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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.

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.”

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.

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.