May 9-14, 2024, Rapid City, South Dakota and the Pine Ridge Reservation were the center of cultural exchange and leadership development as First Peoples Fund hosted the Intercultural Leadership Institute (ILI) Cultural Intensive convening of the Year 5 Fellows. The gathering brought together 60 established and emerging artists, culture bearers, and arts professionals from throughout the nation alongside First Peoples Fund staff and board members. The ILI commitment to cultural equity and its support for changemakers in communities were at the forefront.
“The biggest takeaway for me was the comparison as an Indigenous person from an island with expansive oceans and skies. Driving to Pine Ridge, I realized it's no different than Hawaii—we swap out the ocean for land. I pulled away feeling we're no different, and the similarities are striking because we deal with the same issues,” ILI Year 5 Fellow Lehuanani Waipā Ah Nee said.
I pulled away feeling we're no different, and the similarities are striking because we deal with the same issues
ILI is a collaborative program among partners, including Alternate Roots, First Peoples Fund, National Association of Latino Arts & Cultures, Pa'i Foundation, Sipp Culture, First Alaskans Institute, and The International Association of Blacks in Dance. The year-long fellowship program is designed to promote personal and leadership development that includes cultural intensives in different parts of the country, including the last two cultural intensives which were held in New Orleans, LA and Jackson, MS. By bringing together individuals from various cultures and career stages, ILI creates an environment for mutual learning, cultural exchange, and an understanding of cultural equity.
“The ILI partners have been instrumental collectively, building for the future by ensuring that when one is at the table, all are at the table. We speak from a collective voice and multiple perspectives of communities. My voice has shifted from just a Black Southern woman perspective to a global perspective as I commune with people in general,” Lauren said.
Throughout the convening, attendees engaged in various activities designed to educate and inspire. The first day began in Rapid City with an introduction to Lakota lands, setting an inviting atmosphere for the attendees. The group then visited the Oglala Lakota Artspace (OLA) on the Pine Ridge Reservation in Kyle, SD. During the drive, they listened to a recording created in-house by Wicahpi Olowan Program Manager, Talon Ducheneaux that introduced them to Indian Country and the history of Wounded Knee. The day included a powerful and moving visit to the actual Wounded Knee site, the historical center at Oglala Lakota College and a return visit to the OLA where Keith Braveheart (Oglala Lakota)-- an ILI Year 3 alumnus, 2019 FPF Cultural Capital Fellow and 2021 FPF Community Spirit Award honoree – and Raymond Janis (Oglala Lakota), a local artist, hosted a screen printing workshop for the entire group.
Lauren reflected on her experience at Wounded Knee, “The story shared by Richard Two Dogs was moving because it came from his family, and we also heard another story from Wendell Yellow Bull. Being at Wounded Knee is always heavy, and it’s heavy for a good reason. Understanding how colonialism impacts people from different cultures is crucial.”
On the second day of the convening, the group visited Mato Paha (also known as Bear Butte) to learn about the history of this sacred site from Joe Giago and for some reflective time as they hiked the trail. The day ended in Rapid City with an inspiring presentation by NDN Collective President and CEO Nick Tilsen, “Defend, Develop, Decolonize!”
Understanding how colonialism impacts people from different cultures is crucial
“I think the best day was probably visiting Mato Paha and taking folks there to learn more about the site since it’s such an important sacred site for the Lakota people and other Native nations, too. It was cool to influence their experience of it through our cultural lens versus just as a hiking spot. Sharing the land with the folks like that was important,” said Nathaniel Ruleaux, OLA Program Manager.
The third day featured a presentation by Amy Sazue (Sicangu and Oglala Lakota), Executive Director of the Remembering the Children Memorial, on the history of Rapid City treaty lands, as well as classes at the OLA taught by Kyle Mesteth (Lakota) on "Ground Control," and Helene (Oglala Lakota) and Waylon Gaddie (Oglala Lakota) on "Star Knowledge."
Talon Ducheneaux, OLA Wicahpi Olowan Music Program & Studio Manager, who helped program the intensive, reflected on their approach: "What really sticks out to me is how we tried to structure everything so that people didn't leave with a gloomy feeling or a heavy focus on our traumatic history. We wanted to acknowledge our past and how we've risen above it without dwelling solely on the trauma."
On the fourth and final day, attendees explored the Journey Museum in Rapid City and participated in Tipi teachings with Ruth Cedar Face (Lakota) and Janice Richards (Oglala Sioux). They also learned firsthand from Nathaniel Ruleaux about his exhibit at the museum.
"Carlton Turner told me on the last night of ILI, 'I have come here several times over the years, and this is the first time that I truly understand the Lakota terms and what they mean and how it all fits together.' That made me feel like it was all worth it." - Leslie Mesteth (Oglala Lakota), Oglala Lakota Artspace, Associate Director
Leslie Mesteth, OLA Associate Director and contributor to the programming of the ILI Intensive, shared a memorable moment from the convening: "Carlton Turner told me on the last night of ILI, 'I have come here several times over the years, and this is the first time that I truly understand the Lakota terms and what they mean and how it all fits together.' That made me feel like it was all worth it."
I have come here several times over the years, and this is the first time that I truly understand the Lakota terms and what they mean and how it all fits together
Native Culture in Action
In celebrating Indigenous expressiveness and cultural enrichment, we are excited to spotlight three more fellows from the Cultural Capital (CC) and Artist in Business Leadership (ABL) programs.
The following artists represent how Indigenous creativity thrives through each fellow participating in our fellowships. These artists come from varying backgrounds and artistic fields and showcase a deep passion for their craft and community.
