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The Wicahpi Olowan Music Program and Studio (WOMPS) is an innovative initiative designed to empower and support Indigenous musicians by providing them free access to professional-grade studio equipment, services, and programs. 

Operating out of the Oglala Lakota Artspace (OLA) on the Pine Ridge Reservation, WOMPS offers artists a welcoming environment to create and collaborate. Through events like workshops, open mics, jam sessions, weekly drum circles, and seasonal showcases tied to celebrations, the studio has established itself as a creative hub for artists in all areas of their careers. 

In addition to encouraging artistic expression, WOMPS connects artists with other programs like the Native Artist Professional Development (NAPD) workshop to help them elevate their careers. 

“Our goal with WOMPS is to create a model that shows other Indigenous communities what’s possible when we put collaboration and abundance at the forefront,” Talon Ducheneaux, WOMPS’ Program Manager, said. “Music is vital to our identities and storytelling traditions, so creating a space where artists feel supported to explore and grow is transformative.”

“Music is vital to our identities and storytelling traditions, so creating a space where artists feel supported to explore and grow is transformative.”

Talon hopes the initiative can serve as a framework for other communities, sharing how creative spaces can encourage collaboration, dismantle scarcity mindsets, and redefine music rooted in Indigenous identities.  

Among WOMPS’ new programs is the Visiting Arts Program, which offers musicians a six-month stipend to support their work and creative growth. Talon shared that the program’s no-strings-attached approach is intentional, allowing artists to focus on their work without pressure to meet external requirements. 

“We want to prioritize artists’ needs and give them the freedom to define what success means for them,” Talon said. The program’s first participants, Reed Two Bulls of the Wake Singers and William Thunderhorse of Isolated South, bring distinctive styles that encapsulate the South Dakota landscape and work on projects that will resonate with audiences. 

“We want to prioritize artists’ needs and give them the freedom to define what success means for them,”

The Oglala Lakota Artspace Artist in Residence (AiR) program at WOMPS has also seen success, with recent participants creating diverse and meaningful works. Elizabeth Skye (Lakota Kikyo), the first musician AiR at OLA, recorded an album that includes collaborations with other Indigenous artists. At the same time, 9a (Nyna Matowin) has completed a round-dance album entirely in the Lakota language.

Other artists, like Conquest (Jacob Bianas) and Jar Cottier (Light/Hearted), have used their residences to create new projects and refine their craft. Talon emphasized that the program prioritizes artists’ autonomy, allowing them to define their goals and measure success on their terms.

“We’re not here to impose a standard of success on productivity on anyone,” he said, “it’s about creating a space where artists can dream big and take the time to bring those dreams to life.” 

“We’re not here to impose a standard of success on productivity on anyone,” he said, “it’s about creating a space where artists can dream big and take the time to bring those dreams to life.” 

Looking ahead, WOMPS is preparing for the Winter Solstice event at the Oglala Lakota Artspace, where all four Artists in Residence will showcase their work. This event highlights the various talents within the community, offering attendees a chance to experience life performances by musicians of different styles and genres. 

Besides events, Talon sees a future where WOMPS continues challenging the music industry by prioritizing Indigenous art and culture. Whether through collaborations with other studios, a rez-wide music tour, or hosting artists across Turtle Island, WOMPS aims to expand opportunities for Indigenous musicians nationwide.  

“We’re just scratching the surface of what’s possible. I dream of seeing Indigenous music celebrated not as a niche genre but as a vibrant, evolving part of the global music landscape. WOMPS is here to lead that movement,” Talon said. 

“We’re just scratching the surface of what’s possible. I dream of seeing Indigenous music celebrated not as a niche genre but as a vibrant, evolving part of the global music landscape. WOMPS is here to lead that movement,”

At its center, WOMPS is about creating a sense of belonging and possibility for artists. Through its commitment to collaboration, growth, and cultural preservation, WOMPS ensures that Indigenous voices are heard and celebrated. 

An Update to the WOMPS Program

Since this article was writte, we are pleased to provide an exciting update to our friends and supporters: First Peoples Fund is thrilled to share that several talented artists from the Wicahpi Olowan Music Program and Studio (WOMPS) have been nominated for the prestigious Native American Music Awards (NAMMYs)!

