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Native American Arts Program

1) A variety of engaging, hands-on WORKSHOPS designed for adults of all levels of experience and knowledge. Working closely with master artists and cultural specialists, students have the rare opportunity to learn traditional and contemporary Native American art forms and to gain an understanding of the rich cultural foundation which inspires and motivates each artist, June 22 - July 5.

2) The FESTIVAL includes a series of events – exhibits, performances, the Michael Kabotie Lecture Series, films – presented by distinguished artists, scholars and cultural specialists. Native food tasting daily. All Festival events are OPEN TO THE PUBLIC, June 28 - July 4.

***Scholarships for Native American Students are available! Click the link for more details for scholarships for adult and youth students! Scholarships also available for Idyllwild Arts Academy.

Native American Scholarship Information- Adult Students

Native American Scholarship Information- Children's Center, Junior Artist and Youth Students

Native American Scholarship Information- Academy Student

Native American Arts Festival Week

Native American Arts Festival

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 also 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.

FESTIVAL WEEK EVENTS

SUNDAY, JUNE 28

6:30 p.m.Opening Presentation

MONDAY, JUNE 29

7 p.m. Gallery Talk

8 p.m. Invitational Exhibition,
Opening/Reception

TUESDAY, JUNE 30

12–1 p.m. Kabotie Lecture Series

WEDNESDAY, JULY 1

12–1 p.m. Kabotie Lecture Series

THURSDAY, JULY 2

12–1 p.m. Kabotie Lecture Series

7 p.m. Film Night

FRIDAY, JULY 3

7 p.m. IdyllWILD Chef: Native Foods Cooking Competition

SATURDAY, JULY 4

8 a.m. Hopi-Tewa Pottery Firing, Mark Tahbo


FESTIVAL CONSULTANTS

Joe Baker (Delaware),
Director, Palos Verdes Art Center; Co-founder/Executive Director, The Lenape Center

Gerald Clarke, Jr. (Cahuilla), Artist, Chair, Idyllwild Arts Academy Visual Art Dept.

FESTIVAL GUESTS

2015 guest soons to be announced.

Past Festival Guests

Pilar Agoyo
Dr. Lowell Bean
Nanobah Becker
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
David Gaussoin
Wayne Nez Gaussoin
Git Hayetsk Dancers
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
Dr. Stephen Lekson
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
Mt. Cahuilla Birdsingers
Josephine and Milford Nahohai
Barbara Teller Ornelas
Michael Ornelas
Sierra Ornelas
Laura Ortman
Walter Parks
Consuelo Pascual
Eric Polingyouma
Sidney Poolheco
Dr. Charles Redman
Dr. W. Jackson Rushing III
Dr. Allan J. Ryan
Dr. Mari Lyn Salvador
Joe Sando
Lawrence and Griselda Saufkie
Louis Schalk
Alex Seotewa
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
Dr. Wirt Wills
Bethany Yellowtail
Nathan Youngblood
Curtis Zunigha











Native Plants: Contemporary & Traditional Utilitarian Uses

Native Plants Contemporary & Traditional Utilitarian Uses

Barbara Drake, Craig Torres, Daniel McCarthy, Abe Sanchez

June 27–28 Course # NANP ØØ

Two-day session

Learn ways to preserve and utilize native plants in this hands-on workshop. On day one, begin with an ethnobotany talk in the campus meadow next to ancient Cahuilla bedrock mortars to learn about local plants and their many uses. Next, learn how to make a Southern California style seed beater made from rhus and/or willow, and juncus. In the evening, visit local Cahuilla rock art sites to learn the meaning, historical significance and importance of the preservation of these sites.

Day two will be devoted to making a small grinding stone brush from the soap root plant. This plant has also been utilized as food, a fish stupefier and made into soap. Also, learn about tule and all the items traditionally made from this plant, and learn how to make a tule mat. This workshop is dedicated to our teacher, Katherine Siva Saubel, with deep gratitude.

Skill Level: All levels are welcome.

