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In commemorating Indigenous creativity and cultural preservation, we proudly present this month’s latest highlight of Cultural Capital (CC) and Artist in Business Leadership (ABL) fellows.

The following artists represent how Indigenous creativity thrives through each fellow participating in our fellowships. These creatives come from diverse backgrounds and artistic fields, each embodying a deep passion for their craft and community.

Artist in Business Leadership

‍George Alexander, an ABL Fellow from the Muscogee (Creek) Nation, graduated with a Bachelor of Fine Arts in 2015. Mentored by Tony Abeyta – a renowned Diné artist most well known for mixed media paintings and oil landscapes of the American southwest – George explored the business side of art. Following a Master’s degree in Studio Arts from the Studio Art College International in Florence, Italy,  he opened Ofuskie Fine Art Studio in Sante Fe in 2021, where he continues his refinement of various art mediums such as printmaking and stickers alongside his paintings.

“This is my first actual fellowship… I'm not sure what to expect, but I know that whatever it will be, it's going to be exciting. And whatever doors open up after this will probably be because of my involvement with this fellowship,” George said.

“This is my first actual fellowship… I'm not sure what to expect, but I know that whatever it will be, it's going to be exciting. And whatever doors open up after this will probably be because of my involvement with this fellowship,” George said.

With his studio in central Santa Fe, New Mexico, George wants to create an accessible space for other artists to share resources and collaborate. He offers opportunities for artists to showcase their work and hosts open studios without taking commission, allowing artists to keep 100% of the proceeds from their sales.

“It becomes a nice little access point for other artists to utilize whatever I have. This is why I think it's important that I try to open up my resources, which aren't big resources by any means. But the capability of sharing the equipment that I have [is} essential to how I interact with my community,” George said.

“It becomes a nice little access point for other artists to utilize whatever I have. This is why I think it's important that I try to open up my resources, which aren't big resources by any means. But the capability of sharing the equipment that I have [is} essential to how I interact with my community,” George said.

Robert Yellowhawk, another ABL Fellow from the Cheyenne River Sioux Tribe, was raised with a strong connection to Lakota culture through performing dances. He has dedicated himself to serving Indigenous youth through different roles, including mentoring and suicide prevention programming.

“Receiving grants made me want to apply for more opportunities like this. If I can inspire people or the youth who are interested in doing similar work, that's satisfying to me,” Robert said.

“Receiving grants made me want to apply for more opportunities like this. If I can inspire people or the youth who are interested in doing similar work, that's satisfying to me,” Robert said.

Now serving as a business manager for Rural America Initiatives, Robert continues to advocate for cultural preservation and empowerment. He engages in traditional dance performances and educational tours to promote pride and knowledge in future generations and to bridge the gap between Indigenous and non-Indigenous communities.

“I feel inspired to continue what I'm doing and to inspire others to apply for great opportunities like this one. It’s also something to add to [my] resume, and if I can professionally represent supporting organizations, that's always a plus,” Robert said.

“I feel inspired to continue what I'm doing and to inspire others to apply for great opportunities like this one. It’s also something to add to [my] resume, and if I can professionally represent supporting organizations, that's always a plus,” Robert said.

Cultural Capital

‍Carrie Paton, a CC Fellow from the Bristol Bay Native Corporation and Tribal Village of Manokotak in Alaska, brings the art of music and language translation to her Yup’ik community. As the director of the Yup’ik choir in Anchorage, she leads performances at different events and has recorded multiple CDs featuring Yup’ik songs.

“One of my dreams was to make songbooks from translated songs; it has been my therapy. There are some personal issues I’m going through, and hymnals keep me motivated because there's a lot of comfort in the songs,” Carrie said.

“One of my dreams was to make songbooks from translated songs; it has been my therapy. There are some personal issues I’m going through, and hymnals keep me motivated because there's a lot of comfort in the songs,” Carrie said.

She recognizes a decline in fluency among younger generations and emphasizes the importance of using media such as CDs to keep the Yup’ik language alive. As someone who speaks fluently, Carrie is passionate about ensuring that future generations can access their culture through language preservation.

“I'm one of the cultural bearers trying to keep our language alive. And I'm doing it by publishing songbooks in Yup’ik and English so that the younger generation who don't speak Yup’ik fluently know what they see with the English version next to it,” Carrie said.

“I'm one of the cultural bearers trying to keep our language alive. And I'm doing it by publishing songbooks in Yup’ik and English so that the younger generation who don't speak Yup’ik fluently know what they see with the English version next to it,” Carrie said.

As we celebrate George, Robert, Carrie, and their fellow cohort's addition to First Peoples Fund, we recognize the importance of uplifting Indigenous artists in their passion for creative cultural preservation. Through these fellowships, we continue to advocate for the voices and visions of indigenous artists, empowering them to thrive and share their gifts.

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Tara Gumapac, (Kanaka Maoli or Native Hawaiian) based in O’ahu, Hawai’i, is a cherished community member that shines as a beacon of creative and cultural resilience. As a 2022 First Peoples Fund Artist in Business Leadership fellow, Tara embodies the spirit of innovation and dedication. Her daily life as a beloved faculty member at Kalāheo High School is filled with achievements, notably being honored as Teacher of the Year for the 2022-2023 academic period. Tara's profound connection to her heritage and unwavering commitment to her community illuminate her work, particularly in crafting a curriculum that celebrates Kanaka Maoli themes that deeply resonate with her high school students.

