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By Sarah Elisabeth Sawyer (Choctaw Nation), Artist in Business Leadership Fellow 2015

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Peter Williams (Yup’ik) produces high-end fur garments that blur the line between art and fashion. He has demonstrated the technique of sewing seal and sea otter fur by hand at museums, cultural centers, and to Alaska Natives at the University of Alaska Fairbanks. In 2015, he presented at New York Fashion Week and was profiled in The Guardian. His first runway show was at Brooklyn Fashion Week, 2016.

Peter completed a Rasmuson Foundation Artist Residency at Santa Fe Art Institute, an Artist in Residence at the Institute of American Indian Arts and has guest lectured at Yale University, Portland Art Museum, and 516 ARTS. He is based in Sitka, Alaska.

Known as the “sea otter guy,” it’s hard to tell at times where Peter’s art ends and he begins.

“The deeply holistic nature of my culture not only informs my art but is the reason I create it,” Peter said.

From Alaska to New York, bridging two states at the opposite ends of the country has allowed Peter to grow connections between disparate cultures. This came from walking pathways in deep healing and his role as a Yup’ik man.

When Peter lost his father in an alcohol-related boating accident, it broke his connection with his cultural identity.

“What it meant to be a healthy Yup’ik man wasn’t modeled for me,” Peter said.

This spiraled into substance abuse and self-loathing that nearly destroyed him. Coming back to the traditional practices of sea otter hunting, sewing skins, and oneness, Peter experienced healing.

“My father, my culture, my spirituality, sobriety, and healing all became tangible through the sacred act of hunting and sewing with marine mammals,” he said.

Stretching this identity across the country, he began cold-calling fur and fashion businesses on the East Coast.

“High-end, high dollar products will allow me to hunt and create less,” he said. “I can get to a comfortable living wage while making and selling unique, high-quality products.”

Peter is now taking the next steps. Consulting with a potential sales representative, he’s pursuing wholesale outlets in New York. He was recently accepted into the Capsule fashion trade show as part of his goals with his First Peoples Fund Artist in Business Leadership program to expand into new markets.

Peter’s art goes beyond crafting a quality product. It tells a story, a narrative of who he is, who his people are, and how they have evolved with their culture intact, thriving, and ready for the future.

“Through my culture and tradition, I found what it means to be a healthy and proud Yup’ik man.

— Peter Williams

Photo credits: Runway images provided by the artist, header image and outdoor modeling images from Gregory Thompson and Max Myers, images of Peter Williams hunting/fishing by Fabio Domenig.

By Sarah Elisabeth Sawyer (Choctaw Nation), Artist in Business Leadership Fellow 2015

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“There’s a huge need for Native artists to be bankable. They need supplies, but they have no credit history, no collateral, no local bank that works with them. The fact that First Peoples Fund opened the door for us to be able to reach out and start getting the artists bankable is exciting.”  

— Felecia Freeman (Citizen Potawatomi, Sac and Fox, Kickapoo), commercial loan officer at the Citizen Potawatomi Community Development Corporation

Now in its fifth year, the Indigenous Arts Ecology (IAE) program reaches into tribal communities with grants and technical assistance to community-based organizations, supporting them to assist Native artists to grow as entrepreneurs and leaders in their local Indigenous arts ecosystems. Through the Indigenous Arts Ecology program, First Peoples Fund partners primarily with Native Community Development Financial Institutions (Native CDFIs). The two-year cohort-based program builds understanding of the critical role of artists and culture bearers in tribal communities, and helps build capacity to better support artists with services, training, and mentoring.

It is our privilege to announce the 2018 Indigenous Arts Ecology Grantees. FPF invited the grantees into the program, knowing they understand and embrace the value of artists who hold one of our most significant assets — cultural knowledge.

Four Bands Community Fund

Located in north-central South Dakota, this Native CDFI conducted the Cheyenne River Artist Market Survey in 2015. This survey revealed a great need for artists to improve their business financial skills. It also acknowledged a thriving informal arts economy amid high unemployment rates and poverty on the reservation.

Four Bands uses a model called Icahya Woecun (The Place to Grow) to deliver its programs. Icahya Woecun brings together Lakota values and tradition with the wisdom of best practices to support Native entrepreneurs.

In part through their IAE grant, Four Bands envisions a thriving creative economy inclusive of  artists of all ages, and will support artists to gain access to niche markets outside the reservation.

Kawerak, Inc.

A non-profit tribal corporation, Kawerak, Inc. provides services within the Bering Strait Region in Alaska. Through the IAE grant, Kawerak is continuing a relationship with First Peoples Fund to advance the region’s art community.

At the heart of the work lies Kawerak’s goal to partner with tribal members and communities to achieve the highest quality of life while living and celebrating their Native cultures.

In partnership with First Peoples Fund, Kawerak envisions offering relevant support for artists and crafters in the Bering Strait Region so they can continue their art, pass on their knowledge, and support themselves, their families, and community.

Council for Native Hawaiian Advancement

Founded in 2001, the Council for Native Hawaiian Advancement (CNHA) is a statewide and national network of well over 100 Native Hawaiian organizations.  

CNHA’s network of artists in the community consists of local artists from abstract to contemporary artists, colorists, digital artists, sculptors, photographers, jewelers, weavers, wood carvers, other artists and cultural practitioners.

CNHA wants to direct a funding trend toward supporting the economic and professional development of its artists for the sake of impacting the community’s economy, interconnectivity, but most importantly, inspiring stories from every family (‘ohana) and elevating Hawai’i’s cultural preservation.

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Citizen Potawatomi Community Development Corporation

It is the mission of the Citizen Potawatomi Community Development Corporation to finance, promote, educate and inspire the entrepreneurial growth, economic opportunity and financial well-being of the Citizen Potawatomi Nation Tribal Community and other underserved Native populations.