Cultural Capital
Jason Garcia, a Santa Clara Pueblo CC fellow, is working on a project that challenges the historical narrative surrounding artist Georgia O'Keeffe's depiction of Tsí Pín (Tewa)/Cerro Pedernal in northern New Mexico. This initiative marks the first time a Tewa artist has critically examined O'Keeffe's assertion of ownership over the Tewa landscape, addressing the broader context of settler colonialism in the region.
“I think knowledge of land and then also the transference of knowledge while also using Tewa place names is essential for having this type of work that we're working on. Names aren't necessarily used as often as they should be,” Garcia said.
“I think knowledge of land and then also the transference of knowledge while also using Tewa place names is essential for having this type of work that we're working on. Names aren't necessarily used as often as they should be,” Garcia said.
This initiative aims to highlight historical truths and reclaim the cultural significance of Tsí Pín within the Tewa world, while challenging the dominant narrative of "O'Keeffe Country" and bringing visibility to O'Keeffe's erasure of Tewa people and landscapes.
“I think that's part of understanding place names and also sharing some of the places that we're visiting. There are some collaborators who are involved in the project that haven't visited some of the locations that we've seen so far. So I think that's been really good to share that intergenerational knowledge as well,” Garcia said.
“I think that's part of understanding place names and also sharing some of the places that we're visiting. There are some collaborators who are involved in the project that haven't visited some of the locations that we've seen so far. So I think that's been really good to share that intergenerational knowledge as well,” Garcia said.
By documenting his journey and the project's process through a Tewa perspective, Garcia wants to educate the public about the history and cultural significance of Tsí Pín.
Artist in Business Leadership
ABL fellow Nena Howell, from the Tlingit community, channels her connections to nature into contemporary oil paintings that blend Tlingit form line art with abstract elements. Her dynamic compositions celebrate and steward all sentient life, inviting viewers to explore timeless cultural narratives.
“I've been having responses where people feel what I feel when I'm working, like a kind of airiness. It's almost like I'm lighter in my body working. A couple of people said that's what they felt when they purchased my work. They felt a bright future when they saw my work,” Howell said.
“I've been having responses where people feel what I feel when I'm working, like a kind of airiness. It's almost like I'm lighter in my body working. A couple of people said that's what they felt when they purchased my work. They felt a bright future when they saw my work,” Howell said.
Howell’s project is to develop a Shopify webshop to connect with collectors and artists in her rural community and the Pacific Northwest, featuring photos, descriptions, packaging, and framing materials, supported by a direct mail flier and catalog.
“I have a large background in marketing, I think from the cultural preservation aspect, I will have a different strategy than most people. I have a broader audience to share our beautiful work with and the collaborative work of first people,” Howell said.
“I have a large background in marketing, I think from the cultural preservation aspect, I will have a different strategy than most people. I have a broader audience to share our beautiful work with and the collaborative work of first people,” Howell said.
Committed to her rural community, Howell will share best practices and knowledge through online posts and direct invites.
Tiffany Adams, a multi-talented artist of Chemehuevi, koyoomk'awi, and Nisenan heritage, brings a diverse range of skills to her journey as an Artist in Business Leadership Fellow. Her primary mediums include jewelry, and traditional and contemporary finery, incorporating local materials such as abalone, feathers, and natural beads. Adams uses her art to spark conversations about Native issues and resource protection.
“To receive this [fellowship] at this time feels like it's going to give me the resources I need to take a break, do some research, get some training in my own business development, and get the tech that I need. It's very wonderful to be honored in that way and recognize the work I have been doing for the last 15-20 years and to give me this opportunity to grow my business and really settle into the next part of my development,” Adams said.
“To receive this [fellowship] at this time feels like it's going to give me the resources I need to take a break, do some research, get some training in my own business development, and get the tech that I need. It's very wonderful to be honored in that way and recognize the work I have been doing for the last 15-20 years and to give me this opportunity to grow my business and really settle into the next part of my development,” Adams said.
Adams aims to overcome the challenges of her art practice while maintaining cultural and community empowerment. After a hiatus during the COVID-19 pandemic to serve on her Tribal Council, she is ready to refresh her practice and build a sustainable business foundation. Her goals include creating a business plan with proper bookkeeping, updating technology to meet accessibility needs, and increasing her visibility on social media platforms.
“It's weird when you do art that's private like that isn't necessarily made for public consumption. But I do think it's important to acknowledge that they are happening, even if we're not on the cover of Vogue and all of that, it is still happening,” Adams said.
“It's weird when you do art that's private like that isn't necessarily made for public consumption. But I do think it's important to acknowledge that they are happening, even if we're not on the cover of Vogue and all of that, it is still happening,” Adams said.
With support from First Peoples Fund, she plans to purchase new technology, create a purchasing platform for her website, and receive training on content creation and social media management.
Each of these fellows symbolizes the resilience, creativity, and cultural richness of Indigenous artists today. Through their unique perspectives and artistic mediums, Jason, Tiffany, and Nena are paving the way for future artists, ensuring Indigenous voices and traditions thrive in the modern artistic landscape.
Connecting Tradition and Self-expression
In celebrating Indigenous expressiveness and cultural enrichment, we proudly present this month’s latest highlight of Cultural Capital (CC) and Artist in Business Leadership (ABL) fellows.
The following artists represent how Indigenous creativity thrives through each fellow participating in our fellowships. These creatives come from diverse backgrounds and artistic fields and embody a deep passion for their craft and community.
Cultural Capital
Loren Waters, a CC Fellow from the Kiowa Tribe and Cherokee Nation, is a multifaceted artist whose work varies from filmmaking to storytelling to jewelry design. With a strong commitment to her community, Loren’s fellowship project proposal is to host three Indigenous youth storytelling workshops.