Tuition: $220

Lab fee: $25 (Includes all materials, collected and prepared; utilitarian items; native plant snacks; field trip transportation and park fee.)

Enrollment limited to 20 students.

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

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, as well as cultural educator, presenter and consultant to schools, culture and nature centers, museums, and city, state and government agencies acting as a consultant on the Tongva. He has also been involved with the organization Preserving Our Heritage and Chia Café, which provide cooking demos and classes with California native plants. These activities also provide education on the importance of preserving native plants, habitats and landscapes for future generations.

Daniel McCarthy received his BS and MS in anthropology from the University of California, 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 in these areas and throughout the western region. He has worked with Elders and Traditional Practitioners for over 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, at San Manuel Band of Mission Indians.

Abe Sanchez has been actively involved in the revival and preservation of Indigenous arts and foods. Two of his specialties are Southern California Native American Basketry and California and Southwest Native foods. He has had the opportunity to work closely with traditional Native American gatherers to learn the methods and practices of these cultural specialists. His interest in traditional foods is that many of these local ingredients are sustainable products that are readily available yet underutilized. He believes that by having the opportunity to teach about these ancient natural foods and helping people learn ways to prepare and eat them again can make a difference in both their health and our environment.












*New* Native Foods in the Modern Kitchen

Native Foods in the Modern Kitchen

Freddie Bitsoie

June 27–28 Course # NANC ØØ

Two-day session

This class is designed to introduce native foods from across the country and utilize them in everyday living. We will explore products from the Northwest, Southwest, Southeast, and Northeast tribes. Many people say, "Tribes from the Americas have been contributing foods to the world," yet the most popular only seem to be the Three Sisters: corn, beans, and squash. Freddie will introduce different ways to utilize many of the other, lesser known contributions such as wild rice, cattail mill, acorns, wild berries, and more, in new ways. From the traditional ways of cooking to modern flavors, you will learn to use native ingredients in everyday cooking.

Skill Level: All levels are welcome.

Materials: A complete materials list will be sent upon registration.

Tuition: $220

Lab fee: $75 (Include all ingredients, recipe booklet, and use of tools in class. Many ingredients will be supplied by small Native American producers and Cooperatives from specific regions in the Americas.)

Enrollment limited to 12 students.

Freddie Bitsoie, Diné (Navajo), is the owner of FJBits Concepts, a firm that specializes in Native American food ways. He has traveled the country, making presentations for organizations and companies such as Kraft Foods, The College of Holy Cross, Yale University, the Heard Museum, Phoenix, AZ. He has been featured in and also contributes to Indian Country Today. He has been featured in Native Peoples Magazine and Arizona Highways. His most recent works have been on his own show Rezervations Not Required as well as a guest appearance on famous Italian Chef Lidia Bastianich's show Lidia Celebrates America. He also has won the Native Chef Competition at the Smithsonian's National Museum of the American Indian for 2013. Freddie attended the University of New Mexico, majoring in cultural anthropology with a minor in art history before attending culinary school. Today, he is one of the most sought after and renowned Native American chefs and Native foods educators in the country. www.freddiebitsoie.com








*New* Anishnabe Black Ash Basketry

Anishnabe Black Ash Basketry

Kelly Church

June 29–July 3 Course # NAAB Ø1

One-week 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.

This workshop will combine function and beauty, and each participant will weave a beautifully embellished gathering basket. Each basket will begin with a traditional round bottom pattern, which will be built up using a plaiting technique. Once this is accomplished, the handle will be added and the basket will be rimmed using long strips of ash and a strip of white cedar. Embellishments will then be added on top of the plaiting in designs such as loops and curly-q's, which add the strength and beauty to each basket.

The instructor will discuss and demonstrate how the materials are processed into workable weaving strips of ash from the growth rings of the black ash tree. Participants will learn to dye their materials to create stunning patterns and combinations that will express each participant's individuality. There will also be demonstrations on how materials such as sweetgrass, basswood, and white cedar were used in basketry among the Anishnabe, the techniques used to process these materials, and how they were incorporated into black ash baskets. Students will learn 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 are welcome.

