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Performance and Mayan Identity on the Yucatan Peninsula
Tamara Underiner

Black Indians and Savage Christians
Sarah Jo Townsend

La historia de "Benetton contra los mapuches"
Claudia Briones & Ana Ramos

"Cistemaw iyiniw ohci," A Performance by Cheryl L'Hirondelle
Candice Hopkins

A identidade do Amazonas expressa no folclore do Boi-Bumbá
Erick Bessa Pinheiro

Short Articles / Artículos Breves / Artigos Curtos

Bolivia's Indians Confront Globalization
John Mohawk

South Dakota is the Mississippi of the North
Luke Warm Water

Excerpt from Powwow
George Horse Capture

Casino Nation
Terry Jones

Dana Claxton
Kristin Dowell

Op-Ed: Commercialism and Native Art

Multimedia Presentations

In Every Issue:

Humor / Humor / Humor

e-Gallery / e-Galería / e-Galeria

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News and Events / Noticias y Eventos / Notícias e Eventos

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Links / Enlaces / Links

News & Events



The Museum of Modern Art
Smithsonian's National Museum  of the American Indian
NYUs Center for Religion & Media/Center for Media, Culture & History
present a symposium with indigenous film directors from across the globe

Thursday,  May 12, 2005,   1 - 4 pm

National Museum of the American Indian, George Gustav Heye Center
One Bowling Green (between State and Whitehall Streets, Lower  Manhattan)

The last decade has seen the rise of a remarkable new world cinema:  indigenously directed feature films.  In this symposium, some of the most distinguished artists in this field discuss how they shape their on-screen narratives and support and circulate their work off screen.

Panel 1:  1 - 2:30
How do traditional cultural worlds present a powerful aesthetic and narrative resource, as well as  a possible point of tension for creative experimentation, in relation to a range of possible audiences?
Marcelina Cárdenas (Quechua) Bolivia 
Chris Eyre (Cheyenne-Arapaho) US
Anastasia Lapsui (Nenet) and Markku Lehmuskallio, Finland/Russia \
Crisanto Manzano Avella (Zapotec) Mexico
Victor Masayesva, Jr. (Hopi) US
Merata Mita (Maori) Aotearoa/New Zealand
MODERATOR:  Jolene  Rickard (Tuscarora)

Panel II:  2:30 - 4
How is indigenous media production and circulation supported at different levels,
from local communities, to national initiatives, to the international festival scene?
Blackhorse Lowe (Navajo) US
Nils Gaup (Sami) Norway
Patricio Luna (Aymara) Bolivia
Alanis Obomsawin  (Abenaki) Canada
Randy Redroad (Cherokee) US
Sally Riley (Wiradjuri) Australia
MODERATOR: Paul Chaat Smith (Comanche)


Soy Andina, the documentary about two Peruvian dancers in New York and their extraordinary journeys back to Peru, should finally be finished by July 2005. for more info or to get free eNewsletter.

Mitch Teplitsky


San Ce Tojuan: We are One - Nosotros Somos Uno

The documentary & map exhibit is the result of Frank Gutierrez of East L.A. College passing the 1847 Disturnell Map to writers (filmmakers) Roberto Rodriguez & Patricia Gonzales. He received it from then-Hopi spokesperson, Thomas Banyacya. The map shows the citation: Antigua Residencia de los Aztecas, north of the Hopi. The role of Gutierrez and Banyacya is explored in the documentary in relationship to origins & migrations. The documentary is not a story of ancient codices and chronicles, but it is a codex itself and a chronicle of many stories that challenges 512 years of history. It is a continuation of an ancient message… of a journey of many footsteps, of origins and migrations and of connections to all the ancient peoples of the continent.

The story is that of a people whose existence has long been called into question. It is that of a people ill defined by society as immigrants, but who refuse that designation. When told to go back to where they came from, they respond: “We are where we came from.”

Map exhibit background

Aztlanahuac: Mesoamerica in North America Map Exhibit

The overall theme of this exhibit is an examination of maps and chronicles from the 1800s-1500s that show “Mesoamerican” roots in what is today the United States. It is part of a larger collaborative and ongoing research effort that examines ancient connections between peoples of the north and south. Many of the maps point to several sites, purportedly associated with Aztec/Mexica peoples and their migrations, but also with older ancient Mexican, Chichimeca and Toltec migrations and that of Central and South American peoples as well.

It challenges the mainstream narrative of U.S. archaeology that tells us that it was the romanticism of 19th century U.S. archaeologists that caused them to place such place names (Montezuma, Aztec, Anahuac, Tula, etc) throughout what is today the U.S. However, these maps (representative of hundreds more and found at most major libraries and research institutions around the world) clearly demonstrate that such sites were well-established long before 1776.