“I hope that bringing my experience to the youth will help bridge that gap for some people and maybe push them farther along than I could have been at that age and get more Native people working in this industry,” Loren said.
“I hope that bringing my experience to the youth will help bridge that gap for some people and maybe push them farther along than I could have been at that age and get more Native people working in this industry,” Loren said.
In her attempts to bridge the gap between her cultural background and the non-Indigenous world, Loren draws from her experiences growing up close to her culture in Oklahoma. She acknowledges the challenges of navigating between two worlds and the impact of lacking representation in media and film.
"I think that there's a lot of emphasis in the film industry or in filmmaking on Indigenous people being historical or people of the past," Loren said.
"I think that there's a lot of emphasis in the film industry or in filmmaking on Indigenous people being historical or people of the past," Loren said.
Through these experiences, Loren hopes to contribute to the growth and development of future generations of Indigenous filmmakers, connecting the gap between historical representations and contemporary narratives in the film industry.
Sarah “Giihz” Agaton Howes, a CC Fellow of Fond du Lac Ojibwe and Muscogee descent, is a beadworker, illustrator, graphic designer, and fashion designer. She envisions the creation of “Auntie’s Table”- a safe space where learners and makers can come together to create, learn, and build community. Sarah plans to use the fellowship funds to provide essential supplies, rent space for gatherings, and compensate herself and her teachers for their time and expertise.
“I think it's cool to be able to have grant funding that works with and is run by Native folks and to go through that process with other Native folks,” Sarah said.
“I think it's cool to be able to have grant funding that works with and is run by Native folks and to go through that process with other Native folks,” Sarah said.
Auntie’s Table aims to create a welcoming environment for makers of all skill levels to come together and learn. It is supported by a dedicated team of employees and mentees.
“I realized that what my community needed was not for me to be making them things but for them to have those cultural competencies and to make their items for their family. And so that's what I spend a lot of my time doing: just teaching people how to do everything that I know how to do,” Sarah said.
“I realized that what my community needed was not for me to be making them things but for them to have those cultural competencies and to make their items for their family. And so that's what I spend a lot of my time doing: just teaching people how to do everything that I know how to do,” Sarah said.
Artist in Business Leadership
ABL Fellow Juliette Morris Williams, an Oklahoma Choctaw, is working to expand her artistic reach and create opportunities for broader community engagement. Due to Multiple Sclerosis, Juliette faces mobility challenges. She aims to create an online platform to showcase and sell her artwork, ensuring its accessibility to collectors worldwide.
“These funds will allow me to meet some artists I've wanted to meet and to travel there. And I feel so good that things that mean so much to me might help others see what they can do and inspire them to do more in their own lives or communities,” Juliette said.
“These funds will allow me to meet some artists I've wanted to meet and to travel there. And I feel so good that things that mean so much to me might help others see what they can do and inspire them to do more in their own lives or communities,” Juliette said.
Through her Mujeres Divinas project, Juliette plans to celebrate Indigenous women, drawing inspiration from her Choctaw family and her roots in Oklahoma. She sees creating a body of work that honors the resilience and beauty of Indigenous women, incorporating elements of clay and soil from her family's land into her artistic creations.
“I feel that with the lifting up of women who do so much and work so hard for their communities in their culture, I hopefully inspire others to say, ‘Wow, these people are pretty amazing. They do a lot of work. And I should try to do something like that,’” Juliette said.
“I feel that with the lifting up of women who do so much and work so hard for their communities in their culture, I hopefully inspire others to say, ‘Wow, these people are pretty amazing. They do a lot of work. And I should try to do something like that,’” Juliette said.
As we honor Loren Waters, Juliette Williams, and Sarah “Giihz” Agaton Howes's additions to the FPF Fellowship family, let us celebrate the passion and creativity of Indigenous artistry and reiterate our commitment to supporting and uplifting Indigenous artists in their pursuit of cultural expression.
Cultural Heritage in Contemporary Art
As we celebrate Indigenous expression and cultural enrichment, we are thrilled to spotlight three more fellows from the 2024 Cultural Capital (CC) and Artist in Business Leadership (ABL) programs.
The following artists represent how Indigenous creativity thrives through each fellow participating in our fellowships. These artists come from diverse backgrounds and artistic fields and showcase a deep passion for their craft and community.
Cultural Capital
Kamali'ikūpono Hanohano, an ʻŌiwi Hawaiʻi/Native Hawaiian CC Fellow, practices traditional Hawaiian tattoo art of Kākau Uhi. Through Kamali'ikūpono's fellowship project he will explore the impact of traditional Hawaiian tattoos on individuals within the Native Hawaiian community. He will conduct video interviews to document the experiences of people from various lifestyles—teachers, cultural practitioners, and individuals with different religious or spiritual beliefs.
“I had an idea to showcase the effects of our traditional markings within our people and how they can serve as healing sparks,” Kamali'ikūpono said.
“I had an idea to showcase the effects of our traditional markings within our people and how they can serve as healing sparks,” Kamali'ikūpono said.
The project will be a short film that shares these perspectives, highlighting the significance and emotional impact of Kakau Uhi. By documenting these stories, he hopes to share the healing power of traditional Hawaiian tattoos with a broader audience, sharing a deeper appreciation for this cultural practice.
“We are accustomed to our history, our experience, and the events that have transpired here (Hawaii). It's nice to hear the first perspective on other Native peoples and maybe some of their experiences,” Kamali'ikūpono said.