We couldn’t be prouder of these incredible artists and their achievements over the past year. Let’s come together to show our support and celebrate their hard work, creativity, and dedication. This includes the following artists: Tiana Spotted Thunder, William Thunderhorse, Colton Sierra, Elizabeth Skye (with Mato Wayuhi), Cyrus Stone & (posthumously) Franklin Adams, Kyle Mesteth, Juliana Brown Eyes, Terrance Jade, Dawson Rooks, Nyna Matowin, and Santee Witt. A special acknowledgment to Talon Bazille Ducheneaux—one album, 12 nominations!

Take a moment to cast your vote for your favorite WOMPS-affiliated artist here: https://bit.ly/4i35ztA

Congratulations to all the nominees—your success is an inspiration to us all!

Keith Braveheart (Oglala Lakota, '19 CC, '21 CSA), a visual artist, educator, and advocate for Indigenous artists, is using his platform as a 2023-2024 Oglala Sioux Tribe Artist Laureate to empower the Pine Ridge Reservation’s community through his class series The Art of Painting. Along with Marty Two Bulls Jr. (Oglala Lakota, '19 ABL), Keith was one of the tribe’s inaugural artist laureates. His work highlights the intersection of creative expression, cultural preservation and education. 

The immersive series of classes, hosted in partnership with First Peoples Fund’s (FPF) Oglala Lakota Artspace (OLA), is changing lives and strengthening the Lakota community's artistic voice by offering Lakota artists the opportunity to express themselves freely in a way that honors their culture.

His dedication to his art and community extends beyond painting. As a member of the Pejuta Haka community, Keith’s personal journey has deeply shaped his role as an educator and mentor. He holds a BFA from the Institute of American Indian Arts and an MFA from the University of South Dakota.

“I used to be a student helper at a very young age when I was still in college. Eventually, I got myself into lead instructor, coordinator, and assistant director roles. I kept that experience as a little motivation, so when I finished graduate school, I immediately became an instructor at our tribal college here at the Oglala Lakota College. I was teaching art courses for six years,” Braveheart said. He has also served as an associate professor of art at the college.

The Art of Painting class series, is a college-level crash course designed for newcomers and established artists looking to refine their skills. It offers a detailed approach to the basics of painting while integrating art history, specifically Lakota art history. 

“Keith’s workshop offers a unique blend of technical instruction with a deep cultural layer. He doesn’t just teach how to paint; he teaches the importance of painting as a part of Lakota culture and identity. The way he ties the history of Lakota art into the curriculum is invaluable,” Nathaniel Ruleaux (Oglala Lakota, Rez Roots co-founder).

“Keith’s workshop offers a unique blend of technical instruction with a deep cultural layer. He doesn’t just teach how to paint; he teaches the importance of painting as a part of Lakota culture and identity. The way he ties the history of Lakota art into the curriculum is invaluable”

The class has received a positive response from the community. Given the class size, students are encouraged to fully immerse themselves in the process, attending each class and progressing through all the stages of painting. 

"I'm always advocating for ways to overcome the systemic limitations of traditional education. Colleges require enrollment, which excludes many, and the costs of classes and supplies can be a barrier. There’s also the pressure of strict attendance policies. Working with OLA is great because we don't have those requirements, and I make sure to communicate to participants from the start that this is a long-term commitment," Braveheart said. 

"I'm always advocating for ways to overcome the systemic limitations of traditional education...Working with OLA is great because we don't have those requirements, and I make sure to communicate to participants from the start that this is a long-term commitment"

Braveheart’s partnership with the OLA has led to the creation of a new on-site art show that features the work of his students and other artists who are participating in OLA’s current programs. 

“Keith’s class has sparked a wave of creativity and collaboration. The art show is just one example of how his work has inspired others to get involved in painting and other art forms. We’re seeing artists from various disciplines coming together, and that’s a huge accomplishment,” Ruleaux said.

One of the various collaborations has been with the Rez Roots Collective, which has gained momentum over the past year. The Collective’s goal is to nurture young and emerging artists while providing a safe space for connection, learning, and development.  The Collective partnered with OLA on a successful  print show and created 300 trick-or-treat bags for local youth. 

Beyond the painting and into other media, the Rez Roots Collective has developed a basic drawing class that could lead to advanced painting instruction, serving as a precursor to Keith’s Art of Painting classes. 

“We’re excited to continue building on the foundation Keith has set with The Art of Painting,” Ruleaux said, “The next phase of workshops will expand the scope of Keith’s vision, bringing more classes and opportunities for local artists to showcase their talents. With Keith’s guidance, we hope to develop a lasting impact on the Lakota arts community, not just in the present but also in the future.”