Citizen Potawatomi Community Development Corporation collaborates with tribes and other Native CDFIs across the United States. It shares policies, procedures, impacts, and programs to enhance economic development in Indian Country.

With the IAE grant, it is poised to provide professional development training, credit building, asset building, and matched savings for Oklahoma’s Native artists.

Individual Development Accounts (IDA) and the IAE Grants

IDAs are a theme for this group of Native CDFI partners.  Matched savings programs not only dispense funding into the Native artist’s business but also teach financial management.

In addition to IDAs and unique goals within each organization, these Native CDFIs will continue to conduct the First Peoples Fund’s Native Artist Professional Development training for their artists.

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Experiencing the Heart of an Indigenous Arts Ecology

During site visits and convenings hosted by First Peoples Fund throughout the year, the IAE partners will have the opportunity to see Indigenous communities undergoing change through well supported creative economies.

“At the convening, we invite one staff member and one community artist champion,” First Peoples Fund Program Manager Jeremy Staab (Santee Sioux) said. “It’s an opportunity to collectively share knowledge and experiences that they’ve had with supporting artists in their community.

“We can always put the partners in front of a lecture, a webinar series, or go through helpful models. But every community is a little different. When we think in terms of adaptive models — learning from the experiences, successes, and failures of other communities — it helps us grow faster.”

Note:

Our previous Indigenous Arts Ecology cohort began their program in 2017 and will finish after their second year in 2018: Four Directions Development, Inc., Lakota Funds, Northwest Native Development Fund, and Native American Community Development Corporation.

The IAE grant is supported through the Bush Foundation, McKnight Foundation, Northwest Area Foundation, and the Surdna Foundation.

By Sarah Elisabeth Sawyer (Choctaw Nation), Artist in Business Leadership Fellow 2015

First Peoples Fund is thrilled to welcome a new cohort of 25 artist fellows who embody the Collective Spirit® and whose lives reflect the traditional values at the heart of our work — generosity, wisdom, respect, integrity, strength, fortitude and humility. Each year, we offer two fellowship grant programs for artists: Artist in Business Leadership and Cultural Capital.

“We have such a range of mediums,” First Peoples Fund Program Manager Mary Bordeaux (Sicangu Lakota) said. “Everything from Indigenous foods to performing artists. We have artists using traditional techniques in modern ways. I’m excited about working with the artists, seeing them grow, and their projects come to fruition.”

Artist in Business Leadership Program

Out of a record 75 applications from Native artists across the country, 15 artists were selected to receive the Artist in Business Leadership (ALB) fellowship to assist them in furthering their art career aspirations. Through projects of their own design as well as assistance and training provided by First Peoples Fund, the artists will develop skills to help them grow a thriving business for themselves and their families.

When an individual artist is uplifted and supported, they impact their families, communities and the benefits can ripple out regionally and nationally. This inspires artists to fully honor their cultural creativity and frees them to embrace their Native identity and voice.

“The Artist in Business Leadership fellows are doing work within to stabilize themselves as artists,” Mary said.

The artists moving through the ABL in 2018 are:

Nanibaa Beck (Dine)
Metal worker and jeweler. Carrboro, North Carolina

Roxanne L. Best (Confederated Tribe of the Colville Indian Reservation)
Culinary arts, photography, and writing. Okanogan, Washington

Heidi K. Brandow (Dine / Native Hawaiian)
Drawing and mixed media artist, painter, and photographer. Santa Fe, New Mexico

Alexandra Buffalohead (Sisseton Wahpeton Oyate)
Musician and singer. Eagan, Minnesota

Jaida Grey Eagle (Oglala Lakota)  
Photographer, beadworker, filmmaker. Prior Lake, Minnesota

Pauline Klementson (Stebbins Community Association)
Basketry artist. Nome, Alaska

Traci McClellan-Sorell (Cherokee Nation)
Writer. Olathe, Kansas

Jeff Peterson (Native Hawaiian)

Musician and songwriter. Kailua, Hawai’i

Fox Spears (Karuk)
Drawing and mixed media artist, painter, and printmaker. Seattle, Washington

Jack Wallace Gladstone (Blackfeet)
Musician, composer, and storyteller. East Glacier, Montana

Dana Warrington (Menominee / Prairie Band Potawatomi)
Quillwork artist. Cherokee, North Carolina      

Peter Williams (Yup’ik / Sitka)
Interdisciplinary artist. Sitka, Alaska

Rico Worl (Tlingit / Athabascan)
Interdisciplinary artist. Juneau, Alaska

Laura Youngbird (Minnesota Chippewa Grand Portage Band)
Printmaker. Breckenridge, Minnesota  

Raye Zaragoza (Pima / O’odham)  

Singer/songwriter. North Hollywood, California

Cultural Capital Fellowship

Cultural Capital (CC) fellows focus their valuable time and resources on projects which benefit their communities by sustaining or revitalizing cultural practices. These artists and culture bearers ensure generations to come have access to traditions that might otherwise be lost.

The CC fellowship reinforces their goals to pass on ancestral knowledge in their community with financial and technical support throughout the year. These artists are generous with their time and abilities, sharing their knowledge with all who desire to learn.

“I’m looking forward to the classes that are planned,” Mary said. “Young people are working with elders to document the work. It’s that transference of ancestral knowledge. There are some young artists conducting classes. While they may not be the experts, they make sure everyone is in the same place, including the experts: culture bearers alongside the young people.”

