In 2016, the Cherokee Phoenix staff introduced a T-shirt to differ from the tribe’s Cherokee National Holiday T-shirt. Phoenix staff members contracted with artist Buffalo Gouge for the shirt’s initial design.
For this year’s homecoming shirt, Phoenix staff members selected Daniel HorseChief’s concept out of approximately 10 designs from artists. The Cherokee Phoenix then contracted with HorseChief to create the 2017 shirt.
HorseChief said his concept comes from a four-panel painting that features Selu, the Corn Mother in Cherokee lore.
The image shows the bust of Selu, who is looking down into a Southeastern art pattern. Behind her on the left side are seven ears of corn with water under it. Behind her on the opposite side is a phoenix with fire below it. Above the phoenix is the Cherokee seven-pointed star. Above the image, written in Cherokee, are the words “Cherokee Phoenix.” Below the image, in English, is “2017 CHEROKEE HOMECOMING.”
“We want to just feature things that people don’t get to see very often. On average only about 1 percent of a museums holdings are on display at any given time, so this will give people a little inside look into more of the items that we have,” Callie Chunestudy, CHC curator, said.
Nearly 60 historical artifacts were selected for the exhibit, including Gen. Stand Waite’s bowie knife, a hand-written first draft of the Articles of Agreement between the Cherokee Nation and U.S. governments in 1866, photographs and more.
Chunestudy said the goal is to find a way to create a new archives and collections building.
“We are in need of a new archives and collections building, so we want to feature some of the rare and special items that we do hold so the people can understand that we really need updated housing for these,” she said. “We’ve outgrown our space immensely, and it’s time for an up-to-date archives and collections building that we’re hoping to raise money for.”
“My goal is to establish a foundation of students that will get this type of jewelry to grow, and eventually it will be as well recognized as any jewelry from any region of the country,” he said.
The Rose native comes from an artistic family that enriched his life in Cherokee and Muscogee arts at an early age, which made him strive for an art career.
In 1972, while studying Southwest jewelry at the Institute of American Indian Arts in Santa Fe, New Mexico, he said he realized that people’s perspective of Native American jewelry was turquoise and silver.
“If you asked anybody there, ‘what was Indian jewelry?’ they’d say turquoise and silver. But what I was always wondering is how come people don’t have anything from the Southeast. Why isn’t our artwork as recognized as the Southwest?” Scott said.
Gonzales recently opened an online store called Keladi, her Cherokee name, to sell prints, original paintings and buttons that are affordable and “accessible” after realizing people wanted to buy her designs.
She said people who know Cherokee culture are intrigued by her drawings because they identify with it. “I think that a lot of people like to see the syllabary on stuff, and they like to own things that…(are) Cherokee-specific items.”
Gonzales incorporates Cherokee syllabary, stories, animals and sports into her art. Her drawing “Anejodi” portrays stickball players vying for a stickball in the air.
“In (the) stickball drawing, I was told that there’s a story about a guy; he cheated in stickball because he picked the ball up with his hands; and you’re not supposed to do that. And he threw the stickball really hard, and it got stuck in the sky and it became the moon. That’s like a reminder to not cheat. So in that drawing, it’s got little…moon bursts because of that story,” Gonzales said.
ᏓᎵᏆ, ᎣᎦᎳᎰᎹ. – ᏣᎳᎩᎯ ᎠᏰᎵ ᎨᎳ Keli Gonzales ᎠᏲᏟᏃ ᏥᎨᏒᎢ ᎤᎵᏉᏕᎢ ᏗᏟᎶᏍᏔᏅᎢ ᎤᎦᏙᏍᏛᎢ ᎤᏙᏓ ᎠᎴ ᎠᎾᏓᏤᎵᎢ ᏓᎾᏟᎶᏍᏔᏅᏍᎬᎢ ᎠᎴ ᏓᏂᏑᏫᏍᎬᎢ. ᎤᏛᏏᏗᏒᏃ, ᎤᏩᏌᏊ ᎤᏬᎷᏩᏛᎲᎢ ᏧᏟᎶᏍᏙᏗᎢ ᎢᏯᏛᏁᏗᎢ ᎾᏍᎩ ᎬᏗᏍᎬᎢ ᏣᎳᎩ ᎢᏳᎾᏛᏁᎵᏓᏍᏗᎢ.
