Feather Smith-Trevino explains the game of Cherokee stickball on June 3 during an inaugural tour of the new Diligwa village at the Cherokee Heritage Center in Park Hill, Okla. In the background, villagers demonstrate how the game is played. WILL CHAVEZ/CHEROKEE PHOENIX

CHC officially opens Diligwa village

University of Georgia professors Jace Weaver, left, and Alfie Vick speak on June 3 during a grand opening ceremony for the new Diligwa village at the Cherokee Heritage Center in Park Hill, Okla. Vick holds a river cane plant brought from Georgia that will be planted in the village. WILL CHAVEZ/CHEROKEE PHOENIX Villagers walk from the old Ancient Village at the Cherokee Heritage Center to the new Diligwa village during a grand opening ceremony for the interpretive village on June 3 in Park Hill, Okla. WILL CHAVEZ/CHEROKEE PHOENIX Diligwa villager White Robertson drills a hold in a piece of wood in a summer home in the new interpretive village that opened June 3 at the Cherokee Heritage Center in Park Hill, Okla. With Robertson is villager Cassie Dry. WILL CHAVEZ/CHEROKEE PHOENIX Villager Feather Smith-Trevino leads an inaugural tour of the Diligwa village on June 3 at the Cherokee Heritage Center in Park Hill, Okla. Trevino led visitors to interpretive stations in the village to show them how Cherokee people lived in 1710. WILL CHAVEZ/CHEROKEE PHOENIX Diligwa, the new outdoor living exhibit on the grounds of the Cherokee Heritage Center, provides guests with an enhanced experience of authentic Cherokee life and history in the early 1700s. Cherokee Nation and Cherokee Heritage Center officials opened Diligwa on June 3 in Park Hill, Okla. WILL CHAVEZ/CHEROKEE PHOENIX
University of Georgia professors Jace Weaver, left, and Alfie Vick speak on June 3 during a grand opening ceremony for the new Diligwa village at the Cherokee Heritage Center in Park Hill, Okla. Vick holds a river cane plant brought from Georgia that will be planted in the village. WILL CHAVEZ/CHEROKEE PHOENIX
BY WILL CHAVEZ
Interim Executive Editor – @cp_wchavez
06/05/2013 08:34 AM
PARK HILL, Okla. – With speeches, a ribbon cutting and tours, Cherokee Nation and Cherokee Heritage Center officials on June 3 publicly opened Diligwa, the center’s new outdoor Cherokee village set in 1710.

Located on the CHC’s grounds, Diligwa provides guests with an enhanced experience of authentic Cherokee life and history. Alfie Vick, a University of Georgia professor whose specialty is landscape architecture, helped design Diligwa.

“This is the most historically accurate recreation of an early contact Cherokee town in existence today,” Vick said.

Because of his study in Cherokee heritage plants in the southeast, Vick was asked to help landscape the Diligwa grounds. He said orchards of peach, apple and plum trees would be planted in the village as well as communal cornfields and a river cane break along the village stream, which is being constructed.

Funding for the village did not arrive all at once. Cherokee Nation Businesses recently donated $250,000 to finish the $1.2 million interpretive village. The village took five years to design and work crews have spent two years constructing Cherokee summer and winter homes on four acres. Other features such as plants, a ball game area, marble field and paths still need to be completed.

Diligwa features 19 wattle and daub structures and 14 interpretive stations. Visitors can witness Cherokee life in 1710 as they are guided through the stations where crafts are demonstrated, stories are told and life ways are explained.

Overall, the village includes eight residential sites each with summer and winter homes, a corncrib and a kitchen garden. The public complex consists of the primary council house and summer council pavilion overlooking a large plaza that serves as the center of community activity.

Jace Weaver, director of the Institute of Native American Studies at the University of Georgia, said he and Vick have brought students to the CHC to learn about Cherokee culture for the past six years. During that time Weaver said he and Vick were asked to assist with creating Diligwa.

“I was thrilled and immediately said yes without asking Alfie because I first went through the Tsa-La-Gi (Cherokee) village at 10 years old...and have been back many times since,” Weaver said.