We are pleased to welcome these Cultural Capital fellows into the program this year:

Bernice Akamine (Native Hawaiian)

Weaver, basketry and textile artist. Volcano, Hawai’i

Cecelia Fire Thunder (Oglala Lakota)

Storyteller and doll maker. Martin, South Dakota

Lisa Iron Cloud (Oglala Lakota)

Beadwork, quillwork, and sewing artist. Rapid City, South Dakota

Arlo Iron Cloud Sr. (Oglala Lakota)

Filmmaker and storyteller. Rapid City, South Dakota

Wesley May (Red Lake Band of Chippewa)

Painter. Red Lake, Minnesota    

Kandi McGilton (Metlakatla Indian Community)

Weaver, basketry and beadwork artist. Metlakatla, Alaska

J. Waylon Miller (Northern Cheyenne)

‍Storyteller and tribal music preservationist. Rapid City, South Dakota

Joseph Brophy Toledo (Jemez Pueblo)

‍Carver, painter, and storyteller. Jemez Pueblo, New Mexico    

Micheal Two Bulls (Oglala Lakota)

Filmmaker, mixed media, and music. Rapid City, South Dakota

Matilda Wilson (Atsugewi Band of the Pit River Tribe)

Basketry artist. Burney, California

Family Connections

Receiving either the ABL or the CC fellowship goes beyond support for a year or a single project. Artist fellows are brought into the First Peoples Fund family and introduced to a vast network of artists, new market opportunities, and a chance to build relationships while they continue to grow in their confidence and ability as Native artists.

This proved the case for singer / songwriter Cary Morin (Crow/Assiniboine), who received an Artist in Business Leadership grant last year.

“Cary’s First Peoples Fund award was critical to his level of success in 2017,” Celeste Di Iorio said of her husband. “Without it, we would not have been able to achieve the publicity and grow his fanbase to the level it is today. Cary is now on the worldwide map in a way that he has never been before. He is teetering on the brink of the next level of success, for which we are very hopeful for in 2018.”

We will continue to follow Cary’s success and others as we bring the 2018 ABL and CC fellows into the family.

Learn more about this year's Fellows in our monthly eSPIRIT newsletter, which highlights two fellows every month. You can subscribe to eSPIRIT by scrolling to the bottom of any page on our website and entering your email address. Don't miss this opportunity to hear more about these exceptional artists and culture bearers, their work and their communities.

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Photo credits:
Header Image, "Hi" by Heidi Brandow, Mixed Medium (wood, plaster, acrylic, graphite, paper, resin)
Image of Cary Morin provided by artist.

By Lori Pourier, President of First Peoples Fund

“I thank culture bearers for their leadership and their wisdom. They enrich us all by the knowledge and profound insights they share. They don’t do their work for themselves or their children, or even their grandchildren. They do what they do for their grandchildren’s grandchildren. I think that is a good way.” — Jennifer Easton, 1947 -  2017, Founder of First Peoples Fund.

Dear Friend of First Peoples Fund,

2017 has been a year of reflection for First Peoples Fund. In August, our founder Jennifer Easton passed away, far too early. First Peoples Fund has changed the lives of thousands of Native artists, culture bearers and their families — as they have changed ours — since Jennifer’s founding in 1995. We are proud and deeply grateful to be part of carrying on her vision.  

2017 was also an exciting year of growth at First Peoples Fund. Just a few highlights:

• The fire and hope in the voices of First Peoples Fund’s youth team of Dances with Words poets at the Brave New Voices International Poetry Slam in San Francisco: “I see people use my problems for their pleasure… My people’s problems are not a romantic tragedy.” — Ohitika Lock (Standing Rock Sioux). “We are the hope our ancestors dreamed of.” — Marcus Red Shirt (Oglala Lakota).    
• Our growing staff worked with our national partners to bring the first Intercultural Leadership Institute cohort of 30 artists, culture bearers and community change-makers from across the country to the Pine Ridge Reservation and the He Sapa (Black Hills)  for a week of immersive learning about Lakota history, culture and movements within the Oceti Sakowin.  
• Nearly 25 years of good work by First Peoples Fund was acknowledged and celebrated on a national platform through my being awarded a Ford Foundation Art of Change fellowship.
• The National Endowment for the Arts featured us on the cover of their November magazine, and this summer the New York Times included First Peoples Fund and the Rolling Rez Arts bus in a story about support for the arts in rural America. We are grateful for the national recognition of our good work.

Looking ahead to 2018, we can hardly believe that the groundbreaking for Oglala Lakota Artspace on the Pine Ridge Reservation is just six months away. Through a partnership among First Peoples Fund, Artspace Projects and Lakota Funds, this wholly unique 8,500-square-foot artspace will provide a home for Rolling Rez Arts and build on its momentum, expanding opportunities for artist entrepreneurs and culture bearers as well as young and emerging artists on Pine Ridge by offering working studio, production and performance space in addition to business training, retail opportunities and banking services offered by the Lakota Federal Credit Union.  The Oglala Lakota Artspace will be the first of its kind in Indian Country and builds off the collaborative efforts of Lakota Funds and FPF since 1999.

We hope that you are proud to be part of First Peoples Fund’s circle, and that you will continue to stand alongside us. Our work would not be possible without friends like you, and your long-term investment in our mission - to honor and support the Collective Spirit of Native artists and culture bearers.

As we welcome the New Year, we will carry on Jennifer Easton’s original vision, guiding our work by our hearts to create tangible change. We invite you to join us in the impactful work we do alongside artists, culture bearers, Native CDFIs, and other stakeholders to grow the Indigenous Arts Ecology nationwide by partnering with us today. Click here to donate.

You can receive artists and community stories by joining our eSpirit newsletter.Keep up with weekly news and photos by following us on Facebook and Instagram.