Gonzales ᎾᏞᎬᏭ ᏥᎨᏒᎢ ᎤᏍᏚᎢᏒᎢ ᎠᏏᎳᏕᏫᏒᎢ ᎠᏓᎾᏅᎢ ᎨᎳᏗ Ꮓ ᎤᏬᏎᏗ, ᎾᏍᎩ ᏣᎳᎩ ᎬᏗ ᏚᏙᎥᎢ, ᎾᏍᎩ ᏧᎾᏗᏅᏗ ᏗᏓᏟᎶᏍᏔᏅᎢ, ᎢᎬᏱᎢ ᏧᏑᏫᏒᎢ ᎠᎴ ᏗᎦᏗ ᎾᏍᎩ ᏰᎵᎢ ᏗᎬᏩᎯᏍᏗ ᎠᎴ “ᎠᎯᏓ ᏗᎬᏩᏛᏗ” ᎤᏕᎶᎰᏏ ᏚᎾᏚᎵᎲᎢ ᏧᏩᎯᏍᏗᎢ ᎾᏍᎩ ᏧᏟᎶᏍᏔᏅᎢ.
ᎢᎧᏃᎮᏍᎬᏃ ᎠᏂᏏᏴᏫ ᎾᏍᎩ ᎠᏂᎦᏔᎭ ᏣᎳᎩ ᎢᏳᎾᏛᏁᎵᏓᏍᏗᎢ ᎾᏍᎩᏃ ᎤᏂᏍᏆᏂᎬᏓᏁᎰ ᎾᏍᎩ ᏧᏟᎶᏍᏔᏅᎢ ᏂᏗᎦᎵᏍᏙᏗᎭ ᎾᏍᎩ ᎠᏃᏟᎬᎢ. “ᏂᎨᎵᏍᎬᏃ ᎤᏂᎪᏗ ᏴᏫ ᎤᏂᎸᏉᏙᎢ ᎤᏂᎪᏩᏛᏗᎢ ᏣᎳᎩ ᏕᎪᏪᎸᎢ, ᎠᎴ ᎤᏂᎸᏉᏙᎢ ᎪᎱᏍᏗ ᎤᎾᏤᎵᎢ ᎾᏍᎩ... (ᏥᎩ) ᏣᎳᎩ-ᎤᏤᏟᏓᎭᎢ.”
Gonzales ᏓᏠᏯᏍᏗᏍᎪᎢ ᏣᎳᎩ ᏗᎪᏪᎵ, ᏗᎧᏃᎮᏗ, ᏅᎩ ᏗᏂᏅᏌᏗ ᎠᎴ ᎠᏁᏦᏗ ᎥᎿ ᏓᏟᎶᏍᏗᏍᎬᎢ. ᎤᏤᎵᏃ ᏗᏟᎶᏍᏔᏅᎢ “ᎠᏁᏦᏗ” ᎬᏂᎨᏒᎢ ᏂᎬᏁᎭ ᎠᎾᎳᏍᎦᎵᏍᎩ ᎠᎾᏁᏦᏍᎩ ᏓᎾᎵᎪᏂᏍᎬᎢ ᎠᏁᏦᏗ ᎦᏃᎯᎵᏒᎢ.
“ᎥᎿᎾᏂ (ᎾᏍᎩ) ᎠᏁᏦᏗ ᏗᏟᎶᏍᏔᏅᎢ, ᎥᎩᏃᎯᏎᎸᎢ ᎾᏍᎩ ᎠᏏᏴᏫ ᎠᏍᎦᏯ ᎤᏂᎬᎮᏗ; ᎤᎶᏄᎮᏢᎢ ᎠᎾᏁᏦᏍᎬᎢ ᏂᏗᎦᎵᏍᏙᏗᎭ ᎤᏬᏰᏂᏊ ᎬᏗ ᎤᏟᏔᎩᏒᎢ ᎠᏁᏦᏙᏗ: ᎠᎴ ᎾᏍᎩ ᎥᏝ ᎥᏍᎩ ᎢᏯᏛᏁᏗ ᏱᎩ. ᎠᎴ ᏍᏓᏱ ᏭᏗᎾᏒᎢ ᎠᏁᏦᏙᏗ, ᎠᎴ ᎦᎸᎳᏗ ᏗᎨᏒᎢ ᎬᏩᎬᏘ ᏫᏄᎵᏍᏔᏅᎢ ᎠᎴ ᏅᏓ ᎤᏒᎢ ᎡᎯ ᏄᎵᏍᏔᏁᎢ. ᎾᏍᎩᏃ ᎠᏅᏓᏗᏍᏙᏗ ᎥᏝ ᎦᎶᏄᎮᏗ ᎢᎩ. ᎾᏍᎩᏃ Ꮎ ᏗᏟᎶᏍᏔᏅᎢ ᏥᎩ, ᎾᏍᎩᏃ ᏂᎤᏍᏗ ᎤᏍᏗᎢ...ᏅᏓ ᎤᏒᎢ ᎡᎯ ᏂᏗᎦᎵᏍᏙᏗᎭ ᏦᎩᎭ ᎾᏍᎩ ᎧᏃᎮᏗ,” Gonzales Z ᎢᎧᏃᎮᏍᎬᎢ.
