http://www.cherokeephoenix.orgThe seven Cherokee clans are represented on the back of a guitar decorated by Cherokee artist Verna Bates. WILL CHAVEZ/CHEROKEE PHOENIX
The seven Cherokee clans are represented on the back of a guitar decorated by Cherokee artist Verna Bates. WILL CHAVEZ/CHEROKEE PHOENIX

Cherokees create artwork using guitars

Cherokee gourd artist Verna Bates shows off her entry for a guitar project at the Hard Rock Hotel and Casino Tulsa. WILL CHAVEZ/CHEROKEE PHOENIX Cherokee gourd artist Verna Bates shows off her entry for a guitar project at the Hard Rock Hotel and Casino Tulsa. WILL CHAVEZ/CHEROKEE PHOENIX Cherokee artist Jeff Edwards uses ancient Southeastern-style designs for his guitar design. The legendary Cherokee serpent Uktena wraps the outer edges of the guitar body. COURTESY PHOTO Brass and nickel accents are a part of a guitar designed by Cherokee artist Roger Cain. WILL CHAVEZ/CHEROKEE PHOENIX Booger mask maker Roger Cain places a booger made of brass, nickel and copper on the back of the guitar he designed for the Hard Rock Hotel and Casino. WILL CHAVEZ/CHEROKEE PHOENIX Cherokee artist Karen Berry displays her guitar entry for the Hard Rock Hotel and Casino Tulsa. The legendary Cherokee serpent Uktena wraps the front of the guitar in Berry’s design. COURTESY PHOTO Artist Roy Boney Jr., shows his guitar design with the legendary Uktena horned serpent. WILL CHAVEZ/CHEROKEE PHOENIX The legendary horned serpent Uktena dominates the design created by Cherokee artist Roy Boney. COURTESY PHOTO Cherokee artist Joseph Erb uses an iconography design for a guitar project for the Hard Rock Hotel and Casino Tulsa. COURTESY PHOTO The horned feather serpent of Cherokee legend Uktena wraps the outer edge of the back of guitar designed by Joseph Erb. COURTESY PHOTO
Cherokee gourd artist Verna Bates shows off her entry for a guitar project at the Hard Rock Hotel and Casino Tulsa. WILL CHAVEZ/CHEROKEE PHOENIX
BY WILL CHAVEZ
Assistant Editor – @cp_wchavez
04/17/2012 08:25 AM
Video with default Cherokee Phoenix Frame
CATOOSA, Okla. – Cherokee artist Jeff Edwards recently took on the challenge of transforming an electric guitar into art that will be displayed in the Hard Rock Hotel and Casino Tulsa.

He is one of 39 Cherokee artists who had until April 10 to finish design work on Epiphone-brand guitars. Edwards, of Sallisaw, said he chose images from the book “Sun Circles and Human Hands,” which includes Southeastern-style designs.

“I thought it would look really cool on a guitar and then recreated and customized them to my liking. Since I don’t paint once the images were completed I sent them to…Inkdt in Cincinnati, which is a company that produces custom guitar skins out of the artwork you submit to fit your make and model of guitar,” he said. “By doing the skin it allowed me to produce exactly what I wanted and then apply it to the guitar.”

He said the guitar skin uses the same concept as “skinning” a laptop or cell phone case.

Edwards said he was inspired by custom guitars used by musicians such as Eddie Van Halen, who have a custom guitar design that is unique to them, and created his own unique custom guitar design.

“The most difficult part of the project was deciding what to use and then laying it out on the guitar. I really enjoyed the whole process from creating the images to applying the skin and putting it all back together and having a finished product,” he said.

Verna Bates, of Locust Grove, said her specialty is gourd art but welcomed the challenge of decorating a guitar.

Recently, she has focused on the seven Cherokee clans when designing her gourd masks and used masks representing the clans in her guitar design. Because the guitars are meant for the renovated Wild Potato Buffet, Bates focused on the Wild Potato clan for the front of the guitar and placed designs for all the clans on the back of the guitar.

Bates said she understands that 39 guitars will be displayed in glass cases along the walls of the buffet. Guitars that don’t match the color scheme of the buffet may be placed in other areas of the casino, she said.

Through a Facebook page for artists, Bates said she has seen other guitars being worked on by artists and that some were “awesome” ideas.

She said artists were asked to use a period from “time immemorial to 1790” when coming up with design ideas. Artist then submitted design sketches to casino officials before being chosen to participate in the project.