The two men were also involved with helping find the original footprint of the Cherokee Female Seminary, which burned down in 1887, and with an exhibition about the seminary.

The seminary site was reclaimed in 1966 when the clearing of land began for the CHC’s Ancient Village, which opened in 1967. The center’s amphitheater opened in 1969 and museum in 1973.

This year the center is celebrating the 50th anniversary of when the Cherokee National Historical Society, the organization that operates the CHC, was formed in 1963.

“Of all the projects the Institute of Native American Studies at the University of Georgia has taken on around the country, these projects with the Cherokee Nation and the Heritage Center are those I am the most proud of,” Weaver said. “We stand ready to help with any project in the Nation at any time.”

Vick said a Diligwa feature that accentuates accuracy is that it sits on a flat area, as Cherokee villages sitting near a river or flood plain would have been in the early 1700s. Also, the village’s council house is on a slightly elevated mound because Cherokees emulated Mississippian mound builders in the southeast.

“Like Jace said, we really value our participation and inclusion in the creation of this town,” Vick said.

Diligwa is a name derivative of Tellico, a village in the east that was once the principal Cherokee town and is now underwater. Tellico was the Cherokee Nation capital and center of commerce before the emergence of Echota in today’s Monroe County, Tenn.

Tellico was often referred to as the “wild rice place” and became synonymous with a native grain that grew in the flats of east Tennessee. Many believe when the Cherokees arrived in Indian Territory, the native grasses that grew around the foothills of the Ozarks reminded them of the grassy areas of Tellico. They called their new home “Di li gwa,” Tah-le-quah or Teh-li-co, “the open place where the grass grows.”

Since the Ancient Village opened, it has been the top attraction for visitors. It is expected Diligwa will continue to be the main attraction for the CHC.
Diligwa was funded by endowments from CNB, the Tom J. and Edna Mae Carson Foundation, Mary K. Chapman Foundation, Boyd Group and Mary Ellen Meredith.