Artist in Business Leadership
Richard D. York, an ABL fellow and a citizen of the Cherokee Nation, uses a diverse array of mediums in his art, including acrylic and oil paints, charcoal, graphite, and natural materials like deer, horse, and elk rawhide. His work spans painting, drawing, and the crafting of musical instruments like drums and flutes, connecting traditional techniques with contemporary practices.
“To me, art is about connecting with others, and it's kind of putting my experience out there to share with others and hopefully allowing them to bring themselves into that experience,” Richard said.
“To me, art is about connecting with others, and it's kind of putting my experience out there to share with others and hopefully allowing them to bring themselves into that experience,” Richard said.
For his fellowship project, Richard wants to enhance his online presence by establishing an online marketing strategy. He also plans to set up his print production space to avoid outsourcing costs. By purchasing a professional inkjet printer and supplies, he can control the quality and consistency of his prints, which will ultimately improve his online marketing and participation in art markets.
“I just feel super grateful for the opportunity and the grant, but also for what this allows me to do in the community,” Richard said.
I just feel super grateful for the opportunity and the grant, but also for what this allows me to do in the community,” Richard said.
Richard's overall vision is to support youth and individuals in recovery by uplifting them to explore art as a meaningful hobby or career path. By sharing his knowledge through public presentations and classes, he wants to inspire others and create a sense of community and creativity.
Sabrina Saleha, a Diné ABL Fellow, represents her filmmaking, writing, and acting work. Her films highlight themes of identity and grief, yet are created to be light-hearted, aiming to shatter the stoic "Hollywood Indian" stereotype by infusing humor and hope into her narratives.
“TV and film historically have portrayed Native Americans as one-dimensional people of the past, which is both frustrating and couldn’t be further from the truth,” Sabrina said.
“TV and film historically have portrayed Native Americans as one-dimensional people of the past, which is both frustrating and couldn’t be further from the truth,” Sabrina said.
With the support of the fellowship grant, Sabrina’s will direct her first short film, addressing the negative effects of Native American mascots on identity and community. Her goal is to create stories that capture Native humor and portray the rich diversity of Native American experiences, moving away from clichéd and inaccurate representations.
“This fellowship has given me validation that my stories are worth telling,” Sabrina said.
“This fellowship has given me validation that my stories are worth telling,” Sabrina said.
The Cultural Capital and Artist in Business Leadership Fellowships support artists like Kamaliikupono, Richard, and Sabrina, helping them pursue their creative work while honoring their culture. These programs not only offer financial support but also provide a platform for these artists to amplify their voices and share their unique perspectives.
Each fellow adds to a broader narrative of resilience, creativity, and cultural preservation through their respective mediums. They show the transformative power of art in promoting understanding and appreciation for Indigenous cultures.
From CEO to Senior Fellow: Lori Lea Pourier's New Chapter
After a monumental journey that spanned 25 years, Lori Lea Pourier (Oglala Lakota), the founding President and CEO of First Peoples Fund, has transitioned into a new role as Founder and Senior Fellow. This role will allow Lori to focus on the future of Native artists and culture bearers while bringing forward the knowledge and narratives that celebrate the organization’s years of preserving and supporting culture bearers.
“I am immensely grateful in reflecting on the many artists, tradition keepers, and communities I have had the honor of serving as President and CEO of First Peoples Fund,”
“I am immensely grateful in reflecting on the many artists, tradition keepers, and communities I have had the honor of serving as President and CEO of First Peoples Fund,” Lori said.
In her new role as Senior Fellow, Lori will continue to promote Collective Spirit principles, which embody the commitment to foster our shared humanity and honor our connections to one another, the lands surrounding us, and the spirit.
“It's about the way of life of 1000 years and generations that allow us to continue and allow us to continue to practice those [same] teachings,"
“It's about the way of life of 1000 years and generations that allow us to continue and allow us to continue to practice those [same] teachings,” Lori said.
As Lori takes on her new role, her goals and aspirations are embedded in her devotion to narrative change and amplifying the voices of tradition keepers. She can see herself creating a publication that showcases the stories of Community Spirit Award recipients over the past years, capturing the narratives of their experiences and artistic contributions to their Indigenous cultures.
“We always knew that we wanted to support the tradition keepers or the culture bearers within our communities, asking ‘how do we honor those that selflessly give of themselves in community?’"
“We always knew that we wanted to support the tradition keepers or the culture bearers within our communities, asking ‘how do we honor those that selflessly give of themselves in community?’” Lori said.
Despite the challenge of finding the time to document these stories during the organization's rapid growth, Lori looks forward to being able to help First Peoples Fund preserve its legacy and impact on Indigenous communities.
“Now I have the honor and the privilege to tell our story directly through the eyes and the lens of the Community Spirit Award honorees,”
“Now I have the honor and the privilege to tell our story directly through the eyes and the lens of the Community Spirit Award honorees,” Lori said.
With a cache of over 7,000 photos and videos documenting the history of First Peoples Fund, Lori sees an opportunity to capture the experience of FPF's journey and share it with a wider audience. Through ideas like the 25th-anniversary stage production from the Kennedy Center, Lori wants to find different ways to showcase the diversity and richness of Indigenous culture, from traditional practices to contemporary expressions.
“I always believed that the creatives ruled the world,” Lori said.
She shares the significance of the organization's name, "First Peoples," which reminds her of the Indigenous peoples' powerful presence on the continent from Canada to Mexico.
“First People's Fund values generosity and integrity, and we hope to keep doing things well so that we're not just about the business,” Lori said.
Lori is still strongly devoted to uplifting Indigenous voices, preserving the various aspects of cultural heritage, and advocating for a greater understanding and appreciation for First Peoples' contributions to society. Through storytelling and celebration, she hopes to leave a lasting impact that honors the creativity of Indigenous communities.