“We’re excited to continue building on the foundation Keith has set with The Art of Painting...With Keith’s guidance, we hope to develop a lasting impact on the Lakota arts community, not just in the present but also in the future.”

Braveheart’s artist laureate partnership with the Oglala Sioux Tribe is a great example of how arts can channel community growth, preserve cultural traditions, and inspire. For him, teaching is about planting seeds that will grow into something much greater and continue to inspire and uplift future generations. 

This Give Native Day, we invite you to celebrate and support four incredible initiatives that exemplify the strength, creativity, and interconnectedness of the Indigenous Arts Ecology: Minnesota Business Alliance, Warm Springs Community Alliance, Nomadic Art Camp, and Pa’i Foundation. These organizations are at the heart of Native ingenuity, cultural resilience, and artistic expression. Through their efforts, they create opportunities for artists, preserve time-honored traditions, and inspire future generations to embrace their cultural heritage.

Your support of First Peoples Fund makes this work possible. Together, we uplift Native artists and culture bearers nationwide, amplifying their voices and perspectives for a stronger, more vibrant Indigenous arts community.

Your contribution to First Peoples Fund ensures that this vital work continues. Thank you for standing with us in honoring and sustaining Indigenous creativity and resilience. Donate to First Peoples Fund today at LINK.

MN Indigenous Business Alliance: Cultivating Prosperity

The MN Indigenous Business Alliance builds pathways for Native entrepreneurs to thrive. By fostering culturally grounded business ecosystems, they equip entrepreneurs with the resources needed to succeed. Their work goes beyond economic development; it reinforces self-reliance and uplifts entire communities. With every new business launched or sustained, they strengthen the foundation of Indigenous prosperity. Support MNIBA today!

Warm Springs Community Action Team: Strengthening Community Roots

Through financial education and accessible resources, Warm Springs Community Action Team helps families and individuals gain the tools to shape their futures. Their focus on self-sufficiency and collective empowerment creates a ripple effect of strength within the community. Every effort reflects their commitment to fostering resilience and ensuring that no one is left behind. Support their mission here.

Nomadic Art Camp: Empowering Indigenous Artists and Culture Bearers

The Nomadic Art Camp, recently featured here, is a unique cultural and artistic residency program in Kyrgyzstan. The camp invites Indigenous artists, writers, and curators worldwide to participate in an intensive twelve-day exploration of Central Asia’s landscapes, rural communities, and cultural traditions. By bridging diverse cultures through art and dialogue, the Nomadic Art Camp highlights the role of creativity in addressing global challenges while emphasizing the power of kinship and cooperation among Indigenous communities worldwide. Support more Native American artists and culture bearers in continuing this artistic and cultural exchange by contributing to this GoFundMe.

Pa’i Foundation: Honoring Cultural Knowledge

The Pa’i Foundation celebrates the power of cultural knowledge through programs that support Native Hawaiian artists and educators. By elevating cultural practices and ancestral teachings, they ensure these traditions endure and thrive. Their work bridges generations, empowering communities with the wisdom of the past and the promise of the future. Learn about their work here.

These causes collectively represent the heartbeat of the Indigenous Arts Ecology. Together, they create a living network of culture, creativity, and resilience. This Give Native Day, we invite you to stand with these organizations and support their work. Your contributions will help ensure that this vibrant ecology continues to flourish for generations to come.

Give today and make a difference.

First Peoples Fund bids farewell to our esteemed colleague, Sonya Paul (Diné) who will be departing from her role as the Vice President of Advancement & Communications on November 15, 2024. 

Sonya began her tenure at First Peoples Fund in February 2020. During her time at the organization, Sonya played a significant role in planning FPF’s capstone 25th anniversary event We the Peoples Before, celebrated in 2022 at the John F. Kennedy Center for the Performing Arts in Washington, D.C. The 3-day event provided a platform to amplify the critical work of our network of Native artists and culture bearers, engage with a national audience and build relationships through workshops, films, and performances designed to know, honor, and share the cultural fabric of Indigenous peoples.