Materials: A complete materials list will be sent upon registration.

Tuition: $725

Lab Fee: $95 (Includes all gathered and processed black ash splints to make the basket and embellish, and handle.)

Enrollment limited to 20 students.

Kelly Church is a member of the Grand Traverse Band of Ottawa and Chippewa Indians, and is part of the largest extended family of black ash basket makers in Michigan. She received the Southwestern Association of Indian Arts (SWAIA) Fellowship on 2008, and the Smithsonian's National Museum of the American Indian (NMAI) Artist Leadership Program in 2006, 2008, 2009 and 2011. Kelly has won many awards for her basketry, and her work is in numerous collections including the NMAI, MSU Museum, and The Autry Museum. She exhibits throughout the US and Europe. She earned her AFA from the Institute of American Indian Arts (IAIA) and BFA from the University of Michigan, Ann Arbor. www.woodlandarts.com







Cahuilla Basketry

Cahuilla Basketry

Rose Ann Hamilton

June 22–26 Course # NACB ØØ

One-week session

The Indian tribes of California produced baskets of great diversity and beauty. The exquisite baskets of the Cahuilla, in particular, are recognized among the highest form of the basket making art, and in recent years the Cahuilla have experienced a revival in the tradition.

Each student will learn how to create a basket of his/her own during the workshop using yucca, sumac, juncus and deer grass. On a field trip to the nearby Cahuilla Reservation, students will be taught identification of plants used in basket making and will learn how to prepare the plants for use.

Skill Level: All levels are welcome.

Tuition: $725

Lab fee: $40 (Includes materials, field trip transportation and use of tools in class.)

Enrollment limited to 10 students.

Rose Ann Hamilton, Cahuilla tribal member, Apapatkiktem clan, resides on the Cahuilla Indian reservation. She was taught by renowned Cahuilla basket weaver Donna Largo at Idyllwild Arts 21 years ago. Rose Ann has taught Cahuilla basket classes at Cahuilla, Santa Rosa, Ramona and Agua Caliente reservations, and has participated at gatherings at Los Coyotes, Santa Ysabel, and Soboba reservations. She has held classes at Riverside Metropolitan Museum, the Autry Museum and Agua Caliente Museum, and given Cahuilla basketry presentations at San Manuel conferences at CSUSB and Crafton Hills College. Rose Ann is the granddaughter of Rosanda Apapas Hopkins Tortez Lugo and the great-granddaughter of Antonia Casero both from Cahuilla and Cahuilla master weavers.






Navajo Weaving I & II

Navajo Weaving Beginning & Intermediate

Barbara Ornelas & Lynda Pete

June 22–26 Course # NANW ØØ

June 29–July 3 Course # NANW Ø1

One or Two-week session

Students will have the opportunity to learn the art of weaving from Master Navajo Weaver, Barbara Teller Ornelas, originally from Two Grey Hills and Newcomb, New Mexico, and her sister Lynda Teller Pete. While instructing and demonstrating, Barbara and Lynda will share their family's personal weaving stories and experiences, allowing participants a chance to view 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: Students will learn the traditional method of Navajo weaving and will begin weaving on Day 1 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 in the first week only.

Intermediate: Students will learn more advanced weaving techniques and more intricate patterns, and the rug may be any size. Students who have begun a rug in this workshop in previous summers may bring their rugs to complete, or may begin a new rug. Intermediate students must bring their own loom and it must be set up for weaving before class begins. Alternately, they may order a pre-warped loom (when they register) to work on if they prefer. Intermediate students (those who have taken this course before or have had previous basic training in Navajo weaving on an upright loom) may enroll for the full two weeks or in the second week only.

Materials: Students may wish to bring a seat cushion and small clamp or desk lamp.