Wolakota (Peace),

Lori Pourier
President
First Peoples Fund

By Sarah Elisabeth Sawyer (Choctaw Nation), Artist in Business Leadership Fellow 2015

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Through this series, we highlight the extraordinary people who serve as First Peoples Fund’s board of directors. They are the culture bearers and leaders from national nonprofits within and beyond Indian Country who graciously guide First Peoples Fund and strengthen the Collective Spirit®.

Originally from South Dakota, Sherry Salway Black (Oglala Lakota) has worked for more than 40 years in American Indian issues at the American Indian Policy Review Commission, Indian Health Service, First Nations Development Institute, and with the National Congress of American Indians.  

She has also served or is serving on boards and committees for the following works: Johnson Scholarship Foundation; Prosperity Now (formerly CFED); First Peoples Fund; the Hitachi Foundation; Honoring Contributions in the Governance of Tribal Nations of the Harvard Project on American Indian Economic Development; the Council on Foundations; First Nations Development Institute and Oweesta Corporation; American Indian Business Leaders; Native Americans in Philanthropy; the Hopi Education Endowment Fund; Trillium Asset Management Corporation; Women and Philanthropy; President Obama’s Advisory Committee on Financial Capability and the President’s Advisory Committee on Financial Capability for Young Americans.

Sherry has a master’s of business administration degree from the University of Pennsylvania and a bachelor’s from East Stroudsburg University where in 2013 she received the Distinguished Alumni Award. In 2016, Sherry received a Special Distinguished Leadership Award from the National Congress of American Indians.  

Q&A

Sherry, we appreciate your taking time for this Q&A. Who taught you the values you hold closest? What role did that person play in your life and what lessons did you learn from them?

I don’t think it’s any one person. We’re so affected by many people. My parents came first in terms of basic values that I hold. And also friends throughout my whole life. Teachers I’ve had. People I’ve worked with, like Lori Pourier. We started working together back in 1985 at the First Nations Financial Project, which is now First Nations Development Institute. That work with First Nations taught not only about honesty, but reciprocity. It’s such a critical value, especially in this work that we do. It’s that doing a good job for a good cause, and giving back is an important part of that.

What professional accomplishment do you believe says the most about who you are and what’s important to you?

I’m going to answer this question in two parts. The first part ties in Lori and First Nations Development Institute again. I believe the work has done so much good in Indian country through grant making, research, and policy change. We helped start the movement for Native community development financial institutions (CDFIs). It’s great, just knowing these organizations exist for Indian country and that I was a part of that.

The second part would be in seeing the people I’ve worked with and often mentored and how well they’re doing. And the fact that they’re helping in Native communities as well.

How long have you served on the First Peoples Fund board and why did you get involved?

I joined the board in 2008, and have served as Chairperson since 2010.

I got involved because of Lori Pourier. Lori started slightly before me at First Nations, and we worked together many years. She left sometime in the 90s, and I left in the 2000s. We stayed in touch.

I think some of what First Peoples Fund does grew out of the work at First Nations. Not all of it, but some. The fact that arts and culture are such a critical part of Native communities is sometimes overlooked in development efforts. Some of the early curriculum that was used to work with artists (at FPF) was developed at First Nations in the early 90s. We did grant making to arts related groups at that time.

I’ve always admired Lori and how focused she has been on that sector. That’s why I’m on the board. Can’t say no to Lori! [Laughs]

What are the most significant challenges Native nonprofits face?

There are a couple. One challenge that often arises for Native nonprofits is being taken seriously. I’ve done a lot of working with Native nonprofits over the years, working with foundations and especially ones with Native women at the head of them. I won’t say that I know this applies across the board to all women, all minority women, but I know it does for Native women. Your organizations don’t rank up there with some of the big non-Native nonprofits, especially if they’re headed by women. They think it’s a “cute little project.”

Words make a difference. For example, First Nations was called First Nations Financial Project until 1990. Ten years of working, ten years of raising funds from foundations, and we finally acknowledged we weren’t a project anymore. We were an Institute. We needed to frame the work differently, using those words to gain notice.

The other challenge all nonprofits face is securing the resources they need to do their job.

What has First Peoples Fund done to overcome those challenges?

Doing good work. That has to come first. Then consistency. Being visible, being involved, being at the table. I have a friend who says, “If we’re not at the table, we’re on the menu.”

Lori is at the table in conversations where she needs to be. She has longevity in the field. She knows the Native arts and culture area. She has the knowledge that people turn to.  

Having people like Lori involved in an organization is important. You have some nonprofits, regardless of whether they’re Native or non, who don’t have consistency in leadership, who are ever-changing.

What do you wish other people knew about First Peoples Fund?

I had an example of this the other day. [Laughs] A friend, who has known Lori and me for a long time, and who I thought knew First Peoples Fund, said, “You know, they ([FPF] should train artists in business practices.”

I said, “They do! They have this curriculum, Native Artists Professional Development Training. They do workshops, and they train the success coaches at Native CDFIs to help artists in business. What do you think they’ve been doing?” [Laughs]

How do you see First Peoples Fund changing lives and communities?

First of all, by recognizing arts as integral to who we are as a people. Sometimes we get carried away with some of the mechanics of the economy and government, and don’t recognize that art and culture are who we are as a people and to focus on that.

I think First Peoples Fund has really changed that. Helping people understand how to better their lives, and helping people with information and knowledge is so critical. One of the things we did religiously at First Nations that has carried over to First Peoples Fund was connect groups with other groups, people with other people. It’s such an important element.

That’s how I think First Peoples Fund works — bringing people together, sharing information and resources.

By Sarah Elisabeth Sawyer (Choctaw Nation), Artist in Business Leadership Fellow 2015

It was a down-home, rez style gathering. That was how First Peoples Fund trainer and board of director, Ron Martinez Looking Elk (Isleta / Taos Pueblos) described the recent Community Spirit Award honoring for Cliff Fragua (Jemez Pueblo). Held in the New Mexico Jemez Pueblo community, the gathering recognized Cliff’s service, life, and art.