One of Tara's remarkable initiatives involved guiding her students in constructing a traditional Kanaka Maoli hale halawai (meeting house, a building for public meetings). This project was born from a blend of curiosity and a heartfelt desire among the students for a space that was unequivocally theirs. This space was envisioned as a haven for creativity and cultural engagement within the school's bounds. In collaboration with Kanaka Maoli community leaders, Tara and her enthusiastic students embarked on this journey, meticulously gathering materials, drafting a building plan, and successfully proposing their vision to the school administration.

“We worked with many organizations, but the main organization was Paepae O Heʻeia. Others included Ke Kahua o Kualiʻi, Office of Hawaiian Education, Kaneohe Marine Corps Base and Kapaʻa Quarry HC&D who donated pōhaku (stone) for our wall.” This comprehensive network of partnerships exemplifies the depth of community involvement. Tara also mentions, “Mason Architect was an amazing architectural company that walked us through the process of producing blueprint drawings for the hale.”

When describing the collaborative process, Tara elaborates, “We worked with many organizations, but the main organization was Paepae O Heʻeia. Others included Ke Kahua o Kualiʻi, Office of Hawaiian Education, Kaneohe Marine Corps Base and Kapaʻa Quarry HC&D who donated pōhaku (stone) for our wall.” This comprehensive network of partnerships exemplifies the depth of community involvement. Tara also mentions, “Mason Architect was an amazing architectural company that walked us through the process of producing blueprint drawings for the hale.” The local community's overwhelming support underscored the project's profound cultural significance, propelling Tara and her students forward with renewed vigor and the unwavering backing of the community.

This initiative served not only as a cultural revival but also as a poignant reminder of the historical challenges the Kanaka Maoli community faced, including the loss of land, language, and culture. The hale halawai project symbolized honor for Kanaka Maoli architectural wisdom, emphasizing the cultural teachings and values inherent in utilizing locally sourced materials and traditional construction methods. Furthermore, it presented an opportunity to highlight the application of Indigenous knowledge on the contemporary issue of homelessness, showcasing the value and enduring relevance of Kanaka Maoli traditions in today's society.

Over months of collaborative effort, students, faculty, and community members poured their hearts into creating the hale halawai at Kalaheo, a process marked by care, enthusiasm, and communal spirit. The project's completion not only celebrated the rich tapestry of Kanaka Maoli culture, language, and arts at Kalaheo High School but also underscored the vital role of the community in preserving and elevating cultural heritage for future generations.

“There are so many individuals I would like to mention but the main people I would like to mahalo (thanks/gratitude) are Keahi Piʻiohia who was our leader in building the hale and Resha Momilani Ramolete who was my supportive Administrator overseeing the project. Both gave me the drive and the passion to see the project through.”

Tara Gumapac, reflecting on the project, emphasizes its collaborative nature, stating, “There are so many individuals I would like to mention but the main people I would like to mahalo (thanks/gratitude) are Keahi Piʻiohia who was our leader in building the hale and Resha Momilani Ramolete who was my supportive Administrator overseeing the project. Both gave me the drive and the passion to see the project through.” Tara Gumapac's leadership and passion have inspired a reconnection with the land and culture, leaving an indelible mark on her students and the wider community.

From the breezy, small town of Winslow, Arizona, Justin Kii Huenemann's story unfolds with the backdrop of the Navajo Reservation in Tsaile—where the majestic Canyon de Chelly sprawled out before him as a playground and the Chuska Mountains stood guard behind. Born into a tapestry of cultures, with a Diné mother, Martha, and a German father, Lynn, Justin was the spirited eldest of three, whose vibrant childhood was focused on outdoor adventures from climbing pinon trees to exploring the red rock canyons that painted his world with wonder.

In a blend of cultures and landscapes, Justin's early years were marked by independence and an adventurous spirit, embodied by his distinctive light-colored eyes and the traditional tsiiyééł (Navajo bun) he wore—a striking image against the 1970s and '80s reservation backdrop.

The journey led the Huenemann family to the vicinity of Mission, SD, within the embrace of the Rosebud Sioux Tribe, before settling in Mitchell, SD—a town celebrated for its unique Corn Palace and the Oscar Howe Museum. Here, Justin's high school days were filled with creativity and athleticism as he delved into band, choir, running, basketball, and art while discovering a keen interest in drafting and design. This passion for art and structure-guided him to pursue architecture at the University of Minnesota in the Twin Cities, where he achieved his degree and enriched his studies with a minor in American Indian Studies. His thirst for knowledge didn't stop there; Justin secured a Master's in Policy and Administration in Higher Education, making Minneapolis/St. Paul is his second home.

In Minneapolis, Justin's professional journey began to blossom. From teaching at the Heart of the Earth Survival School to designing at AmerInd Architecture Firm, counseling undergraduates at the University of Minnesota, and directing youth programming at the Minneapolis American Indian Center, Justin laid the groundwork for a remarkable community development and leadership career.