Bates said she’s glad she is part of a group of artists who are working on a project to inform the public about Cherokee culture and people.

“I can’t wait to see the whole group of them when they are displayed,” she said. “It’s wonderful to be in that group. It’s good to be included. It makes my heart swell.”

He can work with “about any material he can get a hold of” but artist Roger Cain, of Stilwell, chose copper, brass, nickel and aluminum for his guitar. Traditionally, Cherokee people used copper when designing jewelry and ornaments, but Cain said he wanted to use the other materials so the guitar would have contrasting colors.

Cain’s specialty is making gourd booger masks, which were once used in Cherokee ceremonies to show the unbecoming attributes of a people without embarrassing the culprits or to make fun of the unique characteristics of white people.

He placed a bird design on the front of his guitar and a booger face on the back. All of the metal used made the guitar heavy, he said, but added contrasting qualities.

“It was fun process, especially knowing we could do what we wanted to with it as long as we conveyed a Southeastern theme,” he said.

Cain said he hopes the guitar project will lead to the Cherokee Nation leading the way on a public art project like the one in Cherokee, N.C., where larger-than-life bears were painted by artists and placed throughout the town. He envisions possibly using deer, eagles or even large crawfish for the public art project.

“That’d be something to explore for sure, getting more public art here in Tahlequah if we are really wanting to push the art scene here, which has been really great,” he said.

He said he appreciates Cherokee Casinos funding and pushing the Cherokee art scene to where it is constantly changing and evolving and not static.

Roy Boney Jr., of Tahlequah, chose to focus on the feathered, horned serpent of Cherokee legend called the Uktena for his design. He said his talent is drawing and painting with acrylic paint.

“Getting a guitar to paint was something new, something I’d never done before,” he said. “On the front is the snake itself, mainly the head, coming at you. On the back I’m going to paint the word Uktena in the (Cherokee) syllabary, but it’s going to be splashy, like dirty and messy to go with the idea of hard rock.”

Boney’s design includes a “happy mistake” because the gloss finish he used began to peel when he removed the mask he had put on the front of the guitar to protect it while he painted the back. However, the peeled paint only added to the rough design he hoped to achieve, he said.

“So the idea now is to make the surface of the guitar look like it’s been dinged up a lot by somebody on tour with this guitar,” he said.

Boney played the guitar when he was younger, so taking apart the guitar wasn’t too difficult for him, he said, but taking it apart and making sure he could incorporate his design on it was difficult.

The Uktena also dominates the design of Karen Berry of Garland, Texas. She also usually works with gourds, and as a whole, she said working on the guitar didn’t prove to be much of a challenge for her because she’s used to working with hollow gourds.

“It’s a big gourd really. I’m used to working on something three dimensional like that,” she said. “I enjoyed it and had a lot of fun.”

The Uktena is on the front and back of her guitar, and she used a Cherokee mound builders scroll pattern on the fretwork.

“I didn’t make mine (Uktena) scary looking,” she said.

Designing the scroll pattern on the fret board was the most difficult part of the process, Berry said, because the frets were glued on.

“They actually get closer together down toward the head of the guitar and I didn’t realize that. So I couldn’t really center the scroll on the frets, so that was really difficult. I just kind of had to draw around the frets,” she said.

She said from her observations, it seems every artist with a guitar has done something “completely different.” There are Cherokee painters, graphic artists, sculptors, metal workers, beaders, booger mask makers, basket makers and potters involved in the project.

Graphic artist Joseph Erb’s design is centered on old Cherokee iconography or symbols. He used symbols of old bears, raccoons and flat-style birds and two Uktena horned serpents swirl up on the back of the guitar with their tongues lashing out.

“The movement of the whole piece is actually sectioned and it deals with the old concepts of this world and the next world,” he said. “The Uktenas were in between both worlds.”

He said the front part of his guitar deals with the world now and the design transitions to the design on the back of the guitar.

“It’s a flat design, and I want my piece to be smooth and elegant and clean looking. I want it to have that old-style look, but something that looks highly modern,” he said.

He sent his design to a company to have a skin made for his guitar and then adhered the skin around the guitar.

Erb believes the guitar project will be a “game changer” for the Cherokee art world because artists “really stepped up their game.” He also believes the guitars will be their own attraction among the other Hard Rock attractions.

