The Spring Edition • Twelve Selected for 2012 Women of the Navajo • Shi’deezhi Project A Mentoring Project for Navajo High School Girls • Expo UNM Entrepreneur Expo Reveal Hidden Talents • Insight Four Fashion Perspectives Provided by Native Fashion Designers • “Barking Brian Young Movie Reviews Water” & “Four Sheets to the Wind” • Monique Garcia: MINM Shares Her Cultural Background Cover Model: Arizona State University student “Bronwyn Bitsilly” See More Inside!
Congratulations: High School/College Graduates
From the publisher... Hello again, I want to touch on a couple items. The first edition of WOTN went rather well, the statistics indicated some satisfactory results. (Over 33,500 hits in three months). The next step is to increase that number by marketing the website’s URL more aggressively. For now, we’ll take those numbers. We appreciate your visiting us and please pass along this URL to a friend. This issue has increased to 44 pages. If this is your first time visiting, enjoy the interesting articles and images. Second, why did we decide to go online with our publication? It was not a matter of choice, it was necessary. Imagine lugging around 7000 magazines in your car that weighs over two tons. Seriously, the delivery and distribution would have been a logistical nightmare. In addition, with gas prices soaring through the roof, it just made sense to go online. We feel, we are on the right track with this online publication. Because of limited raw materials abroad and rising production costs, more printed publications are fading from newsstands and popping up online. Cutting cost is essential these days, even for publishers who are reevaluating their production methods. Eventually, most publications will only be viewed online, it just a matter of time. In the meantime, we have to start thinking differently about magazines and its future. Having gone online, we are able to reach more people than ever. We’ve been asked numerous times, if we’ll have a printed version of WOTN, the answer is, unlikely. And, we are not ruling out charging a small annual subscription fee in the future, it would help grow this publication. But for now, it is a free online publication. WOTN-The Online Magazine is available to all native business people and tribal organizations wanting to increase business or exposure. Using WOTN as a creative platform to advertise your professional service and products on a quarterly basis which can be highly beneficial. Together, we can emit signals that will evoke positive responses. Your message will be broadcasted, not only local, regional, but nationally and worldwide. In the meantime, enjoy this second issue, and let the sponsors know you saw their ad. Send them an e-mail to say hello or whatever. The next issue will be uploaded in July 2011. Got to go now, the boat is leaving the pier! (lol)
s d n e Fri com w e . u N u r s Ou ww.is at w 04 - WOTN-The Magazine
Publisher: Larry Thompson Associate Publisher: Krista Thompson Art Director: Larry Thompson Contributors:
Natasha K. Johnson Al Henderson
For advertising rates and information contact us at firstname.lastname@example.org ©2010 WOTN-The Magazine All Rights Reserved
www.myspace.com/wotn-online-magazine Look for us on Facebook
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08 Cover Model: Bronwyn Bitsilly 10 Monique Garcia: Miss Indian New Mexico
11 Brian Young Reviews “Barking Water” 16 12 Selected for 2012 Women of the Navajo 26 UNM-Gallup Entrepreneur Expo 30 Native Fashion: Four Perspectives 35 Sacred Hogan: Navajo Frybread 36 Shi’ Deezhi Project: Philana Kiely 38 Fashion Photographer: Kyle Carrillo
April • May • June 2011
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Monique Garcia Miss Indian New Mexico 2010-2011 Throughout my life, there have been many influences and experiences that have humbled, inspired and made me the person I am today. In particular 8 years ago, I remember a young beautiful woman, standing tall with pride and dignity in her traditional attire, a glistening silver crown upon her head captivated my spirit. The sash and unique sterling silver crown she wore read Miss Indian New Mexico. When she spoke, it was in her native language introducing herself, her people and sharing a brief history of where she was from. As she continued on, she gave an encouraging speech, emphasizing hard work and dedication needed to pursue goals in life. I knew I had to meet her and waited for the brief opportunity to speak with her and take a picture. Afterwards I wondered how many people realized the effort, motivation, dedication and heart put forth to be in her position. Then I wondered, could I be in a position such as Miss Indian New Mexico? Words describing a Cultural Title such as Miss Indian New Mexico are “it’s not just a beauty pageant and it’s not just to stand there and look pretty. It’s much more, it’s an opportunity to express oneself beyond average expectations, to hold oneself with respect and honor, speak publicly, dedicate yourself to sharing a cultural background, as well as encouraging others individuals in pursing their own