Assuming pivotal roles within the Minneapolis American Indian community, Justin's influence spread wide. He chaired the Metropolitan Urban Indian Directors, collaborated with the Police and Community Relations Council for the U.S. Department of Justice, and served on numerous boards including the Woodlands National Bank, the Indian Health Board, and the Neighborhood Development Center. His vision also led to the founding of the Tiwahe Foundation.

Justin's drive to uplift his community saw the birth of the American Indian Families Project with Hennepin County, the establishment of the Native American Community Development Institute, and the creation of the first-of-its-kind American Indian Cultural Corridor along historic Franklin Avenue. His leadership developed initiatives like the All My Relations Gallery, Powwow Grounds Café, and Woodlands National Bank on Franklin Avenue - the first tribally owned bank in a major city, marking significant contributions to community development.

Justin’s commitment to community development caught the attention of the Northwest Area Foundation in St. Paul, where Justin worked with 72 tribes across eight states, spearheading a social enterprise initiative. 

Yet, the call of the Southwest to move back closer to home proved irresistible, leading Justin and his family to Albuquerque, NM. Here, he took the helm as the President and CEO of the Notah Begay III Foundation (NB3), focusing on the health and wellness of Native children and families, before venturing into his role as President and CEO of Jemez Enterprises, owned by the Pueblo of Jemez. During this time frame, Justin was highly active in providing critical COVID relief to regional Native American tribes in the southwest.

Still residing in New Mexico, Justin cherishes life with his four children and a dog. He enjoys golf, painting, hiking, camping, fishing, and culinary explorations. His journey from a spirited child of the Navajo reservation to a national visionary leader embodies the spirit of resilience, creativity, and a deep commitment to community.

In a tribute to the diversity and artistic brilliance within Indigenous communities, we proudly present this month's latest highlight of Cultural Capital (CC) and Artist in Business Leadership (ABL) fellows. 

The following creatives represent how Indigenous artistry flourishes through each fellow participating in our fellowships. With practices spanning generations, these fellows epitomize the essence of keeping their cultures alive while excelling in their freedom of expression.

Cultural Capital 

From the Lac Courte Oreilles Ojibwe, Fort Peck Assiniboine, and Dakota Nations, Anangookwe Wolf is a CC Fellow with many artistic practices. Their personal narratives are woven with cultural perspectives through writing, spoken word, music, and textile art. 

“I'm using this fellowship to bring more opportunities to my reservation. If there's any opportunity to lift up fellow youths back home, I will do it. And I think that really aligns with First Peoples Fund. You're returning to your community; it's sharing a love for your culture, the artwork, and whatever subject you choose.” Anangookwe says. 

“I'm using this fellowship to bring more opportunities to my reservation. If there's any opportunity to lift up fellow youths back home, I will do it. And I think that really aligns with First Peoples Fund. You're returning to your community; it's sharing a love for your culture, the artwork, and whatever subject you choose.” Anangookwe says.

Since completing high school, Anangookwe has sought a means to reconnect with their reservation and community, finding solace in poetry, particularly slam poetry.

“Much of my poetry is now tied to a complex love for my reservation. I lived on the reservation when I was four or five years old. It's a beautiful place,” Wolf said. 

“Much of my poetry is now tied to a complex love for my reservation. I lived on the reservation when I was four or five years old. It's a beautiful place,” Wolf said. 

Anangookwe doesn’t just want to paint a simplistic picture. They acknowledge both the beauty and struggles of their surroundings, which are shaped by intergenerational trauma and the complexities of family dynamics. Through their poetry, they aim to show the multifaceted nature of reservation life with empathy and understanding.

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Another CC fellow, Mariah Claw (Diné or Navajo) brings the multigenerational art of weaving and textiles into her fellowship. 

“Weaving has been a practice in Diné culture for much longer than we can even imagine. Weaving is an art form and an oral tradition, wherein a loom represents the world,” Claw said. 

“Weaving has been a practice in Diné culture for much longer than we can even imagine. Weaving is an art form and an oral tradition, wherein a loom represents the world,” Claw said. 

She reflects on a cherished story passed down by her nálí, paternal grandmother, who recounted her childhood memories of sitting beside her own grandmother at the loom. The loom serves as a gateway not only to the present but also to the past and future, symbolizing the interconnectedness of generations and their stories. 

“I am new to many of these practices and techniques and always learn something new. But one of the things that I have always wanted to do is work with youth in my community, specifically at home,” she said. 

“I am new to many of these practices and techniques and always learn something new. But one of the things that I have always wanted to do is work with youth in my community, specifically at home,” she said. 

Inspired by her grandmother's narrative, Mariah finds purpose in preserving and passing on the traditions of Diné weaving. She recognizes the loom as a teacher and a vessel for cultural heritage. While acknowledging her own journey as a weaver and learner, Mariah emphasizes the importance of providing opportunities for youth to engage with cultural arts.

Artist in Business Leadership 

Dan Friday, an ABL Fellow from the Lummi Nation, is rooted in a family tradition of artistry. Despite his early passion for art, practicality led him down a different path of working as a mechanic to meet life's necessities. However, at age 20, he discovered the world of glass artistry, which became a livelihood and a means to express himself creatively.