“It seems in the last five years the artists are starting to come together and talk more, and it seems to really help their work. When you see something cool that someone did, you can’t just turn anything in now. You’ve got to turn something nice in because you just saw three people that blew your mind, and now it’s your turn,” he said.

will-chavez@cherokee.org


918-207-3961

About the Author
Will lives in Tahlequah, Okla., but calls Marble City, Okla., his hometown. He is Cherokee and San Felipe Pueblo and grew up learning the Cherokee language, traditions and culture from his Cherokee mother and family. He also appreciates his father’s Pueblo culture and when possible attends annual traditional dances held on the San Felipe Reservation near Albuquerque, N.M.

He enjoys studying and writing about Cherokee history and culture and writing stories about Cherokee veterans. For Will, the most enjoyable part of writing for the Cherokee Phoenix is having the opportunity to meet Cherokee people from all walks of life.
He earned a mass communications degree in 1993 from Northeastern State University with minors in marketing and psychology. He is a member of the Native American Journalists Association.

Will has worked in the newspaper and public relations field for 20 years. He has performed public relations work for the Cherokee Nation and has been a reporter and a photographer for the Cherokee Phoenix for more than 18 years. He was named interim executive editor on Dec. 8, 2015, by the Cherokee Phoenix Editorial Board.
WILL-CHAVEZ@cherokee.org • 918-207-3961
Will lives in Tahlequah, Okla., but calls Marble City, Okla., his hometown. He is Cherokee and San Felipe Pueblo and grew up learning the Cherokee language, traditions and culture from his Cherokee mother and family. He also appreciates his father’s Pueblo culture and when possible attends annual traditional dances held on the San Felipe Reservation near Albuquerque, N.M. He enjoys studying and writing about Cherokee history and culture and writing stories about Cherokee veterans. For Will, the most enjoyable part of writing for the Cherokee Phoenix is having the opportunity to meet Cherokee people from all walks of life. He earned a mass communications degree in 1993 from Northeastern State University with minors in marketing and psychology. He is a member of the Native American Journalists Association. Will has worked in the newspaper and public relations field for 20 years. He has performed public relations work for the Cherokee Nation and has been a reporter and a photographer for the Cherokee Phoenix for more than 18 years. He was named interim executive editor on Dec. 8, 2015, by the Cherokee Phoenix Editorial Board.