Gonzales Ꮓ ᎢᎧᏃᎮᏍᎬᎢ ᎥᏝ ᏳᎸᏉᏙᎢ ᎾᏍᎩ (ᎬᏂ ᎢᏳᎵᏍᏙᏗ) ᎥᎿ ᏓᏟᎶᏍᏗᏍᎬᎢ ᎠᎴ ᎾᏍᎩ ᎦᏲᎵᏉ ᎧᏃᎮᏍᎪᎢ ᎾᏍᎩ ᏣᎳᎩ ᎢᏳᎾᏛᏁᎵᏓᏍᏗᎢ ᎾᏍᎩᏃ ᎠᏁᏟᏙᏗ ᎢᎩ ᎾᏍᎩ ᏂᎦᎵᏍᏔᏅᏍᎬᎢ ᏓᏟᎶᏍᏛᎢ. “ᎠᎩᎸᏉᏙᏗᎢ ᎾᏍᎩ ᎪᎱᏍᏗ ᎰᏩᏭᏊ ᏂᎨᏒᎾ ᎡᎵᏍᏗ ᏥᎨᏐᎢ, ᎢᏳᏃ ᎬᏰᎵᏍᏗ ᏱᎩ.
ᎾᏍᎩᏯᏃ ᏯᏁᏟᏔᏂ ᎪᎱᏍᏗ ᎰᏩ ᏱᎩ ᎠᏏᏅ ᎤᏣᏘᎾ ᏱᏮᎩᎠ ᎪᎱᏍᏗ. ᎠᎩᎸᏉᏙᎢ ᎠᏆᏁᏟᏙᏗᎢ.”
ᎾᏍᎩᎬ ᏧᏤᎵᎢ ᏧᏑᏫᏒᎢ “ᏗᎬᏯᎷᏴᎢ” (ᏗᎬᏯᎷᎨᎢ) ᎬᏂᎨᏒᎢ ᏂᏛᎬᏁᎲᎢ ᎥᏰᎸᎢ ᏂᏚᏍᏛᎢ ᎾᏍᎩᏃ ᏥᎩ ᏗᎧᏃᏱᎨ ᎠᎴ ᏗᎦᏅᏍᎨ ᎾᏍᎩ Ꮓ ᎢᎧᏃᎮᏍᎬᎢ ᎾᏍᎩ ᏥᎩ “ᎧᏁᎢᏍᏗᎭ ᎤᏲᏨᎢ ᏥᎩ ᎾᏍᎩ ᎢᏲᎦᏛᏁᎵᏓᏍᏗᎢ” ᎠᎴ ᎾᏍᎩ “ᎤᏚᎩᏃ ᎬᏗ ᎠᏮᏐᎢ ᎢᎸᎯᏳᎢ ᏥᎨᏎᏍᏗ ᏌᏉᎢ ᏱᏗᎬᏩᎵᏍᏙᏗ ᎨᏎᏍᏗ ᎾᏍᎩ ᏗᎬᏯᎷᎨᎢ.”
Gonzales Ꮓ ᎾᏍᎩᏃ ᎤᏅᏌᏁᏍᎪᎢ ᎰᏩᏭᏊ ᏂᎨᏒᎾ ᎠᎾᏛᏁᎵᏍᎩ - ᏗᏟᎶᏍᏔᏅᏅᎢ ᎾᏍᎩ Ꮓ ᏧᏟᎶᏍᏔᏅᎢ ᏴᏫ ᏣᎳᎩ ᎠᏂᏬᏂᏍᎩ. ᎥᏝ Ꮓ ᏱᏓᏁᏟᏗᏍᎪᎢ ᏗᏣᎳᎩ ᏗᎪᏪᎵ ᏂᏗᎦᎵᏍᏙᏗᎭ ᎾᏍᎩ Ꮎ ᎠᎪᎵᏰᏍᎩ ᎠᏎ ᎤᏩᏌ ᎤᏁᏟᏙᏗ ᎾᏍᎩ ᎦᏬᏂᎯᏍᏗ ᎠᎴ ᎾᏍᎩ ᎠᎯᎵᏒᎢ ᎤᏕᎶᏆᏍᏗ.
