Skip to main content

Syndicate contentNative American

Sacramento Knoxx at the Center October 20 & 21 (Detroit rapper and activist)

Event Start: 
Friday, October 21, 2016 - 4:00pm
Location: 
701C Dodge Hall
The Center for Ethnomusicology is pleased to announce two events featuring Detroit-based rapper, producer, filmmaker, and social activist Sacramento Knoxx.  

Performance/Hangout/Discussion (open to public)
Friday October 21
4-6PM
701C Dodge Hall (Center for Ethnomusicology, Columbia Morningside Campus)
Refreshments to be served, open to the public 

Also: Class Session for "Music in Contemporary Native America" (open to public with limited seating)
Thursday October 20
6:00-7:30PM
701C Dodge Hall
Visitors welcome, please defer to students registered in class during discussions

About Knoxx

Sacramento Knoxx is a Detroit-based Anishinaabe/Chicanx rapper, producer, media artist, poet, and social activist. His work has been widely recognized in the press and online for its innovative blending of Indigenous and intersectional critiques and themes.  He was recently recognized with the 2015 Gilda Award from the Kresge Foundation.  

Learn more about Knoxx!

Sacramento Knoxx's website
Sacramento Knoxx YouTube Channel
Sacramento Knoxx on Bandcamp
Sacramento Knoxx on Facebook
Video of "Minobidmaadziwin" (collaboration with A Tribe Called Red)
Michigan Public Radio "How hip-hop helped this Ojibwe/Chicano Detroiter define himself."
Michigan Public Radio: "Detroit hip-hop musician combines art and activism."

"The aadizookaan" is an Anishinaabe word that translates into the sacred spirit of the story, the messages we share and pass on in our visits. Knoxx uses multimedia art to build interconnections between many diverse audiences, artists, media makers, organizers, educators, cultural workers, students & the many layers of communities around the world. He explores ancestral & traditional knowledge systems using contemporary tools of hiphop culture & poetry, performance, video projections, dance, film & live music production for an innovative installation of beauty & creative storytelling to educate, inspire, & motivate.  As he says, "I organize sound through motion and rhythm. My true divinity is within my ability to create. I make music. I'm a part of a movement for social change. The real revolution is the revolution of consciousness. Think and smile."

Sacramento Knoxx Photograph © Julian “DJ HE TOOK” Jacobs


_________________________



Dr. Robin Gray (UC Santa Cruz) -- "Repatriation and Decolonization: Thoughts on Ownership, Access, and Control" (Friday Sept. 30

Event Start: 
Thursday, September 29, 2016 - 4:00pm
Location: 
701C Dodge Hall (The Center for Ethnomusioclogy)
The Center for Ethnomusicology is pleased to welcome:
Dr. Robin R. R. Gray (Presidential Postdoctoral Fellow in History, University of California, Santa Cruz)

speaking on:  "Repatriation and Decolonization: Thoughts on Ownership, Access, and Control."

Friday, Sept. 30, 2016
4PM-6PM (reception to follow)
701C Dodge Hall
Free and Open to the Public

_____________
Members of the public are also invited to join Dr. Gray for a session of Prof. Aaron Fox's class "Music in Contemporary Native America" on:

Thursday, Sept. 29, 6PM-7:30PM, 701C Dodge Hall


This presentation is based on an assigned reading from Dr. Gray's PhD dissertation: "Ts'msyen Revolution" Chaps 1-4.

Bio: Dr. Robin Gray (Ts’msyen) holds a Ph.D. in Anthropology (2015), and a Graduate Certificate in Indigenous Studies (2015) from the University of Massachusetts.  She is currently a President’s Postdoctoral Fellow in the Department of History at the University of California Santa Cruz. Her work engages in multi-sited, community-based research projects involving the international repatriation of Ts’msyen songs from archives, and embodied heritage reclamation in an urban Ts’msyen dance group. She is also developing a comprehensive knowledge dissemination strategy based on the topic, Researching, Representing and Repatriating Ts’msyen Cultural Heritage.  

