Over the course of her Anne Ray internship, Emily Santhanam dove deep into the collections, approaching the objects through registration, collections management, education, and curation work. Each project taught her to navigate Native American arts stewardship in a new way. Yet what she most enjoyed was creating an online exhibition about the bolo ties cared for by the IARC.
SAR’s 2021 Ronald and Susan Dubin Native artist fellow, Lehuauakea is a Kanaka Maoli (Native Hawaiian) interdisciplinary artist. Originally from Pāpa’ikou on Moku O Keawe, Hawai’i, Lehuauakea creates traditional kapa (wauke bark cloth), which is painted or hand-stamped with patterns made from natural earth pigments and plant dyes.
It’s easy to identify heartbreak in the past year and a half. The COVID-19 pandemic has challenged our world, upending the lives of individuals, families, and entire nations. Locating hope amid loss—creativity in chaos—takes a special form of attention.
Anthropologist, novelist, and SAR’s Katrin H. Lamon resident scholar of 2015–16, David Treuer (Ojibwe), is garnering national attention for his cover story in the May 2021 issue of the Atlantic Monthly, “Return the National Park to the Tribes.” SAR president, Michael F. Brown, reflects on the article and more.
SAR members Russ and Diane Kyncl share the fifty-year story of how they became friends with the Edaakie family of Zuni Pueblo, how the late potter Timothy Edaakie helped them to connect with SAR, and why they decided to include SAR in their legacy plan.
In each session of his course on Navajo weaving, artist Venancio Aragon takes his students on a journey that exposes the impact of non-Indigenous institutions on Diné peoples and their making, as well as the sovereignty that Indigenous peoples, including artists, have continued to exercise through each moment.
In 1970 former SAR president Douglas Schwartz began test excavations at the fourteenth-century Pueblo site of Arroyo Hondo, located approximately five miles south of Santa Fe. Earlier this year, SAR made the decision to transfer its only archaeological collection to the Center for New Mexico Archaeology, the state repository for such collections, where it will be able to receive more specialized care.
“We began the class with an exercise in humility: writing down our thoughts and beliefs about Greenwood, and comparing that with broad assumptions, rumors, and questions.” Hear from SAR Anne Ray intern, Emily Santhanam, about her experience in the fall 2020 virtual in-depth course Unearthing Violence: Archaeology in the Aftermath of the Tulsa Race Massacre and learn how you can download the recorded course sessions.
Learn more about how the SAR Guidelines for Collaboration are transforming the teaching practices at one university in this guest post by Jen Shannon, curator and associate professor of cultural anthropology at the University of Colorado, Boulder,
Venancio Aragon is the SAR 2020 Rollin and Mary Ella King Native artist fellow. If you ever meet Venancio, you will notice his friendly demeanor and willingness to chat. He is a citizen of the Navajo Nation and what I would consider an award-winning master weaver, although he describes himself as “a humble practitioner of an ancient art.” Along with being an artist, he is also an intellectual, knowledge holder, and student.