“It [glass making] has its own magnetism just in making it, even if that's when I was ready to make gift store items for the rest of my life. But once I got involved and went to the Pilchuck Glass School and met a lot of successful glass artists, that was really eye-opening for me,” Dan said. 

“It [glass making] has its own magnetism just in making it, even if that's when I was ready to make gift store items for the rest of my life. But once I got involved and went to the Pilchuck Glass School and met a lot of successful glass artists, that was really eye-opening for me,” Dan said. 

Dan has initiated a program in collaboration with the Pilchuck Glass School, focusing on outreach to Native youth, providing them with opportunities to learn and explore the art of glassmaking. Dan aims to inspire and empower others to discover the transformative potential of glass artistry.

“That's all we have as kids. It's a battle to get them away from the screens. It's easy to lose kids to the trappings of the modern world. Art isn't saving the world, but you can find a way to save yourself by doing it. And I know it's been good for me,” he said. 

“That's all we have as kids. It's a battle to get them away from the screens. It's easy to lose kids to the trappings of the modern world. Art isn't saving the world, but you can find a way to save yourself by doing it. And I know it's been good for me,” he said. 

Through Dan, Anangookwe, and Mariah’s creativity, resilience, and commitment to sharing their knowledge with others, they are preserving cultural traditions and shaping the future of Indigenous artistry. As we celebrate their achievements and honor their journeys, let us recognize the profound impact they have made and continue to make within their respective fellowships.

We are reaching out to you to share some significant news regarding the leadership transition of our beloved organization.

After an illustrious tenure of twenty-five years, Lori Lea Pourier (Oglala Lakota), First Peoples Funds’ esteemed founding President & CEO, will be stepping down from this role at the beginning of March 2024 and into a new role as Founder and Senior Fellow at First Peoples Fund. This new role will allow her to focus on the future of Native artists and culture bearers and bring forward the historical knowledge and cultural narratives that celebrate our 25 years of honoring and supporting culture bearers. From her new platform, Lori will share the compelling stories and power of Collective Spirit (a term she coined)-- the commitment to nurture our shared humanity and honor our connections to one another, the lands around us and the spirit of all things. Collective Spirit has been at the heart of Lori and FPF’s work for the last quarter century and will continue to be deeply practiced as we move forward.

Since 1995, when First Peoples Fund was established with a generous gift from our original benefactor, Jennifer Easton, FPF has achieved remarkable milestones and grown into the thriving and impactful organization it is today. Lori’s visionary leadership and entrepreneurial spirit established groundbreaking programs and initiatives that have uplifted Indigenous art and culture practices and traditions throughout the country, including honoring more than 100 Community Spirit Award honorees whom people in their tribal communities nominated; executive producing We the Peoples Before, a national dramatic rendition of the resilience of Native culture bearers produced in partnership with the Kennedy Center in 2022; and the establishment of the Oglala Lakota Artspace, a state of the art artistic practice and cultural gathering space on the Pine Ridge Reservation. Her work has codified a recognizable field of Native arts and culture and influenced the U.S. national arts field to center Native artists. Lori’s work to nurture emerging talents and facilitate intergenerational knowledge transfer has ensured the survival of ancestral teachings, storytelling, and artistic techniques and allowed them to thrive and evolve in the contemporary world. A national leader in Native arts, culture, and the creative economy, Lori truly embodies Collective Spirit. She approaches her work with rootedness, intuition, listening, humility, and deep relationships, and we look forward to her continuing these core values in her future role.

"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. In 1998, we humbly began developing an entrepreneurial leadership model for artists in the Northern Plains region while honoring tradition keepers who were selflessly giving of themselves in their tribal communities. Together, we bring spirit back to tribal communities through art and establishing an Indigenous arts ecology. Collectively, our work will impact future generations of culture-bearers.  I am confident that under Justin’s leadership, artists and tradition keepers will remain at the heart of our organization. I look forward to supporting a seamless transition and witnessing the continued growth and success of First Peoples Fund.”  – Lori Lea Pourier‍

While bidding farewell to Lori is bittersweet, we are thrilled to announce that Justin Kii Huenemann (Diné) will be stepping into the role of President & CEO commencing March 4, 2024. Justin served as Acting President/CEO when Lori was on sabbatical in 2023 and since December has served as Interim President/CEO. He brings a wealth of experience, an inspiring vision for our future and a deep commitment to the values and history that define First Peoples Fund. He has a long and distinguished career working to improve the quality of life and well-being of Indigenous peoples. Justin brings extensive background in Native community and economic development, having successfully led several Native-serving organizations. With experience in philanthropy, nonprofit management, and private sector development, FPF is honored to bring his knowledge and experience. Justin’s strategic foresight, passion for our mission and collaborative leadership style make him an exceptional fit to lead FPF.

"It is an honor to be called to lead the First Peoples Fund. I am excited about the incredible work that lies ahead and committed to building upon the strong foundation laid by Lori. I look forward to working collaboratively with her and FPF’s dedicated team, passionate stakeholders, and supporters. Most importantly, I look forward to serving the culture bearers, Indigenous artists and communities to achieve our shared goals." – Justin Huenemann

Please join us in expressing our heartfelt gratitude to Lori for her remarkable dedication and warmly welcoming Justin as they embark on new journeys.