A talented and well-respected artist, Cliff received a 2017 Jennifer Easton Community Spirit Award (CSA). This is First Peoples Fund’s longest running program and includes a cash award for artists to continue their good work in their communities. We held a special event in Cliff’s community to honor not only his art but his leadership and spirit of generosity he expresses to all.

“Artists appreciate that they can come to my studio for help, advice, or learn tips,” Cliff said. “My door is always open.”

Over the past 40 years, Cliff has demonstrated his dedication to helping Native artists whether through his award-winning art, committee and volunteer work, or teaching. In 1990, he was instrumental in founding the Towa Arts and Crafts Committee which evolved into the Jemez Arts and Crafts Association. Cliff saw the need for such an organization early on to help local Jemez Pueblo artists. The association facilitated venues and shows for artists to sell their work, creating an art economy so they could provide for their families. Now Cliff helps other Indigenous communities set up their own associations.

This year, with funds from his CSA, Cliff is building a series of mosaics and developing a lamination process with stone. He updated his equipment and acquired new tools to help him create with this technique.

“My ancestors did stone overlay and stone lamination in their jewelry,” Cliff said. “It still continues among some of the artists in the region. I want to take that technique and form to another level, to apply it to my stone sculptures. It produces a dramatic effect and allows me to combine the colors of the stone and to create scenarios or visual enhancement with the use of different colored stones and shapes when I apply stone on stone."

Cliff presented several of his art pieces at the CSA honoring, a representation of his impressive body of work and accomplishments within his community.

“He did it,” Ron said about Cliff’s honoring. “He maintained that artist’s life and came out the other end as a master artist.”

But the special honoring for Cliff in his community nearly didn’t happen. He came down with a temporary health condition shortly before the event. But he knew how much effort everyone had put in, and he wanted to move forward.

“There were quite a few artists in the room that Cliff had mentored,” Ron said. “They spoke about what a tremendous gift Cliff is and how much his creativity and inspiration drove them to become the artists that they are.”

When those artists spoke, words intertwined with emotion. Several of the men teared up.

“That’s how much impact he’s had on different artists within the community and how he gives selflessly,” Ron added. “I don’t think people realize the effect artists like Cliff have. When we played the video about his work, it showed what a huge impact Cliff has had on the community. It was beautiful.”

Surrounded by family and friends at the gathering, what surprised Cliff most was the emotion.

“Among us, we’re all good friends, and we joke around, have a good time,” Cliff said. “But at that moment when it got emotional, I wondered, ‘has my friendship really influenced their lives so much as artists?’ It touched me.”

A member of First Peoples Fund’s staff read from Cliff’s original CSA application about what his community means to him, of why it’s important to represent them, and his gifts to the community.

Cliff followed that with speaking about the economic disparities of living on a reservation and the challenges of having access to employment. His life shows what it truly means to be self-employed as an artist.

“That’s his gift he can give,” Ron said. “His knowledge and ability to sustain an artist’s lifestyle and show the community that it’s relevant and a part of the cultural sustainability of the community. He talked about hardships, but really how that defines who the people of Jemez are. He was so proud to represent them and be a part of the community.”

“That’s his gift he can give –– his knowledge and ability to sustain an artist’s lifestyle and show the community that it’s relevant and a part of the cultural sustainability of the community.

These are the kinds of artists we honor through the Community Spirit Award. We recognize the work of culture bearers who uphold the Collective Spirit®. These artists live the traditional values of First Peoples Fund — generosity, wisdom, respect, integrity, strength, fortitude and humility. Cliff humbly embodies these values, and acknowledged First Peoples Fund’s partnership and influence in his community.

“I try to express to others that when somebody helps you, that person is a part of the progression of your culture,” Cliff said. “When you help others and they take that help and use it, it moves the community up another level. I felt that with First Peoples Fund and what they are doing for the artists. It’s everybody helping each other. Whatever help you receive, you in return give to others.”

At the honoring, Cliff’s final surprise was the star quilt presented to him by First Peoples Fund. Embroidered with his name, it flared with several color combinations unique to the Southwest. The act of honoring someone with a star quilt goes back to the buffalo robe traditions of the Lakota people.

His family surrounded Cliff during the honor song played by the Grammy award-winning Black Eagle Singers drum group.

“I think this (CSA) recognition is quite an honor,” Cliff said. “To recognize those in the different communities and to encourage artists who have love for their work, their art, their culture; that’s honorable for an organization to do.”

By Sarah Elisabeth Sawyer (Choctaw Nation), Artist in Business Leadership Fellow 2015

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Alternative R&B recording and performing artist Gunner Jules Krogman (Sicangu Lakota) writes, sings, raps, and produces original music. He performs and speaks widely, while also collaborating with other artists, including Tanaya Winder and Rollie Raps. He was recently featured in the music video “Good Way” by Frank Waln.

Gunner is a Dream Warriors artist and 2017 First Peoples Fund Artist in Business Leadership fellow.

Trying to make a grade in high school with piano, Gunner changed to making beats on a computer instead. He started singing, rapping, and hoping. That hope became his dream. The dream turned into a vision. That vision is becoming reality.

Growing up on the Rosebud Sioux Reservation in South Dakota, the music scene was non-existent for Gunner. What listeners hear of his music comes from years of teaching himself. He creates stories through his songs, even tragic stories.

But he stays true to his values, keeping in mind his desire to be a positive example. He performs at youth-centered events like the Black Hills Powwow Youth Day and, recently, the Standing Rock Youth Empowerment Summit. Gunner tells youth his story through songs, being that role model they can see who is chasing a dream.

Gunner is focused on producing his first album, tentatively titled U R U.