ᎾᏍᎩ ᏧᏟᎶᏍᏔᏅᎢ “ᏂᎪᎯᎸᎢ” (ᏂᎪᎯᎸᎢ) ᎾᏍᎩ ᎠᎾᏛᏁᎵᏍᎩ ᏥᎩ ᏧᎾ ᎪᎳᎭ ᎠᎾᏟᏃᎮᏍᎬᎢ ᏣᎳᎩ ᎬᏗ. ᎾᏍᎩᏃ ᏁᎵᏍᎬᎢ, ᎾᏍᎩᏃ ᎦᏛᎬᎢ ᏂᎪᎯᎸᎢ. ᎠᏂᏐᎢᏃ ᎨᏒ, ᎤᏛᎦᏅᏃ ᏄᏍᏛᎢ ᎦᏛᎬᎢ ᎾᏍᎩ ᎦᏬᏂᎯᏍᏗᎢ ᏂᎪᎯᎸᎢ ᏂᎬᏩᏍᏗᏗᏒᎢ ᎠᎴᏱᎩ ᎩᎶ ᎥᏝ ᎤᏛᏒᎢ ᏂᎨᏒᎾ ᎦᏬᏂᏍᎩ ᏂᎨᏒᎾ ᏔᎵᏁᏃ ᎠᏕᎶᏆᏍᎩ ᏣᎳᎩ ᎤᏬᏂᎯᏍᏗᎢ.
Gonzales Ꮓ ᎢᎧᏃᎮᏍᎬᎢ ᏄᏍᏛᎢ ᏓᏟᎶᏍᏗᏍᎬᎢ ᎾᏍᎩ ᏚᎵᏉᏛᎢ ᎾᏍᎩ ᎠᎾᏛᏁᎵᏍᎩ ᏥᎩ The Simpsons, ᎾᏍᎩ ᎬᏗᏍᎬᎢ ᎧᏅᎦᎵ ᎠᎴ ᎦᏁᎯ ᏗᏙᏪᎵᏍᎩ ᎾᏍᎩ ᏥᎩ ᏩᎦᏲᏢᎢ. ᎤᎪᏗᏃ ᏧᏟᎶᏍᏔᏅᏅᎢ ᏂᏙᏳᏍᏗ ᏧᎵᏏᎩ ᏓᏍᏅᏅᎢ ᎠᎴ ᏧᏍᎪᏍᏗ ᏚᎵᏑᏫᏒᎢ.
“ᏓᎩᎸᏉᏙᎢ ᏧᎵᏑᏫᏓᎭ ᎪᎱᏍᏗ ᏂᏗᎦᎵᏍᏙᏗᎭ ᎾᏍᎩ ᎢᏳᎾᏍᏗ ᏥᎩ The Simpsons ᎠᎴᏱᎩ ᎠᎾᏗᏁᎵᏍᎩᏭ ᎠᏓᏅᏖᏗᎢ. ᏓᎩᎸᏉᏙᎢ ᎾᏍᎩᏊ ᏧᎵᏍᏓᏅᏂ ᏕᎦᏕᏱᏍᏛᎢ ᎪᎱᏍᏗ... (ᎠᎾᏛᏁᎵᏍᎩ) ᏙᏧᏓᎴᏅᎢ ᎾᏍᎩ ᎢᏳᏍᏗ ᏗᏆᏟᎶᏍᏙᏗᎢ, ᏧᏍᎪᏍᏗ ᏧᎵᏑᏣᏓ ᎠᎴ ᏧᎵᏏᎩ ᏧᎵᏍᏔᏅᏂ,” ᎠᏗᏍᎬᎢ.
Gonzales ᏃᏍᏊ ᏓᏟᎶᏍᏔᏅᏍᎬᎢ ᏚᎸᏉᏙᎢ ᎠᏂᏣᎳᎩ ᏗᎾᏟᎶᏍᏗᏍᎩ ᎾᏍᎩ ᎢᏳᎾᏍᏗ Dan HorseChief, Roy Boney Jr. ᎠᎴ Joseph Erb ᏂᏗᎦᎵᏍᏙᏗᎭ ᎾᏍᎩ ᏧᎾᏟᎶᏍᏔᏅᎢ ᎬᏂᎨᏒᎢ ᏂᎬᏁᎰᎢ “ᎪᎯᏴᎢ ᏥᎩ ᏥᏄᏍᏗᏓᏂ.”
ᏄᏍᏛᎢ ᎦᏓᏅᏖᏍᎬᎢ ᏂᎪᎯᎸᎢ ᏅᏁᎯᏯᎢ ᏗᎾᏟᎶᏍᏗᏍᎩ ᎪᎱᏍᏗ ᎤᏤᏟᏓ... ᎾᏍᎩ ᏳᏍᏗ ᎥᏍᎩᏓᏍᎬᎢᏗᎦᏂᏱᏍᎩ,” ᎠᏗᏍᎬᎢ. “ ᏂᎪᎯᎸᏃ ᏂᏥᏪᏍᎪᎢ ᎥᏝ ᎢᎸᎯᏳᎢ ᏗᎨᏥᎢᎸᏍᏔᏅᎢ ᏅᏃᎯ ᏚᎾᏠᎯᎢ ᎠᏑᏫᏒᎢ ᎤᎪᏙᏃ ᎾᏊ. ᎥᏝᏃ ᏯᏆᏚᎵᎰᎢ ᎾᏍᎩ ᎠᏆᎦᏎᏍᏙᏗᎢ ᎾᏍᎩ ᏄᏲᎢᏳᎢ ᏄᎵᏍᏔᏅᏅᎢ, ᎠᎴ ᎾᏍᎩ ᏄᎵᏍᏔᏅᎢ, ᎣᎩᎦᏛᎴᏒᎢ. ᏙᎩᎾᏗᏫᏒᎢ ᎠᎴ ᎣᎩᏍᏆᏛᎢ. ᎣᎦᏟᏂᎩᏓ ᎾᏍᎩ ᏱᎬᏩᎵᏍᏔᏅ. ᎠᎩᎸᏉᏙᎢᎾᏍᎩ ᎬᏂᎨᏒᎢ ᎢᏯᏋᏁᏗᎢ ᎢᏤᎢ ᎪᎱᏍᏗ ᎠᎴ ᎤᎪᏙᎢ ᏃᏣᏛᏁᎭ ᎠᎴ ᏓᏤᏝ ᏃᏣᏛᏁᎭ.”
