archived image

Art act in effect at holiday

BY TRAVIS SNELL
09/18/2008 10:23 AM
TAHLEQUAH, Okla. – This Cherokee National Holiday, anyone marketing themselves as Indians and operating vendor booths on Cherokee Nation property must be able to prove citizenship in a federally recognized tribe or face expulsion.

The tough measure stems from the tribe’s Truth in Advertising for Native Art Act, which Tribal Councilors passed and Principal Chief Chad Smith signed in January.

“We sent all of our arts and crafts vendors a copy of the Truth in Advertising for Native Art Act along with an arts and crafts contract,” Lou Slagle, holiday coordinator, said. “I’ll be making up some sort of license or verification (showing) that this vendor is an authorized Native American vendor.”

He said his staff would check booths to ensure that the act is followed and that if a vendor is caught misleading or deceiving customers, the vendor would be escorted off CN property by CN marshals and banned.

Despite the tough penalty, the act isn’t designed to stop non-Indians from operating holiday booths, but to stop them from claiming to be Indians.

“Any vendor can go out there. It’s just the difference between this vendor being certified as a tribal member versus someone who is just selling stuff,” Tonia Williams, CN Web manager and member of the tribe’s Fraudulent Indian Tribes Team, said. “As a Cherokee, as a federally recognized tribal citizen, you should be able to be certified as a federally recognized tribal citizen instead of just coming in and claiming to be Indian.”

FITT members said they initiated the act after seeing non-Indians using Web sites, buying memberships into state-recognized tribes or other so-called Indian groups and calling or associating themselves with Indian cultures – primarily through art – to legitimize themselves as Indians.

Cara Cowan Watts, Dist. 7 Tribal Councilor and FITT member, said many non-Indians use “fake identities” to sell art, fabricate culture and legitimize themselves as Indians.

Williams said FITT members don’t know how much money has been spent on non-Indian art over legitimate Indian art during the years but “for every dollar they (non-Indians) receive, it’s a dollar that doesn’t go to a real Native American.”

Theact’s main purpose is to foster authentic Indian art and combat non-Indians selling art as Indian art by defining an Indian as a federally recognized tribal citizen. Cowan Watts said the limited definition makes the CN act stronger than the U.S. Indian Arts and Crafts Act, which includes state-recognized tribal citizens.

She said the tribe’s act also expands the definition of art. It states that art is “an object or action that is made with the intention of stimulating the human senses as well as the human mind/and or spirit regardless of any functional uses,” including crafts, handmade items, traditional storytelling, contemporary art or techniques, oral histories, other performing arts and printed materials.

“It is to clarify any art, performing art, physical art or written art that you have to be a federally recognized tribal citizen if you are claiming that those things are Indian or Native American,” Cowan Watts said. “That’s different from the federal Indian Arts and Crafts Act in that it is more inclusive of all art forms. And it limits it to federally recognized tribal citizens because we believe that so-called state recognized tribes are illegitimate.”

FITT coordinator Julie Ross said the federal law allows non-Indians to market themselves as Indians because all they have to do is join a state-recognized tribe, which usually requires an enrollment fee.

“Because the federal act recognizes state-recognized tribes, it is meaningless,” Ross said.
CN’s act also establishes guidelines for the purchase, promotion and sale of genuine Native American arts and crafts within its jurisdiction and by its entities. That includes CN government offices, Cherokee Nation Businesses, Cherokee Nation Enterprises, Cherokee Nation Industries, the Housing Authority of the Cherokee Nation and any component and entity the CN is a sole or majority stockholder or owner.

For example, if non-Indian vendors sell items while claiming to be Indians on Cherokee Heritage Center grounds and go unpunished, the CHC could lose its CN funding.
“This is still all in process,” Williams said. “We don’t know what really is going to happen, but we hope that we at least start a trend.”

Cowan Watts said the act’s enforcement at holidays should bring back Cherokee artists who have been pushed out by non-Indians.

“What we find is, too frequently, it’s real easy for these folks who aren’t Cherokee to scream and yell louder than our real Cherokees,” she said. “If these non-Indian people spend their entire day playing Indian while all our real tribal citizens have regular jobs, then it’s much easier for all these people buying and selling to be attracted to these non-Indians. This will be the first holiday that the act has an effect on, so I expect that to encourage our traditional folks to return.”

