Dreamcatcher 050 Nov 2013

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How To Say: ... 9

Gatherings ...10

Artist Tony Tiger ...12

Pow Wow Dancers ...16

Oklahoma Casinos & Entertainment

OK Casino Guide ...20

Casino Trail Map ...24

online...28

Cover: Amber Komahcheet(Otoe/Seminole) by John Jernigan; this spread: Dreamcatcher Images

7NOVEMBE R 20 13 7

Dreamcatcher Images

American Indian Chamber of Commerce

Oklahoma Indian Gaming Association

Oklahoma MuseumsAssociation

Oklahoma Indian Tourism Association

Dreamcatcher MagazineOklahoma Casinos & Entertainment

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3101 N Flood Ave, Norman, OK 73069 [email protected] 405-360-8805, 405-360-2228 FAXhttp://www.dreamcatchermag.net

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© Copyright 2013 OCE Publishing, LLC/First Mesa, LLC

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Send us details or photos of your Gathering: [email protected]

BINGER>Caddo Language Wednesdays, 6 pmCaddo Nation Cultural Building, Binger(App Now Available on Android Market)>>

ELGIN>Learn ComancheA Beginner’s Packet is free to enrolled tribal members, $70 for others, includes shipping.http://www.comanchelanguage.org [email protected] >

>

NORMAN>Dark Light: the Micaceous Ceramics of Christine Nofchissey McHorseFred Jones, Jr. Museum of Art/OU CampusThru January 12, 2014 http://www.ou.edu/fjjma.html>>

PAWHUSKA>Osage Cultural CenterClasses on Ribbon work, Fingerweaving, Beading, Roach-making and more. Call 918-287-5539http://www.osagetribe.com/cultural >>

PERKINS>Iowa Nation Grey Snow Eagle House2 mi S of Perkins on Hwy 177Weekend tours by appointment, call 405-334-7471http://www.facebook.com/GreySnowEagleHouse

November 29, 1864:Colorado militia attacks and destroys a peaceful Cheyenne and Arapahovillage at Sand Creek.

RADIO>Chickasaw Community RadioKCNP 89.5 FM>Indians For IndiansSaturdays at 10 am on KACO 98.5 FM>Kiowa VoicesSundays at 12 noon on KACO 98.5 FMMusic and more from the Kiowa and area tribes.>Seminole Nation Weekly Radio ShowLive on Tuesdays, 11 am on KWSH 1260 AMhttp://www.kadaradio.net>>

WASHINGTON D.C.>White House Tribal Leaders ConferenceWednesday November 13Annual meeting with the president and the cabinet on issues identified as priorities at October’s National Congress of American Indians in Tulsa.>>

WWW>Mvskoke Trail of Tears Virtual Tourhttp://www.muscogeenation-nsn.gov/Pages/Tourism/virttot.html >Research Your Indian AncestryOklahoma Historical Society websitehttp://www.okhistory.org/research/dawes>Eye on NDN-Country with dg smalling Saturdays, 9 am on http://www.thespyfm.com Conversations with Native leaders.>Tribal Scene RadioFridays, 8 am live on http://www.kbga.org Conversations with host Jodi Rave.

10 G A T H E R I N G S

Resou

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>NATIONALCONGRESS OFAMERICANINDIANS>>

Tulsa was the site of the 2013 NCAI Annual

Meeting and Marketplace. Representatives from Native Nations throughout the United States convene each year to identify legislative priorities and prepare positions on issues relevant to Indian Country. These will be heard at the Tribal Leaders meeting with President Obama on November 13. Lastly, Brian Cladoosby of the Swinomish Tribal Community (far right) was elected NCAI President after 2-term President Jefferson Keel of the Chickasaw Nation. >>

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>VISUAL PHILOSOPHY>by heather ahtone>>

For many tribes, ribbonwork has become a symbol of cultural survival. For the Southeastern

tribes the practice evolved in the late nineteenth century when Seminole women used the remnants of fabric rolls to construct colorful clothing, a fashion that continues in the twenty-first century to serve as a marker of tribal identity. The fabric is deconstructed into simple geometric shapes that are then reassembled into complex patterns symbolizing concepts important to the culture, such as swirling logs or fire. For Southern Plains tribes the ribbons are often appliqued onto blankets and shawls. Ribbonwork has evolved into traditional patterns for many tribes, often serving as a design marker that references one’s family and community, a visual expression of identity. These colorful constructions serve as inspiration to painter Tony Tiger who borrows the design patterns to organize visual constructions that explore the existential question of being.>

Tony Tiger (b. 1964; Sac & Fox/Muscogee (Creek)/Seminole) is fascinated by the exploration

of mankind’s existence, the experience of being that stems from a deep belief in the spiritual nature of humanity. As a person with a strong cultural and spiritual identity, he uses visual markers within his art that anchor the human experience to place and time. Tiger constructs his canvases in three dimensional layers, painting every angled surface, utilizing ribbons as a visual conduit symbolically referencing that spiritual center. Vertical, bilateral symmetry, often organized like appliqued ribbonwork, positions Tiger’s images as an axis mundi, a marker for the center of the world. Each time he paints, he imagines that moment of time, often utilizing historic portraits to connect the past to the present through his evocative surfaces. Tiger describes his quest “the rediscovery of being.” It might also be called preaching the gospel of Tiger.