Dr. Gray's website can be viewed at:   
http://www.robingray.ca

For more information contact Aaron Fox at aaf19@columbia.edu

Trevor Reed and Robin R. R. Gray Discuss Native American/First Nations Music Repatriation Projects (Wed 12/10, 1-3pm)

Event Start: 
Wednesday, December 10, 2014 - 1:00pm - 3:00pm
Location: 
701C Dodge Hall, Center for Ethnomusicology, Columbia Morningside Campus
The Center for Ethnomusicology Presents:

Native American Scholar/Activists Trevor Reed and Robin R. R. Gray Discuss Their Repatriations of Columbia's Laura Boulton Collection to Hopi and Tsimshian Communities

Wednesday,  December 10, 1-3PM 701C Dodge Hall (The Center for Ethnomusicology)

This colloquium will feature Trevor Reed (Hopi, current Columbia Ethnomusicology PhD and Columbia Law JD student, reporting on his work repatriating Laura Boulton's 1933 and 1940 Hopi music collections, and Robin R. R. Gray, (Tsimshian, Lax'Kwalaams, Ginaxangiik Tribe, and Mikisew Cree First Nation, Anthropology PhD candidate at U Mass/Amherst), who is working to repatriate Boulton's 1933 Tsimshian (Northwest Coast) recordings, made (like the Hopi 1933 recordings) at the Chicago Century of Progress Exposition.

Reed and Gray are working to redevelop these recordings as assets for contemporary communities (and as the long-alienated cultural property of these communities) descended from the performers on the recordings, at the intersection of ethnomusicology, anthropology, cultural rights activism, archiving, and law.  Their work embraces and helps define current critical practice for scholarly and legal activism in accounting for and remediating the exploitation and hoarding of Native American cultural patrimony by collectors, ethnomusicologists, anthropologists, commercial interests, and scholarly and curatorial institutions throughout the 20th century. 

To learn more about Trevor Reed's work, visit the Hopi Music Repatriation Project blog here:
http://hopimusic.wordpress.com/

Listen to Trevor Reed discuss the project with Hopi Cultural Preservation Office (HCPO)repatriation coordinator, Lee Wayne Lomayestewa:
https://hopimusic.files.wordpress.com/2011/02/03-podcast_leewayne-final.mp3

___________________________

To learn more about Robin R. R. Gray's work, visit her website here:
http://www.sfu.ca/ipinch/about/ipinch-people/fellows/robin-r-r-gray

Or see a video interview with Robin R. R. Gray  here:
IPinCH Conversations / Robin R.R. Gray on Reconciliation and Repatriation  

____________________

General information on the Center's extensive repatriation efforts can be found here:
http://news.columbia.edu/research/3186

Or on video here: 
http://vimeo.com/68637578


Center Repatriation Projects Featured in Columbia News and Soundcheck Stories

The Center for Ethnomusicology's projects to "repatriate" recordings of collector Laura Boulton,  conducted in collaboration with Native American and Alaska Native communities, are featured in a story in Columbia News, and in a video feature on the Columbia University home page.
 read more »

"Montana's Blackfeet Troubadour" Jack Gladstone Performs Tuesday 11/27, 6-8PM

Event Start: 
Tuesday, November 27, 2012 - 6:00pm - Wednesday, November 28, 2012 - 8:00pm
Location: 
112 Dodge Hall, Enter from College Walk (2d door on left after you go through 116th and Broadway Gate to Columbia University)

The Center for Ethnomusicology's "Native Sounds North& South" Series and "Music in Contemporary Native America" (MUSI V2021) are proud to present an early evening performance by Native American Singer/Songwriter:

JACK GLADSTONE
"Montana's Blackfeet Troubadour"

TUESDAY November 27, 2012
6PM-8PM
112 Dodge Hall
(Enter from College Walk, 116th and Broadway entrance to Columbia Morningside Campus)
Admission is Free and Open to the Public, Children Welcome.

Facebook event page . . . seating is limited, so confirm attendance here if possible.

Jack Gladstone is a Native "PoetSinger" and lecturer from the Blackfeet Indian Nation of Montana. Regarded as a cultural bridge builder, he delivers programs nationally on American Indian mythology and history. In a career spanning three decades, Jack has produced fifteen critically acclaimed CD’s. In 1985, Jack co-founded "Native America Speaks", an award-winning lecture series for Glacier National Park.