The act also states the CN shall not knowingly offer for sale art produced by individuals who falsely claim, imply or suggest they are Indian and will not host, sponsor, fund or otherwise devote or contribute resources to exhibits showing artists who falsely claim, imply or suggest they are Indian.

“So we if find the Five Civilized Tribes Museum (in Muskogee, Okla.) is including known wannabes, not just state recognized…but people who are not part of a state-recognized tribe and are truly just claiming to be Indian in an art show over our federally recognized tribal citizens we could pull the money,” Cowan Watts said. “Our belief is that the Five Tribes Museum is supposed to serve the Five Civilized Tribes.”

Roger Cain, a Cherokee citizen and artist from Stilwell, Okla., said he and his wife Shawna support the act and see it as honoring their Cherokee ancestors.

“To me, if they are federally recognized they are the ones with the ancestors who stood up and said ‘I’m Cherokee; I’m Keetoowah,’ from the very beginning. We have to honor our ancestors who did this,” he said. “I got friends who are mad about it and were from the very beginning. I feel bad for them, but I tell them that I’m honoring my ancestors.”

Cain said although he supports the act, he thinks state-recognized tribal citizens have the right to make art but should have separate categories at art shows.

“If a person is buying Native art, they should know that the artist still lives in the community, still works with the Indian community and practices within the Indian community and is federally recognized,” he said. “We want to make a different category for the state-recognized tribes so they can show their stuff and aren’t competing with us.”

He does, however, want the law to impact people who know nothing about Indians or Indian culture yet tell people they are Indian.

“I want this law to impact those guys,” he said. “That’s what this law is about, catching those guys. If I’m out here in the woods gathering what I need to make my art piece, and then somebody in a big city who all of a sudden realizes they are Indian because of an old family photo can order stuff off the Internet and make their piece, it makes me say, ‘hey, I’m out here living the Cherokee culture by gathering my materials and you’re living where the Cherokees got moved away from.’ That is what the act is about – reinforcing real Cherokees and real Indians.”

FITT members said along with the holiday booths and CHC gift shop, the act has also affected CNE’s art markets and gifts shops by ensuring each item sold under the Indian art label is made by federally recognized tribal citizens.

“The entities have cleaned up a lot of the stuff they had,” Williams said. “We’ve had everything from stuff made in China to artists’ works and things like that. They have cleaned up to where they aren’t presenting non-Indians’ works, especially books. If you are saying that you are Cherokee in the book, and you’re not, then don’t say it.”

Cowan Watts said books not written by “federally recognized tribal citizens are supposed to be migrated out or there’s going to be a sticker on them saying they are not Cherokee or Indians.”

One writer she cites is author Robert J. Conley, whose books include Cherokee history-based fictions, as well as the non-fiction works “A Cherokee Encyclopedia” and “The Cherokee Nation: A History,” which the CN commissioned him to write.

Cowan Watts said Conley is only an associate member of the United Keetoowah Band and can’t trace any Cherokee heritage.

Conley, who disagrees with the act, said he traces his Cherokee lineage to the Dawes Rolls via his grandmother, Myrtle E. Parris, who is listed on the final rolls.

“If I’m not a Cherokee, it’s interesting that the Cherokee Nation registered me initially and the UKB later enrolled me,” he said. “My grandmother is one of the original (Dawes Rolls) enrollees. If Cara Cowan and her cohorts have nothing better to do than be Cherokee blood police, then they need to find some kind of lives for themselves.”

According to the UKB Office of Enrollment, Conley is an inactive member.

“In tribal enrollment terms his file is labeled ‘inactive’ because there is no record of a relinquishment letter (of CN citizenship) or a CDIB (Certificate Degree of Indian Blood) for Mr. Conley,” Sammy Still, UKB media coordinator, wrote in an e-mail. “In regards to whether Mr. Conley would be able to become a member of the United Keetoowah Band, this would depend on what degree of blood he is by providing the tribe with a CDIB.”

Conley said there was no relinquishment letter because he wasn’t a CN citizen when he enrolled in the UKB and that he doesn’t have a CDIB because he doesn’t want one.

Another aspect of the act allows the CN Tribal Employment Rights Office to certify a list of federally recognized tribal citizens as artists. Artists who register on the list would do so voluntarily, which Cowan Watts encourages.