Whatever it is called, it is at the core of Tiger’s art and is part of the good word he feeds to the

masses–not only those followers of his art but also his students. As director of the art department at Bacone College in Muskogee, Tiger considers teaching an opportunity to serve as a positive role model that helps young artists to reach their goals. He teaches his students about color, line, surface, and the art techniques that can be used so they can each express their own message. He encourages them to investigate, read, and discuss their ideas–to develop important thinking skills that will serve them in whatever field they apply their creativity. Meanwhile, he diligently creates opportunities for their work to be shown in the college’s art gallery. >

Bacone is a unique institution because the art department has always had a Native American

director. Previous directors include Acee Blue Eagle, Woody Crumbo and Dick West. Tiger took the position as renowned painter Ruthe Blalock Jones retired in 2008. These pioneers in the education of Native American artists have created a legacy which Tiger endeavors to continue. He takes the classes he offers very seriously. He teaches courses in drawing, printmaking, painting and art history. Tiger describes, “I enjoy teaching the arts, helping people find their way and preparing an individual’s art skills gives my life meaning and purpose.”>

Like Jones, and every other director of the Bacone College art program, Tiger is an alumnus

of the University of Oklahoma. He graduated from the OU School of Art with a master of fine art degree in painting. He also received degrees from Seminole College and Oklahoma State University. While teaching is at the heart of his professional career, he understands that he is a better instructor as a practicing artist. Beyond teaching, Tiger has also seen that there is a need for more exhibition projects that explore contemporary art. To address this need, he has been serving as curator, developing exhibitions locally and regionally for both Native American and other contemporary artists. He organized Art From

Essenceof BeingAcrylic paint on paper and panels

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http://www.ou.edu/fjjma http://www.garthclark.com

LIVING CULTURES14

Indian Territory: Contemporary Native Art from Oklahoma bringing the art of eleven Native artists from Oklahoma to Minnesota. This exhibition speaks to the indigenous experience in a state that is home to 39 federally recognized tribes and it addresses peoples’ connection to their sacred homelands and the land to which they were relocated. This exhibit has the solemnity and seriousness that comes from a history fraught with challenges, yet it is primarily a celebration of survival and emergence into the future. >

One of his recent accomplishments was being asked to participate in Changing Hands: Art

without Reservations 3. This nationally touring exhibition organized by the Museum of Art and Design (MAD), New York City, celebrates Native North American art from the Northeast and Southeast. Curated by Ellen Taubman and David McFadden, this is the third in a series of exhibitions that have celebrated the vitality and experimentation occurring within indigenous arts. The MAD website describes that these exhibitions have “focused on art that points toward the future, presenting works by contemporary artists who embrace and take inspiration from cultural traditions while also expressing contemporary creativity and innovation.” Tiger’s inclusion speaks boldly to the impact of his paintings.>

Life, Liberty, and the Pursuit of Being (oppsite page) is a painting currently touring

in the Changing Hands exhibition. Calling it a painting denies the three-dimensional nature of the work. The painting poses questions of visibility and identity. Historic portraits serve as a balance to the overall structure, both anchoring the bottom with a photograph of students in uniforms from an unidentified boarding school and lending to the overall verticality. None of the portrait sitters are named, their anonymity forces the viewer to read the image more closely. Centrally located within a deepset vertical rectangle is a man standing in full-on traditional regalia. The vertical box interrupts the stars and stripes that run vertically in the center of the painting, the figure serves as the interior axis upon

which the flag flows across the surface. On the raised surfaces around him sit two men in turn-of-the-century street attire, one on each side. On either side of the symbolic reference to the United States of America run two identical ribbonwork designs. The seated men are bisected by the center of the ribbon, merging their identities with that of the ribbon. Their feet are cut at the top of the school photo which sits on a raised horizontal box, implying that these men stand on the shoulders of those in the photograph. The black and white photographs contrast with the heavily textured surface that is below the opaque ribbonwork and the transparent stars and stripes. The texture speaks to the organic nature of culture and identity, responding to the strength of cultural identity represented by the ribbonwork and the flag. Tiger’s painting speaks to the breadth of Native experience, from pre-reservation to boarding schools, which continues to inform contemporary experience. >

As relentless as Tiger is in seeking meaning from his life expressed in his art, he brings joy

and affirmation to those who experience his creativity. Tiger received Best of Class at the 2013 Cherokee Art Market, held in Catoosa, Oklahoma, in mid-October, for Essence of Being, a painting constructed of acrylic paint on paper and panels. >

Several opportunities are available for viewing his art. Changing Hands will continue

traveling nationally for the next two years. Tiger will also be in a two-person exhibition with fellow Oklahoman Anita Fields (Osage) in Link the Past to the Present at the Walton Art Center, opening November 8, 2013. through mid-January 2014. Look for other opportunities to find his work on exhibit. >http://madmuseum.org/null/exh/changing-hands-art-without-reservation-3>Heather Ahtone (Choctaw/Chickasaw) is the James T. Bialac Assistant Curator of Native American and Non-Western Art at the Fred Jones Jr. Museum of Art at the University of Oklahoma.

Life, Liberty, and the Pursuit of BeingMixed media

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POW-WOW DANCERS16

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>Hauli Souix Gray

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>Photograph by

John Jernigan

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>Charlene and

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Kiowa/Osage

>Photographs by

John Jernigan

>

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Dreamcatcher 050 Nov 2013

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