This accomplishment was mirrored in the overall growth of philanthropic giving to First Peoples Fund, which saw a significant increase, reflecting the strength and trust built with foundation funders and donors. Additionally, her strategic oversight of our communications work and the enhancement of marketing efforts played a pivotal role in expanding our reach and deepening donor engagement. During the challenges of COVID and a subsequent leadership transition, Sonya has truly shown her strength as a leader by ensuring continuity and resilience.

While we are saddened to say goodbye to Sonya, we are excited to share the incredible opportunity she has been presented. Sonya has accepted an appointment at the University of Melbourne (Australia) as Director of Philanthropy, Indigenous.

Saying farewell to a valued team member is never easy, but we have full confidence that she will keep making a positive impact on the lives of Indigenous people and communities. Her passion, dedication, and expertise will surely leave a lasting impression wherever she goes.

 “I have and will continue to treasure the work of First Peoples Fund and the impact it’s having on Native artists and culture bearers, their communities and the Indigenous Arts Ecology. I am proud of the contributions I have been able to make and I will always be a friend, ally and advocate. I will miss working with the team here, but find comfort in the dedication and talent that will continue to flourish and deepen the impact of FPF’s work.” - Sonya Paul

We are incredibly grateful for the amazing impact she's had on our team and the organization and wish her the best in her new endeavors.

“Kyrgyzstan is a breathtakingly beautiful country with landscapes that seem to rise from every horizon, where mountains cover 90% of the land. The view changes from deserts to pasturelands for miles, yet the mountains remain a constant, timeless presence. Here, Kyrgyz people continue to live in close relationships with their lands, honoring traditions that have been part of their lives for centuries. This enduring connection is felt in every aspect of life—in the nomadic yurt homes that dot the open landscapes, in the sight of herders wrangling hundreds of horses along ancient paths of the Silk Road, and in the foods lovingly prepared and served to us, echoing the warmth of meals shared in our Native communities back home.

Being in Kyrgyzstan, I was moved by the deep closeness to the land, language, culture, and creativity that shapes the lives of the Kyrgyz people. I felt a powerful sense of kinship—a recognition of family across miles and borders. I am profoundly grateful for the chance to witness this connection firsthand.” - Heidi K. Brandow

In the fall of 2024, several Native artists from the United States were invited to participate in an immersive Nomadic Art Camp experience in Kyrgyzstan. Tom Jones (Ho-Chunk), Clementine Bordeaux (Sicangu Lakota), and me, Heidi K. Brandow (Diné, Kanaka Maoli - FPF ABL ‘18). Made possible by Shaarbek Amankul (Kyrgyz-Zhediger), a visionary artist and the founder and director of the program, we traveled to a camp. We were joined by Central Asian curators, including Aygul Khaydarova from the Abylkhan Kasteyev State Museum of Arts in Kazakhstan, Muzaffara Ishanova from the State Museum of Arts of the Republic of Karakalpakstan in Uzbekistan, and Nuttaphol Sinthavatorn representing the Museum of Contemporary Native Art (MoCNA). Since 2011, Amankul, a multidisciplinary artist, has led this project to connect artists from across the globe with Central Asia's art, culture, and landscapes. The critical ingredient is the traditional nomadic way of life as a source of inspiration for conceptual, contemporary and globally relevant art practice.

“My primary hope for this collaboration was to cultivate a space for genuine dialogue that transcends geographical and cultural boundaries,” says Amankul. “I envisioned an environment where artists from both backgrounds could share their narratives and experiences of navigating colonial legacies, ultimately promoting mutual understanding and respect.” 

This drive to collaborate is deeply connected to Kyrgyzstan’s history as a former Soviet colony. In the post-Soviet era, the Kyrgyz people have been rebuilding and reaffirming their identity, which includes a renewed dedication to the Kyrgyz language, cultural practices, and relationship to the land—each an anchor for national identity.

As Native people, we can relate to this experience, as we, too, have endured generations of often violent subjugation by colonial and U.S. powers. This legacy continues to shape our communities today. We find common ground through these shared experiences and resilient journeys, fostering a unique space for understanding, healing, and solidarity. “My journey into creating a cultural exchange between Native American and Kyrgyz communities is deeply rooted in my personal experiences with identity and heritage.” Amankul continues, “By integrating artistic collaboration with community involvement, I aim to weave a rich tapestry of cultural exchange that honors artistic expression and our communities' lived experiences.”

