graphic design portfolio
DESCRIPTION
Design portfolio encapsulating a number of projects including layouts, t-shirts, ads, and vector illustrations.TRANSCRIPT
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! "#$" FELIZ NAVIDAD "#$" FELIZ NAVIDAD %
There is something sacred about standing quietly in the predawn darkness on a cold January morning, waiting for the rising sun to
silhouette Deer Dancers on twin hillcrests towering over the Pueblo of San Ildefonso.
Likewise, seeing Taos Pueblo on Christmas Eve, radiant with luminarias and farolitos (bonfires and candle-lit paper bags) for the Procession of the Blessed Mother evokes a similar response.
The sacred is what the pueblo dances are meant to evoke. This ancient form of prayer uses song, drumming, and dance to give thanks for the Creator’s blessings and to every form of life that sacrifices itself to give the people life. Elmer Torres is a tribal member and former governor of San Ildefonso Pueblo. “All of the feast days I view as a day of celebration,” he said, “celebrating with your family, your friends, and others from throughout the entire community, whether it be non-Native Americans or Native Americans. I would say the whole thing is about life — about having a good life, sharing our blessings, giving ourselves up and sacrificing for the dance. Dancing all day, you make that sacrifice. And at the end, you feel good, and some of the blessings that come with that, you share with all the folks.”
The dances most often presented in the winter months are the animal dances, such as the Deer Dance or Buffalo Dance. “These are the animals that we harvested, and we’re dancing in respect for them, and in hope that throughout the coming years that harvest is there for tribal members for food,” Torres said. “It’s giving back for what we get from them, being respectful. And a lot of people forget that, the simplest things that are out there. It’s giving back to Mother Nature and protecting what’s out there.”
As the Christmas Eve procession at Taos and other vespers ceremonies so
clearly illustrate, the Puebloan people move freely between the Catholic faith brought by the Spanish and their far older religious traditions, often merging the two. Many pueblos celebrate ancient dances in churches after Midnight mass, and their patron saints preside over feast day dances, following a mass honoring the saint’s day. During the Christmas season, several pueblos still dance the Matachine dances introduced by the Spanish. Torres recalls how his grandfather, who was from Ohkay Owingeh, played violin for Matachine dances both at his pueblo and for the Hispanic community of Alcalde.
Torres often educates visitors to Than Povi Art Gallery, which he owns with his wife Deborah, about how to respectfully enjoy the dances. The gallery website (www.thanpovi.com) has a schedule of pueblo feast days and guidelines for pueblo etiquette. Non-native visitors are welcomed at most dances, provided they approach the ceremonies with the respect due any religious observance. Torres suggests visiting a pueblo a few days in advance of its dances to ask questions about the ritual and what behavior is appropriate. Disturbing tribal members to ask questions during a ceremony is as disrespectful as disrupting a church service. One important thing to bear in mind is that the plazas are sacred space for these ceremonies. Stay to the edges of a plaza and by no means intrude on the dancers. “The plazas are called our sacred shrines, almost like the ones you see in the National Cemeteries. You don’t want to walk over them or disturb them. It’s the same thing,” Torres said.
San Ildefonso’s feast day is January 23. After a break following the Deer Dance, the pueblo holds Buffalo and Comanche dances. Although San Ildefonso rarely dances at Christmas or New Year’s Day, most other pueblos do. See the adjoining schedule for details.
“I would encourage people who have never been to a feast to come out and experience it one day at least,” Torres said. “Don’t be shy about coming out to the pueblo. Just come over, enjoy the day, and without being disrespectful, just sit there and enjoy yourselves.”