We also thank the First Peoples Fund community for your ongoing support and dedication. Your commitment is vital to our continued success and we look forward to your continued collaboration and success under the leadership of Justin Huenemann.

The next few months will involve a thoughtful transition process, ensuring a smooth transfer of leadership responsibilities.

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Warmly,

Vickie Oldman & Kalima Rose

Co-Chairs, First Peoples Fund Board of Directors

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Earlier this month, we unveiled the 2024 cohort of  Cultural Capital (CC) and Artist in Business Leadership (ABL) fellows, marking another significant milestone in the ongoing celebration of Indigenous culture and the promotion of creative artistic expression. This is the beginning of a transformative year for 38 individuals, each hoping to leave a lasting impact on their communities.

Within this cohort, the depth of Indigenous artistry knows no bounds, showcasing the rich diversity of creative expression across various mediums. From traditional practices passed down through generations to innovative approaches that push the boundaries of artistic innovation, these fellows embody the spirit of cultural preservation and entrepreneurial excellence.

“Without this opportunity, it would take me a couple of years to try and acquire the tools that I need,”...“This opportunity is going to help me fulfill that transition I need, with equipment that I'll need.” - Leah Mata Fragua (Tak Tityu Tityu Northern Chumash), 2024 ABL Fellow

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Artist in Business Leadership 

“Without this opportunity, it would take me a couple of years to try and acquire the tools that I need,” says Leah Mata Fragua (Tak Tityu Tityu Northern Chumash), a diverse artist and a 2024 ABL fellow, “This opportunity is going to help me fulfill that transition I need, with equipment that I'll need.”

Ranging in art forms from basketry, regalia, jewelry, and sculptural papermaking, Fragua intends to use the fellowship to buy the tools that will help speed up her process. 

“Most of my mediums are physically demanding and I want to prepare as I get older. [I need] to be able to take care of my body and not overwork it in a harmful way,” says Fragua.

The Artist in Business Leadership Fellowship brings together visionaries bridging the gap between artistry and entrepreneurship. This year, 16 fellows will create captivating art and demonstrate the skill to navigate their businesses, ensuring their work has a lasting impact.

Steven Arrowtopknot (Blackfeet Nation), another ABL Fellow has traveled across the country singing with different pow-wow groups and round dance groups. It wasn’t until 15 years ago that he started to get into recording music. 

“Thanks to the fellowship, because it advances everything by years,” Arrowtopknot says, “it's going to allow me to work faster and create a higher quality of music for the people I work with. And that's exciting because we don't have a lot of options, especially Native-run options for opportunities.”

Arrowtopknot plans to use the fellowship funds to buy high-quality equipment to help record an album, such as preamps, microphones, and a bus processor. “Any money I get goes right back into purchasing more stuff, to make it sound cooler, and to make it higher quality, and to push our music out further.”

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Cultural Capital 

In parallel to the ABL Fellowship, The Cultural Capital Fellowship recognizes commitment to Collective Spirit and preserving Indigenous art and culture. In 2024, the Cultural Capital Fellowship comprises 12 individuals who are dedicated to maintaining generosity, wisdom, and integrity through community-based and cultural preservation projects.

“I want to capture the unique dynamic stories of Indigenous people and underscore that we're not a monolith. There's so much diversity and multifaceted stories in our communities that we could spend a lifetime capturing these stories and never get to the end,” - Tai Simpson (Nimiipuu), 2024 CC Fellow

“I want to capture the unique dynamic stories of Indigenous people and underscore that we're not a monolith. There's so much diversity and multifaceted stories in our communities that we could spend a lifetime capturing these stories and never get to the end,” says Tai Simpson (Nimiipuu Nation), storyteller and CC Fellow. 

Drawing from her experience as both a storyteller and an anti-violence advocate, Simpson emphasizes the importance of sharing stories that remove shame, inspire bravery, and foster resilience. Through her craft, she seeks to honor elders' wisdom and celebrate Indigenous traditions' richness, inviting others to celebrate old ways while allowing new voices to emerge. 

“Tell me the story of your name. Tell me the story of your land. And tell me the story of your people. There's always such deep magic and connection in the stories that follow those prompts that lend themselves to much deeper, vibrant stories about how we engage with the land, who we are in relation to our name and our people whom we want to be who we want our descendants to be,” says Simpson.

In a landscape where Indigenous perspectives are frequently sidelined, First Peoples Fund is dedicated to uplifting and empowering these individuals and stands as a catalyst for progress. The 2024 fellowship cohort emerges as a powerful convergence of tradition and innovation, poised to forge a legacy that resonates across generations.

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Settled in the scenic landscape of Kyle, South Dakota, the Wicahpi Olowan (WO) Music Program at First People’s Fund Oglala Lakota Artspace on the Pine Ridge Reservation stands as a transformative initiative, helping to bring life into the artistic aspirations of Indigenous talents of all ages. 