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 STAFF REPORTS
02/08/2016 10:30 AM
SANTA FE, N.M. – This year is the centennial of the birth of the late Cherokee artist Lloyd Kiva New, and three Santa Fe arts institutions are celebrating this anniversary in style. Locally, New, who died in 2002, is known as the Institute of American Indian Art’s first artistic director. Yet nationally, Native people refer to him as the “Godfather of Native Fashion.” The Museum of Indian Arts and Culture, the IAIA Museum of Contemporary Native Arts and the New Mexico Museum of Art will each present an exhibition in 2016 focusing on New’s contributions to contemporary Native culture. Additionally, the three institutions are planning a symposium, multiple lectures, panel discussions, fashion show, gala and 100th birthday party. For the past two years, the museums have worked to honor New’s iconic status with items on view from their respective holdings, from his widow Aysen New’s collection and items rarely on public display from important private collections. Opening first is the IAIA Museum of Contemporary Native Art’s “Lloyd Kiva New: Art, Design and Influence,” which draws on three themes of his legacy. The art aspect includes paintings by New from his personal collection, completed between 1938-95, many never before shown in a museum or gallery. The design portion presents the artist as an innovator of Native Modernism through fashion and textile design in an interpretive reproduction of the Kiva Studio – New’s successful 1950s showroom in Scottsdale, Arizona. The influence aspect features more than 40 printed textiles created by IAIA students during the 1960s and 1970s under New’s artistic direction – drawn from the permanent collection of the IAIA Museum of Contemporary Native Arts. Additionally, patrons will be able to “create” designs based on New’s work through an interactive display. IAIA officials said they hope to illuminate New’s artistic abilities, successful fashion career and profound impact on contemporary Native art. A soft opening for the exhibition was scheduled for Jan. 22 and will run through July 31. Lloyd Kiva New: Art will remain open until Sept. 1. The exhibit’s official opening and reception will be held Feb. 18 on the occasion of the 100th anniversary of his birth. The Museum of Indian Arts and Culture’s career retrospective “A New Century: The Life and Legacy of Cherokee Artist and Educator Lloyd ‘Kiva’ New,” is slated for Feb. 14 to Dec. 30. The exhibit is a look into New’s life from his beginnings in Oklahoma to the burgeoning days at IAIA. In between he strides the decks of the USS Sanborn during World War II and the halls of the Art Institute of Chicago. Opening successive and successful boutiques and craft centers in the gleaming post-war enclave of Scottsdale. New was a pioneer in the worlds of fashion, entrepreneurship and Native art instruction. His vision of cultural studies and creative arts education continues to influence and inspire. Through personal recollections, photos, archival documents and objects pour la couture, the exhibit reviews the life of this American Indian visionary. The New Mexico Museum of Art’s exhibit “Finding a Contemporary Voice: The Legacy of Lloyd Kiva New and IAIA,” slated for May 20 to Oct. 10, showcases artwork by former and present IAIA faculty and alumni demonstrating the contribution these artists have made to the larger field of contemporary art. Taking a group portrait of IAIA faculty and the legacy of the institution’s first art director as starting points, this exhibition includes work by IAIA faculty and alumni from the 1960s to the present. In his teaching, New encouraged looking at innovative techniques and forms as a path to creating contemporary Indian art. Additionally, IAIA and MIAC will jointly present a symposium, “The Lloyd Kiva New Centennial Convocation” in October. The convocation will be an interdisciplinary look at the contemporary Native art movement. Other activities planned include fashion shows, panel discussions, lectures, a Veterans Day event and additional special programming in conjunction with Indian Market in August. IAIA will also offer the class “Lloyd Kiva New and the Contemporary Native Art Movement” in the Spring 2016 semester, taught by IAIA archivist Ryan Flahive and guest lecturers. New earned a degree in art education from the Art Institute of Chicago in 1938. He taught painting at the Phoenix Indian School until enlisting in the Navy in 1941. Upon returning to Phoenix after World War II, he became a charter member of the Arizona Craftsmen cooperative, a group of artists who helped develop Scottsdale into a western center of handcrafted arts. New took the trade name “Kiva” in 1946, and the Kiva Studio built an affluent clientele and earned national acclaim for his handbags, clothing and printed textiles throughout the 1950s. In 1962, New changed his career path by serving as the IAIA’s first art director until 1967, then as the school’s president until 1978. In 1988, he returned to serve as interim president, finally becoming president emeritus. Although officially retired, New continued to be active in the Native arts community, serving on the Indian Arts and Crafts board, as well as the boards of national museums, and continued writing and speaking worldwide until his death in 2002. He had a broad, humanistic approach to the arts, stressing creative links to the traditional arts but urging students not to be bound by them and to reject the stereotypical notions of American Indian art and culture.