Tuition: $725 per week

Lab fee: $79 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 lab fee (wool and warp will be available for purchase. If choosing to use a pre-warped loom, which must be ordered at the time of registration, the lab fee is $45.)

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 established a new record in 1987 by selling a weaving for $60,000 that she and her sister Rosann Lee made; and she has woven 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 numerous books. She has won dozens of awards, and has demonstrated and lectured at museums and institutions across the country and recently did a cultural exchange with the Peruvian weavers in Peru at the request of the US State Department. Barbara and Lynda have taught their popular workshop at Idyllwild Arts for 17 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 numerous awards for her weaving; recently winning the Best of Classification for Textiles at the prestigious 2011 Santa Fe Indian Market. Lynda collaborates with museums, schools and other art venues in Colorado and around the country to teach the public about Navajo weaving. She is also known as an accomplished beadwork artist and has won many awards for this work as well. www.navajorugweavers.com














Hopi Jewelry: Overlay & Tufa Casting

Hopi Jewelry Overlay & Tufa Casting

Roy Talahaftewa

June 22–26 Course # NAJH ØØ

One-week session

In this workshop, students will learn the classic Hopi Overlay technique of metalsmithing, as well as Tufa Casting. Tufa is a soft porous stone used for direct casting one-of-a-kind designs. Students may combine tufa cast pieces with their overlay designs (multiple layers of sheet silver with cut-out designs, textured and oxidized recessed surfaces), or students may create separate overlay and tufa works. In addition, the instructor will demonstrate techniques for making stamping tools.

Beginning students will be introduced to the fundamental materials, processes, and techniques of silversmithing, and those with experience will be able to fine-tune their skills while mastering new techniques. Intermediate and advanced students may choose to learn the shadow box technique. Because students will be working closely with the teacher, the workshop is well-suited for students of all levels of experience.

Skill Level: All levels are welcome.

Materials: A complete materials list will be sent upon registration.

Tuition: $725

Lab fee: $65 (Includes pre-cut tufa, the use of all tools, equipment and consumables such as solder and compounds.) Students are encouraged to bring their own silver and hand tools, if they have them, but these items must be clearly marked. Some silver sheet will be available for purchase in class.

Enrollment limited to 12 students.

Roy Talahaftewa is from Shungopovi Village on the Hopi Reservation in Arizona, and is a member of the Water Clan. He works in both silver and gold, and uses both Hopi overlay and tufa casting in his designs. Roy has been receiving major awards for his work since 1981, including Best of Show at the Heard Museum, among many others. Working with the non-profit Hopi Pu'tavi Project, Inc., Roy teaches Hopi youth the art of metalsmithing, and he is an active advocate and promoter of Hopi artists on the reservation.








Navajo Inlay Jewelry

Navajo Inlay Jewelry

Richard Tsosie

June 29–July 3 Course # NAJN Ø1

One-week session

The Navajo adopted the art of jewelry making from the Spanish after contact, 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 which 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, it is not unusual to find lapis lazuli, purple lavulite, diamonds, pearls, malakite, jet stone, jade, melon shell and other stones, shells and gems in contemporary Native American jewelry.

Working closely with one of the leading contemporary Navajo jewelers, students will learn the techniques used to create such pieces. They will design patterns, cut, grind and prepare stones, and set the stones into basic silver forms (rings, bracelets, earrings, bolos, etc.) which they have created. Participants without prior experience in silversmithing will also be introduced to the basic concepts of shaping silver.

Skill Level: All levels are welcome.

Tuition: $725

Lab fee: $45 (Includes the use of all tools, equipment, and consumables such as solder and compounds. An additional charge will be made for all silver and stones used. A small selection of turquoise and other stones will be available for purchase, but students are encouraged to bring their own stones if they have preferences on colors/stone types.) Students may bring their own silver, tools, stones, and a work lamp which must be clearly marked.

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, Arizona. His work has been featured in American Indian Art Magazine, Arizona Highways Magazine, 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.









