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***Online registration opens early 2017***

Native American Arts Program

Featuring two dynamic components:

WORKSHOPS, June 19 - July 2: Engaging, hands-on learning opportunities are designed for adults of all levels of experience and knowledge. Working closely with master artists and cultural specialists, you will have the rare opportunity to learn traditional and contemporary Native American art forms and gain insight into the rich cultural foundation that inspires and motivates each artist. See the following pages for workshop listings

FESTIVAL, June 25- July 2: Distinguished artists, scholars and cultural specialists will present exhibits, performances, demonstrations, films and the Michael Kabotie Lecture Series. Daily Native American food tastings mean there will be something to stimulate all your senses. The spirit of this annual event is to bring the scientific, intuitive and trickster voices together for a balanced and provocative learning experience. It is designed to enhance and add depth to the hands-on workshop experience.

All Festival events are open to the public.

***Scholarships for Native American adult and youth students are available! Click the links below for more details.

Native American Scholarship Information- Adult Students
Native American Scholarship Information- Children's Center, Junior Artist and Youth Students
Native American Scholarship Information- Academy Students
Inland Empire Teacher and Grad Student Scholarship Info

*New in 2017!

Native American Arts Festival Week

2017 Native American Arts Festival

2017 Theme: Native American Art & Activism

The spirit of this annual Festival Week is to bring the scientific, intuitive and trickster voices together for a balanced and provocative learning experience. It is designed to enhance and add depth to the hands-on workshop experience.

The Festival Week events are OPEN TO THE PUBLIC, offering a way for those not enrolled in a workshop to learn about the most current issues and theories concerning Native American culture and art.
Native food tastings daily.


SUNDAY, June 25

6:30 pm: Presentation: TBA

MONDAY, June 26

7 pm: Gallery Talk: Guest Artists TBA

8 pm: Invitational Exhibition, Opening/Reception

TUESDAY, June 27

12-1pm: Kabotie Lecture Series, TBA


12-1pm: Kabotie Lecture Series, TBA


12-1pm: Kabotie Lecture Series, TBA

7 pm: Film Night: feature film TBA

FRIDAY, June 30

7 pm: Culmination Performance: TBA


8 am: Hopi-Tewa Pottery Firing, Mark Tahbo


Joe Baker (Delaware),
Director, Palos Verdes Art Center

Gerald Clarke, Jr. (Cahuilla), Artist, Assistant Professor, Ethnic Studies at UC Riverside

Previous Festival Guests Include

Pilar Agoyo
Dr. Lowell Bean
Nanobah Becker
Bert Benally
Max Benavides
Dr. Janet Berlo
Joanna Bigfeather
Black Eagle Singers
Dr. Tara Browner
Cahuilla Birdsingers
Gerald Clarke Jr.
Thosh Collins
Dustinn Craig
Dr. Patricia Crown
Dancing Earth/Rulan Tangen
Mike & Mique'l Dangeli
Deana Dartt
Brent Michael Davids
Kristen Dorsey
Eric Elliott
Phillip Espinoza
Chris Eyre
Gary Farmer
Yatika Fields
Lois Ellen Frank
David Gaussoin
Wayne Nez Gaussoin
Git Hayetsk Dancers
Gavin Healy
Teri Greeves
Terry Goedel
Dr. Jonathan Haas
Sterlin Harjo
Dr. Ann Lane Hedlund
Maria Hupfield
Diane Calabaza Jenkins
Tom Jones
Ed Kabotie
Michael Kabotie
Paul Kabotie
Evan Kleiman
Dr. Stephen Lekson
Jason Lujan
Dr. Victoria Levine
Ramson Lomatewama
Hank Louis
James Luna
Bill Madrigal
Duane Maktima
Ken Marchionno