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shutha ee’ Uusrayshtra waastii, is the name given to me by my grandfather. The name of my people, Haaku, means a place of readiness, a place prepared, a name carried with pride. I am, Haakutyaitsa, Monique Garcia, and my maternal clan is the Parrot and my paternal clan is Sun. As a young Acoma woman, I take great pride in where I am from and the values passed on to me by my grandparents, parents, family and community. I am honored and humbly represent the Miss Indian New Mexico 2010-2011 title. Throughout my reign of being Miss Indian New Mexico, I feel strongly about native language revitalization and retention. My primary platform is “LanguageA way of life, a gift for a people” Our traditional languages are a gift, strengthen PHOTO BY: KIM JEW STUDIOS and making us unique dreams and aspirations. Letting a as well as preserving the way of life of world outside of one’s own community our ancestors. Our cultural identity is know that as a young person, we are respecting our traditions and customs, here, we will make a difference, we honoring them, carrying them on, in will carry on our traditions, we will the form of songs, prayers, and preserve our way of life, and we will everyday conversation which continue on as flourishing American empowers our ancestors, youth, elders Indian’s can for future generations.” and future generations. Little did I know, now, it was time for a young woman from the Pueblo of Acoma to uphold the customs and values of the Miss Indian New Mexico title, as well as those of the Pueblo, Dine’ and Apache Peoples. Haakutyaitsa’ eese’ Shaawaitya hanu
I hope as Miss Indian New Mexico that I may be as inspiring as the young woman I met 8 years ago and to gain many life learning experiences from the American Indian communities throughout the State of New Mexico and beyond.
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Run Time 78 min. Not Rated Barking Water (2009)
“Barking Water” In Barking Water, Sterlin Harjo (Seminole /Cree) introduces us to Frankie (Richard Ray Whitman) and Irene (Casey Camp Horinek). Frankie is losing his battle with cancer and is given just days to live. Irene, who hasn’t forgiven Frankie for his part in how their relationship ended, accompanies him in his final days. Spiting him, Irene told her brothers that Frankie physically roughed her up igniting them to return the gesture. They start at a hospital where Frankie is released from care and drive away in a rez car. Their ultimate destination is Wewoka, Oklahoma where Frankie’s biological daughter and grandchild reside. Frankie tells her at the very beginning of the film, “I told you, I wanted to make a few stops.” Along their path, the elderly on-again offagain couple check in with various family members and friends as this is more than likely the last time they’ll see Frankie alive. Filling up her rez car with gas, Irene notices just how little her wallet can support. After a brief moment of contemplation, she runs to her driver’s seat, hops in, and drives off without paying, thus beginning their time sensitive journey. Further down the road, it becomes apparent that this trip is less about the final destination where Frankie’s offspring reside and more about the journey where Frankie reconnect his love and where Irene gains redemption for her part in how their relationship ended. Harjo’s growth as a film maker and experience with Four Sheets to the Wind shine in his second film even though blemishes still remain. Barking Water fills us in on their relationship during both the good and bad times through these numerous pit stops and flashbacks. To ease temporal transition, our characters wear different outfits. Meanwhile, yellow, red, and orange dominated the color schematics contributing to an almost sephia-like filter. During the present time frame, Frankie wears a black sports coat, black dress pants, white button down shirt, and a black hat.