*New* Tongva Abalone Inlay

Tongva Abalone Inlay

Michael Bracamontes

July 4–5 Course # NAJT Ø1

Two-day session

In this workshop, you will learn about one of the oldest artforms of the region, spanning 3,000 years. This California indigenous artform showcases pre-Spanish contact items that southern coastal and inland tribes and small bands wore and traded during a time when the environment was stable. Minerals, plants made into cordage, and seashells were used for jewelry, currency and trade.

You will have a chance to create an abalone inlay hairstick, pendant, or soapstone bead necklace. You will use old and modern tools, real Asphultum shards (tar), real waterbird feathers, cordage, stone scrapers, and a handpump drill. Come and enjoy the mysteries of the Gabrielino-Tongva people and the trading techniques shared with the neighboring Chumash.

Materials: A complete materials list will be sent upon registration.

Tuition: $350

Lab fee: $25 (Includes sanding sponges, sandpaper, tweezers, lighters, Abalone, heishi/clamshell beads, steatite cubes/blocks, pre-cut hairsticks, cordage, sinew, trimmed feathers.)

Enrollment limited to 10 students.

Michael Ghostcrow Bracamontes is of San Fernandeño, Gabrielino-Tongva and Purapecha heritage who specializes in asphultum jewelry and objects. His work has been shown at the Autry Museum, and he has participated for 9 years in the Long Beach Aquarium of the Pacific's annual event, Moompetam, Gathering of the Salt Water People, as well as the annual Chumash Cultural Days.





Native American Flute Making

Native American Flute Making

Marvin & Jonette Yazzie, Ernest Siva

June 25–28 Course # NANF ØØA
Intermediate: 4-day session (Thurs.-Sun.)

June 26–28 Course # NANF ØØB
Beginners: 3-day session (Fri.-Sun.)

In this workshop, each student will construct and decorate a six-hole flute under the guidance of an experienced Navajo flute maker. They will also learn some history of flutes as well as the care and handling of their newly created instrument. During the course, ethnomusicologist Ernest Siva will teach the basics of flute playing and each student will receive a small booklet of flute music.

Beginning students (3-day session begins June 26) will use eastern red cedar for the body of the flute. They will carve, shape, oil, tune and finally decorate their flute. The Pentatonic scale will be used to tune the flutes and students may choose the key (from F to A).

Intermediate students–those who have taken class from the Yazzies in the past (4-day session begins June 25) will make a flute of elderberry on the first day. Then they will make a small flute using Alaskan yellow cedar for the body and may choose the key (from B, C, C#).

Materials: A complete materials list will be sent upon registration.

Tuition:
$490 (Beginning, 3-day session)
$590 (Intermediate, 4-day session)

Lab fee:
$40 (Beginning, 3-day session)
$60 (Intermediate, 4-day session) (Includes wood, totems, materials and the use of tools and equipment in class.)

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 has used Yazzie flutes on Sacred Dreams and New Fire, two of his CDs. 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 2011and played preshow for the Ramona Pageant. www.yazzieflutes.com

Ernest H. Siva is a musician and teacher. He is the cultural advisor and tribal historian for the Morongo Band of Mission Indians. Siva formerly 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.











*New* Northwest Coast Hand Drums

Creation of Northwest Coast Hand Drums

Mike Dangeli

June 29–July 3 Course # NANC Ø1

One week session

Drums in Sm'algyax language, the language spoken by the Nisga'a, Tsimshian and Gitxsan, are Nooł and mother is Noo. This is because the first drums we hear are our mother's heartbeat. The drum is a very important being in Northwest Coast ceremony, performance and art.

In this workshop, students will 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 students will have an opportunity to witness many techniques in the creation of traditional northern hand drums.

Skill Level: All levels are welcome.

Materials: A complete materials list will be sent upon registration.

Tuition: $725

Lab Fee: $110 (Includes kit with elk skin, sinew, wood drum frame, paints, miscellaneous supplies, and use of tools and equipment in class.)

Enrollment limited to 10 students.