Dr. Laura Marcus
Mario Martinez
Daniel McCarthy
Dr. Jessica R. Metcalfe
Patricia Michaels
Josephine and Milford Nahohai
Loretta Oden
Barbara Teller Ornelas
Michael Ornelas
Sierra Ornelas
Laura Ortman
Walter Parks
Consuelo Pascual
Shane Plumer
Eric Polingyouma
Sidney Poolheco
Dr. Charles Redman
Felicia Ruiz
Dr. W. Jackson Rushing III
Dr. Allan J. Ryan
Dr. Mari Lyn Salvador
Joe Sando
Lawrence and Griselda Saufkie
Louis Schalk
Sarah Sense
Alex Seotewa
Sean Sherman
Dr. Beverly Singer
Ernest Siva
Jock Soto
Spiderwoman Theater
Arigon Starr
Yolanda Hart Stevens
Maya Stewart
Dr. Rina Swentzell
Mark Tahbo
Patty Talahongva
David Treuer
Lisa Telford
Dr. Steadman Upham
Dr. Edwin L. Wade
David Wells
W. Richard West
Manuelito Wheeler
Dr. Wirt Wills
Steven Yazzie
Bethany Yellowtail
Nathan Youngblood
Curtis Zunigha

*California Native Plants: Contemporary & Traditional Medicinal Uses

California Native Plants: Contemporary & Traditional Medicinal Uses

Barbara Drake, Craig Torres, Daniel McCarthy, Abe Sanchez

July 1-2
Two-day session

Learn to preserve and use native plants from seasoned experts. Stroll through the campus meadow, next to ancient Cahuilla bedrock mortars, and learn about the plants surrounding you in an ethnobotany talk. Discover the secret lives of plants and seeds you usually look right past, including prickly pear cactus, white sage, elderberry, stinging nettle, pine sap and rose hips. Learn to use native plants to treat ailments, such as skin conditions, fight colds and flus and utilize teas and drinks for preventive medicine. You will get to make your own elderberry tube to store teas, medicine or offerings, make your own skin salves, herbal tea bags and other items. Visit Cahuilla rock art sites in Idyllwild to learn their meaning and the importance of their preservation. This workshop is dedicated to the instructors’ teacher, Katherine Siva Saubel, with deep gratitude.

Skill Level: All levels, teens may attend with a parent

Tuition: $285

Lab Fee: $35, includes materials, food, field trip; you may be asked to purchase and bring additional materials

Enrollment limited to 20 students

Craig Torres (Tongva) is a member of the Traditional Council of Pimu and involved with the Ti'at Society, an organization focused on the revival of the traditional maritime culture of the Southern California coastal region and Southern Channel Islands. He is an artist, educator and consultant who works with schools, cultural and nature centers, museums, and government agencies. He has helped create cooking demonstrations and classes using native California plants for Preserving Our Heritage and Chia Café.

Barbara Drake (Tongva) is a tribal elder and culture keeper. Her program, Preserving Our Heritage, is a bank of native foods collected, preserved and processed for tribal elders. She is a member of the Mother Earth Clan, a group of Southern California Native American women educators who have taught extensively in museums, schools and tribal institutions. She is also a founding member of the Chia Café Collective.

Daniel McCarthy earned his BS and MS in anthropology from UC Riverside. For the past 40 years, he has worked at Anza-Borrego Desert State Park, Joshua Tree National Park and throughout Southern California compiling photographic inventories of rock art sites. He has worked with elders and traditional practitioners for more than 35 years and served as the Tribal Relations Program manager for the San Bernardino National Forest for 17 years. He is currently director, CRM Department, San Manuel Band of Mission Indians.

Abe Sanchez is active in the revival and preservation of indigenous arts and foods, with specialties in Southern California Native American basketry and California and Southwest native foods. He has worked with traditional Native American gatherers to learn methods and practices. Abe believes that by teaching people about ancient natural foods and preparations, he can help them make a difference in their health and the environment.

*Native American Cuisine: Blending Modern with Traditional

Native American Cuisine: Blending Modern with Traditional

Freddie Bitsoie

June 24-25
Two-day session

Learn about the amazing journey of Native ingredients through time. You will gain new cooking skills as you create modern dishes using traditional ingredients from across the Americas, such as blue corn, cholla buds, salmon, and agave. As you create delectable dishes from these ingredients, you will explore their uses and adaptations through time, from pre-Iberian to colonization, through reservation/government commodities to today’s food sovereignty movement. As you learn new recipes, you will see how you can incorporate ancient techniques and how they are interpreted today. Come eager and hungry for two days filled with hands-on cooking lessons and food tastings. This class is designed for all those who love great food!