Gonzales Z ᎤᏁᏎᎢ ᎾᏍᎩ ᏚᏍᏆᏛᎢ ᎪᏪᎵ ᎤᏁᏎᎢ ᎥᎿᎾᏂ ᎤᏴᏢᎢᎧᎸᎬᎢ ᏩᎦᎸᎳᏗᎬᎢ ᏧᎾᏕᎶᏆᏍᏗᎢ ᎠᎴ ᎤᏚᎩ ᎤᏌᏐᎢ ᎤᏁᏉᎢᏍᏗᎢ ᏓᏟᎶᏍᏔᏅᎲᏍᎬᎢ ᎠᏖᎳᏗᏍᎬᎢ ᏗᎾᏟᎶᏍᏔᏅᎲᏍᎩ ᎬᏂᎨᏒᎢ ᏂᏓᏅᏁᎲᎢ ᎢᏳᏍᏗ ᏚᎾᏟᎶᏍᏔᏅᎢ, ᎤᏖᎳᏗᏍᏗᎢ ᏗᎾᏟᎶᏍᏔᏅᎲᏍᎩ ᎠᏂᏅᏔᏅᏍᎬᎢ ᎠᎴ ᎤᏕᎶᏆᏍᏗ ᎤᎪᏗ ᏄᏍᏛᎢ ᎠᏱᏙᎳᏛᎢ-ᏓᏂᎴᏗᏍᎬᎢ ᎾᏍᎩ ᎠᎴᏅᏗᎢ ᏕᎦᎾᏕᏴᎢ ᏧᏟᎶᏍᏔᏅᎢ ᎥᎿ ᏗᎿᏬᎢ.
– Translated by David Crawler
“A lot of people, when they talk about the Cherokee Phoenix they say that it was printed in English and Cherokee, but a lot of people don’t realize that it wasn’t a straight translation,” Roy Boney, Language Program manager, said. “So what was in English wasn’t in Cherokee. It was different content for different readers. So most of that stuff hasn’t ever been translated, or if it has, it’s been a real long time since anyone has ever actually read what it was.”
The idea stemmed from Translator David Crawler reading some of the paper’s old articles.
“At times when we’re not doing so much translations, I read them and thought, ‘these are real interesting,’” he said. “Well, some of the stories in there I thought was kind of funny, and then some of them were kind of serious talk. And I thought, ‘there’s nobody living today that’s actually read this piece,’ and I thought it would be good to maybe put that back into the Phoenix today so people would know what was going on back then.”
Brandon Scott, Cherokee Phoenix executive editor, said when he was approached about the project he “didn’t hesitate” to say yes.
“A print action is an event that you can attend where artists are screen-printing live,” CHC Curator Callie Chunestudy. “So you can bring items such as shirts or tote bags and they’ll print on those for you or we’ll be giving out paper prints of the images they’ve designed for us today.”
Participating artists were Bobby C. Martin (Muscogee Creek), Tony Tiger (Sac and Fox/Seminole), Margaret Roach Wheeler (Chickasaw/Choctaw), as well as Cherokee artists Toneh Chuleewah, Demos Glass and Roy Boney.
“It’s a chance for patrons to come out and meet the artists of the exhibit whose works they’ve seen over the summer. We’re also giving out free prints so it’s an opportunity for free art and to learn more about contemporary Native American art,” Chunestudy added.
Boney said he was proud to be a part of the traveling exhibit. “The ‘Return from Exile’ show has traveled across the country and features contemporary art of Southeastern tribal artists.”
“I’ve been interested in art all my life. My dad was really good friends with Cherokee artists, so I remember being around that art all the time,” she said. “I also took art classes in school and entered art shows when I was kid, but I really just did it for fun.”
When Washington fell on hard times with her son’s death and an injury to her back that prevented her from working, art became her refuge.