Directions:Acoma Pueblo: 505-552-6604 or 800-747-018 or www.puebloofacoma.org. South on Interstate 25 to Interstate 40 West and take Exit 102. Turn right and follow the curved road toward Sky City Casino. Turn right at the stop sign, and travel approximately 16 miles south to Sky City Cultural Center.Jemez Pueblo: 575-834-7235, [email protected] or www.jemezpueblo.org. North on U.S. 84/285 to N.M. 502. N.M. 502 becomes Trinity Drive in Los Alamos. Follow Trinity Drive until it ends at Diamond Drive and turn left. Turn right on N.M. 501, then right on N.M. 4 to Jemez.Laguna Pueblo: 505-552-6654 or www.lagunapueblo.org. South on I-25 to I-40 West and take Exit 114 to N.M. 279.Nambé Pueblo: 455-2036 or www.nambepueblo.org. North on U.S. 84/285 to N.M. 503. Two miles to pueblo entrance on the right.Ohkay Owingeh Pueblo: 505-852-4400. North on U.S. 84/285, which becomes N.M. 68. Left on N.M. 74 (north of Española), then one mile west to pueblo.Picuris Pueblo: 575-587-2519. Take U.S. 84/285 north. Turn east on N.M. 503. Continue 11 miles to Juan Medina Road, then turn left. Turn right when Juan Medina Road ends at N.M. 76. Continue on N.M. 76 when it turns left at Truchas. Turn left when N.M. 76 ends at N.M. 75. The pueblo entrance is a quarter mile down on the right.Pojoaque Pueblo: 455-2278. North on U.S. 84/285. Turn right at second stoplight in Pojoaque, with an immediate left on Cities of Gold Road. Continue past the Cities of Gold Casino and up the hill to the church. San Felipe Pueblo: 505-867-3381. South on I-25 and take Exit 252.San Ildefonso Pueblo: 455-3549. North on U.S. 84/285 to N.M. 502. Six miles west on N.M. 502.Sandia Pueblo: 505-867-3317 or www.sandiapueblo.nsn.us. Call in December for schedule of dances. South on I-25 to Exit 234. Northwest on N.M. 556 two miles, then north on N.M. 313 for three miles. Santa Ana Pueblo: 505-867-3301 or www.santaana.org. South on I-25 and take Exit 242 to U.S. 550/N.M. 44 west for 10 miles.Santa Clara Pueblo: 505-753-7330. Call in advance to determine whether the pueblo is dancing. Take U.S. 84/285 north to N.M. 502 West. North on N.M. 30 to the pueblo entrance.Santo Domingo Pueblo: 505-465-2214. South on I-25 and take Exit 259. Go north four miles on N.M. 22.Taos Pueblo: 575-758-9593 or www.taospueblo.com. North on U.S. 84/285, which becomes N.M. 68. Pass through Taos to entrance.Tesuque Pueblo: 983-2667. Go north on U.S. 84/285 nine miles. Zia Pueblo: 867-3304. South on I-25, take Exit 242 to U.S. 550/N.M. 44. Go west for 18 miles.
Pueblos welcome respectful observers to ceremonial dances
Sharing the Blessings
By Arin McKenna
All dances are subject to change. It is best to check with the pueblo a few days in advance to confirm dances, access and protocol. Pueblo offices are usually closed on the feast day.
Dances of devotionSchedule of Feast Day dances
December 12: • Jemez Pueblo, Matachines Dance• Pojoaque Pueblo, Our Lady of
Guadalupe Feast Day December 24: • Nambé Pueblo, Bu&alo Dance
following Christmas Eve Mass• Ohkay Owingeh Pueblo, Torchlight Procession
of the Virgin, Vespers and Matachines Dance• Picuris Pueblo, Matachines Dance• Taos Pueblo, Vespers and procession of the
Virgin Mary with dancers and bonfires• Tesuque Pueblo, Christmas Eve processionDecember 25:• Acoma Pueblo, Christmas Day dances• Jemez Pueblo, Bu&alo and animal dances • Laguna Pueblo, Harvest Dance• Ohkay Owingeh Pueblo, Matachines Dance• Picuris Pueblo, Matachines Dance • Santa Ana Pueblo, to be decided• Santo Domingo Pueblo, Christmas Day dances• San Felipe Pueblo, Christmas Day dances• Taos Pueblo, Deer or Matachines dances• Tesuque Pueblo, Christmas Day dances• Zia Pueblo, Bu&alo Dance December 26: • Jemez Pueblo, Bu&alo and animal dances• Laguna Pueblo, Harvest Dance• Ohkay Owingeh, Turtle Dance• Santa Ana Pueblo, to be decided• Santo Domingo Pueblo, Corn Dance• Tesuque Pueblo, to be decided• Zia Pueblo, Bu&alo Dance
December 27:• Laguna Pueblo, Harvest Dance• Santo Domingo Pueblo, Corn Dance• Zia Pueblo, to be decidedDecember 28:• Laguna Pueblo, Harvest Dance• Picuris Pueblo, Holy Innocents’
Day Children’s Dance• Santo Domingo Pueblo, Corn Dance• Zia Pueblo, Corn Dance January 1: • Jemez Pueblo, Matachines dances• Picuris Pueblo, Transfer of
Canes Ceremonial Dance• Santo Domingo Pueblo, Corn Dance• Taos Pueblo, Turtle Dance• Tesuque Pueblo, Turtle DanceJanuary 5:• Jemez Pueblo, Bu&alo and animal dancesJanuary 6: • Jemez Pueblo, Bu&alo and animal dances• Nambé Pueblo, Three Kings Day• Ohkay Owingeh Pueblo, Three Kings Day• Pojoaque Pueblo, Three Kings Day• Santa Ana Pueblo, TBD• Santo Domingo Pueblo, Three Kings Day• Taos Pueblo, Deer or Bu&alo Dance• Tesuque Pueblo, Three Kings DayJanuary 22:• San Ildefonso Pueblo, Vespers
Evening with firelight processionJanuary 23:• San Ildefonso Pueblo, Deer Dance at dawn,
followed by Bu&alo and Comanche Dances
PHOTO: RICK ROMANCITO, THE TAOS NEWS
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RULES OF ETIQUETTE FOR PUEBLO VISITATIONPuebloan ceremonies are a lifelong commitment
As part of their religious devotion, pueblo members commit tremendous effort and resources to their feast day dances and other ceremonies.