Skill level: All levels. Experienced cooks will learn new techniques

Tuition: $285

Lab Fee: $75, includes all ingredients, recipe booklet, and use of cooking tools and equipment. Native American producers and cooperatives will supply many of the ingredients; you may be asked to purchase and bring additional materials

Enrollment limited to 10 students

Freddie Bitsoie (Diné), executive chef, Smithsonian’s National Museum of the American Indian (NMAI), Mitsitam Café in Washington, DC. He also owns FJBits Concepts, which specializes in Native American foodways. He travels widely, presenting for organizations including Kraft Foods, College of Holy Cross, Yale University, and Heard Museum. Freddie hosts the public TV show Rezervations Not Required, and has appeared in and contributes to many publications. He won the Native Chef Competition at the NMAI. Freddie studied cultural anthropology and art history at ASU before attending culinary school.

Cahuilla Basketry

Cahuilla Basketry

Rose Ann Hamilton

June 26-30
One-week session

The Indian tribes of California produced baskets of great diversity and beauty, and the exquisite work of the Cahuilla is highly regarded. In recent years, the Cahuilla have experienced a revival in the art of basket making. Learn how to create your own Cahuilla style coiled basket using yucca, sumac, juncus and deer grass. On a field trip to the nearby Cahuilla Reservation, you will learn how to identify and prepare plants used in basket making.

Skill Level: All levels are welcome

Tuition: $735

Lab fee: $45, includes materials, field trip and use of tools

Enrollment limited to 10 students

Rose Ann Hamilton (Cahuilla, Apapatkiktem clan) learned from renowned Cahuilla basket weaver Donna Largo at Idyllwild Arts 22 years ago. She has taught Cahuilla basket classes and presented at Cahuilla, Santa Rosa, Ramona and Agua Caliente reservations, as well as the Riverside Metropolitan Museum, Autry Museum, Agua Caliente Museum, and San Manuel conferences at CSUSB and Crafton Hills College. She has participated in gatherings at Los Coyotes, Santa Ysabel, and Soboba reservations. She is the granddaughter of Rosanda Apapas Hopkins Tortez Lugo and the great-granddaughter of Antonia Casero, Cahuilla master weavers.

Navajo Weaving I & II

Navajo Weaving
Beginning & Intermediate

Barbara Ornelas & Lynda Pete

June 19–23
June 26-30

One or Two-week session

Learn the art of weaving from master Navajo weavers Barbara Teller Ornelas and Lynda Teller Pete, originally from Two Grey Hills and Newcomb, New Mexico. While instructing and demonstrating, sisters Barbara and Lynda will share their family’s personal weaving stories and experiences, giving you a view into the world of Navajo weaving. According to Navajo oral tradition two holy people, Spider Woman and Spider Man, introduced weaving to the Navajo. Spider Man constructed the first loom, which was composed of sunshine, lightning, and rain; and Spider Woman taught the people how to weave on it. Spider Woman was discovered by the Holy Twins, the culture heroes of the Navajo Creation Story, in a small opening in the earth surrounded by an array of beautiful weavings. Entering her dwelling, the Holy Twins descended a ladder made of yarn, whereupon Spider Woman offered them knowledge of the world of weaving.

Beginners: Learn the traditional method of Navajo weaving and begin weaving with a pre-warped, upright Navajo loom. The majority of the week will be spent designing and learning how to weave a 12” x 16” rug. There will be a lesson on warping a loom later in the week. Beginning weavers may enroll for the full two weeks or only the first week.

Intermediate: If you have taken the course or have basic Navajo weaving training on an upright loom, you will explore more advanced techniques and patterns, and your rug may be any size. Bring rugs from previous summers to complete, or begin a new rug. You must bring your own loom, set up for weaving before class begins. Or,you may order a pre-warped loom when registering online. You may enroll for the full two weeks or only the second week.

Materials: You may wish to bring a seat cushion and small clamp or desk lamp, click here for more

Tuition: $735 per week

Lab fee: $80 beginners, includes the use of a pre-warped loom and all tools in class, four skeins of wool. Looms, additional wool, battens and combs will be available for purchase

Intermediate students: No fee; wool and warp will be available for purchase. Option to order a pre-warped loom for $45 when you register online.