“I lost my son in 2000, so I started drawing then for therapy. I probably didn’t take it seriously until four years ago though. I hurt my back, and I wasn’t able to work anymore, so I had the time to sit down and start creating,” she said.
With that free time, Washington wanted to stay productive. Her sister challenged her to create a piece of art every day as part of what she called “25 days of Christmas.”
Around 330 participants attended the event, taking tours of the Diligwa Village, Cherokee National Museum and Adam’s Corner Rural Village. Participants also played ancient Cherokee games such as stickball, marbles and chunkey; used blowguns and bow and arrows; and made small pinch pots, cornhusk dolls and mini stickball sticks for Make and Take projects.
The participants were divided into 11 groups, and from 9 a.m. to 4 p.m. took turns rotating to different stations set up across the CHC grounds. Despite the heat, officials deemed the event successful.
“This is from our summer (employment) youth program. It’s our work program. They work for eight weeks, and we just incorporate this as part of it,” Jeff Vance, Career Services Director of Employment, said.
The Summer Youth Cultural Day is the first for the program. Career Services has hosted a Career Day for the past 10 years but opted for a cultural day this year.
ᎠᏭᏂᏴᏍᏗ, ᎣᎦᎵᎰᎹ – ᎾᏍᎩ ᏣᎳᎩ ᎠᏰᎵ ᏧᏂᎸᏫᏍᏓᏁᏗ ᏗᏂᏍᏕᎵᏍᎩ ᎤᏂᏍᏆᎸᎡᎸ ᎢᎬᏱ ᎪᎦ ᎨᎳ ᏗᎾᏛᏍᎩ ᏂᏧᎵᏍᏓᏅᏍᏔᏅ ᎢᎦ ᎾᎿ ᎠᏁᏙᎯ ᎾᎿ ᎪᎦ ᎬᎳ ᏗᎾᏛᏍᎩ ᏧᏂᎸᏫᏍᏓᏁᎯ ᎤᎾᏙᏢᎯ ᎾᎿ ᎫᏰᏉᏂ ᏔᎵᏍᎪ ᏌᏊᎯᏁ ᎾᎿ ᏣᎳᎩ ᏧᎾᏓᎴᏅ ᎠᏰᏟ.
ᏯᏛᎾ ᏦᎢᏧᏈ ᏦᏍᎪᎯ ᏯᏂ ᎤᎾᏖᎳᏛ ᎤᏁᏙᎸ ᎯᎠ ᎠᏍᏆᎵᏍᎬᎢ, ᎠᏂᎶᏍᎬ ᎾᎿ ᏗᎵᏆ ᎤᏍᏓ ᎦᏚᎲᎢ, ᏣᎳᎩ ᎬᎾᏕᎾ ᎤᏪᏘ ᎠᏍᏆᏂᎦᎪᏛᏅᎲᏍᏗ ᎠᎴ ᎠᏓᏫ ᎤᏅᏏᏗᏍᏛ ᎤᏍᏗ ᎦᏚᎲ. ᎠᏂᎦᏕᏃᎵᏙ ᎾᏍᎩ ᏓᎾᏁᎶᎲᏍᎪ ᎾᎿ ᎤᏪᏘ ᎠᏂᏣᎳᎩ ᏧᎾᏁᎶᏗ ᏯᏛᎾ ᎠᎾᎳᏍᎦᎵᏍᎬ, ᏗᎦᏓᏲᏍᏗ ᎠᎴ chunkey; ᏃᎴᏍᏊ ᏚᏇᏍᏗ ᎠᎴ ᎦᎵᏣᏗ ᎠᎴ ᏗᎦᏟᏓ; ᎠᎴ ᏚᏃᏢᏅ ᏧᏍᏗ ᎦᏓᎫᎫ, ᏎᎷ ᎤᏄᎶᏔᏅ ᏗᎪᏢᏔᏅ ᏗᏁᎶᏗ ᎠᎴ ᏧᏍᏗ ᏗᎳᏍᎦᎸᏙᏗ ᎾᏍᎩ ᏱᎪᏢᏅ ᎠᏫᏛᏓ.
ᎯᎠ ᏗᎾᏁᎶᎲᏍᎩᎨᎦᏗᎦᎴᏴ ᏌᏚ ᎢᏧᎾᏓᏡᎬ ᏂᏚᏅᏁᎸ, ᎠᎴ ᏂᏛᏁᎵᏍᎩ ᏐᏁᎳ ᏌᎾᎴ ᎾᎿ ᏅᎩ ᎢᎪᎯᏓ ᏒᎯᏱᏯ. ᏓᎾᏓᏁᏟᏴᏎᎬ ᎾᎿ ᏄᏓᎴ ᏧᏃᏢᏒ ᏩᏂᎷᎬ ᎾᎿ ᏗᎦᎾᏗᏫᏍᏗ CHC ᎦᏙᎢ.