The research also examines oral traditions, many which speak of connections (beyond migration stories of Uto-Azteca peoples) between the north and the south. The concept of origins/migrations is complex, philosophical and spiritual. The researchers here did not set out to find one migration route, but rather, to try and understand why this information exists on these historic documents. In the process, a clear connection between the peoples of the north and south has been established to the entire continent or Turtle Island. One such connection includes agriculture, specifically maize, which is itself another form of a map.

For further info contact Melanie Manos at


6th Annual Oglala Commemoration
June 25-26, 2005
Pine Ridge Indian Reservation
Oglala, South Dakota, USA

We have reached our 7th year of commemorating the events that led to American Indian political prisoner Leonard Peltier's imprisonment, as well as struggling to address the historic unresolved grief facing our people. We need the help of our Elders, Headsmen, and Tiyospaye's (Traditional Families) to move forward in this process. We need the support of the International and National surrounding communities toward the awareness raising campaigns which we sponsor annually.

The violent assault on Lakota peoples became evident from the Massacre of Chief Bigfoot's Hohwo-ju ("Minneconjou") people in December 1890 at Wounded Knee. This began to signify the type of "campaigns" the US government embarked on during the mid to late 19th century in Lakota Treaty Territory, thus resulting in sentiments of self-defeat on the part of the Lakota and began the historic unresolved grief crises. Then, on February 27, 1973, members of the American Indian Movement (AIM) were asked by Oglala Lakota Elders, Chiefs, and Headsmen to lead the takeover at Wounded Knee to liberate the people into a different form of thinking and positive change.

In June 1975, a shootout at Jumping Bulls residence in Oglala SD between FBI agents and members of an AIM encampment led by Leonard Peltier prompted more assault on Lakota peoples. Since the 1976 Imprisonment of Leonard Peltier and the documented deaths of over 60 AIM supporters on the Pine Ridge Indian Reservation in South Dakota, the Oglala Lakota peoples have suffered great levels of traumatic stress.

Visit the official Oglala commemoration page


The Buz’Gem Blues opens May 13:

American regional premiere of Canadian Native writer

Trinity Repertory Company is proud to present The Buz’Gem Blues by Drew Hayden Taylor, May 13th through June 19th. Kennetch Charlette, artistic director of the Saskatchewan Native Theatre Company, will direct. Starting February 27, tickets are available online at or at the Trinity box office at (401) 351-4242.

Though Mr. Hayden Taylor's work is well known and often produced in Canada, Trinity Rep will offer the first regional theater production of his work in the United States. In staged readings, The Buz’Gem Blues was the comedy hit of Trinity’s 2001 and 2002 Native theater festivals Theater From the Four Directions.

The Buz’Gem Blues is a comic tale of finding love in your later years. Tribal elder Amos is beginning to wonder if his twenty-something girlfriend is really the one for him. Then he meets Martha, but they have nothing in common but their age. Can two people from opposing Nations and beliefs find true love? There’s a buz’gem (“sweetheart” in Ojibway) out there for everyone!



La obra escrita y dirigida por Mariano Pensotti, que ganó en el 2003 el Primer Premio del concurso de dramaturgia Germán Rozenmacher -organizado por el Festival Internacional de Buenos Aires- y cuenta con un Subsidio a la Creación otorgado por la Fundación Antorchas y otros de Proteatro y del Instituto Nacional del Teatro, vuelve al Espacio Callejón tras una muy buena recepción de público y crítica. Los actores Juan Minujin, Uriel Milsztein y Nayla Pose dan existencia a los personajes de Pensotti, envueltos por la música (en vivo) de Ana Foutel

Funciones: viernes a las 23hs

Lugar: Espacio Callejón, Humahuaca 3759. Buenos Aires. Argentina

Reservas: al 4862-1167

Un cowboy sueña con la pampa y con ñandúes en llamas, un joven pálido al que le causa placer visitar moribundos haciéndose pasar por amigo de la infancia, una mujer que canta una canción sobre los recuerdos que guarda una casa vacía?

La obra está construida a partir de diez situaciones diferentes donde los personajes son los mismos aunque lo que suceda sea diferente. Personajes que narran, se confiesan, se exhiben al público, se encuentran entre ellos

El vapor como un estado de un elemento que se produce bajo determinadas condiciones. Ese estado trasladado a los cuerpos y relatos de los personajes. Estallidos breves. Como un vidrio empañado con vapor: oculta algo que hay detrás pero al mismo tiempo hace visible cosas que alguien ha escrito sobre su superficie y de otra manera no se verían.


Melanie Manos, a performance artist currently based in Detroit, Michigan, US, will begin an ongoing public-intervention in the greater Detroit area, with the skilled collaboration of Scott Hocking, sculptor, and Nick Sousanis, artist and editor of

The project will have two components: Stump Speeches and Seating Arrangements .