“I get calls from Tulsa corporations or from all over the United States…and they want to buy gifts or something like that,” she said. “That way there’s a list I can send that is much more fair and equitable and we know it’s legitimate.”

Cowan Watts said the act should also help with the tribe’s cultural tourism by ensuring that tourists meet authentic Cherokees and Cherokee artists.

“We also felt that it was important to get ahead on this for the cultural truth,” she said. “It’s an economic development tool, and it’s important that we have all this in place before cultural tourism develops. We don’t want Japanese and German tourists coming in and buying from these known wannabes. We want them buying from our community members…not from who has the biggest turkey feathers.”
About the Author
Assistant Editor

Travis Snell has worked for the Cherokee Phoenix since 2000. He began as a staff writer, a position that allowed him to win numerous writing awards from the Native American Journalists Association, including the Richard LaCourse Award for best investigative story in 2003. He was promoted to assistant editor in 2007, switching his focus from writing to story development, editing, design and other duties.

He is a member of NAJA, as well as the Society of Professional Journalists, Investigative Reporters and Editors, and Society of News Design.

Travis earned his journalism degree with a print emphasis in 1999 from Oklahoma City University. While at OCU, he served as editor, assistant editor and sports reporter for the school’s newspaper.

He is married to Native Oklahoma publisher Lisa Snell. The couple has two children, Sadie and Swimmer. He is the grandson of original enrollee Swimmer Wesley Snell and Patricia Ann (Roberts) Snell.
Assistant Editor Travis Snell has worked for the Cherokee Phoenix since 2000. He began as a staff writer, a position that allowed him to win numerous writing awards from the Native American Journalists Association, including the Richard LaCourse Award for best investigative story in 2003. He was promoted to assistant editor in 2007, switching his focus from writing to story development, editing, design and other duties. He is a member of NAJA, as well as the Society of Professional Journalists, Investigative Reporters and Editors, and Society of News Design. Travis earned his journalism degree with a print emphasis in 1999 from Oklahoma City University. While at OCU, he served as editor, assistant editor and sports reporter for the school’s newspaper. He is married to Native Oklahoma publisher Lisa Snell. The couple has two children, Sadie and Swimmer. He is the grandson of original enrollee Swimmer Wesley Snell and Patricia Ann (Roberts) Snell.