“I want to influence people and youth to do better while telling a story of my own and our people’s tribulations and triumphs,” Gunner said. “My art doesn’t fit into a single category of music genre. Creating this album will be a journey in and of itself as an artist.”

Calling himself an artist came easier for Gunner after the 2017 First Peoples Fund Fellows Convening in Minneapolis. He said, “Being around artists in other mediums solidified the thought in my mind that I am an artist. It helped me embrace that.”

“Being around artists in other mediums solidified the thought in my mind that I am an artist. It helped me embrace that.”

Gunner’s First Peoples Fund fellowship covered much of his equipment upgrade expenses, and travel for building connections in places like Toronto and New York while he prepares to market his upcoming album. Native Hope in Chamberlain, South Dakota, funded the purchase of a new laptop for him to keep up with business work while on the road.

It’s all coming together.

A decade past trying to make a high school grade, Gunner is showing youth it is possible to accomplish your dreams while staying true to your morals and beliefs. This philosophy has brought him a long way, and proved that hope can indeed become reality.

A fresh look — evolved, expanded, and with room to grow. First Peoples Fund recently completed a revision of our Native Artist Professional Development Training curriculum, weaving in the business needs of performing artists. As the number of these artists coming in for training increased, we recognized the call to address their unique business development needs.

Thanks to the Andrew W. Mellon Foundation, the Native Artist Professional Development training (NAPD), which was originally developed primarily for visual artists, now includes specific issues performing artists face.

"Led by our Community Spirit Award culture bearers, First Peoples Fund worked closely with our artist fellows and alumni and community partners from within our network for over two years to thoughtfully adapt the curriculum to be more relevant to the needs of Native performing artists," said First Peoples Fund President and CEO Lori Pourier (Oglala Lakota).

"Performing artists have always been an important part of our family, and now we are able to more effectively help them grow as entrepreneurs and support them as leaders within their communities."

FPF staff worked with Native performing artist fellows and CSA alumni Wade Fernandez (Menominee), Pura Fe Crescioni (Tuscarora) and Jennifer Kreisberg (Tuscarora) and performing arts organizations from within our network, such as the PA'I Foundation, National Performance Network and Pangea World Theater, as well as consultant Julie Dalgleish, and veteran NAPD trainers Kimberly Tilsen-Brave Heart (Oglala Lakota) and Ron Martinez-Looking Elk (Isleta/Taos Pueblo), to complete the new curriculum.

“Native people have been performing artists for a very, very long time,” Kimberly said. “Sometimes, they are unaware of their own value and the business aspects of transactional relationships. What is the expectation for a performing artist? How do they manage relationships, contracts and logistics with an event producer, manager or booking agent? This new curriculum is built to give people a better understanding of those aspects.”

Several current and past performing artist fellows, a past Community Spirit Award honoree, and spoken poets who are part of the Dances with Words program attended a recent pilot training on the Pine Ridge Reservation in South Dakota led by Kimberly and Ron. The poets who attended were surprised by the notion of being paid for presenting their poetry. Even the concept of an honorarium was foreign until they learned their value through the NAPD training.

“Understanding an artist’s value is a huge step in the success of their career,” Kimberly said. “When you understand your value, you can advocate for yourself.”

First Peoples Fund Program Manager Jeremy Staab (Santee Sioux) emphasized this by illustrating how undervaluing performances not only impacts the individual artist but the industry as a whole.

“Some of the young poets are just invited to share their poems but haven’t thought about charging for them,” Jeremy said. “Then they learned how not charging undervalues spoken word. This is true of many artists across disciplines. There are traveling artists like First Peoples Fund fellow Tanaya Winder who do charge for performances. Not charging affects the industry.”

Working with Partners, Evolving the Curriculum

Previously, the NAPD focused on business needs from the perspective of visual artists. Though all artists begin in the same place, there are different approaches moving forward when it comes to the various mediums. The NAPD kept bumping into performing artists who needed more than the curriculum offered.  

To expand the NAPD training, we started two years ago with trusted partners in the performing arts field to get their insight on what these artists need for their businesses to allow them to continue with the heart of their work. We held a convening at the Pangea World Theater in Minneapolis and gathered information there. We also went to the PA’I Foundation for their knowledge of what performing arts looks like with their Native Hawaiian artists.

We worked closely with the National Performance Network. NPN reviewed our previous manual, made suggestions on what could be added on, and they shared parts of their curriculum that could be included in the NAPD.

“We had to decide whether to add performing arts at the end of each chapter or work it into the manual,” Jeremy said. “We did a mixture of both to make it as seamless as possible.”

Julie Dagleish had the role of developing and writing add-ons along with a new section in the manual.

The revised curriculum took shape.

Piloting the Revised Curriculum

Once we had a solid draft, we invited First Peoples Fund performing artist fellows and Dances with Words poets to offer suggestions at pilot trainings with Ron and Kimberly. From hip-hop and Native blues to culture bearers and young poets, conversations happened.

“We were able to call on our Native performing artists and ask for their input,” Ron said. “That was one of the most valuable things.”

Ron, an international award-winning traditional potter, has worked with Indigenous artists, leaders, and organizers from many countries including New Zealand, Japan, Greece, South Korea, Africa, Bolivia, Peru and with tribes throughout the U.S.

“We put the curriculum together based on our knowledge of working with performing artists,” Ron said, “but once we got them in the room and started delivering the curriculum, that’s when everything started to mesh.”

“We also talked about marketing,” Kim said, “how impactful social media is, and about being well-produced in putting out work you’re proud of, that represents your brand. In all the trainings, the marketing component was a huge success.”

Tightening the Training Weave

This revision of the NAPD serves to tighten the weave across and within First Peoples Fund’s programs.