A former college instructor, Jack has been featured on both the Travel Channel and in USA Today magazine. Honored as a modern day warrior and bridge builder, he holds a Human Rights Award for Outstanding Community Service from Montana State University. Since 1997, Jack Gladstone has collaborated with Lloyd Maines, Grammy winning producer of the Dixie Chicks. He was also a key tribal voice providing alternate perspectives of the Lewis and Clark expedition during the recent bicentennial commemoration. In 2004, Jack narrated the Telly award winning Lewis and Clark film Confluence of Time and Courage.


Colloquium: "When Puff, the Magic Dragon became a Smoking Uktena" - Sara Snyder and Nannie Taylor (Cherokee) 11/30/12 3PM

Event Start: 
Friday, November 30, 2012 - 3:00pm - 5:00pm
Location: 
701C Dodge Hall (Center for Ethnomusicology)
The Center for Ethnomusicology's "Indigenous Music Today" Speaker Series Proudly Presents a Colloquium:

When Puff, the Magic Dragon became a Smoking Uktena: Text-setting&Translating Songs for Cherokee Language Revitalization

Sara L. Snyder (PhD Candidate, Ethnomusicology, Columbia University)
Nannie Taylor (Eastern Band of the Cherokee Nation)

Friday November 30, 2012
3PM-5PM
701C Dodge Hall (The Center for Ethnomusicology)
Columbia University Morningside Campus
Free and Open to the Public
Reception to Follow Presentation

Ms. Taylor and Ms. Snyder will discuss their collaborative work developing Cherokee-language versions of popular cultural texts for immersion education.
 
Sara L. Snyder (B.Mus UNC-Chapel Hill, M.Phil Columbia University), is a PhD. candidate in Ethnomusicology at Columbia University. Her dissertation project is titled Sovereign Voices: Poetics, Performance, and the Politics of Expression in Eastern Cherokee Language Revitalization. Sara has worked with the Eastern Band of Cherokees for three years and is currently the music teacher for New Kituwah Academy, the tribal-operated language immersion academy for preschool and elementary children. She is responsible for developing and translating a culturally appropriate music curriculum that meets NC state standards, while also developing a collection of interesting, age-appropriate Cherokee-language songs for students. This position allows Sara to be an “observant participant” and activist for the Cherokee language. Sara’s work is based on the premise that ethnographic research with a Native community should be a sustained collaborative process, where the “research” produces knowledge, products, and services that have practical value to that community. Sara’s collaborative projects and her position as music instructor demand a practical knowledge of music education, singing, linguistics, Cherokee culture, and music production. By necessity, her research cuts across the disciplines of Ethnomusicology, Linguistic Anthropology, and Music Education, ever mindful that the production of knowledge is inherently intersubjective and imbedded in the social politics of everyday life.
Nannie Taylor Hornbuckle was born in 1961 on the Qualla Boundary (Cherokee, NC) to a family of six brothers and four sisters. She grew up speaking the Cherokee language in her home and continues to speak Cherokee with her family. Nannie’s father used to sing Cherokee hymns such as “Wayfaring Stranger,” while her mother would perform songs from the Cherokee hymnbook with other women from the community. Nannie attended school on the reservation, and was told not to speak her language in school until the eighth grade, when a Cherokee language program was established in the school system. There were so many students that they asked Nannie to assist in teaching her peers their native language, which is also when she learned to read and write using the Cherokee syllabary.
Nannie began writing children’s songs in her native language back in the 1990’s for her own children but did not share with them at that time. Eventually a teacher from the Cherokee school system approached her and asked if she could write children’s songs for the students. Nannie composed many songs for that program, though most are currently unavailable due to the intellectual property restrictions of that contract. Several years ago, Nannie was approached by Gilliam Jackson, an administrator for the Cherokee language immersion academy, then in its infancy. Jackson asked her to compose songs for the children in the program, who were very young at that time. Nannie came home that day and asked the creator to give her inspiration. The same evening she awoke at 2AM, and the words came to her; by dawn she had written six songs. Soon thereafter, Nannie, accompanied by her brother on the guitar, recorded a CD of her children’s songs, including translations of songs such as “Mary Had a Little Lamb,” “Itsy Bitsy Spider,” and “Lou Lou Skip to My Lou.” Nannie’s songs are often structured to aid students in learning Cherokee grammatical concepts.
Nannie Taylor began collaborating with Sara Snyder in 2010, with a focus on translating popular songs, Christmas songs, and public domain children’s songs. Nannie and Sara found their skills to be synergistic and they share an appreciation for sparser text settings than those of many songs translated from English to Cherokee. Through their efforts, Nannie and Sara provide fun songs for the immersion students that they intend to provide an alternative to the English-language popular music students enjoy outside of school. Currently, Nannie and Sara have several projects on the horizon. They are creating completely original educational songs using vocabulary and topics from the immersion school curricula. They will also be working on a Cherokee language play and music for the immersion school’s Christmas program. Additionally, there are plans for a Cherokee dub of the animated classic Charlotte’s Web, which will feature song translations by Nannie and Sara.
Event Contact:   Prof. Fox (aaf19@columbia.edu)