BY STACIE GUTHRIE
Reporter – @cp_sguthrie
02/03/2016 08:15 AM
CALERA, Okla. – When it comes to expressing herself through art, Cherokee Nation citizen Hailey Bishop has been doing so since she was 2. In the past 16 years she’s created art and won awards for it. The 18-year-old said she first started with coloring books. That’s when her parents noticed her talent. “I was like 2 and I’d be coloring in my high chair and my parents would notice a whole different change. They were like ‘this isn’t normal.’ So they started buying me little paint kits and 64 packs of crayons,” she said. She started taking art seriously at age 7, entering her art in the Bryan County Fair. She said from then she branched out by attending art shows and finding her passion of creating portraits. She said it’s “intriguing” to capture people’s faces. “That’s the thing that I’ve always been interested in since I was very little. That’s what I see. I like nature too, but just peoples faces, it’s very intriguing,” Bishop said. “Most people think that they’re the hardest to draw, but to me they’re the funnest and always the easiest.” Bishop said she enjoys drawing faces because it feels as if she’s connecting with the person. “There’s something about faces when I draw them. It’s almost like you know the person, especially if it’s a very old photo of Native Americans or just any person. It’s almost like you’re getting to know the person,” she said. Bishop also said she creates art in various media. “I paint. I’m trying to venture out into oil painting. Oil painting is kind of hard to do. You have to get things done really quick because it dries so slow,” she said. “I’m venturing out into clay. I’ve tried to mix mediums together with say leaves on canvases, really just out-of-the-box type things. I’ve painted on all types of surfaces. My go-to is in drawing. I really like charcoal. Charcoal is very messy, but it’s a challenging medium.” As for her inspirations, they vary by piece and by how she’s feeling. “I really love to feed off my inspirations of what God might give me, and usually it’s nature and people. Sometime it can just be something I’m just really happy about or I’m just really moved by. Most of my emotions drive my artwork,” she said. “Sometimes nothing really inspires me for some pieces. Sometimes I just want to do it…It’s like what I feel at the time and that’s really it.” Bishop said she won big at the 2015 Southeastern Art Show and Market in Sulphur even though she missed the deadline but was allowed to enter. She said by entering late she had limited time to create. “I had a week and a half to work on my work. That was the most challenging thing I have ever done.” She entered four pieces and they all placed. “I didn’t expect that I would win anything. I was just like ‘I’m just going to try.’ I usually shoot for the best, which would be best of show, which I didn’t get but I’m totally OK with that. I wasn’t expecting to get anything,” she said. “It was a really awesome experience. It’s just another year that you get these opportunities and more experience. Now that I’m going into the adult category I’m really stepping up my game, and it’s just a whole different world.” She won “Best of Two-Dimensional Art” for her drawing “2 Corinthians 4:7” in the youth category. “It just happened to be the one that I was least expecting to place that won the whole shebang,” she said. She also won three youth juror awards for her drawings “Song of Solomon 4:7,” “Study of Native American Woman by Manuel Librodo” and her painting “Find Peace.” She earned nearly $1,200 in award money and nearly another $1,200 from selling her artwork. Bishop said it’s important to have found her calling in art and believes young people should also find something that drives them. “Know what drives you and stick with those things because if you don’t have a purpose behind anything that you want to do how are you going to stick with it? How are you going to achieve more things?” she said. “Especially for young people, I think it’s important for them to have something to grasp on to, especially in our society today.” Bishop said she enjoys being an artist and is grateful for the opportunities art has provided her. “The artist that I am is just, it’s a crazy thing to really describe, but if I wasn’t an artist I think that I wouldn’t know how to express myself,” she said. “I love the fact that being an artist affects my whole person. It affects how I see everything. It affects what my morals are. It affects many aspects in my daily life.” Bishop attends Calera High School and is set to graduate this year. She was recently accepted into Oklahoma State University in Stillwater and plans to major in graphic design. “I’ve decided to venture out and major in graphic design because of the work that I’m doing at my local vo-tech down here. I’m in a graphic design class now, so I have a lot of opportunities to already get hands-on experience,” she said.
BY STAFF REPORTS
01/28/2016 08:15 AM
WESTVILLE, Okla. – A free Cherokee history and humanities course begins Feb. 3 and will run until March 6 at the John F. Henderson Public Library located at 116 North Williams St. The course, offered by the Cherokee Nation, is open to the public and will run from 2 p.m. to 5 p.m. on Wednesdays. The course will allow participants interested in Cherokee history and culture to get an overview of the Nation’s changes from pre-contact with European settlers through Oklahoma statehood. Upon completion of the 21-hour course, participants will receive a certificate from the tribe. “The courses and the lecture series we’ve done in the past have all been well received by our students,” said instructor Roy Hamilton. “We try to limit the amount of lecturing that takes place by adding in some video and film, demonstrations, and bringing in guest speakers. It is important for the Cherokee people, and the public in general, to understand that the Cherokee Nation possesses a unique cultural identity.” For more information or to pre-register, call Hamilton at 918-453-5210 or email <a href="mailto: roy-hamilton@cherokee.org">roy-hamilton@cherokee.org</a>.