Stump Speeches will endeavor to add culture and intellect to public areas in Detroit, including but not limited to vacant lots, abandoned structures, open fields, parks, streetcorners, residential and business neighborhoods.  We will be stealthily inserting devices with recordings of contemporary literary works, critical essays, humorous commentaries, etc., into any and all tree stumps or tree-like human-made stumps of any sort.  The literary works will be read by Ms. Manos. This will be an ongoing and non-official public intervention.

Seating Arrangements will be an energetic effort to supply seating for folks waiting (and waiting...) at the numerous bus stops throughout Detroit that lack any kind of respite for tired legs.  We will make simple benches and/or gather used chairs, sofas, settees, rockers, et al., and distribute them in a concerted effort to hit as many bus stop sites as possible.  More of an Action, this piece hopes to perform a public service through direct intervention.

Preliminary work for each project will begin in April and the interventions will begin shortly thereafter based on the weather.

Further info: contact Melanie Manos at

Future info:   


Two projects are happening in NYC in ongoing fashion;

WELL LIT CHESS PIECES - project for Washington Square Park 2005 (launching April 23)



Marjorie Kouns - Visual Artist


Sundance Film Festival Shorts 4
The Nonfiction Faction.
A yearly program of US and international short documentaries has yielded  powerful and exhilarating nonfiction films that probe timely, yet timeless issues. The Nonfiction Fraction reveals how, even in short form, film can change the way we look at the world around us. 89 min. Sunday, April 24, 2:00 (T2);  Friday, April 29, 7:30 (T2).

The Children of Leningradsky, dir: Hanna Polak & Andrzej Celinski, Poland, 2004,
35 min., color, 35mm
Natchiliagniaqtuguk Aapagalu (Seal Hunting with Dad), dir: Andrew Okpeaha
MacLean, USA, 2004, 11 min., color, Sony HD Cam
Recycle, dir: Vasco Nunes & Ondi Timoner, USA, 2004, 6 min., color, Sony HD
It’s Like That, dir: Southern Ladies Animation Group, Australia, 2003, 7
min., color, 35mm
Small Town Secrets, dir: Katherine Leggett, USA, 2004, 8 min., color, Sony
HD Cam
Our Story (La Historia de Todos), dir: Blanca Aguerra, Mexico, 2003, 10
min., color,
Dimmer, dir: Talmage Cooley, USA, 2004, 12 min., color, Sony HD Cam

This and more info can also be found at


Diana Taylor was named a John Simon Guggenheim Fellow for 2005-6 in the competition for scholars and artists from the United States and Canada.  Her project as a Guggenheim Fellow is to explore political spectatorship in the Americas.  Are We ‘Live’? Political Spectatorship in the America, is a book-length analysis of how spectatorship functions as a political act—whether it’s “live” in front of an audience, televised for a mass audience, or transmitted online.  Taylor looks at elections, political demonstrations, infomercials, and other forms of political spectacles to explore how spectatorship is constituted, the overlaps between embodied and mediated seeing, how the mass media (i.e., television, film) and digital technologies complicate previous notions of “liveness,” presence, aura, charisma, identification, participation, and human agency.  Examples of current political spectacles are drawn from throughout the Americas.

Felicitamos a Vivian Martínez Tabares quien acaba de ganar el premio de ensayo del Concurso "Mario Rodríguez Alemán" 2005, convocado por la Unión e Escritores y Artistas de Cuba con su trabajo "Por un viaje trans-post-disciplinario de ida y
vuelta entre teatro y performance".


El Programa Globalización, Cultura y Transformaciones Sociales, de la Universidad Central de Venezuela, invita a enviar ensayos de investigación para concursar en el "Premio Internacional de Investigación: Cultura y Transformaciones Sociales".La fecha límite para la recepción de los ensayos es el 15 de Septiembre de 2005.

Para esta primera convocatoria se han definido tres ejes de análisis: a) Representaciones, discursos y políticas de identidades y diferencias sociales; b) Representaciones, discursos y políticas de ciudadanía y sociedad civil y c) Representaciones, discursos y políticas de economía, ambiente y sociedad. Un jurado internacional de especialistas otorgará 6 premios, dos en cada uno de los 3 ejes: 1º premio: publicación y 1.000 dólares estadounidenses; 2º premio: publicación y 500 dólares estadounidenses.

Para mayor información sobre este concurso:


Journal of Indigenous Nations Studies - Call for Submissions

The Journal for Indigenous Nations Studies represents ground-breaking scholarship that engages with key issues in Indigenous Nations and American Indian studies. JINS publishes peer-reviewed articles and essays that examine indigenous societies and cultures, past and present, in global and local contexts both from a number of politically, historically, and theoretically informed perspectives and that explore (or transgress) the limitations of strict disciplinarity. Through the publication of reviews of books, exhibitions, and multimedia, as well as occasional news and commentary, JINS seeks to make available a broad range of emergent approaches to studies by and for the Indigenous Peoples of the Americas and the world.