Culture

BY WILL CHAVEZ
Assistant Editor – @cp_wchavez
04/27/2017 08:15 AM
ROCK FENCE, Okla. – Leading a school bus of Greasy School fifth and sixth graders in his pickup truck, Cherokee Nation ethno botanist Roger Cain stops near a bridge overlooking Little Lee Creek, east of the Adair County school. After the children and teachers unload, he leads them to a nearby river canebrake where he shows them how cane grows, discusses how Cherokee people used it for tools and weapons and to hide in when they were attacked by enemy tribes. For the past few years, Cain has researched and catalogued river cane fields in the tribe’s jurisdiction for the Cherokee River Cane Initiative. The initiative encourages people to understand better and preserve dwindling river cane fields in the jurisdiction. Since January, Cain has visited fifth and sixth graders at Greasy School to teach them about river cane and how Cherokee people used it. The students have had opportunities to shoot blowguns made from river cane and learn how to throw river cane spears using an atlatl, which gives the spear more force. “We’re finally finishing up the school year by coming out to a canebrake and seeing what a canebrake looks like and how it impacts the environment,” Cain said. “We’ve been talking about river cane and how it’s used for baskets, for blowguns, atlatls as well how it’s good for the environment...for water quality. Cain also told students how he uses Google Maps to map and catalog river canebrakes in the CN. Next fall he said he plans to show the students how he creates his maps. Teaching Greasy students about river cane and how it affects their environment is needed, he said, because 99 percent of river cane found in Adair County is located near the school. “What we figured (through the initiative) is we need to start addressing this with the local school systems and working at keeping them (canebrakes) clean and teaching how important the ecosystems are. Hopefully we’ll expand the coverage area for future use and future Cherokees,” he said. “I’m hoping to continue it and expand it into other schools next year.” During the April 13 field trip, Cain also showed students other plants and their importance to Cherokee people such as the bloodroot plant, which is used for medicine as well as dye to color woven baskets including baskets made from river cane. Greasy student Sadie Ritter said she’s learned a lot about river cane including how it grows, where to find it and how it can be made into various things. “I learned about (river cane) rhizomes and how to find it on Google Maps. It’s really cool to learn about it,” she said. Sixth grade teacher Marilyn Bynum said she believes her students learned a lot about their environment from Cain and the role it played for Cherokee people. “The children have had the opportunity to use the blow darts and throw the atlatl and experience hands on some tools their ancestors had used for many years, and it really brought it to life. It was like living history,” she said. “Today, we have talked about the natural resource (of river cane) and how it protects the banks of the river. We’re at Little Lee Creek in Adair County, and Roger has shown us how the river cane helps maintain the soil along the banks.” For more information, visit the Cherokee River Cane Initiative page on Facebook.
BY WILL CHAVEZ
Assistant Editor – @cp_wchavez
04/18/2017 08:15 AM
PARK HILL, Okla. – Sac and Fox artist Tony Tiger took home the grand prize award for his work “Metamorphosis” at the Cherokee Heritage Center’s 46th annual Trail of Tears Art Show. Winning artists for the show were announced April 7 during an opening-night celebration for the show, which can be viewed through May 6. The TOTAS is the longest-running Native American art show in Oklahoma and features a variety of authentic art. Featured artwork is available to purchase throughout the show’s duration. CHC Interim Director Tonia Hogner Weavel said the show is open to any federally recognized tribal citizen. Artists competed for more than $14,000 in prize money in seven categories: paintings, graphics, sculpture, pottery, basketry, miniatures and jewelry. “The art is the most prestigious in the country, and it is for sale to the public. The art show gives people the opportunity to see some of the most contemporary artists that are being featured nationally. So, we are pleased and happy to host this show,” she said. Tiger said he has been participating in the art show for about 10 years, and this is the first time he’s won the grand prize. “I was very surprised,” Tiger, who is also Seminole and Creek, said. “Artists have to have opportunities to exhibit their art, to sell their art, and this (TOTAS) is a wonderful way to do that.” Cherokee Nation citizen Renee Hoover entered her contemporary double-wall baskets using round reed material in the show and won a first place award for her “My Mother’s Basket.” “The Trail of Tears Art Show is really a special show. It recognizes the wonderful traditions of Native people and the artistry that we have. I especially like participating in it because of the quality of the art is outstanding. It’s very competitive, and I always come in worried ‘will I be good enough, will I be juried in?’ So, there’s a lot of anxiety,” she said. “It’s wonderful to also appreciate the artwork that’s here and the way we as Native people use our art to continue to allow our traditions and culture to thrive.” For a complete list of awardees, visit www.Anadisgoi.com. <strong>2017 TOTAS Winners & Awards</strong> Painting: Roy Boney Jr., Cherokee Nation, “She Led Her By the Hand ” Sculpture: Troy Jackson, Cherokee Nation, “Exodus, The Assembling of Displacement” Basketry: Renee Hoover, Cherokee Nation, “My Mother’s Basket” Pottery: Chase Earles, Caddo Nation, “Caddo Story of the Flood: Respect Land and Animals” Jewelry: Toneh Chuleewah, Cherokee Nation, “Copper Style Bracelet” Graphics: Brenda Bradford, Cherokee Nation, “Light Through Fire” Miniature: Merlin Littlethunder, Cheyenne Nation, “Chiefs Meeting on Water Rights” Emerging Artists: Kellie Vann, Cherokee Nation, “Bath Time for Super Heroes” Bill Rabbit Legacy Award: Karin Walkingstick, Cherokee Nation, “Tsi-s-du” Betty Garner Elder Award: Paul Hacker, Choctaw Nation, “The Chief”