Enrollment limited to 10 students per week

Barbara Teller Ornelas is best known for her Navajo tapestry weavings (95–120 weft threads per inch). She has set several records with her weavings: she has won Best of Show at the Santa Fe Indian Market twice; she set a new record in 1987 by selling a weaving for $60,000 that she and her sister Rosann Lee made; and she wove the largest tapestry-style Navajo weaving on record. Barbara is a fifth-generation weaver who was raised near Two Grey Hills on the Navajo Reservation, where her father was a trader. She has been featured in National Geographic, Business Week, Americana and Native Peoples magazines, as well as many books. She has won dozens of awards, and has demonstrated and lectured at many museums and institutions around the world. She recently participated in a cultural exchange with Peruvian weavers at the request of the US State Department. Barbara and Lynda have taught their popular workshop at Idyllwild Arts for 18 summers.

Lynda Teller Pete began weaving at age 6 and won her first major award at age 12 at the Gallup Ceremonial. She has gone on to win many awards for her weaving, including Best of Classification for Textiles at the prestigious Santa Fe Indian Market. Lynda collaborates with museums, schools and art venues in Colorado and around the country to teach about Navajo weaving. She is also known as an accomplished beadwork artist and has won many awards for this work.

*Hopi Jewelry

Hopi Jewelry

Gerald Lomaventema

June 19-23
One-week session

Explore the classic Hopi Overlay technique of metalsmithing, which is the use of multiple layers of sheet silver with cut-out designs, textured and oxidized recessed surfaces for depth and dimensional designs. Beginning students will learn the fundamental materials, processes, and techniques of metalsmithing, and those with experience will fine-tune skills while mastering new techniques. If you are an intermediate or advanced student, you can learn to make sheet silver using silver coin ingot and silver scrap – the technique used to make Hopi jewelry before silver sheet was readily available. Learn a bit about the history of Hopi jewelry making. You will benefit from the close instruction and class interactions.

Skill Level: All levels

Tuition: $735

Lab fee: $45, includes two stamping tools to keep and the use of all tools, equipment and consumables such as solder and compounds. Ingot mold available for an additional $50; limited silver sheet available for purchase. You may bring your own clearly marked silver and hand tools. You may be asked to purchase and bring additional materials.

Enrollment limited to 12 students

Gerald Lomaventema (Hopi, Bear Clan) is from Shungopavi on Second Mesa, AZ. He uses a wide range of techniques and specializes in making silver ingot sheet. He shows widely across the country and in Japan, and has been featured in several publications. Gerald has won dozens of awards for his work, including first place awards at the Santa Fe Indian Market, Gallup Ceremonial, Eiteljorg Museum, and many more. His training includes work with Michael Kabotie, Lawrence Saufkie, Roy Talahaftewa, Duane Maktima and other fine metalsmiths.

Navajo Inlay Jewelry

Navajo Inlay Jewelry

Richard Tsosie

June 26-30
One-week session

The Navajo adopted the art of jewelry making from the Spanish, taking the art to new heights and establishing a style that is now considered to be the traditional Navajo style. Today, there are many Navajo jewelers who are moving beyond that style, designing contemporary pieces of jewelry that reflect a new Native American reality. Artists are creating colorful collages and patterns with beautiful stones and shells set in gold and silver. In addition to turquoise and coral, you might find lapis lazuli, purple lavulite, diamonds, pearls, malachite, jet stone, jade, melon shell and other stones, shells and gems. In this workshop, you will work closely with Richard, a leading contemporary Navajo jeweler. You will design patterns and cut, grind and prepare stones to set into basic silver forms such as rings, bracelets, earrings and belt buckles which you will create. If you have no prior experience in silversmithing, you will learn the basic techniques and concepts for shaping silver.

Skill Level: All levels are welcome, basic experience with silver is helpful

Tuition: $735

Lab fee: $45, includes the use of all tools, equipment, and consumables such as solder and compounds. Additional charges will accrue for silver and stones used. Limited turquoise and other stones will be available for purchase. You may bring stones that match your preferences as well as your own clearly marked silver, tools and work lamp.

Enrollment limited to 10 students

Richard Tsosie is a Navajo jeweler and sculptor from Flagstaff and the Wide Ruins area of the Navajo Reservation and is currently living in Scottsdale, AZ. His work has been featured in American Indian Art Magazine, Arizona Highways, the video Beyond Tradition: Contemporary Indian Art and Its Evolution, as well as several books including Southwestern Indian Jewelry by Dexter Cirillo and Enduring Traditions, Art of the Navajo by Jerry Jacka. Richard's work has been exhibited in galleries and museums from New York to California.