The Journal for Indigenous Nations Studies (formerly the Indigenous Nations Studies Journal) is published biannually by the Center for Indigenous Nations Studies and the University of Kansas.

Manuscripts submitted by 16 April 2005 will be considered for publication in our upcoming double issue to be published in the spring 2005, but we encourage and accept submissions at any time for future issues.

Send electronic submissions and inquires to the Associate Editor,

For information about subscriptions or purchasing back issues, please contact Holly O'Ruth Tompkins at


La Casa de las Américas (Cuba) invita a inscribirse para el
Taller de creación teatral impartido por Pompeyo Audivert
Hacia una estrategia escénica de la improvisación (El automatismo y la discontinuidad en los procedimientos asociativos del actor)

Del 13 al 18 de junio del 2005

Estimado colega:

La Casa de las Américas organiza el taller de creación teatral “Hacia una estrategia escénica de la improvisación (El automatismo y la discontinuidad en los procedimientos asociativos del actor)”, que conducirá el director y actor argentino Pompeyo Audivert. Para Pompeyo Audivert lo primordial en el trabajo de actuación pasa por la sobreactuación o la subactuación: la aparición de lo personal en el medio, el no poder abrirse a la dimensión que es el personaje, cuando el actor no puede abrirse por completo, dejar de ser él, y conectarse con esa síntesis que es el personaje ensayado a quien se dio una verdad.

La teoría que más le interesa "es la del ensayo como repetición de la improvisación", buscar una materialidad que después sea la escena; dar con la escritura, no sólo como texto, sino como acciones, como dinámica teatral . Y después, capturarla mediante algún tipo de registro, volver a repetir y darle profundidad. Para Pompeyo Audivert la improvisación busca lo que no está escrito en los textos hasta establecer una forma. Ahí debe trabajarse más profundamente, para darle más fuerza poética, para hacer aparecer lo que no está en la dimensión poética. Esa es a su entender, la función de un artista sobre un material ya escrito.

Define la investigación teatral como la restauración de la apertura, tanto del actor como del espectador; reabrir un campo de visión cegado por la práctica del real. Posibilitar leer a través del desgarramiento de una convención.

Los artistas, críticos, investigadores y estudiantes interesados en participar en el taller deben comunicarse con nosotros para formalizar su inscripción antes del 20 de mayo. Para facilitar el traslado de los participantes, les sugerimos contactar las agencias de viaje de cada país que operan con Cuba. La matrícula ($50.00 USD), incluye una muestra de teatro cubano, y se abonará en la Casa de las Américas en el momento de la acreditación. Al concluir la temporada los participantes recibirán un certificado acreditativo.

Le esperamos,

Vivian Martínez Tabares
Departamento de Teatro
Casa de las Américas



Meet Lydia: A Native Girl from Southeast Alaska

Meet Lydia celebrates the Tlingit culture of southeast Alaska while following the daily life of Lydia Mills, a Tlingit girl who spends her school year in Juneau and her summer in the fishing communities of Hoonah and Excursion Inlet, where her family has lived for generations.

Filled with vibrant color photographs, Meet Lydia introduces children to a Native Alaskan culture through the real life of a ten-year-old-girl. Join Lydia as she makes and wears regalia, dances in the region’s biggest Native festival, catches and preserves salmon, and learns the Tlingit language by helping kindergarteners learn it, too.

Published in association with the Smithsonian’s National Museum of the American Indian, Meet Lydia is the third book in an illustrated series, My World: Young Native Americans Today. Each volume profiles a young Native American from a different region and is created by a Native author and photographer. The books offer 9- to 12-year-olds a view of Native life by telling the story of a Native kid, and they highlight the diversity and vitality of American Indian cultures. As Lydia herself says, “I hope that readers will see that different Natives have different cultures and traditions—we aren’t all the same.”

Miranda Belarde-Lewis (Tlingit/Zuni) grew up in Zuni, New Mexico, spending her summers in southeast Alaska with her mother’s family. A research assistant at the National Museum of the American Indian, she graduated from the University of Arizona in 2002 with a B.A. in cultural anthropology.

John Harrington (Siletz) became in 1991 the youngest photographer ever to be assigned to cover the White House, and he has gone on to do a range of journalistic, corporate, and art photography in Cuba, Mexico, Eastern Europe, the Caribbean, and 42 of the 50 states,

For more information about Meet Lydia or about the other two books in the My World series, or to arrange an interview with Miranda Belarde-Lewis, please contact Irene Dennis, Council Oak Books at 800-247-8850 or at

Meet Lydia: A Native Girl from Southeast Alaska
Ages 9–12



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