During our 12-day journey, fellow artist Clementine Bordeaux reflected on how her experience as a Nomadic Art Camp resident echoed her life in her Lakota community, where art and creative practice are woven into daily life. Coming from a rural background, Bordeaux is a champion of everyday artists, sharing her admiration for those who don’t necessarily see themselves as artists yet create beauty in their ordinary lives. She said, “The people who don’t consider themselves artists are often the ones I’m most eager to engage with—the everyday creators whose hands craft beauty in the ordinary. Whether it’s the student learning to draw, the art woven into a yurt, or the everyday material culture we wear, creativity thrives far beyond gallery walls. These simple, powerful acts of making are as much art as anything on display.”

Our artist group also found creative parallels between our cultural materials and the art of the Kyrgyz people. Artist Tom Jones shared, “Seeing the floral designs on the yurts immediately reminded me of home. The Ho-Chunk use similar applique patterns on our clothing—designs that reflect our deep respect for the earth and plants gifted to us by the creator.” This moment of recognition highlighted how cultural exchange drew us, as Native artists, closer to Central Asia's Indigenous people and traditions. These shared symbols of respect for the land and its gifts were powerful reminders of the common threads in our histories and practices, bridging our communities across continents.

Now more than ever, we as Native people need each other—and we need to embrace our kinship from a global Indigenous perspective. The Nomadic Art Camp, much like the First Peoples Fund’s Oglala Lakota Artspace on the Pine Ridge Reservation and our friends at Racing Magpie in Rapid City, South Dakota, exemplifies the importance of Indigenous artist-led initiatives, spaces that connect us and foster meaningful dialogue, creating pathways for long-term support in our shared efforts to decenter the West and reclaim our authority over our languages, cultures, and lands.

Why does this matter to First Peoples Fund? Why should it matter to you? Because in a world made smaller every day by technology—through social media, email, the internet, and travel—we are more connected than ever. It matters because, as we face mounting challenges, we must know that we’re not alone. We have the power to establish our metrics of success that are informed by generations of traditional Indigenous knowledge systems that meet our community’s needs. In standing together, we strengthen our path forward, ensuring that we—and the generations to come—are equipped to navigate whatever lies ahead, grounded in the strength of our shared identity and purpose.

Looking to the future of Nomadic Art Camp, Amankul shares, “Building relationships of solidarity among Indigenous peoples globally requires a deep commitment to authentic connection and openness.” He adds, “Cultural exchanges, exhibitions, collaborative artistic projects, and shared platforms for dialogue are essential for nurturing these bonds and fostering our collective spirit.”

Amankul has already begun discussions with museums and cultural institutions in Central Asia and the United States to create an exhibition showcasing art inspired by the Nomadic Art Camp experience. He also envisions this project expanding into educational settings, sharing, “Education plays a vital role in amplifying Indigenous voices and raising awareness about the ongoing impacts of colonization. By bringing our histories and perspectives into educational frameworks and public discourse, we foster a deeper appreciation for our struggles and celebrate the beauty of our cultures.”

Through these efforts, Amankul is creating lasting spaces for connection, collaboration, and learning—where Indigenous voices can resonate across borders, deepening our understanding of our shared journeys. To support the ongoing work of Nomadic Art Camp, consider donating to their GoFundMe campaign and following their journey on Instagram. 

Additionally, two episodes of the Collective Spirit Podcast provide further context as a companion to this article: Episode 4 features Clementine Bordeaux, and Episode 5 presents a conversation with Shaarbek Amankul, Heidi K. Brandow, and Clementine Bordeaux. We hope you’ll listen, share, and follow this podcast series.

“Connecting me back to home, that’s kind of how I see it,” she says. “It’s giving me the space to really spread out and look at things in a broader picture, which is something I don’t have when I visit my mom.” Mikayla Patton

On the Pine Ridge Reservation, the Oglala Lakota Artspace (OLA) Artist-in-Residence (AiR) program has become a safe space for Indigenous creatives, offering a dedicated opportunity to support their art and cultural expression giving them the time, resources, and support needed to develop and refine their art.  The artists are provided with travel expenses,  living accommodations within walking distance to the OLA, a food and materials stipend and a studio workspace. 

“We’re in the heart of the reservation. I remember a conversation with Lori Pourier and James Pakootas in 2019. Lori mentioned how amazing it would be to stay in a cabin on the reservation and walk over to a high-quality studio right there. The AiR Program offers a private space for artists to take ownership and create without cutting corners, fully embracing the reservation’s distinctive environment,”

The AiR program, part of First Peoples Fund's overall mission, enables Lakota artists to  reconnect with their homeland, exchange ideas, and contribute to their communities' cultural knowledge. Whether they are exploring new artistic areas or deepening their current practice, the residency encourages creativity and helps preserve the rich heritage of Lakota art, from its historical beginnings to modern interpretations.