Native American Flute Making

Native American Flute Making

Marvin & Jonette Yazzie, Ernest Siva

June 22–25
Intermediate: 4-day session (Thurs.-Sun.)
June 23–25
Beginners: 3-day session (Fri.-Sun.)

Construct and decorate your own six-hole flute under the guidance of an experienced Navajo flute maker. Learn the history of flutes as well as how to handle and care for your newly created instrument. During the course, ethnomusicologist Ernest Siva will teach the basics of flute playing and you will receive a music booklet.

Beginners: Learn to use Utah blue spruce or western red cedar for the flute body, then carve, shape, oil, tune and decorate your flute. Flutes will be tuned using the Pentatonic scale, and you will choose the key, from F to A.

Intermediate: If you previously have taken class from the Yazzies, you will make a flute from a bison horn. You will make a “grandfather” tuned flute. You should have time to ‘get away’ on campus to be still, listen, become one with nature and work on learning to play your new flute. You will be given the music for “Buffalo Prayer Song” and instruction on how to play it.

$495, Beginner, 3-day session
$595, Intermediate, 4-day session

Lab fee:
$40, Beginner
$60, Intermediate

Includes wood or bison horn, totems, materials and the use of tools and equipment; you may be asked to purchase and bring additional materials.

Enrollment limited to 10 students

Marvin and Jonette Yazzie are from Lukachukai, a small town on the Navajo reservation in the Four Corners region of Arizona. Jonette assists Marvin in flute-making, an art they learned from their relative Willard Coyote. Their flutes are carried in the Heard Museum shop and others around the country, as well as Asia and Europe. Recording artist Scott August of Cedar Mesa Music used Yazzie flutes on his CDs Sacred Dreams and New Fire. Marvin is listed in Flute Magic and Voices of the Flute. Yazzie flutes are used in the music programs of Tuscon and Klamath-Trinity school districts. Marvin and Jonette played flutes in the play Anasazi at the Ramona Bowl in 2011 and played preshow for the Ramona Pageant.

Ernest Siva, musician and teacher, is the cultural advisor and tribal historian for the Morongo Band of Mission Indians. Ernest taught public school music in Palm Springs and Los Angeles before teaching courses in American Indian music at UCLA for 12 years. He and his wife, June, are Idyllwild Arts alumni and former trustees. In 2004, Ushkana Press published his book, Voices of the Flute. He is president and founder of the Dorothy Ramon Learning Center.

*Creation of Northwest Coast Hand Drums

Creation of Northwest Coast Hand Drums

Mike Dangeli

June 26-30
One week session

Drums in Sm’algyax language, the language spoken by the Nisga’a, Tsimshian and Gitxsan, are Nooł and mother is Noo, because the first drum a human hears is a mother’s heartbeat. No wonder the drum is an important being in Northwest Coast ceremony, performance and art.

Learn drum construction using elk skin and sinew on a wood drum frame, as well as basic Northern West Coast First Nations design and painting techniques to embellish the drums created. Mike has made several thousand drums in his career, so you will see many techniques demonstrated in the creation of traditional northern hand drums. Returning students may choose to focus on paddlemaking, learning to carve, sand, paint and oil a 3’ to 6’ paddle using yellow cedar.

Skill Level: All levels

Tuition: $735

Lab Fee: $110, includes drum kit with elk skin, sinew, wood drum frame, paints, miscellaneous supplies, and use of tools and equipment in class. $85 if choosing to make a paddle. You may be asked to purchase and bring additional materials.

Enrollment limited to 10 students

Mike Dangeli (Nisga’a, Tlingit, Tsetsaut, Tsimshian) grew up in his people’s traditional territory in Southeast Alaska and Northern British Columbia. Mike is a renowned artist and carver. His work is collected and exhibited throughout North America and Europe. He is a singer, songwriter, and dancer. Mike and wife Mique’l lead the Git Hayetsk Dancers, an internationally renowned First Nations dance group based in Vancouver. He has carved more than 100 of the masks performed by their group.

Hopi-Tewa Pottery

Hopi-Tewa Pottery

Mark Tahbo

June 26-July 1
One-week session-includes Saturday a.m. firing

Learn the traditional Hopi method of creating polychrome pottery, including coil building, stone burnishing, painting with natural pigments, and firing. Process and prepare raw clay for pottery making and prepare beeweed plant for black paint. Experiment with the Hopi-Tewa gray clay, as well as the yellow ochre clay that Nampeyo often used. See demonstrations of slipping techniques using white kaolin and yellow ochre, and learn separate firing techniques for gray and yellow ochre pots.