BY STAFF REPORTS
04/11/2017 12:45 PM
PARK HILL, Okla. – Learn the history of the Cherokee National Female Seminary during a lunchtime discussion on April 21 at the John Ross Museum. Retired educator and local historian Beth Herrington will lead the one-hour discussion beginning at noon. Construction began on the Cherokee National Female Seminary in 1847 under the direction of Principal Chief John Ross. It opened in 1851 as one of the earliest schools of higher learning established for women west of the Mississippi. The building was later destroyed by fire on Easter Sunday in 1887. Rebuilt 130 years ago, the building represents the oldest structure on what would come to be known as Northeastern State University. The event is open to the public and free to attend. Guests are encouraged to bring a brown bag lunch. The museum will also offer free admission throughout the day. The museum highlights the life of John Ross and houses exhibits and interactive displays on the Trail of Tears, Civil War, Cherokee Golden Age and the Cherokee Nation’s passion for education. The museum is housed in an old, rural school building known as School No. 51 and sits at the foot of Ross Cemetery, where John Ross and other notable CN citizens are buried. The museum is located at 22366 S. 530 Road.
BY LINDSEY BARK
Staff Writer
04/11/2017 08:15 AM
PRYOR, Okla. – Five years after her father Bill’s death, Cherokee Nation citizen Traci Rabbit is continuing her family’s artistic legacy with her ability to create and reproduce art for the studio they operated together – Rabbit Studios. “(I’m) so just very blessed that I’m able to support quite a few people in my family…carrying on my dad’s legacy. Doing the only thing I knew to do,” Traci said. Traci said her father was “progressive” when he started reproducing art to sell as a means of income to support a family. She said artists are realizing the value of reproductions and how to make a living as an artist. For the Cherokee Phoenix’s second quarter giveaway, she donated an 18-inch-by-24-inch giclee (reproduction) on canvas of her “Gifts of Life” painting. “I chose ‘Gifts of Life,’ which depicts a Native American woman with four hummingbirds representing the four directions, the four seasons, different stages of life. When people look at my work, I may try to convey one message but they see another. With spring coming, I thought that would be a good piece and people might like it,” Traci said. “The color palette that I used was to depict spring and the renewal of life and starting over. So that was what I was thinking when I painted that piece.” Most of her art depicts Native American women. She said she is inspired by the women in her family. “I would say that the reason that I do (paint Native American women) is from an early age my parents always empowered us kids. My mother is a very strong woman. The people in my family and the people that I was around and raised by, they were all very strong women. So, I guess growing up around that I admired their strength and their determination and their ability to rise above bad circumstances,” Traci said. At Rabbit Studios, all work and reproductions are done in-house on items such as art tiles, clipboards, mouse pads, cell phone covers, coffee mugs, coasters, scarves and handbags. Traci said her schedule throughout the year is “crazy.” From August to March, she travels to one or two art shows a month in and out of state, including wholesale shows. From March to July, she creates new art and decides what will come next in her product line to get ready for the next season’s schedule. Not only does she have to think creatively for her art, but she also get into a business mindset to determine what products she wants to sell. “Not only do I create the art, but being able to do the business side of it is, I think, so important for artists today. They should know both sides. That way they’re not fumbling through, not understanding. At least have an understanding of…that other side if you’re going to do it for a living because it is very important,” Traci said. Her art and merchandise can be found at billandtracirabbit.com. For more information, email <a href="mailto: orders@billandtracirabbit.com">orders@billandtracirabbit.com</a> or visit Rabbit Studios at 231 S. Taylor. On July 1, the Cherokee Phoenix will draw a winner for Rabbit’s “Gifts of Life.” For every $10 donated to the Cherokee Phoenix Elder/Veterans Fund or spent on Cherokee Phoenix goods one entry will be entered into the drawing.
BY LINDSEY BARK
Staff Writer
04/10/2017 08:00 AM
SNAKE CREEK, Okla. – From the dirt to the plate, spring is when many Cherokees are in the woods and hollows gathering a delicacy known as wild onions. For the Standingwater family, it’s a long-standing tradition passed generation to generation. Cherokee Nation citizen Stephanie Standingwater-Cutrer said she’s gathered onions for more than 30 years and remembers going with her grandmother. “I remember going with my grandma when I was old enough to walk. (I would) follow her. I didn’t know what she was doing. I just pretty much played in the dirt. She was always picking something. I would see her gathering everything up and take them and clean them,” Standingwater-Cutrer said. “I don’t remember actually being taught, I just was around it.” CN citizen Willa Standingwater said she remembers what her dad told her about Cherokee people. “Dad used to say that Indians lived off the land during spring and summer. Like in the woods, they’d go get onions and all these different kind of plants that you can eat. During the winter they’d eat off the animals.” Standingwater-Cutrer