Many long hours are dedicated to preparing for the rituals, both physically and spiritually: Dances must be learned, ceremonial clothing assembled, and food prepared for the dancers and the feast that follows. Finally, during the ceremonies, dancers and drummers persevere all day, dancing for hours regardless of frigid temperatures or oppressive heat.
“We take this seriously, but in the end it’s rewarding,” Elmer Torres said. According to Torres, ceremonies are about more than devoting a few days a year. They involve a lifelong devotion: “The dances are those that have come from our elders for years and years and years, and it’s a tradition that’s been carried on for generations and generations. And those are things that we want to teach our kids and our grandkids that are coming up, so they can carry that on, especially the songs.”
Children begin their lessons in the kiva at an early age, listening to the songs and learning the dances by imitation. Along the way they also pick up the traditional language. “That’s the most important thing — learning the language,” Torres emphasizes. “Because without that, you can’t do the dances, you can’t do the songs and you can’t do the preaching that goes with that. … When the language is gone, there’s going to be silence throughout the whole community, and we’ll lose everything.”
As with any religion, this is a living tradition that grows and changes. Torres feels encouraged by the interest of the new generation: “We have a lot of the younger men and younger boys now coming in, and I would say they have a lot of good songs themselves. It comes from within themselves. … These dances are something that we do year after year after year, and it’s something that is hopefully going to carry on with our next generations that come up. It’s a matter of maintaining our culture We’ve lost so many elders already. Now it’s our turn to carry those things on.”
Visiting pueblos or attending feast day dances are remarkable opportunities to experience another culture and religion. Showing respect for pueblo regulations and etiquette allows you to have a rich and rewarding experience without mishap.
Los Matachines dancers amid the Christmas Eve procession of the Virgin at Taos Pueblo. RICK ROMANCITO, THE TAOS NEWS Visitors stay warm around a bonfire on Christmas Eve at Taos Pueblo.
Los Matachines dancers at Taos Pueblo RICK ROMANCITO, THE TAOS NEWS
RICK ROMANCITO, THE TAOS NEWS
• Call ahead to confirm event dates, as well as access to tribal lands. There are times when tribal leaders need to restrict access because of private ceremonies and other reasons.
• Although most pueblos are open to the public during daylight hours, the homes are private. Enter a pueblo home as you would any other — by invitation only.
• Pueblos are not amusement parks or living history museums but residential communities. Behave as you would want others to in your community.
• Some pueblos may charge an entry fee. Camping and fishing fees are charged where such facilities are available. Call ahead to find out if there are fees associated with visiting.
• Sketching, recording, and any other means of audio or visual reproduction is prohibited at most pueblos, although most do allow photography with the purchase of a camera permit. Permits usually cost $5 to $15 and may be purchased at tribal offices or visitor centers. (At many pueblos, camera permits may only be purchased at tribal offices Monday-Friday.) Never photograph an individual or private property without asking permission. Tribal officials may confiscate cameras, cell phones, or other equipment if regulations concerning photography are violated.
• Refrain from bringing a cell phone onto pueblos. Tribal officials could confiscate cell phones if they feel they might be used for photography or recording. Also, the ring tones and personal conversations can disrupt other visitors’ experiences, as well as daily tribal life.
• Tribes value traditions, customs, and religion. Some actions and/or questions could be offensive, so refrain from pressing for answers.
• Do not climb ladders or on walls and other structures. Structures may be several hundred years old and easily damaged.
• Do not remove artifacts, pottery shards, or other items.• Kivas and cemeteries are off-limits to non-Puebloan people.
Churches may also be off-limits, and are definitely closed to non-Pueblo people if surrounded by a cemetery.