ᏁᎳᎩ ᏄᏗᏢᎬᎢ, ᏗᎾᏓᏘᏂᏙ Ꮭ ᎪᎱᏍᏗ ᏯᏁᎵᏍᎦ ᏄᏗᏝᎬᎢ ᎾᏍᎩᎾ ᏓᎾᏁᎶᎲᏍᎬ ᎣᏍᏓ ᏄᎵᏍᏔᏅᎩ.
“ᎯᎢᎾ ᎾᏍᎩ ᎪᎦ (ᏧᏂᎸᏫᏍᏓᏁᎯ) ᎨᎳ ᏗᎾᏛᏍᎩ ᎤᎾᏙᏢᎯ. ᎾᏍᎩ ᎯᎠ ᎣᎩᎭ ᎣᎦᏙᏢᎯ. ᏚᏂᎸᏫᏍᏓᏁᎰ ᏧᏁᎳ ᎢᏳᎾᏙᏓᏆᏍᏗ, ᎠᎴ ᎾᏍᎩ ᎯᎠ ᎣᏣᏠᏯᏍᏗᏍᎪᎢ,” ᎢᎬᏩᎾᏛᏗ ᎢᏳᏍᏗ ᎨᏒᎢ ᏗᏎᎮᎯ ᏧᏂᎸᏫᏍᏓᏁᏗ ᎯᎠ Jeff Vance ᎠᏗᏍᎬᎢ.
ᎾᏍᎩ ᎯᎠ ᎪᎦ ᎨᎳ ᏗᎾᏛᏍᎩ ᏗᎩᎶᏒ ᎢᎦᏛᏁᎵᏓᏍᏗ ᎢᎪᎯ ᎾᏍᎩ ᎢᎬᏱ ᎾᎿ ᎤᏃᏪᎸᎢ. ᎢᎬᏩᎾᏛᏗ ᎨᏒ ᎢᎦ ᎾᏍᎩ ᎢᎬᏱ ᎾᏍᎩ ᎢᏳᏍᏗ ᎤᏙᏢᎯ. ᎢᎬᏩᎾᏛᏗ ᎨᏒ ᎾᏍᎩ ᎠᏍᏆᎵᏗᏍᎪ ᎢᏳᏍᏗ ᏯᎾᏛᏁᎯ ᎢᎪᎯ ᎾᏍᎩ ᏍᎪᎯ ᏧᏕᏘᏴᏓ ᎾᎪᎯᎸ ᎾᏍᏊ ᏂᏧᎾᏛᏁᎸᏍᏔᏅ ᎢᎪᎯ ᎯᎠ ᏧᏕᏘᏴᏌᏓ.
Vance ᎠᏗᏍᎬ ᏧᎪᏓ ᏓᏙᏢᏍᎪ ᎬᏩᎾᏖᎳᏗᏍᏗ ᎨᏒ ᎾᎿ ᏧᎾᏛᏒ ᏂᎦᏒᎾ ᎢᏳᎾᏛᏁᎵᏓᏍᏗ ᎠᎴ ᎤᏂᎪᎲ ᏂᎦᏒᎾ ᎤᎪᏛ “ᏣᎳᎩ ᎤᎳᏂᏓᏍᏗ ᎨᏒᎢ.”
“ᎾᏍᎩ ᎯᎠ ᎠᏉᎯᏳ ᎦᏓᏅᏖᏍᎬ ᎾᏍᎩ ᎯᎠ ᏂᎦᏯᎢᏎᏍᏗ ᏛᏛᏏ. ᎾᏍᎩ ᎤᏠᏯᏍᏗ ᎯᎠ ᎤᏙᏢᎯ, ᎠᎴ ᎤᏠᏯᏍᏗ ᏣᎳᎩ ᎠᏰᎵ. ᎾᏍᎩᎾ ᏗᎾᏓᏘᏂᏙᎯ, ᏗᏂᎳᏫᎩᏅ, ᎾᏍᎩ ᎯᎠ ᏭᎵᏍᎨᏗᏴᎢ ᎯᎠ ᎤᎾᏙᏢᎯ ᎾᎿ ᏣᎳᎩ ᎠᏰᎵ,” ᎠᏗᏍᎬᎢ Vance.