Native Music Today Symposium: Dr. Jessica Bissett-Perea and Lauren Amsterdam (Friday Sept. 21, 4PM)

Event Start: 
Friday, September 21, 2012 - 2:00pm
Location: 
701C Dodge Hall -- Center for Ethnomusicology

In association with "Native Sounds North and South" concert on Sept. 22 (Saturday), The Center for Ethnomusicology presents a symposium:

Indigenous Music Today: Inuit Cosmopolitanism and Native American Hip-Hop with Dr. Jessica Bissett-Perea and Lauren Amsterdam

Friday Sept. 21
2-4:30PM
701C Dodge Hall  (Center for Ethnomusicology)
FREE AND OPEN TO THE PUBLIC

Reception to Follow

Dr. Jessica Bissett Perea
Jessica Bissett-Perea, PhD
(Presidential Postdoctoral Fellow, Dept. of Music, Univ. of California, Berkeley, PhD in Musicology, UCLA, 2011)

“Sounding Traditions of Inuit Cosmopolitanism in ‘Flying Wild Alaska’”
This paper explores circuits of Inuit cosmopolitanism as represented through the soundscapes and imagery of the Discovery Channel’s documentary-style reality television series “Flying Wild Alaska,” (2011-2012). When compared to its counterparts (e.g. “Deadliest Catch,” “Ice Road Truckers,” and “Gold Rush: Alaska”), “Flying Wild Alaska” is notable for portraying the diversity and mobility of Alaska Native and Inuit cultures, in part through the show’s use of contemporary Inuit music as a backdrop to portrayals of modern life in the arctic. From professionalized traditional drumsongs to funk- and jazz-influenced “Inuit World Music,” my musicocultural analysis will illuminate the longer history of Inuit cosmopolitanism throughout the circumpolar region and make audible the literal and figurative histories of Native migration between rural and urban spaces.
_________________________
Lauren Amsterdam

Lauren J. Amsterdam
(MA, African-American Studies, Columbia University)


"All the Eagles and the Ravens in the House Say Yeah! (Ab)Original Hip Hop Artists and Styles of Heritage"

Young people across Native North America and the First Nations are making beats, spitting rhymes, telling stories, and taking direct action to build the future now. Hip hop artists are reppin’ a radicalized (ab)original heritage that is “everywhere,” but most of all, in hip hop, challenging the limitations of poverty, invisibility, and social dislocation. Confronting the symptoms of invasion—racism, poverty, police violence, inter-generational trauma, and “haters”—artists profoundly demonstrate that the materiality of hip hop is a way of not dying, and of moving past the necessity of surviving to a fuller, thriving political and cultural life. While artists are indeed inheriting loss, they choose to move with loss, not past it, being playful and political with real and imagined memories. Rather than mourn who they would or could have been if the past was different, artists orient themselves towards the potentiality of the future through self-love and communal care, shedding the settler nation's inculcation of shame and alienation.

______________

Discussants: AKU-MATU (Allison Warden), Prof. John-Carlos Perea.


