Open Dialog IX

Open Dialogue IX

San Jose, California
July 18th-20th, 2003

A Spiritually Up-Lifting Three Days with Arts Workers
of Color from Across the Nation.

Presented by the Association of American Cultures, TAAC

Federal Indian Art Policies

Convener: Rick Hill
Recorder: Rick Hernandez

Participants:
Victoria Bomberry–Neshkinukat, Theresa Harlan–California Arts Council, Mayumi Tsutakawa–Washington State Arts Commission, Ricardo Hernandez–Texas Commission on the Arts

  1. Current Federal Resources and Agencies Policy:
    1. Preservation of Old Art (Cultural Resources/Section 106 NHPA)
      1. NTHP—National Trust for Historic Preservation
      2. NPS—National Park Service
      3. BLM—Bureau of Land Management
      4. BIA—Bureau of Indian Affairs
      5. NAGPRA—Native American Groves Protection and Repatriation Act
    2. Arts Promotion (Arts and Crafts Act 1990)
      1. Three Museums
      2. Artists Promotion
      3. IACB—Indian Arts and Crafts Board
      4. USIA (International)—United States Information Agency
    3. Arts Education
      1. IAIA—Institute of American Indian Arts
      2. BIA—Bureau of Indian Affairs
      3. Tribal Colleges and Native Hawaiian Institute
      4. ANA—Administration for Native Americans
    4. Cultural Enrichment (Same as #3)
      1. IAIA—Institute of American Indian Arts
      2. BIA—Bureau of Indian Affairs
      3. Tribal Colleges and Native Hawaiian Institute
      4. ANA—Administration for Native Americans
    5. Economic Development
      1. IACB—Cherokee
      2. Tipi Shop—Contractor for IACB
      3. Cottage Arts
    6. Language Arts (Unfunded)
      1. Tribal Museum Fund
    7. Advocacy
  2. Tribal Response
    1. Arts—Tourism
      1. Refresh our own Agenda
    2. Public Perception
      1. Gaming
      2. Warm Springs Oregon or another model
      3. 1% Profits for the arts at some casinos
    3. Case Study
      1. $1 Billion Dollar Industry
    4. Economic Development Opportunities
    5. Native Arts Service Organizations—Co–ops/Basket Weaving Associations, e.g. California Indian Basket Weavers Association
      1. Need to collaborate
  3. Pow-Wow Culture
    1. Economic Development
    2. Cultural Impact
    3. Artistic Rip-offs
    4. Sampling of Pow-Wows Survey of commercial and community-based casinos to look at income generation for Native artists rather than vendor sales.
  4. Arts Festival
    1. Competition
    2. New Wealth
    3. Caters to Stereotypes and White Patronage
    4. K'san Village is a good model
  5. Art Galleries
    1. Native Run
      1. Sacred Circle (GAC–Seattle)
      2. AICH Gallery (NYC)
      3. Three Rivers Gallery (Minnesota)
    2. Mainstream Institutions (Need for Curatorial Dialogue)
      1. NMAI (NYC)—National Museum of the American Indian
      2. Heard Museum (Phoenix)
      3. IACB Museums
      4. Gilcrease (Oklahoma)
      5. Portland Arts Museum (Oregon)
    3. Tribal Museums
  6. What is the State of Native Arts Organizations?
    1. ATLATL—Service
    2. NAASA—Scholars–Native American Arts Studies Association
    3. Gorman Museum, UC Davis
    4. Native Circle (Artist Run–Minnesota)
    5. Northern Plains—South Dakota
    6. Neshkinukot (California Native Arts Network)
  7. Co-ops and Craft Associations
  8. International Exchanges
    1. Mexico, Australia, New Zealand and Europe

Needs

  1. Survey The Field
    1. Presenting
    2. Education
    3. Market
    4. Advocacy
  2. Better Understanding
    1. Federal Policies
    2. Handbook on Policies and Practices
    3. Share with State Agencies, Tribes, Organizations and Artists
    4. Native Arts Policies
  3. Increase Networking
    1. Galleries
    2. Curators
    3. Artists
    4. Agencies
    5. Other Artists

Recommendation

It is recommended that TAAC assist in the understanding, refining and development of national and local policy concerning Native American Arts and Artists by conducting surveys, continuing to convene gatherings and disseminating information.