Led by dedicated individuals such as Program Manager Talon Bazille Ducheneaux and Tiana Spotted Thunder, Rapid City Mentor, the Wicahpi Olowan team is engaged in the world of music, evolving the program into a dynamic center for aspiring and existing musicians, singers, songwriters, and producers to showcase their skills while cultivating rich cultural preservation and creativity.

“I believe that by having music careers ourselves as WO staff, we can host workshops to educate and coach others who need the boost to either get their music careers started or to grow as artists. The education part is most important for those looking to add a business aspect to their music careers,” Tiana said. 

“I believe that by having music careers ourselves as WO staff, we can host workshops to educate and coach others who need the boost to either get their music careers started or to grow as artists..."

Since its inception last spring, with the help of the Playing for Change Foundation, the music program has been a beacon of support for Indigenous artists, offering diverse opportunities through free workshops, concerts, jam sessions, and events. The activities span diverse genres, including hip-hop, rock, folk, and traditional Oglala Lakota music, showcasing the incredible diversity within Indigenous artistic expression.

“We've had artists who've come in primarily known in their communities as traditional singers and keepers of those old songs. But they've had new songs in their expression and things that aren't tied to being traditional or only being with the drum,” said Talon. 

One of the unique aspects of the Wicahpi Olowan Music Program is its commitment to providing Indigenous creatives with a space to explore and go beyond the boundaries of traditional music.

One of the unique aspects of the Wicahpi Olowan Music Program is its commitment to providing Indigenous creatives with a space to explore and go beyond the boundaries of traditional music. Far from confining artists to the usual Indigenous musical genres, the music program embraces a spectrum of expression, allowing musicians to venture into any genre that interests them. 

Fostering the program is the Oglala Lakota Artspace, an innovative art space designed to promote creativity and preserve the rich cultural heritage of the Oglala Lakota nation. Through this collaborative effort, artists find a platform to express themselves and connect with their community.

“I noticed a lack of awareness and teachings about things that I know I could share because they are things passed down to me from those who have passed away. I wouldn’t want their teachings to die along with them. Being able to blend generations before into the generations up and coming is such a blessing to be able to witness,” Tiana said.

One of the music program's key elements is its community connections of the key elements of the music program is the community connections it holds. By linking aspiring Native artists, facilitating insightful exchanges, and providing assistance with project completion, the program has become a home for collaboration and growth. 

As the Wicahpi Olowan Music Program continues to flourish, the vision for its future extends beyond the borders of South Dakota. Talon envisions a path where the program's artists can transcend local confines and explore broader horizons.

“We want to be able to try to send some of these artists in our roster to conferences, but also set up artists and residencies for them to check out outside of South Dakota and allow them the opportunity to travel with their music and create in a new place and see what that's like,” Talon said. 

As we celebrate the great things that have unfolded since the opening of the WO Music Program, it is evident that this initiative is not just about music; it's about building a community, preserving culture, and uplifting Indigenous talent. 

2023 was a year of reflection, recalibration, growth and positive change here at First Peoples Fund. We have continued to strengthen our leadership across the organization. We are growing our Programs team – as we collectively work to support culture bearers and artists by deepening and expanding the Indigenous Arts Ecology.

Some particular highlights from this past year include the long-awaited grand opening of our Oglala Lakota Artspace and the launch of our first-ever Artist in Residence and Wichapi Olowan music programs. After being on hiatus throughout the pandemic, we reinstated our in-person fellows convening and the Native Arts Professional Development (NAPD) program. We also introduced our new Collective Spirit™ Conversation Series. 

• Indigenous Arts Ecology: Cultivating Entrepreneurship in Indigenous Communities Convening - During this first fellows convening since 2019, the workshops focused on tax preparedness, Native Community Development Financial Institutions and the effects of climate change on Indigenous artists. Participants gathered in Santa Fe, NM to engage in professional development, peer learning, and community building with leaders from Native Women Lead, New Mexico Community Capital and other partner organizations.

• Oglala Lakota Artspace  Grand Opening - We welcomed more than 250 Pine Ridge community members, funders and friends during our May 19th and 20th events that ranged from art making activities to live performances, talks and honorings. Thank you to everyone who was able to join us! 

• OLA Artist in Residence (AiR) Program - The AiR program is designed to support Oglala Lakota artists working in the continuum of Lakota art, historically, traditionally and contemporarily, to develop their practice, explore connections and build collaborations with local artists and community. This first year five artists participated in the 3-6 weeks residencies that included living accommodations, food and materials stipends, a workspace, transportation to and from the OLA, and uninterrupted time to concentrate on creative practice. 

• Wichapi Olowan (Star Songs) Music Program - FPF’s new music program, in partnership with Playing for Change, enables intergenerational emerging artists to learn how to produce and record music from local musicians. Monthly jam sessions for local musicians, singers, and rappers provided opportunities for these artists to build confidence by performing in front of an audience. 

• Native Arts Professional Development Program - We hosted NAPDs in Minnesota, California, Washington, Idaho, North Dakota and South Dakota this year. The entrepreneurship curriculum takes emerging artists on the journey of business development through a Native arts and culture lens. Topics include budgeting, pricing, marketing, taxes, etc.
  