Mark will provide natural clays and paints from the Hopi Reservation in Arizona. You will make up to three small pieces of pottery in this careful examination of the delicate process of Hopi pottery making and the cultural foundation from which the art is inspired.

Skill Level: All levels are welcome

Tuition: $735

Lab Fee: $55, includes clays, natural paint pigments, and firing materials; you may be asked to purchase and bring additional materials.

Enrollment limited to 15 students

Mark Tahbo (Hopi-Tewa) is known as one of the finest Hopi potters today. Born and raised on the Hopi Reservation, First Mesa, Mark learned the art from his great-grandmother Grace Chapella, Nampeyo’s neighbor and a principle pottery revival artist decades ago. His distinctive pots have been exhibited worldwide in museums and galleries. Among the many top awards he has earned at the Santa Fe Indian Market is the prestigious Helen Naha Memorial Award for Excellence in Hopi Pottery, which he earned for three consecutive years. Mark has been profiled in various publications including Native Peoples Magazine, and is included in many books and articles on Pueblo pottery.

*San Ildefonso Pueblo Black Pottery

San Ildefonso Pueblo Black Pottery

Diane Jenkins

June 19-24
One-week session

Learn the techniques used to produce traditional San Ildefonso Pueblo black pottery with painted matte designs, including mixing the clay, pinch and coil shaping, drying, sanding, hand stone-polishing, and finally the manure-smothered oxygen-reduction firing. Diane will demonstrate and explain each step as you create two to three small pieces of pottery.

You will take a field trip to collect “cow pies” for the firing – yes, there’s an art to selecting the best specimens for the firing! The workshop includes a slide show detailing the process and information on the life and culture of San Ildefonso Pueblo. Diane’s husband, John Jenkins (Tewa), will demonstrate flint-knapping as well as share information about life at the Pueblo.

Skill level: All levels

Tuition: $735

Lab Fee: $65, includes natural clay, pottery shaping tools, firing materials, field trip; you may be asked to purchase and bring additional materials.

Enrollment limited to 12 students

Diane Jenkins (Tewa Pueblo of San Ildefonso) was born, raised and lives in San Ildefonso Pueblo, NM. She learned pottery making at an early age from her mother, the world-renowned “Blue Corn.” She learned the techniques of making pottery by observing and helping her parents every day, by collecting, processing clay, shaping, hand stone-polishing and firing the pots. Today, Diane and her brother Krieg Kalavaza, produce pottery in the fashion they learned from their parents. During the 1980s and early 1990s, Diane accompanied her mother to pottery making demonstrations and workshops around the country. In 1979, Blue Corn and Diane taught their first workshop at Idyllwild Arts, and Diane continued the tradition until 2003. Idyllwild Arts is delighted with her return!

*Cahuilla Style Pottery: Collecting Clay and Making Pots

Cahuilla Style Pottery: Collecting Clay and Making Pots

Tony Soares

June 22-25
Four-day session

Pottery has been made for more than 1,000 years in Southern California. Learn how to collect and mix clay, then create the beautiful ollas used by the Cahuilla people of Southern California to store food and water. On day one of this workshop, take a field trip to clay sites where you will learn how to carefully extract the clay from the deposits. In the afternoon, begin processing the clays for pottery making. For the next two days, you will make pinch pots and coil pots using the paddle and anvil technique, using both the collected clay and other clay samples Tony will provide. Learn to make the natural pigment paints used to decorate the pots, and finally, fire the pots. Tony will discuss a range of topics including how to make and use a simple urban brick and charcoal briquette kiln, paintbrush making, fire-starting by friction, and making palm frond rings (pottery stands).

Skill level: All levels

Tuition: $595

Lab Fee: $65 includes materials, field trip, use of all tools and shared materials such as screens and metates; you may be asked to purchase and bring additional materials.