• Alcohol, weapons, and drugs are not allowed in the pueblos.• Do not bring dogs to the pueblos.
• Nature is sacred on the pueblos. Littering is strictly prohibited.• Obey all traffic and speed limit signs. Children
and pets play near the roads. Also be cautious of livestock on or near main roadways.
• Observe all signage indicating OFF LIMITS while visiting a pueblo.
• If organized tours are offered, stay with your tribal guide at all times.
• Rules of etiquette during ceremonial dances:• Pueblo dances are religious ceremonies, not performances.
Observe them as you would a church service, with respect and quiet attention. Do not interrupt non-dance participants by pushing in front of them, blocking their view, asking questions, or visiting with friends.
• Photography is usually prohibited on feast days. • Silence is mandatory during all dances and pueblo
ceremonies. This means no questions about the ceremonies or dances while they are underway and no applause during or after the dance or ceremony.
• Do not talk to the dancers or approach them as they are entering, leaving, or resting near the kivas.
• Plazas have been blessed for the dances and are considered holy space. Do not walk across a plaza even if the dancing has stopped: keep to the edges.
• Tribal communities do not use the clock to determine when it is time to conduct activities. Acts of nature, as well as the sequence of events that must take place (some not for public viewing), usually determine start and finish times for ceremonies.
• If you are fortunate enough to receive an invitation to a feast day meal, there are some simple guidelines. If the table is full, join those waiting in the living room until everyone who arrived before you has had a chance to be served. Do not linger at the table. It is polite to take your dessert with you as you leave so that others can be seated. Thank your host, but a payment or tip is not appropriate.
(This information was accumulated from several sources, including www.thanpovi.com)
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WWW.FIRSTAMERICANARTMAGAZINE.COM
Exploring Native Graphic DesignNeebinnaukzhik Southall
aniin! I am a member of the Chippewas of Rama First Nation, a mixed Native American-white graphic designer with a passion for Indigenous design. While studying graphic design at
Oregon State University, I knew few other Natives in my school’s design program. I realized that I could not name a single prominent Native designer in the field. After further research, I did find several excellent, inspiring Native designers, but I realized how much the design industry in the United States and Canada is dominated by non-Native peoples. Native perspectives and experiences are left out, and this unbalance in a very ethnically diverse continent is symptomatic of greater ongoing social inequities.
t’s vitally important that successful Indigenous graphic designers have a strong presence, especially in such a visual, media-saturated age. Skilled graphic design as practiced by Native people is
an expression of Indigenous sovereignty. For much of US and Canadian history, Native visual and material cultures were suppressed as a way to undermine and attempt to eradicate Indigenous people. Native design can be and has been a way to positively carry our cultures with us into our everyday lives. While graphic design as a field has Asian and European roots, it can be a part of Indigenous cultural reclamation.
Native-made design has been used to promote positive Native identities, causes, and organizations. An excellent case in point includes the iconic posters and other design work created by Dwayne Bird (First Nations) and Andy Everson (K’omoks-Kwakwaka’wakw) in support of the Idle No More movement.
y choice to design with Native imagery has caused me to not only examine and better
cultures of other tribes, but it has also led me to investigate my own people’s visual history and culture and integrate into myself a deeper understanding of where I come from and who my people are. It’s important for people to see that where they come from is creatively valuable and relevant.
Great graphic design is inspirational. For Native
designers, wouldn’t it be nice to quickly and easily find rich information about other Native designers? Wouldn’t it be good to build on their insights and learn from them, instead of struggling alone? Wouldn’t it be useful to have a supportive community to discuss unique design situations and challenges that non-Natives may not understand?
ative peoples should recognize, support, and nurture Native talent in the
design field. Community is valued across Native cultures—Native
designers need a professional organization.
Recently, I asked Victor Pascual (Navajo-Mayan), a prominent
graphic designer and the creative lead of DGTL/NVJO, about his insights and experiences relating to Natives and design. What I drew from that meeting is that such a professional organization is possible, and that he is
it, but it will take a lot of work, structure, and dedication. Can we make it happen?
e can build a stronger understanding of and insight into what we do. This column will provide a platform to
bring greater visibility to Native graphic designers as well as to promote excellence in Native design. I’ll share individual perspectives of designers, highlight all sorts of projects (whether typography, logo design, branding, layouts, or other projects), discuss how designers’ tribal backgrounds influence the way they approach their work, and otherwise explore the visual, philosophical, and social implications of the intersection of Native cultures and graphic design.
If you are interested in sharing your perspective as a Native designer, please get in touch with me.
Chi-miigwetch.
www.neebin.com/nativedesign
10
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