“There are so many good things happening now due to First People's Fund’s long history of working alongside artists and culture bearers. What's important now and moving forward is how we celebrate and continue to lift those voices.”
“There are so many good things happening now due to First People's Fund’s long history of working alongside artists and culture bearers. What's important now and moving forward is how we celebrate and continue to lift those voices.”
Embracing the Past While Moving Into the Future
In celebrating Indigenous creativity and cultural enrichment, we proudly present this month’s latest highlight of Cultural Capital (CC) and Artist in Business Leadership (ABL) fellows.
The following artists represent how Indigenous creativity thrives through each fellow participating in our fellowships. These creatives come from diverse backgrounds and artistic fields and embody a deep passion for their craft and community.
Cultural Capital
Tessie Naranjo, an 83-year-old CC fellow, captures the wisdom and cultural richness of her Santa Clara Pueblo community. Growing up in a prevalent Indigenous language tradition, she cherishes the impact of her matriarchal figures –her great-grandmother, grandmother, and sister.
“I come from a large body of artists in our community. Sculpting, writing, or making pottery, stone carving. Those things come naturally to us, here in the community, and especially within my family,” Tessie said.
“I come from a large body of artists in our community. Sculpting, writing, or making pottery, stone carving. Those things come naturally to us, here in the community, and especially within my family,” Tessie said.
With support from her fellowship, she will document Tewa place names in their homeland. She plans to collaborate with a Tewa male elder and a young tribal photographer and mapper. The project's mission is to capture Tewa names of mountains and land places, creating hard-copy and digital maps exclusively for the community.
“There is much to learn from traditional place names. Tewa names given by my ancestors are wondrously descriptive. My ancestors knew the land well,” Tessie said.
By documenting traditional place names, Tessie wants to ensure that future generations can access and appreciate their cultural wealth and protect the importance of language, story, and the enduring relationship between people and place.
CC Fellow Savanna Rilatos, a member of the Confederated Tribes of Siletz Indians, is working on a meaningful project to support her community through the Siletz Regalia Sharing Co-op, which she co-founded. This initiative aims to loan culturally appropriate regalia to dancers for local powwows and cultural events who may not have access to those items – a “regalia closet”.
“Regalia is not always accessible; it can be expensive to craft. And the people crafting it deserve compensation for their time and work because it is a lot of work. So we were just thinking about opportunities and things to help with the cost of it and not worry about how much money we're putting into it,” Savanna said.
“Regalia is not always accessible; it can be expensive to craft. And the people crafting it deserve compensation for their time and work because it is a lot of work. So we were just thinking about opportunities and things to help with the cost of it and not worry about how much money we're putting into it,” Savanna said.
Drawing from her past, Savanna shares the importance of accessibility to regalia, noting the invaluable support she received from her community in participating in ceremonies and powwows. Inspired by her grandfather's belief that "culture is prevention," Savanna envisions the Co-op as a bridge between accessibility and culture for others.
“The dream is to be able to provide funds and stuff for people to make their regalia. They get to participate and create for themselves or work with artists to obtain regalia,” Savanna said.
Artist in Business Leadership
Ashley Young, an ABL Fellow and a member of the Tlingit community, is elevating her music career into an impactful business. Understanding the importance of treating her music as a business, Ashley is focusing on developing a credible business model as the foundation of her project.
“I'm so incredibly fortunate to have this grant and support from everyone. I know I can reach out to anyone anytime I need something like that; that kind of support is incredible. And when it comes to other artists in my community, we don't have thousands of dollars to give each other, especially when we're constantly on that next project. And so we are always focusing on what we can do for each other,” Ashley said.
“I'm so incredibly fortunate to have this grant and support from everyone. I know I can reach out to anyone anytime I need something like that; that kind of support is incredible. And when it comes to other artists in my community, we don't have thousands of dollars to give each other, especially when we're constantly on that next project. And so we are always focusing on what we can do for each other,” Ashley said.
Her goals include revamping her online presence with a new website, shaping her branding, maintaining a consistent presence on social media, and creating merchandise for her upcoming tour. Through her music, she aims to share her personal message of love, loss, and change as a tribute to her community.
“I think many artists are afraid to lift themselves like they don't feel worthy of it. The way that I view my community is we're all holding hands. And every once in a while we just catapult one person in the circle,” Ashley said.
“I think many artists are afraid to lift themselves like they don't feel worthy of it. The way that I view my community is we're all holding hands. And every once in a while we just catapult one person in the circle,” Ashley said.
As a member of both the queer and Indigenous communities, Ashley is committed to using her career to make a positive change, hoping to inspire Alaska Natives to be ambassadors in their communities.
As we celebrate Ashley, Savanna, Tessie, and their fellow cohort members' inclusion in the First Peoples Fund fellowship, we recognize the importance of uplifting indigenous artists in their creative endeavors and acts of cultural conservation.
Our Carrier of Sacred Values
One of First Peoples Fund founding inspirations, Leksi (uncle in Lakota) Ben Sherman, took his journey to the next world on Friday, April 5th. When it came to practicing the values he professed, there was no daylight between the values of Ben Sherman and the values that he instilled in First Peoples Fund work.
Beginning in 1999, from the kitchen table of his niece, Lori Pourier (then the brand new president of First Peoples Fund), Ben was shaping the founding days of the organization with his signature elevation of Native values. In his quietly insistent way – through curriculum development, training, listening, encouraging, governance, bridge-building and being an ambassador to hundreds of artists – Ben ensured that the work of supporting artists and culture bearers would include their consideration and regular revisiting of the Native values of integrity, respect, honesty, compassion and generosity.
