Crow’s Shadow Institute of the Arts is a nonprofit organization focused on providing opportunities for Native Americans through artistic development. With an emphasis on contemporary, fine-art printmaking, they also function as a venue to practice traditional Native American art practices — weaving, bead working and regalia making — of the Plateau region.
The Oregon College of Art and Craft (OCAC) has been a center of community cultural activity in the region since 1907. In that time, the college has contributed significantly to the continuity of contemporary craft as an artistic expression and offers degreed undergraduate and post-graduate programs.
In its nearly 15 year history, First Peoples Fund (FPF) has supported hundreds of artists through business leadership and cultural capital fellowships. These programs not only provide immediate assistance to participating artists, but enable deeper long-term business and community development impacts at the tribal level.
The Longhouse Education and Cultural Center is the only Native facility of its kind on any university grounds in the country. The dream began when Evergreen State College faculty member, Mary Ellen Hillaire of the Lummi tribe, founded the Native American Studies Program.
PA’I Foundation’s mission is to preserve and perpetuate Hawaiian cultural traditions for future generations, and they have established a cultural center on O’ahu to better serve the broader Hawaiian community. The foundation is among a group that is the driving force behind movements to recover language, cultural traditions, healing practices, voyaging, navigations and agricultural practices of a people in their ancestral land who are now the minority population.
Sundance Institute’s Native American and Indigenous Program supports Native filmmakers across the U.S. and around the world. The Program invites promising Native filmmakers to develop their projects through the mechanisms of support at Sundance Institute, and then return with their work to Native lands to inspire new generations of storytellers.
The project engaged 20 local Native youth ages 5 to 17 who live in Sonoma County, California in creating and delivering a theatrical performance designed to illuminate local Native cultural maintenance and social issues and build awareness and understanding of Native cultures.
Funding supported the 10th gathering of ukulele and slack key guitar masters at the Kahilu Theatre and provided a multi-day Institute comprised of eight public performances, four on-site training workshops with over 100 students, and eight youth shows at four schools.
Funding for the project supported a collaboration between Narragansett tribal members and Narragansett wampum artists, Allen Hazard, who has been creating wampum art for over 35 years, and Lorén Spears, a traditional bead artist. Traditionally the creation of wampum belts was a collaborative effort. As a cultural practice, the wampum belt depicts the stories of the Narragansett people.
The conference was the very first Native Hawaiian Writers and Literature conference. In addition to the 400+ conference attendees, it attracted over 30 Native Hawaiian published writers who participated in multiple ways including as panelists, performers, workshop presenters and moderators and keynote speakers.