Enrollment limited to 12 students

Tony Soares learned the fundamentals of pottery from his grandmother at age 7, starting a more than 30-year journey to revive the fading art of olla making. Though not of Cahuilla descent, he has helped revive the art of Cahuilla pottery making through his experimentation with local clays and indigenous handbuilding techniques. His pottery is displayed in art galleries and museums including the Tahquitz Canyon Museum. Tony shares his knowledge to ensure that Native American pottery making is never lost. He has taught at many venues including the Agua Caliente Band of the Desert Cahuilla of Palm Springs and the Yuman tribes of the Colorado River, AZ.

*Anishnabe Black Ash Basketry

Anishnabe Black Ash Basketry

Kelly Church

June 19-23
Five-day session

The Anishnabe of the Great Lakes have been using black ash trees for centuries to weave sturdy, beautiful baskets for utilitarian and later, decorative purposes. You will learn to weave and embellish a traditional-style Strawberry Black Ash Basket, combining both function and beauty, in this new, original workshop. Your instructor, Kelly, is well known for her unique, one-of-a-kind Strawberry Patch baskets, for which she holds a registered copyright. Each basket will begin with a traditional round bottom pattern, which will be built up using a plaiting technique. You will add embellishments on top of the plaiting in curlicue designs, which add strength and beauty. You will learn to dye materials, and add the final touch to the berry, a green lid with a stem and leaves.

Kelly will discuss and demonstrate how the materials are processed into workable weaving strips of ash from the growth rings of the black ash tree. She also will explain the effects of the emerald ash borer on these diminishing materials and traditions, as well as important steps being taken to sustain the traditions.

Skill level: All levels

Tuition: $735

Lab Fee: $150, includes all black ash splints (gathered by instructor from a sustainable forest source 8 hours from her Michigan home) to make the basket, lid, handle and to embellish; you may be asked to purchase and bring additional materials.

Enrollment limited to 15 students

Kelly Church (Grand Traverse Band of Ottawa and Chippewa Indians) is part of the largest extended family of black ash basket makers in Michigan. She received the Southwestern Association of Indian Arts (SWAIA) Fellowship, and the Smithsonian’s National Museum of the American Indian (NMAI) Artist Leadership Program. Kelly has won many awards, and her work is in collections including the NMAI, MSU Museum, and Autry Museum. She exhibits in the US and Europe. She earned her AFA from IAIA and BFA from the University of Michigan, Ann Arbor.

*Seeds of Glass: Native Beadwork as Surface Design

Seeds of Glass: Native Beadwork as Surface Design

Joe Baker

June 22-24
Three-day session

Learn to execute the two-needle appliqué stitch to create beadwork that can be attached to any garment as surface design. Explore different approaches to using beadwork for self-expression as Joe details his own methods for thinking of beadwork like painting, based in composition and color. Enjoy the meditative, stillness of creating beadwork, inspired by Joe’s Delaware heritage, inspiration and knowledge. Explore historic examples of American Indian beadwork and discuss various techniques as illustrated by such examples.

This intensive three-day workshop requires long periods of concentration and focus. This workshop will focus on using beadwork as surface design, it is not a jewelry workshop. For a sample of Joe’s work and approach, visit

Skill level: All levels

Tuition: $495

Lab Fee: $35, includes brads, thread, wax, canvas, paper for patterns; you may be asked to purchase and bring additional materials.

Enrollment limited to 10 students

Joe Baker(Delaware Tribe of Indians), is an artist, educator, curator and executive director, Palos Verdes Art Center. He is co-founder/executive director of Lenape Center, ltd, NY, and has served as curator of fine art at the Heard Museum, in addition to various faculty appointments. Joe has received many awards, including the Virginia Piper Charitable Trust Fellows Award, the Scottsdale Museum of Contemporary Art’s Contemporary Catalyst Award, Smithsonian’s National Museum of the American Indian Design Award, ASU Presidential Medal, and Joan Mitchell Foundation Award in Painting. He holds a BFA and MFA from the University of Tulsa and completed postgraduate study at Harvard University.

Special thanks to our generous sponsors past & present: Anonymous Foundation, San Manuel Band of Serrano Mission Indians, National Endowment for the Arts, Agua Caliente Band of Cahuilla Indians, Cahuilla Band of Indians, Tribal Alliance of Sovereign Indian Nations, Twenty-Nine Palms Band of Mission Indians, San Pasqual Band of Mission Indians, Chickasaw Nation, Morongo Band of Mission Indians, Soboba Foundation/Soboba Band of Luiseño Indians, Pechanga Development Corporation/Pechanga Band of Luiseño Indians.

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