Culture

BY WILL CHAVEZ
09/23/2014 07:42 AM
TAHLEQUAH, Okla. – Danielle Culp of Claremore, Okla., is excited about finger weaving. You can hear it in her voice as she explains her finger weaving journey and how she continues to learn more about the craft. Culp has a finger weaving business where she makes custom, colorful belts using yarn. She is also a basket weaver, a pottery maker, traditional storyteller and sings and composes songs in Cherokee, but her main focus is on finger weaving. “I’m a dabbler. I like to do a lot of different things,” the Cherokee citizen said. She prefers finger weaving more than her other interests because there’s not many Cherokee finger weavers, and the art form doesn’t get a lot of attention. She said she would like to bring more attention to traditional Cherokee finger weaving. To be a successful finger weaver takes patience, Culp said. “You can do finger weaving any where. You can tie it (yarn) to a tree branch, you can tie it to a chair; as long as you have a post, you can do finger weaving,” she said. “You just need yarn and a lot of patience.” She explained when she finger weaves belts for people she wants them to choose their own designs and colors, so she rarely pre-makes belts and instead customizes belts for her customers. Depending on the design of the belt, the width of the belt, and the width of the person, a belt can take eight to 40 hours to complete, she said. “So you have to like doing the same motion over and over again and have a lot of patience so that if you do make mistakes you can go back and fix them,” she said. Currently, Culp weaves only belts, but she said finger-woven purses can be made. She said she admires the work of fellow Cherokee artist Karen Berry who finger weaves purses. “I haven’t branched out. I take a lot of personal orders for belts, and I’m actually back ordered right now, so I don’t have a lot of time to branch out and create other projects. My big focus right now is just belts,” she said. Culp said there are drawings from the 1700s of Cherokee men wearing finger-woven belts, and only men wore the belts, tied around their waist, during that time period. Before trading with Europeans for yarn and fabrics, Cherokee women would have used plant fibers like those found inside Mulberry tree bark to make belts. The fibers would have been twisted together to make strands that were dyed before being woven into a belt, Culp said. When trade began with Europeans, Cherokee women began using wool yarn that was already spun and dyed, which was much easier for them. Today she goes to a local crafts store to buy wool, acrylic or cotton yarn for her belts. For art shows, she said she has to use wool yarn. “I prefer acrylic yarn, but I do use wool when people request it,” she said. Filling orders for belts allowed her to make extra money while attending Northeastern State University in Tahlequah. “I could do it on my own time; I could do it in my dorm room. It did help put myself through college, and it’s also helped me make some spare money on the side,” she said. When she was 15, Culp took part in a Youth Leadership Institute seminar and one of the classes she took there was finger weaving that was taught by Cherokee citizen Wade Blevins. “We learned how to do the diagonal pattern. I’m kind of like a sponge. I like to soak things up, so I was really intrigued by finger weaving,” she said. “I got a book, and I learned how to do other designs. I did learn my first design from Wade, but I taught myself the other designs through books that I found. There are different designs you can do, and there are definitely different levels." She said it’s a constant process of learning how to finger weave. “You learn a lot of different things about finger weaving the more and more you do it, so even though I have been doing it almost 10 years, I learn something new every day.” She recently began studying open-face weaving, which is the oldest form of finger weaving done by the Cherokee people, she said. She recently completed her first belt and garter set using open-face weaving or a single weave. Cherokee artist and Executive Director of the Cherokee Heritage Center Candessa Tehee taught Culp this type of weaving. Tehee is a self-taught finger weaver. “I really love to finger weave, and I really love to teach people who want to learn,” Tehee said. “I have been researching and looking at older styles of finger weaving, and I noticed to do the patterns and styles that I want to do, I would have to learn how to do oblique or open-face weaving. It wasn’t something I knew how to do, so I picked up a book and figured it out. Once I figured it out I immediately began practicing it.” She added she then met Culp and saw that “she had a huge love of finger weaving.” She showed Culp how to do open-face weaving and taught her that open-face weaving is the only way to add beads to a belt design to add color. “Knowing there are other people out there keeping this tradition alive is really exciting,” Tehee said. Culp has worked at the Cherokee Heritage Center for three summer seasons. During her first summer she learned how to make pottery. During the last two summer seasons she has been a tour guide and the principal finger weaver in the Diligwa Village, which is a Cherokee village set in the early 1700s. “It was really nice to have that job because I could finger weave, and I could educate people that visit our Heritage Center from all over the world about our traditional textiles,” she said “It also gave me the opportunity to teach other people. So over the past two summers I taught five to six girls how to do finger weaving.” Culp said it was instilled in her to pass on the knowledge she receives from other artists. She added she tries to instill in the girls she teaches that they also need to pass on their knowledge of finger weaving. “If I’m a finger weaver and I finger weave the rest of my life and I don’t teach anyone else, I really don’t leave a legacy. I can leave beautiful belts behind, but when I pass on there’s no one else to fulfill that legacy,” she said.