BY STAFF REPORTS
01/27/2016 12:00 PM
TAHLEQUAH, Okla. – The Echota Ground will host a benefit stomp dance at 7 p.m. until midnight on Feb. 6 at the Tahlequah Community Building. According to a Facebook post about the event, all ceremonial grounds are welcome and the event will include raffles, cakewalks and auctions. Concession will also be available. All proceeds will go to benefit improvements to the Echota Ground.
BY JAMI MURPHY
Reporter – @cp_jmurphy
01/22/2016 08:30 AM
TAHLEQUAH, Okla. – Matthew Anderson, a cultural specialist at the Spider Gallery, is offering daily lunchtime cultural presentation from 11 a.m. to 1 p.m. Tuesday through Saturday at the gallery. “And it may not just be a cultural presentation there may actually be sketching, painting, sculpture, but there’s also a desire for finger weaving and twining,” Anderson said. “Those demonstrations I’ll be able to stop and do those at any time.” He said he’s had people, including Cherokee language teachers and enrichment program participants, who wanted to go over some activities that have been covered in cultural education classes. “And so we are available from 11 a.m. to 1 p.m. to do that the rest of January and February at least,” he said. Other presentations might include cordage from plant material, which will also include going over what plants are available locally and their uses. “There are lunch specials through the Kawi Café and those daily specials are usually ready very quickly. If you just have a short lunch break, you can order one of the daily specials and also increase your knowledge of Cherokee art and culture by either just viewing the demonstration or actually participating in the instruction,” Anderson said. All the short lunchtime courses are available through the art center in a more in-depth style. For more information visit cherokeeartscenter.com and find the Spider Gallery link on that page or call 918-453-5728. Anderson said he could also be reached by email at <a href="mailto: matthew-anderson@cherokee.org">matthew-anderson@cherokee.org</a> or on Facebook.
BY ASSOCIATED PRESS
01/20/2016 12:00 PM
SEQUOYAH, Okla. (AP) – Though much of the life of the gifted linguist Sequoyah is unknown today, certain information has been gathered by historians through the years. Much of it was acquired through oral accounts of family members or other individuals who knew the blacksmith. No matter the source, all agree that his development of the written Cherokee language was a remarkable accomplishment. The Muskogee Phoenix reports that family accounts say Sequoyah was born in what is today Monroe County, Tennessee, but the exact date is left to speculation. His mother was a full-blood Cherokee named Wurteh Watts. She was of the Paint Clan and part of a prominent Cherokee family. His father is believed to be Nathaniel Gist. Sequoyah’s English name has been found in different documents as George Gist, Guess or Guest. Oral tradition tells us that Sequoyah first developed an interest in creating a written form of the Cherokee language in 1809. A group of friends had gathered in his blacksmith shop in Tennessee and were discussing the “talking leaves” of their neighbors. Some were of the opinion that communication by paper was “witchcraft,” but Sequoyah understood the concept of written language. He set out to create such a thing for the Cherokee language. He toiled at this project for 12 years. During these years, he served in the military, married Sally Waters of the Bird Clan and had a daughter named Ayoka. At first Sequoyah tried to develop a symbol for every Cherokee word, but it became quickly evident that this would be too massive an undertaking. He then identified the 85 syllables in the Cherokee language and created a symbol for each one. He borrowed symbols from every alphabet he could find, copying some from the Waters family Bible. Other symbols he simply created himself. His brother-in-law, Michael Waters, was an early student, but it was Ayoka who quickly learned to use the developing language system. Sequoyah was not without his detractors. Many who knew about his efforts believed he was dabbling in witchcraft. It is said that his wife burned his early writing attempts. But he carried on and when questioned by Cherokee government officials, he was able to demonstrate how his writing worked with the help of Ayoka. Even after moving with other Cherokees to Arkansas sometime before 1820, Sequoyah continued to perfect the syllabary. He returned east in 1821 and demonstrated his final effort. Thus, the year 1821 is considered to be the date for the completion of the Cherokee syllabary. This makes it 195 years old in 2016. Within a short time, most of the eastern and western Cherokees were able to read and write in their own language. Missionary Samuel Worcester sent the syllabary to a printer in Boston to have the symbols cast for type. Soon the Cherokees became the first American Indian tribe to print their own newspaper, the Cherokee Phoenix, which still is published today.