From young beginnings as a member of the Oglala Lakota tribe on the Pine Ridge reservation, he attributed his strong orientation to values to his upbringing by his mother, Alice Sherman and to her upbringing from her grandmother. He carried these values through all of his experiences – from boarding schoo;l to working as a welder; to being an executive in the aerospace and technology fields; to earning a masters degree in business; to 25 years mentoring the field of Native arts, culture and tourism; to serving as a founding board member, long-term trainer, and wise counsel to First Peoples Fund; to founding the World Indigenous Tourism Alliance (a global network to center Indigenous experiences, values and worldview) – Ben was always intentional and thoughtful, humble and wise.
Ben’s methods of unveiling inherent Native values in the fellows of First Peoples Funds programs usually entailed talking circles. In the first gathering of any FPF fellowship and training program, he would inquire of the artists about the values they carried from home that were the most important to them. Usually surprised by this unfamiliar line of inquiry, the artists would dig deep to remember and offer what these values were to each of them. The ensuing sharing resulted in a sense of reverence for ancestral knowledge; a building of trust with their fellow artists; and the beginning of an intimate and lifelong connection between the artist-fellows’ values and their expressions of their artistic work and community-spiritedness.
Theresa Secord, the Penobscot founder of the Maine Indian Basketmakers Alliance and 2009 Jennifer Easton Community Spirit Award honoree, board member and longtime trainer alongside Ben, described his way of being in this work:
“Ben served as a natural mentor to all, especially those in the FPF Native Artist Professional Development Trainings (NAPD). Emerging artists, in particular, were drawn to him and his wisdom. He helped transform the way they saw themselves in their communities and in the larger arts world through his lens and their own values systems. He mentored the trainers – myself included – and developed the train-the-trainers materials."
“In the FPF Indigenous Native Arts Ecology work, Ben was so respectful of the sovereignty of each Nation, that upon arrival in new communities, as co-trainers or co-advisors, we would immediately travel together to the seat of tribal government to meet with the President and/or Councilors."
“In the FPF Indigenous Native Arts Ecology work, Ben was so respectful of the sovereignty of each Nation, that upon arrival in new communities, as co-trainers or co-advisors, we would immediately travel together to the seat of tribal government to meet with the President and/or Councilors. Here he would make our First Peoples Fund presence and business known and establish proper protocols. Ben was a consummate professional and an ambassador for FPF. He would often characterize our work in the field as acting like the bridge for the artists between FPF, the Tribe, and organizations, such as the Native CDFIs (Community Development Financial Institutions) that served artists. We helped the artists weave an entrepreneurial network within their own tribe and the larger Native arts world.”
Juan Lucero (Isleta Pueblo), the Program Manager of the First Peoples Fund Native Artist Professional Development program, worked side by side with Ben with dozens of artists across many communities.
“What we are doing in NAPD has been guided by Ben Sherman from the beginning. When implementing updates to our trainings, I would often ask myself ‘What would Ben think about this change?’ It wasn’t just about his approval, but also about making sure his voice was still represented in the trainings. His voice is vital to NAPD and our trainers do their best to reflect the values he exhibited, which were so tremendous—so I’m comforted that his legacy in NAPD carries on.”
“What we are doing in NAPD has been guided by Ben Sherman from the beginning. When implementing updates to our trainings, I would often ask myself ‘What would Ben think about this change?’ It wasn’t just about his approval, but also about making sure his voice was still represented in the trainings. His voice is vital to NAPD and our trainers do their best to reflect the values he exhibited, which were so tremendous—so I’m comforted that his legacy in NAPD carries on.”
As both a student and teacher of Lakota star knowledge, Ben professed that the constellations shining from the night sky are reflected on the geographies of the Earth. He taught the Lakota cosmology of the stellar Medicine Wheel or ‘Race Track’ mirroring the Bighorn Medicine Wheel and the buffalo formed by stars as the Tatanka Symbol of the Sun. One needed to study these to recognize them, both in the night sky and on journeys to the sacred places of the earth that they reflected. This practice stands as a metaphor for Ben, his power of observation, and his dedication to the practicing of values.
Though we will miss Ben’s physical presence here with us at First Peoples Fund, we will rely on his Star Knowledge teaching: as above, so below. His teaching, his values and his practices will echo through First Peoples Fund works: through all of the artists he has touched, all the kindnesses he has offered, all of the integrity and respect he modeled during his eight decades of life as a respected Lakota culture bearer.
- Kalima Rose, longtime friend and FPF Board Co-Chair
Ben’s family has requested that anyone who wishes to honor him and his legacy, may do so by making a gift to First Peoples Fund.
Empowering Indigenous Voices
In commemorating Indigenous creativity and cultural preservation, we proudly present this month’s latest highlight of Cultural Capital (CC) and Artist in Business Leadership (ABL) fellows.
The following artists represent how Indigenous creativity thrives through each fellow participating in our fellowships. These creatives come from diverse backgrounds and artistic fields, each embodying a deep passion for their craft and community.
Artist in Business Leadership
George Alexander, an ABL Fellow from the Muscogee (Creek) Nation, graduated with a Bachelor of Fine Arts in 2015. Mentored by Tony Abeyta – a renowned Diné artist most well known for mixed media paintings and oil landscapes of the American southwest – George explored the business side of art. Following a Master’s degree in Studio Arts from the Studio Art College International in Florence, Italy, he opened Ofuskie Fine Art Studio in Sante Fe in 2021, where he continues his refinement of various art mediums such as printmaking and stickers alongside his paintings.