• Collective Spirit Conversations - This summer we introduced a new series of virtual discussions highlighting the work of Native American and Native Hawaiian artists and addressing timely community issues. Topics included: 

• Harmonizing Identities: Indigenous Queer Artists on Art
• Indigenous Futurism: Bridging Ancestral Roots and Contemporary Art
• Indigenous Intellectual Property Rights‍

These programs and initiatives along with all of our other work, our dedicated staff and board, trainers, funders and supporters like you, continue to fill our hearts with gratitude and hope. We hope they can do the same for you. 

In the heart of Oglala Lakota territory

A visionary project is opening that promises to breathe new life into the artistry of the Oglala Lakota people. The Oglala Lakota Artspace Artist-in-Residence (OLA AIR) Program has unveiled its inaugural year, a groundbreaking initiative aimed at providing a nurturing and empowering environment for Oglala Lakota artists to showcase their talents, explore new horizons, and contribute to the rich tapestry of indigenous artscape.

Leading the charge in the initiative is Leslie Mesteth, the Associate Director of the Oglala Lakota Artspace. Leslie's passion for preserving and promoting Lakota artistry, historically and contemporarily, has been a driving force behind the conception and execution of this program.

“When you look back historically, a lot of artists had to leave the reservation to get their work noticed or promote their work outside of the reservation and, and create space for themselves as artists”

At its core, this program celebrates artistic heritage and is an incubator for contemporary expression deeply rooted in the Lakota culture. Residencies, extending from two to six weeks in 2023, provide a comprehensive support system for artists, including living accommodations, a food stipend, a dedicated workspace, a material stipend, and transportation to and from the residency space. This initiative offers artists uninterrupted time, allowing them to concentrate solely on their creative practice.

“Giving them [the artists] that space to kind of not only share what they know, as cultural barriers but also going out into the community… Getting back that knowledge of this is how it is today, to be back on the reservation, because a lot of them live off the reservation. So they were all really excited to come back and just be with family”

In announcing the talented artists selected for this year's residency, OLA, under Leslie's guidance, is proud to present a group that truly embodies the spirit and creativity of the Oglala Lakota community. Each artist brings a unique perspective and artistic style to the residency, promising a dynamic and engaging experience for both the creators and the community.

The roster of artists for the 2023 OLA AiR program is impressive and diverse. It includes:

Arthur Shortbull, Lakota Kikyo, William Underbaggage, Nathan Ruleaux, Leah Altman

The walls of OLA bear witness to their journey—a journey that merges the historical with the contemporary, the traditional with the innovative, forming an intricate mosaic that tells a story beyond words.

These artists venture into the community within the residency, sharing their gifts and fostering collaborations. Workshops, exhibitions, and performances become their medium, connecting hearts and minds and bridging the gap between the artists and the community that welcomes them.

“They [the artists] have to do a community event, or they share their work with the community, or they could even do a workshop and bring all the supplies and then teach their methods”

As the residency is in the middle of its year, the artists leave behind not just their finished works but a legacy—an indelible mark of Lakota artistry and the promise of a vibrant future where tradition and creativity dance in harmonious celebration.

The Oglala Lakota Artspace Artist-in-Residence Program has sown seeds of creativity of a renewed Lakota artistic identity, embracing the continuum of art, bridging generations, and lighting the path for many more to follow. The journey has just begun, and the future is ablaze with the brilliance of Lakota creativity.

First Peoples Fund is making significant strides in California through its Native Artist Professional Development (NAPD) program.

With a focus on fostering entrepreneurship and cultural leadership, NAPD offers transformative training programs and certification courses, allowing artists to thrive in their careers and communities.

In recent endeavors, First Peoples Fund successfully launched the NAPD program in California, marking the return to in-person training after a hiatus since pre-pandemic days. The California trainings engaged 27 registrants and saw active participation from 10 individuals.

“By year's end, we anticipate hosting  14 in-person and two or three virtual classes. And [the program’s] hitting the ground running after being on a bit of a hiatus for the past couple of years during the pandemic. People are eager to get back to training and working with First Peoples Fund,” Juan Lucero, NAPD’s program manager, said.

Participants expressed high regard for the trainers, emphasizing their professionalism, knowledge, and interactive teaching styles. Tiffany Adams was commended for her engagement and insightful sharing of personal experiences, keeping students engrossed and motivated. Carolyn Kualii was commended for her interactive approach and ability to encourage critical thinking, creating an enriching learning environment.

The success of these training sessions would not have been possible without the collaboration and support of esteemed partners, including the California Indian Culture & Sovereignty Center and the California Indian Museum and Cultural Center. Together, they have demonstrated a commitment to the mission of empowering Native artists.

“[Partnerships] allow us to connect with the community. It gives us a much broader audience. I guess you can say, to be able to reach out to them and bring them into our classes,” Lucero said.

Looking ahead, First Peoples Fund and its partners have their eyes set on expanding the NAPD program across various areas in California. With the aim of reaching more aspiring artists, two California Native Arts Ecology Building grants have been awarded to the Alliance for Felix Cove and the Redbud Resource Group, further highlighting the dedication to promoting entrepreneurship within the Native arts community and growing the Indigenous Arts Ecology in California.