said she “picked up” on how her grandmother identified onions, looking for the “brightest green” stalks and ensuring they were “big enough” to be ripe. She said there is a right time to pick the onions. If they are too small, they taste sweet. If they are too big then they are “about to go to seed” and turn tough because of seeds growing in the bulbs. “I just know from the middle of March to the end of March they are pretty good to eat. Like this year they came out early,” Standingwater-Cutrer said. She said when it’s the right time to gather, onions can “smell up the house,” leaving an odor on clothing. Standingwater-Cutrer said she learned techniques from her grandmother and father for unearthing onions. She uses shovels, screwdrivers, sticks or her hands. Standingwater said she uses a butter knife and is teaching her children the same technique. When it comes to cleaning onions, Standingwater-Cutrer said she takes them to a nearby creek and runs them through the water. Then she peels back the first layer on the onion bulb and pinches the end to remove the roots. After learning where onions are located, how to identify them and using different unearthing techniques, Standingwater-Cutrer said she’s able to pass on the tradition to her son, whom she has taken on wild onion excursions since he was a baby. “Later on they’ll realize how important it is,” she said. As for cooking onions, Standingwater said she learned from her mother. After onions are cleaned, she prepares a frying pan with about two tablespoons of grease and chops the onions into 1-inch pieces. She then places three to four handfuls of chopped onions into the pan and lets them fry until the stalks turns dark green. After darkening, Standingwater adds salt and about a quarter cup of water and cooks the onions until the water evaporates. The last ingredient is whisked eggs. She cooks until the eggs are done. The whole process takes about 20 minutes. Standingwater-Cutrer and Standingwater said they enjoy getting out to their wild onion locations annually to gather as much as they can before the season ends. “They only come in season. You can’t get them anywhere (else), and there’s a lot of work that goes into it, too. A lot of the older people can’t really get out in the woods anymore and get down on the ground and get them like they used. A lot of them depend on us to get them some onions,” Standingwater-Cutrer said.
BY STAFF REPORTS
04/06/2017 04:00 PM
INDIANAPOLIS – One of downtown Indianapolis’ top artistic and cultural celebrations returns June 24-25, for its 25th anniversary: the Eiteljorg Museum Indian Market and Festival. Visitors can meet Native American artists from more than 60 tribes and purchase their handmade art, including jewelry, pottery, beadwork, cultural items, basketry, paintings, sculpture and weavings. The weekend also will feature performances from renowned Native American musicians Arvel Bird and Tony Duncan, as well as family-friendly cultural demonstrations of Native art, cooking and storytelling. The Indian Market and Festival will take place on the Eiteljorg Museum grounds from 10 a.m. to 5 p.m. (Eastern Standard Time) on both days, with artists’ booths located outside and inside the museum. A special feature this year will be a museum gallery exhibit celebrating 25 years of collecting Native American art during previous Eiteljorg Indian Markets. “As the Eiteljorg Indian Market and Festival developed over the past 25 years, many Native American artists from all over the U.S. and Canada have traveled to Indianapolis to show their art and cultivate new collectors here in the Midwest – friends who return to Indian Market each year to see their favorite artists’ latest works,” said Eiteljorg President and CEO John Vanausdall. “This silver anniversary of Indian Market and Festival is especially meaningful, as longtime collectors and a second generation of visitors converge on the Eiteljorg Museum to experience Native American art and culture and share in this important community event.” After a modest start in 1993, the Eiteljorg Indian Market and Festival has grown into one of the top Native American art markets in the nation, and thousands of people attend the event held on the weekend after Father’s Day each year. Artists are chosen through a juried selection, and for artists to be eligible to participate, all entries must be handmade within the past two years by the artist entering the piece. Entries must be available for purchase during Indian Market and Festival and not include any part of a species of a protected animal. To ensure authenticity of artwork, all artists must provide documentation confirming they are members of a state-recognized tribe or citizens of a federally recognized tribe under the Indian Arts and Crafts Act. Judges who review the artwork will present awards to artists in multiple divisions, including a youth division. New to the Indian Market and Festival this year is veteran storyteller Ramona Moore Big Eagle (Tuscarora/Cherokee). As the oral historian and legend-keeper of the Tuscarora Nation of North Carolina, she is an educator and motivational. Returning storyteller Teresa Webb (Anishinaabe) also will talk about her culture, accompanied by flute, rattle and drum. For the performance schedule, visit <a href="http://www.eiteljorg.org" target="_blank">eiteljorg.org</a>. Admission to the Indian Market and Festival, which also gets visitors into the museum, is $13 for adults and $11 for seniors. Youth 17 and under are free. Eiteljorg members enjoy free admission. Discount tickets can be ordered in advance by calling 317-636-9378. Parking for a fee is available in the White River State Park garage. To enjoy early shopping before the crowds arrive, enthusiasts of Native American art can attend the Indian Market and Festival Preview Party on June 23. For party details and admission prices, see <a href="http://www.eiteljorg.org" target="_blank">eiteljorg.org</a>.