“This is my first actual fellowship… I'm not sure what to expect, but I know that whatever it will be, it's going to be exciting. And whatever doors open up after this will probably be because of my involvement with this fellowship,” George said.
“This is my first actual fellowship… I'm not sure what to expect, but I know that whatever it will be, it's going to be exciting. And whatever doors open up after this will probably be because of my involvement with this fellowship,” George said.
With his studio in central Santa Fe, New Mexico, George wants to create an accessible space for other artists to share resources and collaborate. He offers opportunities for artists to showcase their work and hosts open studios without taking commission, allowing artists to keep 100% of the proceeds from their sales.
“It becomes a nice little access point for other artists to utilize whatever I have. This is why I think it's important that I try to open up my resources, which aren't big resources by any means. But the capability of sharing the equipment that I have [is} essential to how I interact with my community,” George said.
“It becomes a nice little access point for other artists to utilize whatever I have. This is why I think it's important that I try to open up my resources, which aren't big resources by any means. But the capability of sharing the equipment that I have [is} essential to how I interact with my community,” George said.
Robert Yellowhawk, another ABL Fellow from the Cheyenne River Sioux Tribe, was raised with a strong connection to Lakota culture through performing dances. He has dedicated himself to serving Indigenous youth through different roles, including mentoring and suicide prevention programming.
“Receiving grants made me want to apply for more opportunities like this. If I can inspire people or the youth who are interested in doing similar work, that's satisfying to me,” Robert said.
“Receiving grants made me want to apply for more opportunities like this. If I can inspire people or the youth who are interested in doing similar work, that's satisfying to me,” Robert said.
Now serving as a business manager for Rural America Initiatives, Robert continues to advocate for cultural preservation and empowerment. He engages in traditional dance performances and educational tours to promote pride and knowledge in future generations and to bridge the gap between Indigenous and non-Indigenous communities.
“I feel inspired to continue what I'm doing and to inspire others to apply for great opportunities like this one. It’s also something to add to [my] resume, and if I can professionally represent supporting organizations, that's always a plus,” Robert said.
“I feel inspired to continue what I'm doing and to inspire others to apply for great opportunities like this one. It’s also something to add to [my] resume, and if I can professionally represent supporting organizations, that's always a plus,” Robert said.
Cultural Capital
Carrie Paton, a CC Fellow from the Bristol Bay Native Corporation and Tribal Village of Manokotak in Alaska, brings the art of music and language translation to her Yup’ik community. As the director of the Yup’ik choir in Anchorage, she leads performances at different events and has recorded multiple CDs featuring Yup’ik songs.
“One of my dreams was to make songbooks from translated songs; it has been my therapy. There are some personal issues I’m going through, and hymnals keep me motivated because there's a lot of comfort in the songs,” Carrie said.
“One of my dreams was to make songbooks from translated songs; it has been my therapy. There are some personal issues I’m going through, and hymnals keep me motivated because there's a lot of comfort in the songs,” Carrie said.
She recognizes a decline in fluency among younger generations and emphasizes the importance of using media such as CDs to keep the Yup’ik language alive. As someone who speaks fluently, Carrie is passionate about ensuring that future generations can access their culture through language preservation.
“I'm one of the cultural bearers trying to keep our language alive. And I'm doing it by publishing songbooks in Yup’ik and English so that the younger generation who don't speak Yup’ik fluently know what they see with the English version next to it,” Carrie said.
“I'm one of the cultural bearers trying to keep our language alive. And I'm doing it by publishing songbooks in Yup’ik and English so that the younger generation who don't speak Yup’ik fluently know what they see with the English version next to it,” Carrie said.
As we celebrate George, Robert, Carrie, and their fellow cohort's addition to First Peoples Fund, we recognize the importance of uplifting Indigenous artists in their passion for creative cultural preservation. Through these fellowships, we continue to advocate for the voices and visions of indigenous artists, empowering them to thrive and share their gifts.
Building Spaces to Heritage: The Hale Halawai Project at Kalāheo High
Tara Gumapac, (Kanaka Maoli or Native Hawaiian) based in O’ahu, Hawai’i, is a cherished community member that shines as a beacon of creative and cultural resilience. As a 2022 First Peoples Fund Artist in Business Leadership fellow, Tara embodies the spirit of innovation and dedication. Her daily life as a beloved faculty member at Kalāheo High School is filled with achievements, notably being honored as Teacher of the Year for the 2022-2023 academic period. Tara's profound connection to her heritage and unwavering commitment to her community illuminate her work, particularly in crafting a curriculum that celebrates Kanaka Maoli themes that deeply resonate with her high school students.
One of Tara's remarkable initiatives involved guiding her students in constructing a traditional Kanaka Maoli hale halawai (meeting house, a building for public meetings). This project was born from a blend of curiosity and a heartfelt desire among the students for a space that was unequivocally theirs. This space was envisioned as a haven for creativity and cultural engagement within the school's bounds. In collaboration with Kanaka Maoli community leaders, Tara and her enthusiastic students embarked on this journey, meticulously gathering materials, drafting a building plan, and successfully proposing their vision to the school administration.
“We worked with many organizations, but the main organization was Paepae O Heʻeia. Others included Ke Kahua o Kualiʻi, Office of Hawaiian Education, Kaneohe Marine Corps Base and Kapaʻa Quarry HC&D who donated pōhaku (stone) for our wall.” This comprehensive network of partnerships exemplifies the depth of community involvement. Tara also mentions, “Mason Architect was an amazing architectural company that walked us through the process of producing blueprint drawings for the hale.”