First Peoples Fund's NAPD program offers two distinct training opportunities. The first is the Native Artist Professional Development Training, a comprehensive two-day program tailored for artists at any stage of their entrepreneurship. It equips them with essential knowledge, tools, and confidence to navigate the intricacies of a professional artistic career. Emphasizing values-based education, this program recognizes the business of art and cultural expression as an avenue for leadership, enabling artists to realize their vision of success.

The second opportunity is the Community-Based Certifications. This aspect of the program certifies participants as Native Arts Professional Development trainers. It is ideal for artists aspiring to become mentors and financial and non-profit professionals seeking to work with artists. The certification offers expertise to artists interested in initiating or expanding their businesses, fostering a supportive network and nurturing a thriving Indigenous Arts Ecology.

“By the end of the class, we want our participants to come out with the beginnings of an established business plan… They will hopefully gain a foundation for a business plan or usable, functioning business model,” Lucero said.

First Peoples Fund's trainers, hailing from diverse backgrounds across the United States, represent a wide spectrum of professional artists and entrepreneurs. Their dedication to supporting an Indigenous Arts Ecology is instrumental in building a community where artists, cultures, and communities can flourish.

+ Interested in participating in or hosting an NAPD workshop? Visit our calendar for the most up-to-date information on upcoming NAPD workshops. More information on the NAPD program can be found here, or contact Juan Lucero or Jaren Bonillo for more information.

First Peoples Fund has recently launched an exciting and long-awaited initiative:

the Collective Spirit® Conversation Series with the support of the Association of Tribal Archives and Libraries (ATALM). This ongoing series of virtual discussions shines a spotlight on the incredible work of Native American and Native Hawaiian artists while tackling timely and relevant issues facing our communities. We were thrilled to start this series with our first two conversations exploring the intersection of art, healing, and identity.

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Harmonizing Identities: Indigenous Queer Artists on Art

Our inaugural conversation, "Harmonizing Identities: Indigenous Queer Artists on Art," brought together a remarkable panel of artists: Golga Oscar (Traditional Council - Yup'ik Nation), Penny Kagigebi (Anishinaabe), and Kenny Ramos (Barona Band of Mission Indians). Our host and First Peoples Fund staff member, Keana Gorman (Diné), joined them. This engaging discussion celebrated art as a powerful catalyst for communal healing and understanding of identity.

Art has a unique ability to help us express and communicate our complex emotions and experiences with the world around us, and queer Native art is no exception. The panel delved into thought-provoking questions surrounding queer identities and experiences within the art world, shedding light on the transformative potential of artistic expression.

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Indigenous Futurism: Bridging Ancestral Roots and Contemporary Art

Our second conversation explored the intriguing concept of "Indigenous Futurism." Distinguished artists Jordan Poorman Cocker (Kiowa, Tongan) and Chris Pappan (Kaw, Osage, Cheyenne River Sioux) took center stage alongside our host, First Peoples Fund staff member Heidi K. Brandow (Diné, Kanaka Maoli).

During this conversation, the audience gained deeper insights into how these contemporary artists pay homage to their ancestral roots while actively engaging with the Indigenous present. The discussion also touched upon how their artistic practices envision an Indigenous presence now and in the future.

Through these live-streamed events, we explored the profound ways in which art intersects with identity, healing, and the preservation of cultural heritage.

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Looking Ahead

We are excited about the future of the Collective Spirit® Conversation Series and the opportunity to bring you more timely and insightful discussions featuring leading artists and culture bearers of our time. These conversations celebrate the rich diversity of Indigenous artistry and provide a platform for meaningful dialogues that can inspire and educate.

We invite you to join us in this ongoing journey of exploration and celebration of Indigenous art and identity. Together, we can continue spotlighting the remarkable work of Indigenous artists and their vital contributions to our shared cultural tapestry.

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We welcome you to view these events on our YouTube Channel:

Last summer, we reclaimed our spaces in the ancestral lands of the Nacotchtank, Piscataway and Pamunkey lands (also known as Washington, DC) during the 25th anniversary of the First Peoples Fund. At The Kennedy Arts Center, world renowned for creative arts over the last 50 years, we showed and shared our cultural lifeways and diversity as Indigenous Peoples with the public.

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First Peoples Fund Board President Sherry Black (Oglala Lakota) says that We The Peoples Before celebrated film, theater, performances like spoken words, and music. It was also a way for the First Peoples Fund to correct the stereotypes of Native Peoples through the performing arts and how the theory of Indigenous Arts Ecology, which leads our work, is reciprocally linked to the worldviews and cultures of who we are as cultural bearers and artists.

Being on the board for First Peoples Fund for over a decade, Black adds that the nonprofit carries on the momentum of the work of the National Congress of American Indians, which had coined the phrase, “We Are The People Before We The People.” Black tells of how FPF pluralizes ‘Peoples’ to include global Indigenous peoples and the hard fights of changing and recognizing our demographic as peoples instead of generic labels of identifying Indigenous populations.

“It is a recognition that we're humans,” Black said. “So many people don't understand the different meanings behind all this. And art is part of everything. We cannot separate it.”

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