“We’ve always had performing artists in the room,” Ron said, “and we’ve tailored our discussions so they’re included. But this is the first time it’s been formally introduced in the curriculum.”

Upcoming in February and March, First Peoples Fund will hold trainings for national trainers to update their certifications with the new content woven through the NAPD curriculum. They will be prepared to work more deeply with performing artists.

“We found there was this large component of Native performing artists who have no training or education available,” Kimberly said. “We wanted to fulfill that need.”

Native artist sought for downtown Rapid City public art project

DEADLINE EXTENDED TO FEBRUARY 12TH, 2018

First Peoples Fund is part of a collaborative of Rapid City-based nonprofits that is seeking a Native artist affiliated with a South Dakota tribe to carve and/or sandblast a piece of granite located in the center of a Lakota medicine in front of Main Street Square in downtown Rapid City.

The stone to be carved is a large granite bench in front of the two granite spires at the intersection of Main and Sixth Streets. It is located in the center of a large Lakota medicine wheel made of colored concrete embedded in the walkway. An optional additional element at the artist’s discretion is carving a large granite boulder that is part of a Lucite wall near the central granite piece.

The artist will be selected by a committee made up of representatives from First Peoples Fund and Native POP Art Market and Cultural Celebration. The project is privately funded and the artist’s fee, to include all materials and fabrication costs, is $30,000.

“Masayuki Nagase, the sculptor who carved the 21 pieces of granite around Main Street Square that make up Passage of Wind and Water, did not include this stone in his project design because of its location in the medicine wheel,” explained Mary Bordeaux, chair of the selection committee, program manager for fellowships at First Peoples Fund, and a founding member of the Native POP organizing committee. “The artist selected for the project will develop a design that is considerate of this location as well as harmonizing with Masayuki’s work.”

This invitation is open to artists who generally work in 2-dimensional forms, as well as those who work in 3-D forms. Artists may propose 2-D designs that can be transferred to the stone/s through a sandblasting process.

The application can be found on the online system Submittables under Main Street Square Medicine Wheel Bench Call. The extended application deadline is February 12th, 2018. The selected artist will be notified in February. Work may begin on site in June and must be completed by September 1, 2018.

For more information about the project, please contact Mary Bordeaux, mary@firstpeoplesfund.org, or Anna Huntington, anna@firstpeoplesfund.org, at First Peoples Fund, 605-348-0324.

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By Sarah Elisabeth Sawyer (Choctaw Nation), Artist in Business Leadership Fellow 2015

‍Angel Two Bulls was born and raised on the Pine Ridge Indian Reservation and is a member of the Oglala Lakota Nation. With a background in mental health, Angel received a bachelor’s in psychology from Portland State University and a master’s in counseling from the University of New Mexico.

Angel is a fellow of the Native Youth Leadership Alliance (NYLA) and co-founder of the annual Indigenous Film Festival on Pine Ridge. Integrating healing through art within the individual and community are vision areas for Angel’s work within the First Peoples Fund Indigenous Art Ecology.

Weaving between complex work — making connections, building integration, and deepening impact. This is part of First Peoples Fund’s vision in tightening the weave throughout our programs. For this, we created the new Program Weaver position, and found the right person to fill it.

Angel Two Bulls (Oglala Lakota) comes from a background of nonprofits and mental health work. It was Angel’s mother, Verola Spider, who laid a foundation for Angel’s work.

Verola had many chores for her children when they were growing up: popping corn kernels off the cob for drying, grinding chokecherries, or taking quills out of porcupines for their mother’s cultural artwork. During those chores, their mother would tell stories of the life of their great-great-grandmother, of their heritage. And Verola would always be fully present with them.

“My mom doesn’t know how to text or email,” Angel said. “When I visit her, I get 100% of her attention.”

This instilled a value of generosity in Angel of being client-centered and a good listener.

Weaving into First Peoples Fund

Angel attended the Institute of American Indian Arts (IAIA), earning an associates degree in New Media Arts: Moving Images in 2014. At the IAIA, Angel met future life-partner Micheal Two Bulls. Micheal is an artist and former First Peoples Fund Artist in Business Leadership recipient.

When they decided to move back home, Angel planned to find work in a mental health position but was pleasantly surprised at the opening of Program Weaver for First Peoples Fund.

“I had previous experience in the nonprofit world through the Native Youth Leadership Alliance,” Angel said.

Angel had connected with First Peoples Fund in other ways, including through David Cournoyer (Sicangu Lakota), a board member of First Peoples Fund and the Native Youth Leadership Alliance (NYLA). Co-founding the first film festival on Pine Ridge in 2015 gave Angel an opportunity to work with the Rolling Rez Arts Mobile Unit.

The Rolling Rez Arts was part of the past two film festivals, providing a platform for facilitating information, screenings and classes. In the mobile unit, Angel taught a workshop on beginner filmmaking.

“I’d already seen First Peoples Fund within the community work I do,” Angel said. “That’s why I was attracted to them.”

Surrounded by a family of artists, Angel understands the philosophies behind First Peoples Fund’s Indigenous Arts Ecology.

“Because of my husband’s positive experience with First Peoples Fund, and coming from a family of artists on both sides including my in-laws, it seemed a natural transition for me,” Angel said. “First Peoples Fund’s Indigenous Arts Ecology model makes sense to me because I’ve lived it.”

“Because of my husband’s positive experience with First Peoples Fund, and coming from a family of artists on both sides including my in-laws, it seemed a natural transition for me,” Angel said. “First Peoples Fund’s Indigenous Arts Ecology model makes sense to me because I’ve lived it.”

Knowing the work of First Peoples Fund in communities — starting with individual artists — motivated Angel to become a part of the process. “I saw how much of an impact this work can have, and it was something I wanted to be a part of. When we came back home after school, I wanted to work in the community. Being at First Peoples Fund translates to working with communities.”