COMING UP OCT. 13: MASTER OF HAWAI'IAN SLACK KEY GUITAR CYRIL PAHINUI, 7PM IN DAVIS AUDITORIUM, SAT 10/13/12

John-Carlos Perea and AKU-MATU to Perform at Columbia on Sept. 22 (Native Sounds North and South)

Event Start: 
Saturday, September 22, 2012 - 7:00pm
Location: 
Davis Auditorium, Schapiro Hall, NW corner of Columbia University Morningside Campus
The Center for Ethnomusicology's "Native Sounds North&South" Series presents concert of Jazz and Hip-Hop by Native American/Native Alaskan recording artists:

JOHN-CARLOS PEREA
and Elliot Humberto Kavee

and

AKU-MATU


Saturday September 22, 2012
Davis Auditorium, Schapiro Center (click for map)
Columbia University Morningside Campus
7PM-10PM
Free and Open to the Public

(see below for associated class and symposium)

FACEBOOK EVENT PAGE (let us know you're coming!)
CONCERT PROGRAM (PDF)
PHOTO CREDIT: Stephen Butler, Canyon Records, 2011 JOHN-CARLOS PEREA and
ELLIOT HUMBERTO KAVEE


Click thumbnail for full-sized image
PHOTO CREDIT: Stephen Butler, Canyon Records, 2011

_____________________________

AKU-MATU (ALLISON WARDEN) credit: selfAKU-MATU (Allison Warden)
Iñupiaq performance artist.


Click thumbnail for full-sized image




About the artists:

John-Carlos Perea (Mescalero Apache, Irish, German, Chicano) has maintained an active career as a performer and recording artist in San Francisco’s Jazz and World music scenes since 1997. First Dance, his debut recording as a leader, featured John-Carlos’ original musical compositions and performances on electric bass, cedar flute, and pow-wow singing. 

John-Carlos has recorded on over a dozen albums as a sideman and, in 2007, he won a GRAMMY® (Best New Age Album [Vocal or Instrumental]) as a member of the Paul Winter Consort for pow-wow and cedar flute songs contributed to "Crestone" (http://tinyurl.com/7dn58vj). His most recent release is "Waking from the Roots" by Coyote Jump, a new collaborative ensemble featuring John-Carlos on cedar flute with composer Colin Farish, available from Canyon Records (http://tinyurl.com/7u2rntk).

John-Carlos is also Assistant Professor in the Department of American Indian Studies, College of Ethnic Studies, at San Francisco State University. He received his BA (2000) in Music from San Francisco State University and his MA and Ph.D. (2005/2009) in Music from the University of California, Berkeley. His research interests include contemporary urban American Indian musical cultures, pow-wow music and dance, New Age music, and the music of saxophonist Jim Pepper. John-Carlos is presently authoring “Intertribal Native American Music in the United States,” a textbook and CD package under contract to Oxford University Press.

________

Allison Warden (AKU-MATU) is an Iñupiaq Eskimo Inter-Disciplinary Artist with a passion for the self-determination of Indigenous Peoples.  She raps under the name AKU-MATU and loves working with young people, empowering them through the use of theatre and music. She creates her own beats for her rhymes, sampling traditional sounds and inserting her Iñupiaq language into her songs.  She lives in Anchorage, Alaska and has close ties to her home community of Kaktovik, Alaska. 

Her one-woman show, “Ode to the Polar Bear” has toured extensively across Alaska and the lower-48 and has been re-worked into a completely new and longer piece, titled “Calling All Polar Bears” which debuted at Intermedia Arts with Pangea Theatre in Minneapolis, Minnesota in November 2011.  She acted in Andrew MacLean’s film, “On the Ice” that premiered at Sundance in 2011.  In 2009, she was part of the “virtual subsistence” exhibition at MTS Gallery and coordinated over 25 people to participate in a performance which focused on the incident with the Point Hope caribou and land use issues.   Allison was the MC for the Elders and Youth Convention at the Alaska Federation of Natives Conference in October of 2010 and 2011 and was active in presenting about language revitalization. 

Allison is an engaged community member, passionate about awakening Indigenous youth to their potential and voice.  She is most excited about working on her AKU-MATU album and about expressing herself through writing more poetry, plays and a screenplay.  She can be reached through her website, www.aku-matu.com


RELATED EVENTS:
Thursday Sept. 20

Dodge  Hall 622
Jessica Bissett Perea, John-Carlos Perea, Allison Warden, and Lauren Amsterdam visit "Music in Contemporary Native America," 6:10-7:25
This is open to non-members of the class, but please RSVP to aaf19@columbia.edu for permission to attend, by Wed. Sept. 18.