BY STAFF REPORTS
09/18/2014 03:21 PM
MUSKOGEE, Okla. –Conservationists recently joined forces to clean and preserve Native artifacts, art and archives at Bacone College’s Ataloa Lodge Museum during a recent artifact and art preservation event weekend. The three-day weekend event was funded by the Oklahoma Heritage Trust and the Oklahoma Department of Libraries and Museums and had a team of fine art, paper, basket and textile conservators. The conservators observed the various collections, performed minor conservation treatments, re-housed items with other materials, which met museum and archival standards, and constructed a plan for future care of the items. For more information about the project or to contribute to the maintenance of collections at Bacone College, call 918-781-7223.
BY STAFF REPORTS
09/17/2014 11:37 AM
TAHLEQUAH, Okla. – On Oct. 2-3, students will have the opportunity to interact at the Cherokee Heritage Center and learn about Cherokee history as part of Ancient Cherokee Days. “This is a great opportunity for children to learn about ancient Cherokee life in a fun, interactive way,” CHC Education Director Tonia Weavel said. “When they leave Cherokee Heritage Center, they will have a better understanding of what life was like for Cherokees 300 years ago.” The event is set in an outdoor classroom setting for students in grades kindergarten through 12 and is for public, private and homeschooled children. The event is primarily held inside Diligwa, which is the CHC’s authentic recreation of Cherokee life in the early 1700s. There are many Cherokee cultural learning stations available throughout the grounds that feature chunkey, marbles, stickball, blowguns and language. The outdoor cultural classes also feature interactive curriculum and games centered on Cherokee lifestyle in the early 18th century, including craft demonstrations in pottery making, basket weaving, food grinding, weapons or tool making and language. Admission to Ancient Cherokee Days is $5 per student. Accompanying adults are free. Face painting, which represents Cherokee tattoos from the early 1700s, is offered at $1 per design. Admission also includes tours of the Cherokee National Museum, the Trail of Tears exhibit and Adams Corner. Picnic tables are available for guests bringing lunches. The CHC has ample parking for school buses and private vehicles. The Murrell Home, one-half mile south, has additional picnic and playground areas. Registration for Ancient Cherokee Days begins at 9:30 a.m. The event will occur rain or shine, with an established curriculum in place for inclement weather that allows students to continue to enjoy the stations. For more information, call Weavel at 918-456-6007 or email <a href="mailto: tonia-weavel@cherokee.org">tonia-weavel@cherokee.org</a>.
BY STAFF REPORTS
09/15/2014 04:04 PM
TAHLEQUAH, Okla. – Four Cherokee Nation citizens were given the designations of Cherokee National Treasure during an Aug. 28 ceremony in the Sequoyah High School gym. “Our 2014 awardees all exemplify the values that we hold dear as Cherokee people and they advance our culture in their respective disciplines,” said Principal Chief Bill John Baker. “Each and every one of these honorees deserves our deepest respect and gratitude. Their positive influence propels us all, as Cherokee people, forward.” David Comingdeer was named Cherokee Nation Treasure for his stickball stick making. He has been crafting his handmade sticks for 22 years from hickory wood that he cuts and then shapes using heat to make the wood flexible. He said he takes great care to perpetuate the art in the ways of his ancestors. Comingdeer’s family has lived in both Adair and Cherokee counties since their arrival in Indian Territory. He resides in the community of Spade Mountain, where he cultivates a pine tree plantation. Comingdeer is of the Paint Clan and is a member of the Echota Ground at Park Hill where he is head chief. He and his children have an active ceremonial life and spend much of their time traveling to ceremonial stomp dances across eastern Oklahoma. A lifelong resident of the CN, Clesta J. Manley was born on her father’s allotment land on the banks of the Grand River. For 30 years, Manley has shared Cherokee culture and art with the Indian Women’s Pocahontas Club where she encourages members to learn more about history and culture. She started drawing at age 9 and continues to paint in a variety of media. Manley has participated in exhibitions throughout the state, won numerous awards, as well as a grant for a month to paint in Italy provided by the University of Tulsa Art Department. She has participated in juried shows at Philbrook Art Museum, Gilcrease Art Museum, Walton Art Center and the Cherokee Homecoming Art Show. Eddie Morrison, a native of Tahlequah, is a contemporary sculptor who has worked in wood and stone for 38 years. He is a graduate of the Institute of American Indian Arts in Santa Fe, N.M. Morrison often uses red cedar in his works for the