Mike Dangeli is of the Nisga'a, Tlingit, Tsetsaut, and Tsimshian Nations. He 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, BC. He has carved over 50 of the masks performed by their group.






Cahuilla Style Pottery: Paddle & Anvil Technique

Cahuilla Style Pottery Paddle & Anvil Technique

Tony Soares

June 22–26 Course # NAPC ØØ

One week session

Learn how to create the beautiful ollas used by the Cahuilla people of Southern California to store food and water. Using three different clay types during the week, including micaceous clay (new this year), brown clay, and Salton Sea clay, students will hand build two to three 6" to 12" pots using the paddle and anvil method.

Experience all techniques and steps used in the process including paintbrush making, grinding and preparing paint stones to decorate the pots, making nets (used for holding and hanging the round-based ollas), and more. See a demonstration of fire-starting by friction, and learn how to make palm frond rings (pottery stands). Students will have the opportunity to experience two types of firings during the session and will learn to make an "urban kiln" for use at home.

Skill Level: All levels are welcome.

Materials: A complete materials list will be sent upon registration.

Tuition: $725

Lab Fee: $55 (Includes gathered and prepared clays, paints, firing materials, net making materials, and the use of all tools in class.)

Enrollment limited to 10 students.

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






Hopi-Tewa Pottery

Hopi-Tewa Pottery

Mark Tahbo

June 29–July 4 Course # NAPH Ø1

One-week session-includes Saturday a.m. firing

Students in this workshop will learn the traditional Hopi method of creating polychrome pottery, including coil building, stone burnishing, painting with natural pigments, and firing. Learn how to process and prepare raw clay for pottery making and to prepare beeweed plant for black paint. Students will also have the opportunity to experiment with two types of clay, 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 two firing techniques (for both gray and yellow ochre pots).

The natural clays and paints are provided by the artist, from the Hopi Reservation in Arizona. There is enough clay for each student to make 2 to 3 small pieces of pottery – all that can be successfully completed in the week-long workshop. This is not a production pottery course, but a 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.

Materials: A complete materials list will be sent upon registration.

Tuition: $725

Lab Fee: $55 (Includes gathered and prepared clays, natural paint pigments, beeweed, and firing materials.)

Enrollment limited to 15 students.

Mark Tahbo 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 3 consecutive years. Mark has been profiled in various publications including Native Peoples Magazine, and is included in numerous books and articles on Pueblo pottery.








*New* Fabric Painting & Design Techniques

Fabric Painting & Design Techniques

Patricia Michaels

June 15–17 Course # AATFØØ

Three-day session

Fashion and textile designer and Project Runway alum Patricia Michaels will lead students through several processes in this 3-day workshop. Students will create 2 to 3 scarves using various techniques including silk screening and Devoré ("burnout") on velvet fabric, screenprinting over painted fabric, and hand painting on silk charmeuse. In the process they will learn to make design/pattern choices, dye fabrics, make a silk screen, and combine techniques for different effects. Finally, the class will learn about finishing techniques and will critique their scarves.

Skill Level: All levels are welcome.

Materials: A complete materials list will be
sent upon registration.

Tuition: $490

Lab Fee: $125

See website for updated lab fee information.

Enrollment limited to 10 students.

Patricia Michaels is a fashion and textile designer whose career spans almost 30 years. She appeared on Project Runway Season 11 where she won the first runner up title and was the first Native American designer to appear on the show; she was later featured on Project Runway All Stars. She has won numerous awards for her work and activities including her most recent, the Smithsonian National Museum of the American Indian 2014 "Arts and Design Award." Patricia's work has been shown in fashion weeks in New York and Santa Fe, and in museums and galleries across the country. Her design company, PM Waterlily, is located in Taos, NM, and features her fashions and jewelry line. Patricia is active with many charitable organizations, supporting causes that are near to her heart. www.patriciamichaelsfashion.com

Teaching Assistant: Linda Santana earned her degree in printmaking at UC Santa Cruz and her MFA at the University of North Texas where she taught courses in drawing and printmaking. She is a founder of a female printmaking network and is active in conferences and workshops across the country. She was recently recognized as the Artist of the Year by the Hispanic Women's Network of Texas. She exhibits nationally and internationally including venues in Estonia, France, Nicaragua, and the Venice Biennale. Recently she has had solo exhibitions at the WoCA Gallery, Karpeles Manuscript Museum, and Galeria de la Rosa. Linda is currently a faculty member and Printmaking Coordinator in the Visual Art Department at Idyllwild Arts Academy.