Friday Sept. 21
701C Dodge Hall  (Center for Ethnomusicology)
2-4:30PM

Symposium: Indigenous Music Today
Dr. Jessica Bissett Perea Jessica Bissett-Perea, PhD
(Presidential Postdoctoral Fellow, Dept. of Music, Univ. of California, Berkeley)
Jessica Bissett Perea
(click thumbnail for full-sized image)

“Sounding Traditions of Inuit Cosmopolitanism in ‘Flying Wild Alaska’”
This paper explores circuits of Inuit cosmopolitanism as represented through the soundscapes and imagery of the Discovery Channel’s documentary-style reality television series “Flying Wild Alaska,” (2011-2012). When compared to its counterparts (e.g. “Deadliest Catch,” “Ice Road Truckers,” and “Gold Rush: Alaska”), “Flying Wild Alaska” is notable for portraying the diversity and mobility of Alaska Native and Inuit cultures, in part through the show’s use of contemporary Inuit music as a backdrop to portrayals of modern life in the arctic. From professionalized traditional drumsongs to funk- and jazz-influenced “Inuit World Music,” my musicocultural analysis will illuminate the longer history of Inuit cosmopolitanism throughout the circumpolar region and make audible the literal and figurative histories of Native migration between rural and urban spaces.

Lauren AmsterdamLauren J. Amsterdam
(MA, African-American Studies, Columbia University)
"All the Eagles and the Ravens in the House Say Yeah! (Ab)Original Hip Hop Artists and Styles of Heritage" 


Young people across Native North America and the First Nations are making beats, spitting rhymes, telling stories, and taking direct action to build the future now. Hip hop artists are reppin’ a radicalized (ab)original heritage that is “everywhere,” but most of all, in hip hop, challenging the limitations of poverty, invisibility, and social dislocation. Confronting the symptoms of invasion—racism, poverty, police violence, inter-generational trauma, and “haters”—artists profoundly demonstrate that the materiality of hip hop is a way of not dying, and of moving past the necessity of surviving to a fuller, thriving political and cultural life. While artists are indeed inheriting loss, they choose to move with loss, not past it, being playful and political with real and imagined memories. Rather than mourn who they would or could have been if the past was different, artists orient themselves towards the potentiality of the future through self-love and communal care, shedding the settler nation's inculcation of shame and alienation.
______________

Discussants:
AKU-MATU (Allison Warden), Prof. John-Carlos Perea


COMING UP OCT. 13: MASTER OF HAWAI'IAN SLACK KEY GUITAR CYRIL PAHINUI, 7PM IN DAVIS AUDITORIUM, SAT 10/13/12


Concert Announcement: Native Sounds North & South: Traditional & Popular Music from Alaska, Arizona & the Andes

Event Start: 
Friday, October 1, 2010 - 7:00pm - 10:00pm
Location: 
Glicker-Milstein Black Box Theater at the Dana Center, Barnard College (117th and Broadway)
Native Sounds North&South: Traditional and Popular Music from Alaska, Arizona and the Andes

New and traditional sounds from Native North and South America.

As part of the conference on  "Music and Indigeneity in the Americas" (Oct. 1-2, 2010, Columbia University) The Center for Ethnomusicology at Columbia University is pleased to present a unique performance of traditional and popular music from Native North and South America, including hip hop from Alaska, country music from Arizona, and Nasa flute music from Colombia. Please click on artist names below for more information on each performer.

Featuring:

AKU-MATU (Allison Warden) -- Iñupiaq (Eskimo) Hip Hop from Alaska

Boe Titla - Apache Country and Western Music from Arizona

Inocencio Ramos and Carlos Miñana - Nasa Flute Music from Cauca, Colombia

Friday Oct. 1, 7pm-10pm, The Glicker-Milstein Black Box Theater at the Dana Center, Barnard College (117th and Broadway)

Free and open to the public.  Seating is limited, early arrival is recommended.

Cosponsored by the Center for Ethnomusicology and the Center for the Study of Ethnicity and Race, Columbia University.