variations in color provided by the wood. Another favored material is Kansas limestone that he collects himself. Much of this limestone contains fossils from a prehistoric sea that once covered much of North America. These fossils are often visible in the rough portions of Morrison’s stone sculptures. Morrison’s works are featured at the Department of Interior Building in Washington, D.C., on the Chisholm Trail monument at the Kansas-Oklahoma border, as well as in permanent collections throughout the country. Cherokee language specialist John Ross is a native of Greasy and a translation specialist for the tribe’s Education Services. Ross previously worked as a research analyst and grant writer for CN Community Services and served eight years as chief and four years as treasurer for the United Keetoowah Band of Cherokee Indians. Ross is bilingual and speaks Cherokee as a primary language. He serves as chairman of the Ethnobotany Publications board, which focuses on Cherokee cultural-environmental issues and is dedicated to the preservation of tribal environmental knowledge. Ross also serves on the Cherokee Elders Council. In 2013, Ross received the Perry Aunko Indigenous Language Preservation Award from the Greater Tulsa Area Indian Affairs Commission.
BY WILL CHAVEZ
09/12/2014 12:42 PM
TULSA, Okla. – Cherokee Nation officials announced a six-figure partnership with Gilcrease Museum on Sept. 11 to create a special Cherokee exhibition in 2017. The exhibition will display an estimated 100 items of Cherokee history from the museum’s collections. To help fund the exhibition, CN officials donated $100,000 to the museum during a ceremony. “We are celebrating a new milestone with the Cherokee Nation with an effort to provide more education about the emergence of the Cherokee Nation following removal – a very amazing story of unification that has led to growth that has led to a remarkably vibrant Cherokee Nation today,” University of Tulsa President Steadman Upham said. “We take seriously the stewardship charge of all of the records we keep.” The City of Tulsa owns the museum, but the university has operated it since 2008. The museum possesses 11 lineal feet of the John Ross Papers that chronicle major events during the former principal chief’s life, including the tribe’s struggle against forced removal to Indian Territory in 1838-39, internal violence with post-removal factionalism, the tribe’s unification, the Nation’s rebuilding in Indian Territory and the American Civil War that devastated it. Duane H. King, director of the museum’s Helmerich Center for American Research, said the dates that will be covered by the “Emergence of Cherokee Nation in Indian Territory” exhibition are 1828-66, which coincide with Ross’ tenure. Ross was principal chief for 38 years, longer than any other person in tribal history. “It’s commendable that the leadership of the Cherokee Nation...understand the importance of education and the importance of sharing the Cherokee story with the world,” King said. “Our partnership and collaboration with the CN will last many years.” Principal Chief Bill John Baker said the donation is a way he and the Tribal Council can fulfill part of their oaths of office to carry on “the culture, heritage, traditions and language” of the Cherokee people. “This is one small way we can help fulfill our obligation with good partners that we know will tell the story accurately – will tell the story that will allow people to come and learn a little more about who we are as a people, about who we are as a tribe, about where we came from and about where we’re going,” Baker said. “It’s absolutely our honor and privilege to work with Gilcrease and with TU to carry on a mission that is a passion to all concerned.” Most items for the exhibition will come from the Gilcrease collection, but museum officials also plan to showcase significant Cherokee items from other museums. Among the items slated for display are portraits of famous Cherokee leaders and other art and artifacts reflecting the emergence of the CN in Indian Territory. Museum officials will work with Cherokee Nation Cultural Tourism in the exhibition’s development. Much of CNCT’s work during the past six years has been on the time period in Cherokee history that will be showcased in the exhibition. In November 2013, CN officials contributed a collection of more than 2,000 pages handwritten by Ross for preservation. The project complements an ongoing partnership between Cherokee language translators and Gilcrease Museum to translate Cherokee documents to English for the first time. “The story of the emergence of the Cherokee Nation in Indian Territory is the story of triumph over adversity. It’s the story of success in the face of tragedy, and it’s one of the most poignant accounts in the annals of recorded history,” King said. “It’s a story we want to share with the public, and we believe it will generate considerable interest locally, regionally and nationally.” Gilcrease Museum is one of the country’s leading facilities for the preservation and study of American art and history. It houses a large collection of Native American art and artifacts as well as thousands of historical documents, maps and manuscripts. For more information, visit <a href="http://www.gilcrease.utulsa.edu" target="_blank">www.gilcrease.utulsa.edu</a> or call 918-596-2700.
BY WILL CHAVEZ
09/10/2014 08:35 AM