The Program Weaver ensures connections are made where they need to be, encouraging programs to overlap, and ultimately tightening the weave.

“My role is to help the programs work together,” Angel said, “and be that bridge between the programs.”

Angel is also becoming a certified community coach through funding provided by NYLA. This translates to moving work forward in strategic planning, intention and next steps — useful qualities in nonprofits such as First Peoples Fund.

Angel is a creative as well, and recently had quillwork featured in the Tapun Sa Win show hosted by the Center for American Indian Research and Native Studies, and has worked with Native POP: People of the Plains in Rapid City.

“Culture often comes out in art,” Angel said. “It’s how we express the moments we live in and what’s going on in the world right now. When an artist creates a piece of work, a lot of times it’s on their current experience. Like a snapshot in time that will last forever.”

The Value of Generosity

Angel’s mother is still a model for community work, and for being someone who is completely present for whatever she’s doing, even listening.

“My mother is like that with everyone,” Angel said. “They feel close to her. She gives them so much attention, love, and respect. It’s nice to aspire to, knowing that in our community, people value her because she’s loving and giving. She shares her knowledge with everyone.”

Generosity is one of the values Angel brings to the Program Weaver position, a value integral to the heart our work.

By Sarah Elisabeth Sawyer (Choctaw Nation), Artist in Business Leadership Fellow 2015

Lydia Apatiki (Sivuqaghhmii) is a traditional St. Lawrence Island skin sewer who uses materials harvested and gathered by her family to create intricate traditional Yup’ik dolls, game kick balls, and bird skin parkas. She is a speaker of St. Lawrence Island Yup’ik and taught the bilingual program for many years at the Gambell school, where she developed a language workbook for elementary grades.

In 2015, Lydia was recognized by Senator Donald Olson for preserving culture and ways of life on the St. Lawrence Island.

Thousands of birds flocked overhead, but the wind blew the wrong direction, and the men did not catch a single bird. Weather, location, timing. These are traditional harvesting practices Lydia’s bird catching husband, Jerome (Sivuqaghhmii) wants to document. He is her helper and partner in the curriculum she is working to develop on sewing traditional bird skin parkas.

When Lydia committed to making her first bird skin parka a decade ago, her aunt and stern mentor gave her no opportunity to fail, even when she wanted to give up on that most challenging project of her life.

“You start your parka, and I want to see you finish it completely,” Aunt Adeline said.

Lydia kept going, learning traditional stitching and eventually, she finished the parka.

“Thank goodness for Aunt Adeline,” Lydia said with a chuckle. “I’ve finished five bird skin parkas now.”

Lydia travels to the mainland, to events such as the elder’s conference in Nome, to seek knowledge of traditional stitches, of who can teach her more correct practices than she knows.

When Lydia finds material, she adds it to her new computer, slowly collecting information she needs to create a sewing curriculum with the help of the Kawerak, Inc. staff and Northwest Campus staff. Her First Peoples Fund Cultural Capital fellowship supports the process as she gathers knowledge, much like her people still gather berries and roseroot for the winter.

“It broke my heart when a young lady wanted to learn how to make a bird skin parka but had no one to teach her,” Lydia said. She wants this curriculum to educate youth in these practices.

“I am so pleased to do this, finally,” Lydia added. “I didn’t know how to go about compiling a sewing curriculum. I am so pleased with the help of this (First Peoples Fund) program.”

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By Sarah Elisabeth Sawyer (Choctaw Nation), Artist in Business Leadership Fellow 2015

In 2013 Crystal Worl (Athabascan Tlingit) earned a Bachelor of Fine Art in jewelry metals and an Associate of Fine Art in moving images from the Institute of American Indian Arts. The majority of her art consists of painting, printmaking, graphic design, and clothing design. Her work explores the relationships and bonds between her people, the land, and the animals. She lives in Juneau, Alaska, working as a co-owner of Trickster Company.

Swimming in an ocean of projects every day, all over the world, Crystal embodies the creative lifestyle. Aerial dancer, visual artist, and now, Indigenous clothing designer.

At Trickster Company co-owners Crystal and her brother, Rico Worl, strive to represent a prestigious lineage of art in fresh and energetic ways as a celebration of Northwest Coast culture as it lives today. They launched their first clothing line in October 2016.

With all the new and hip work, Crystal still looks to mastering the ancient Northwest Coast formline design. It is essential to run a modern business while keeping the heart of her culture in the forefront, which is why she travels to meet with masters of formline design.

“I want to be fluent in it, to continue to study and better my formline for the rest of my life,” she said. “That applies to my business, too. I exist between traditional and modern worlds.”

When Crystal began her 2017 Artist in Business Leadership fellowship, she had just started to design clothing. But she learned by doing and kept growing into whatever was in front of her, never letting an opportunity pass by.

This led to a collaboration with Jared Yazzie (Diné - Navajo) of OXDX. They set up a pop-up shop at the Santa Fe Indian Market where Crystal was a featured designer. She looks forward to more collaborations with artists like First Peoples Fund fellow John Pepion (Piikani).

“Part of Trickster Company’s mission is to work with other Indigenous artists,” Crystal said, “and create a strong platform for artists who are into fashion and putting their designs on modern products.”

With Alaska undergoing growth, Indigenous fashion is catching on. “I’m excited to be involved with helping Indigenous fashion be recognized here,” Crystal said. “I think my business and clothing line has helped uplift Alaskan Native fashion.”

Her creative lifestyle is overwhelming at times, but when Crystal is at a show and youth come up and say how her work inspires them, it’s all worth it. She said, “I hope that’s what young people see — that literally, anything is possible.”