When describing the collaborative process, Tara elaborates, “We worked with many organizations, but the main organization was Paepae O Heʻeia. Others included Ke Kahua o Kualiʻi, Office of Hawaiian Education, Kaneohe Marine Corps Base and Kapaʻa Quarry HC&D who donated pōhaku (stone) for our wall.” This comprehensive network of partnerships exemplifies the depth of community involvement. Tara also mentions, “Mason Architect was an amazing architectural company that walked us through the process of producing blueprint drawings for the hale.” The local community's overwhelming support underscored the project's profound cultural significance, propelling Tara and her students forward with renewed vigor and the unwavering backing of the community.
This initiative served not only as a cultural revival but also as a poignant reminder of the historical challenges the Kanaka Maoli community faced, including the loss of land, language, and culture. The hale halawai project symbolized honor for Kanaka Maoli architectural wisdom, emphasizing the cultural teachings and values inherent in utilizing locally sourced materials and traditional construction methods. Furthermore, it presented an opportunity to highlight the application of Indigenous knowledge on the contemporary issue of homelessness, showcasing the value and enduring relevance of Kanaka Maoli traditions in today's society.
Over months of collaborative effort, students, faculty, and community members poured their hearts into creating the hale halawai at Kalaheo, a process marked by care, enthusiasm, and communal spirit. The project's completion not only celebrated the rich tapestry of Kanaka Maoli culture, language, and arts at Kalaheo High School but also underscored the vital role of the community in preserving and elevating cultural heritage for future generations.
“There are so many individuals I would like to mention but the main people I would like to mahalo (thanks/gratitude) are Keahi Piʻiohia who was our leader in building the hale and Resha Momilani Ramolete who was my supportive Administrator overseeing the project. Both gave me the drive and the passion to see the project through.”
Tara Gumapac, reflecting on the project, emphasizes its collaborative nature, stating, “There are so many individuals I would like to mention but the main people I would like to mahalo (thanks/gratitude) are Keahi Piʻiohia who was our leader in building the hale and Resha Momilani Ramolete who was my supportive Administrator overseeing the project. Both gave me the drive and the passion to see the project through.” Tara Gumapac's leadership and passion have inspired a reconnection with the land and culture, leaving an indelible mark on her students and the wider community.
Meet Our New CEO & President of First Peoples Fund, Justin Kii Huenemann
From the breezy, small town of Winslow, Arizona, Justin Kii Huenemann's story unfolds with the backdrop of the Navajo Reservation in Tsaile—where the majestic Canyon de Chelly sprawled out before him as a playground and the Chuska Mountains stood guard behind. Born into a tapestry of cultures, with a Diné mother, Martha, and a German father, Lynn, Justin was the spirited eldest of three, whose vibrant childhood was focused on outdoor adventures from climbing pinon trees to exploring the red rock canyons that painted his world with wonder.
In a blend of cultures and landscapes, Justin's early years were marked by independence and an adventurous spirit, embodied by his distinctive light-colored eyes and the traditional tsiiyééł (Navajo bun) he wore—a striking image against the 1970s and '80s reservation backdrop.
The journey led the Huenemann family to the vicinity of Mission, SD, within the embrace of the Rosebud Sioux Tribe, before settling in Mitchell, SD—a town celebrated for its unique Corn Palace and the Oscar Howe Museum. Here, Justin's high school days were filled with creativity and athleticism as he delved into band, choir, running, basketball, and art while discovering a keen interest in drafting and design. This passion for art and structure-guided him to pursue architecture at the University of Minnesota in the Twin Cities, where he achieved his degree and enriched his studies with a minor in American Indian Studies. His thirst for knowledge didn't stop there; Justin secured a Master's in Policy and Administration in Higher Education, making Minneapolis/St. Paul is his second home.
In Minneapolis, Justin's professional journey began to blossom. From teaching at the Heart of the Earth Survival School to designing at AmerInd Architecture Firm, counseling undergraduates at the University of Minnesota, and directing youth programming at the Minneapolis American Indian Center, Justin laid the groundwork for a remarkable community development and leadership career.
Assuming pivotal roles within the Minneapolis American Indian community, Justin's influence spread wide. He chaired the Metropolitan Urban Indian Directors, collaborated with the Police and Community Relations Council for the U.S. Department of Justice, and served on numerous boards including the Woodlands National Bank, the Indian Health Board, and the Neighborhood Development Center. His vision also led to the founding of the Tiwahe Foundation.
Justin's drive to uplift his community saw the birth of the American Indian Families Project with Hennepin County, the establishment of the Native American Community Development Institute, and the creation of the first-of-its-kind American Indian Cultural Corridor along historic Franklin Avenue. His leadership developed initiatives like the All My Relations Gallery, Powwow Grounds Café, and Woodlands National Bank on Franklin Avenue - the first tribally owned bank in a major city, marking significant contributions to community development.
Justin’s commitment to community development caught the attention of the Northwest Area Foundation in St. Paul, where Justin worked with 72 tribes across eight states, spearheading a social enterprise initiative.
Yet, the call of the Southwest to move back closer to home proved irresistible, leading Justin and his family to Albuquerque, NM. Here, he took the helm as the President and CEO of the Notah Begay III Foundation (NB3), focusing on the health and wellness of Native children and families, before venturing into his role as President and CEO of Jemez Enterprises, owned by the Pueblo of Jemez. During this time frame, Justin was highly active in providing critical COVID relief to regional Native American tribes in the southwest.
Still residing in New Mexico, Justin cherishes life with his four children and a dog. He enjoys golf, painting, hiking, camping, fishing, and culinary explorations. His journey from a spirited child of the Navajo reservation to a national visionary leader embodies the spirit of resilience, creativity, and a deep commitment to community.