TAHLEQUAH, Okla. – The annual Cherokee Holiday Art Show continues to grow both in entries and categories. The Cherokee Nation and its Commerce Department sponsored the ninth annual art show held Aug. 29-31 in the Tahlequah Armory Municipal Center. The show had 112 artists who entered 178 pieces of paintings, jewelry, pottery, sculptures, photographs, textiles and baskets. The artists competed for $12,000 in prize money with $900 going to the Best in Show winner. Troy Jackson of Grandview won Best in Show for his clay sculpture “The Gift,” which he said symbolizes the industrial revolution and how it affected Native Americans. “I’ve been wanting to learn more about the industrial revolution and the effect it had on Native Americans. I’ve taken gears and cogs to represent the revolution, but we also have a more Native theme with nature, so I used the fish as a symbolism for nature,” he said. “When I put those two together I get this sense of irony because the industrial revolution went so fast that it caused a disturbance with our nature. The irony is now we use industry to maintain what was once self-sufficient. Nature was once self-sufficient. We just continually tear up and we continually repair.” The sculpture is 43 inches tall, 15 inches wide and is 5 inches in depth. Jackson said the top portion of his piece symbolizes his faith. “I think that we’ve been given a gift from God almighty. The industrial revolution was a gift because it created jobs for everybody and it made life easier and we were also given nature, so that (top portion of sculpture) symbolized God above,” he said. Cherokee Holiday Art Show Coordinator Marie Smith said this year jewelry got its own category after being included in the diverse arts category. “We saw that we were starting to get a lot of jewelry entries. We wanted to separate those out of the diverse category because the diverse category is hard to judge already,” she said. Youth entries were separated into three categories to “spread the prize money around” and to encourage youth to enter the show, Smith added. “We have a lot of new artists coming up and a lot of younger artists coming up,” she said. “We’ve really got some spectacular pieces and over the years, and what I’ve seen, is that some of these artists come out stronger and stronger each year.” Also, the Deputy Chief Award was added to the mix to go along with the Principal Chief and Speaker of the Council awards, which are chosen by Deputy Chief S. Joe Crittenden, Principal Chief Bill John Baker and Speaker of the Council Tina Glory Jordan, respectively. “We added the Deputy Chief’s Award, again, to spread the prize money,” Smith said. Judges for the competition were also allowed to choose their favorite youth and adult entries during the art show. Jolie Morgan of Tahlequah won a Judge’s Choice Award for her maroon and white acrylic yarn, finger-woven belt. She said the colors represent Sequoyah Schools, where she is in the eighth grade. Morgan said she learned how to finger weave from her mother, Candessa Tehee, and wants to continue finger weaving and learn how to do bead work and make baskets. Ten-year-old Tanner Williams of Broken Arrow has been entering the Cherokee Holiday Art Show for five years. This year he won the Principal Chief Award for a “Cherokee Shield” made from clay. Williams said it took him about four days to finish the shield. For its designs, Williams said he put “random symbols on it that looked really cool.” He said he wants to keep working with clay and also works with gourds that his grandmother, Cherokee artist Verna Bates, grows and uses for art. “When he first began entering the Holiday Art Show, he was simply excited to have his art on display. As he has become older, his interest in his Cherokee heritage has grown, which thrills me,” Bates said. “I try to share what I know about our culture and heritage so that both grandsons, Tanner and Tucker, will understand and continue to explore our history and Cherokee arts. I can’t wait to see what they do with their talents as they grow older.” Smith said she appreciated the volunteers from CN departments and community members helped with the show to make it a success again. Cherokee Holiday Art Show winners are: Traditional: Roger and Shawna Cain – “Old School: GWY Fishing Set” Contemporary Pottery: Troy Jackson – “Contemporary Marriage Vase” Paintings: John Owen – “Early Journalists” Drawings and Graphics: Bryan Douglas Parker – “Broken Promises” Sculpture: Bill Glass Jr. – “Birdman” Contemporary Basketry: Rodslen Brown-King – “Lace Moxie Purse” Textiles & Weaving: Dorothy Ice – “Loom Woven Diamond Weave Pattern” Diverse Arts: Leslie Gates – “Deer Clan Vessel” Photography: Elizabeth Hummingbird – “Waking Up to Mother Earth” Jewelry: Toneh Chuleewah – “Hollywood Bracelet” Youth 14-18: Angelica Cricket Bohanan – “River Cane Basket” Youth-Judges’ Choice Judge Mary Beth Nelson: Jolie Morgan – “Si-Quoya Adadlosdi” Judge Traci Rabbit: Sofia Bohanan – “Southern Plains Bag-Kiowa/Comanche style” Judge Tim Nevaquaya: Treyton Pruitt – “Dagsi Watching Over the Bloodroot” Adult-Judges’ Choice Judge Mary Beth Nelson: Beverly Fentress – “Near Extinction to Distinction...Tell The Story” Judge Traci Rabbit: Tony Tiger – “Transcendent Rapture of Being” Judge Tim Nevaquaya: Curtis Sewell – “Cherokee Stripes” Chief’s Choice Youth: Tanner Williams – “Cherokee Shield” Adult: Jeffrey Watt – “Deer Horn Eagle” Deputy Chief’s Choice Youth: Treyton Pruitt – “Dagsi in the Bloodroot” Adult: Bill Glass Jr. – “Birdman” Speaker of the Council Youth: Treyton Pruitt - “Dagsi Watching Over the Bloodroot” Adult: Matt Anderson – “Carved Gourd with Split Oak Pattern”