Glass Blowing

Glass Blowing

Ramson Lomatewama

June 29–July 3 Course # AASG Ø1

One-week session

This workshop is an introduction to the fundamentals of working with hot glass. This includes becoming familiar with the equipment and tools used to create glass art. Students will have the opportunity to create their own work, beginning with solid pieces (flowers, mushrooms, and paperweights) and eventually blowing simple vessels. Using colored glass, students will become familiar with the process of gathering and shaping hot glass into a variety of forms. Although the goal is to blow glass, advancement will depend on how quickly a student becomes adept at "working" the glass. The small class size allows for maximum time working with glass and lots of hands-on/close instruction. At times, the temperature in a hot shop environment can easily exceed 120° F. Drink plenty of water!

Skill Level: No prior glass blowing experience is necessary.

Materials: A complete materials list will be sent upon registration.

Tuition: $965

Lab fee: $75 (Includes frit/colored glass, clear glass, use of all tools and supplies in class, and propane.)

Enrollment limited to 4 students.

Ramson Lomatewama is an award-winning glass artist, kachina doll carver, and poet. His way of experiencing the world through the arts is a clear reflection of his rich heritage and the timeless culture of the Hopi people. He earned his BA from Goddard College in Plainfield, Vermont. Ramson has taught a wide range of workshops and courses, including a position at North Central College in Naperville, Illinois as an adjunct professor of sociology. Although ceremonies and cultural activities play a major role in his life, Ramson continues to dedicate time to schools, universities, and museums as a visiting scholar and artist. He currently lives in Hotevilla, AZ on the Hopi reservation, writing poetry and creating hand-blown glass art.








*New* Small Scale Bronze Casting

Small Scale Bronze Casting

Holly Wilson

July 6–10 Course # AASC Ø2

One-week session

In this course each student will produce and mount a small bronze work, approximately 6 pounds or less. The program is designed for anyone who aspires to work in bronze, with particular interest for the artist without foundry facilities. Students will be instructed in how to build a small-scale foundry furnace that they can then build in their own studio or garage, the process of "lost wax" casting, and bronze finishing techniques, as well as an introduction to the materials and safety measures. Please Note: Students must attend all required instructional sessions in order to understand and follow all safety guidelines.

Skill Level: All levels are welcome.

Materials: A complete materials list will be sent upon registration.

Tuition: $725

Lab Fee: $130 (Includes 6 lbs. bronze, microcrystalline wax, investment R&R Ultravest, 3 feet x 20" of sheet metal flashing, duct tape, sprue wax, use of the equipment, kilns in the class.) Additional metal will be available for purchase by the pound.

Enrollment limited to 10 students.

Holly Wilson is a Mustang, OK-based sculptor. She received her BFA in Ceramics from the Kansas City Art Institute, Missouri, and her MA in Ceramics and MFA in Sculpture from Stephen F. Austin State University in Nacogdoches, Texas. Holly is a 2015 Eiteljorg Fellowship Artist. She has shown throughout the United States and extensively in Oklahoma and Texas. www.hollywilson.com







Special thanks to our generous 2014 & 2015 sponsors : Anonymous Donor, San Manuel Band of Mission Indians, Soboba Band of Luiseno Indians, Agua Caliente Band of Cahuilla Indians, Cahuilla Band of Indians, Tribal Alliance of Sovereign Indian Nations, Morongo Band of Mission Indians.

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