About the Artists:

still.jpeg  AKU-MATU (Allison Warden) is an Iñupiaq (Eskimo) performance artist, playwright, and rapper based in Anchorage, Alaska, with close ties to her home community of Kaktovik, on Alaska's North Slope.  She creates her own beats for her hip hop performances, sampling traditional sounds from her Iñupiaq culture.  She is currently working on her first album, tentatively entitled "Welcome to the Fifth Dimension." img_03722.jpg Her performance art work focuses on environmental and political issues facing her communities in the Arctic.  Her one-woman show, “Ode to the Polar Bear” has toured for the past two years, and is becoming a longer, more in-depth touring piece. It focuses on climate change in the Arctic, the fate of Alaska’s polar bear, and the fight of Indigenous people against the unsustainable exploitation of natural resources.  In addition to rap, performance art, and plays, Allison creates fashion and visual art.  She also creates daily videos in her language to help inspire people to become fluent in the Iñupiaq language.  She is happy to return to New York City, where she has previously studied audio engineering, for this performance.  She can be reached at allisonwarden@gmail.com

_______________________

boetitla3.jpgBOE TITLA: Lambert (Boe) Titla is a talented singer, songwriter, and artist from the San Carlos Apache Reservation in Arizona. Born in Bylas, Arizona, Boe is a member of the Black Water clan. His musical talent revealed itself early when, after learning the guitar from his older brother, he was chosen to perform in a kid's band called The Little Visitors. Later on, his country band, The Black Point Valley Boys, was one of the mainstays of an exciting and active popular music scene in the San Carlos Apache community.titlaboe.jpg His solo performances and recordings have provided entertainment and insight for audiences in Arizona, New Mexico, and throughout the southwest. His songs and stories about Apache places and histories have made him a featured performer at numerous Native American events and Cowboy Poetry gatherings. Boe's music and voice can touch the heart and bring tears to his audience's eyes, or bring laughter and a smile with his jokes. Hailing from an artistic family, Boe is the brother of painter and sculptor Philip Titla. He continues to live in the Black Point section of Bylas.  Boe's album, "Native American Balladeer," is available on CDBaby.com.

__________________________

Inocencio Ramos is Nasa from Taravira (Tierradentro, Cauca). He serves as cultural advisor for the Program on Indigenous Education, CRIC (Cauca Indigenous Regional Council), Colombia.

Carlos Miñana is Professor in the Department of Anthropology at the Universidad Nacional in Colombia. He has conducted research and participated in various educational and audiovisual production projects with the Nasa since 1980.

Hopi Music Repatriation Project: First Report

Hopi Tribal FlagThe Center for Ethnomusicology holds copies of, and rights to, the Laura Boulton Collection of Traditional Music, consisting of field recordings of folk and traditional musics made around the world by collector Laura Boulton, from the 1930s through the 1960s.  In 1933 and again in 1940, Boulton recorded a total of 129 Hopi songs, ranging from secular to spiritual genres.  (The 1933 recordings were made at the Chicago Century of Progress Exposition; the 1940 recordings at Hopi.)

The Center is committed to repatriating the Boulton recordings, especially those made in indigenous communities.  In addition to projects with Navajo and Iñupiaq music (the latter now funded by the National Science Foundation), we are pleased to announce a new initiative to bring the Hopi songs "back home" to the tribe, as a project in what we call "community-partnered repatriation" -- not just returning recordings and rights, but working in the community to develop contemporary uses for these materials in collaboration with tribal officials, educators, activists, and leaders. 

Trevor Reed Our Hopi Music Repatriation Project is led by Trevor Reed, an MA student in Arts Administration at Columbia University Teachers College, and a member of the Hopi tribe.  This past summer, Mr. Reed spent several weeks at Hopi laying the groundwork for the community-based repatriation of Boulton's recordings.  We are delighted and grateful to have received a research permit from the Hopi tribe for the period from September, 2009 to December, 2010.

Mr. Reed's initial work has been funded by the Center for Ethnomusicology, Teachers College, and the Lynn Reyer Tribal Development Award from the Society for the Preservation of American Indian Culture. 

You can read more about the Hopi Music Repatriation Project and Mr. Reed's summer visit to Hopi (including his visit to the community's high school) on Trevor Reed's HMRP blog.
Premium Drupal Themes by Adaptivethemes