The 2024 AiR cohort includes six artists who share the diversity and vibrancy of the Oglala Lakota heritage: Tracy Hauff (Writer), Odessa Star Comes Out (Multidisciplinary Artist), 9a Matowin (Singer/Songwriter), Jacob “Conquest” Bianas (Rap Artist), Irving “Jar” Cottier (Musician), and Mikayla Patton (Interdisciplinary Visual Artist). 

“We’re in the heart of the reservation. I remember a conversation with Lori Pourier and James Pakootas in 2019. Lori mentioned how amazing it would be to stay in a cabin on the reservation and walk over to a high-quality studio right there. The AiR Program offers a private space for artists to take ownership and create without cutting corners, fully embracing the reservation’s distinctive environment,” Talon Ducheneaux (Oglala Lakota), Wičahpi Olowaŋ (WO) Studio/Music Program Manager, said. 

Talon reflects on the opportunities offered by the AiR program, noting the unique experience of being based on the reservation. In contrast to the usual expenses that can deter artists from pursuing their work, the program provides a rare opportunity to create in a well-equipped environment without prohibitive costs.

The program recognizes the vital role that the reservation plays in fueling the residents’ creativity. The landscape, cultural history, and everyday experiences of life on the reservation serve as inspiration for many of the residents. From working on painting, sculpting, beadwork or digital media, the artists are given the resources and time to fully immerse themselves in their craft without any outside distractions.

“I live in Rapid City and travel to the reservation all the time, down to Pine Ridge in the various communities because I have friends and family down there. But this was the first time I got to live on the reservation, even if it was only four weeks, and be immersed in the culture and the people. I enjoyed every minute I was there,” AiR resident Tracy Hauff (Oglala Lakota) said. 

Bringing her books and research materials with her, Tracy discovered that being on the reservation helped her writing, providing a setting that connected with her creative process. Focused on writing about American Indian culture and history, she has appeared in publications such as Articles of a Treaty and Wicazo Ša Review. 

“My short stories and essays have been rejected by publications that aren't Native-related or that do not have a focus on Natives. I have also submitted for fellowships because I wanted to get away just to be able to work on my book, but I didn't receive those. So when I got this fellowship from First Peoples Fund, I was just so grateful,” Tracy said. 

During her residency, Tracy valued reconnecting with her roots and reflecting on her childhood visits to the reservation. She worked on her historical fiction book highlighting Lakota women's significant yet overlooked roles as the wives of fur trappers and traders. Her work aims to give these women the recognition they deserve and explore their critical contributions to history. 

“I live in Rapid City and travel to the reservation all the time, down to Pine Ridge in the various communities because I have friends and family down there. But this was the first time I got to live on the reservation, even if it was only four weeks, and be immersed in the culture and the people. I enjoyed every minute I was there,”

As First Peoples Fund looks forward to the continued impact of the AiR program, we are excited to welcome new voices to the program. One such voice is Mikayla Patton, whose residency starts in November of this year and will bring a fresh perspective to the OLA. Mikayla’s approach to art blends traditional techniques with contemporary ideas. 

“I was training as a printmaker outside of school. But I could not access a printing press. So I had to figure out what was available to me. And that's how I ended up slowly going into paper making. And then it became like me wanting to get bigger and bigger so I went into sculpture. I kind of explored a lot. I wanted to get bigger and bigger and do it on my own outside of school,” Mikayla said. 

Mikayla says the residency will provide her with the much needed space to work on her art— a luxury that’s hard to find when visiting home. “Connecting me back to home, that’s kind of how I see it,” she says. “It’s giving me the space to really spread out and look at things in a broader picture, which is something I don’t have when I visit my mom.” 

“Connecting me back to home, that’s kind of how I see it,” she says. “It’s giving me the space to really spread out and look at things in a broader picture, which is something I don’t have when I visit my mom.” 

The OLA AiR program remains an important platform for Indigenous artists and connecting them to their cultural heritage. By offering a unique blend of support and personal space, the program supports both artistic growth and connection. 

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!

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.

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

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.

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.

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.