ᎾᏍᎩ SYEP ᎾᎿ ᎤᏙᏢᎯ ᎾᎿ ᎢᎸᏍᎩ ᏧᏕᏘᏴᏓ ᎠᎴ ᎠᎵᏍᎪᎸᏗᏍᎪ ᎤᎾᏖᎳᏗᏍᏗ, ᎢᏧᎾᏕᏘᏴᏓ ᏓᎳᏚ ᎾᎿ ᏔᎵᏍᎪ ᏅᎩ ᎢᏍᏗ, ᏧᏂᎸᏫᏍᏓᏁᏗ ᎠᏜᏅᏓᏗᏍᎬᎢ ᎾᎿ ᎪᎦ ᎨᏒ ᎾᎿ ᎠᏕᎳ ᎬᏩᏂᏩᏛᏗ ᎨᏒ ᎠᎴ ᎤᎾᏕᎶᏆᏍᏗ ᎪᎱᏍᏗ ᎤᎾᏛᏁᏗᎢ ᎤᎾᏚᎵᏍᎬ ᎾᎿ ᎤᎾᏚᎵᏍᎬᎢ.
ᎯᎠ ᏧᏕᏘᏴᏌᏛ ᎤᎪᏛ ᎾᏃ 720 ᎤᎾᏖᎳᏛ ᎯᎠ ᎤᏙᏢᏒᎢ, ᎠᎴ Isaacs ᎠᏗᏍᎬ ᎾᏍᎩ ᏭᏂᎪᏛᎢ ᎤᎾᏓᏡᎦ ᎯᎠ ᎤᎾᏙᏢᎯ ᎤᏂᎷᏨᎢ.
Jonathan Crittenden, ᎢᎬᏩᎾᏛᏗ ᎨᏒ ᎢᎦ ᎠᎾᎵᏏᎾᎲᏗᏍᎩ ᏗᏓᏘᏂᏙᎯ, ᎠᏗᏍᎬ ᎾᏍᎩ ᎤᏂᏃᎮᏗ ᎾᎿ ᏄᎾᏛᏁᎸ ᎾᎯᏳ ᎢᎦ ᎠᎴ “ᎣᏍᏓ” ᎨᏒᎢ ᎠᎴ ᏂᎦᏓ ᎤᎾᏖᎳᏛ ᎾᏍᎩ ᎾᏛᏁᎰ ᎠᎴ “ᎤᏍᏆᏂᎪᏓ ᎤᏂᏱᎸᏒ” ᎾᎿ ᎾᎾᏛᏁᎲᎢ.
ᏧᏂᎸᏫᏍᏓᏁᏗ ᎤᎾᏙᏢᎯ ᎠᏓᎴᏂ ᎪᏪᎵ ᏓᏂᏁᏍᎬ ᎾᎿ SYEP ᎾᎿ ᎪᎨᏯ ᏥᏓᏯᎢ ᎠᎴ ᏧᏂᏁᏗ ᎠᏁᎳ, ᎾᏍᎩ ᏂᎦᏓ ᎤᏂᎶᏒ ᏄᏍᏛ ᎨᏥᏁᏤᎲᎢ, ᎾᎿ ᏧᏂᎸᏫᏍᏓᏁᎯ ᏂᎬᎾᏛ ᏣᎳᎩ ᎠᏰᎵ ᎠᏟᎶᎥᎢ ᎾᎿ ᏧᏂᎳ ᎢᏳᎾᏙᏓᏆᏍᏗ ᎾᎿ ᎪᎦ ᎨᏒᎢ.
“ᎣᏍᏓ ᎤᎾᏙᏢᎯ. ᎨᎵᎠ ᎾᏍᎩ ᏬᏌᏂᏴ ᎾᏍᎩ ᏥᎪᏢ ᏧᏂᎸᏫᏍᏓᏁᏗ ᎤᎾᏕᎶᏆᏍᏗ ᏅᏗᎦᎵᏍᏙᏗ ᎾᏍᎩ ᎨᏒ ᏥᎦᏓᏡᎦ, ᏕᏙᏢᏍᎪᎢ. ᎠᏎᏃ ᏙᏤᏲᎲᏍᎪ ᎨᎳ ᏗᎾᏛᏍᎩ ᎠᎴ ᏙᏥᏍᏕᎵᏍᎪ ᎯᎠ ᎨᏒᎢ, ᎢᎦᏃ ᎣᏍᏓ ᎤᎾᏙᏢᎯ,” ᎠᏗᏍᎬ Isaacs.
Included in the exhibit are Gen. Stand Watie’s bowie knife, an 1866 handwritten draft of the Reconstruction Act between the U.S. government and the Cherokee Nation, stone and shell artifacts, photographs of notable Cherokees and portions of the CHC’s basket collection.
CHC Curator Callie Chunestudy said the Cherokee National Archives has more than 40,000 items in collections and 200,000 items in its archives dating back to pre-European contact.
“Our building was built in 1972 and was originally designed just as a museum,” Chunestudy said. “Throughout time we have developed into the premier cultural center for Cherokee history, culture and the arts, and with that evolution came immense growth. We are now at a point where we have to update and expand our facilities to accommodate our archives and ensure that these items remain available to preserve, promote and teach Cherokee culture for generations to come.”
CHC Archivist Jerry Thompson said the exhibit would showcase items most patrons never see.