By Brian Young Contrasting the contemporary, Barking Water includes traditional hymn songs sung in the Muscogee language by the Sand Creek Eufala Church. Breathtaking is the only word I can conjure to describe the hymns. When Frankie and Irene pay a visit to a local church, one hymn echoes around their shadowed bodies as they walk, and walk, and walk, and walk. To its own detriment, the film needlessly prolongs scenes to highlight both contemporary and traditional singing voices in the background. Your ears will thank you but your mind will begin to wonder as the scene trudges on.
He’s dressed more like a pallbearer than someone reuniting with disconnected family members. During the flashbacks, Frankie wears cottons shirts and jeans. While it is easy to understand what they are, the flashbacks are too frequent and jumbled to really piece together a timeline of their relationship in a coherent way without multiple viewings. Some of them are also pretty pointless, adding nothing to the main storyline. One in particular lovingly examines the two while they sit on a grassy hill discussing land and land ownership. Yes, it’s pretty to see, but ultimately inconsequential to the main story as a whole.
In the same note, praying and blessing become a prominent theme as the film and Frankie’s cancer progresses. At their first stop, Frankie and Irene visit a Medicine Man. Afterwards he tells Frankie that he can do no more for him. Their second stop involves Irene’s two nephews, Cvpon (Quese iMC) and Mike (Ryan Red Corn). Stripped for cash, Frankie endures the two as they pay for lunch at a local restaurant. Cvpon asks Mike to pray and bless the food before they eat. Mike’s prayer is anything but subtle as he shouts his blessings paying no heed to the other customer’s sitting near them. As mentioned in the previous paragraph, Frankie and Irene visit a local church where they listen to the traditional hymns. Irene even fans Frankie with burning cedar in an effort to calm his overpowering nausea. All of these scenes add up to a very poignant point about living a fulfilling life with the ones that love you.
The soundtrack contributes to the overall tone of the film. Fiawa Forte and Samantha Crain lend Barking Water their musical talent. Their individual songs range from upbeat to reflective and everything else in between, sometimes all in the same song. One such song plays during the grand theft gasoline scene adding a splash of fun and excitement to an otherwise desperate situation.
As press for time as Frankie and Irene are, they sure do spend a lot of time diverting from the final destination. Much of this comes from Frankie’s desire to experience anything and everything that crosses their path. He’ll want to see a sunset in a particular spot and spend half a day traveling to the spot and will have to stay overnight with one of Irene’s brothers. He’ll hear a group of singing voices continued page 13
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Run Time 81 min. Rated R Four Sheets to the Wind (2007)
“Four Sheets to the Wind” “I was told once by my grandmother a long time ago Rabbit ate Bear whole,” an unknown voice narrates in the Muscogee native language. “This made Rabbit full for years to come.” And so begins Sterlin Harjo’s (Seminole/Creek) first foray into feature films with Four Sheets to the Wind, an exceptional directorial piece. Complementing the rabbit’s story, our main protagonist, Cufe Smallhill (Cody Lightning) drags the corpse of his recently deceased father, Frankie Smallhill, across a dirt road and into a smooth blue body of water. Mentioned mere days before his suicide, Frankie disclosed to Cufe his desire to be laid to rest in a nearby lake as opposed to a funeral. Amidst circular ripples on blue still water surrounded by green grass and trees, Cufe sprinkles tobacco from a crumpled cigarette over his father’s final resting place. What unfolds after the powerful opening details Cufe’s first steps off his reservation in Holdenville, Oklahoma and into the closest city, Tulsa, Oklahoma. During his travels off the reservation and back, Cufe comes across a plethora of characters eager to share their own stories. Miri (Tamara Podemski), Cufe’s older sister, has trouble communicating with their mother Cora (Jeri Arrendondo) during the funeral. Cufe’s cousin, Jim, reminisces about Frankie’s humorous challenge to mother-nature after staging a fake funeral. While in the city, Miri’s neighbor across the hallway in their apartment complex, Francie (Laura Bailey) plays the love interest. There are quite a number of shortcomings in the main narrative. Despite being the protagonist, Cufe hardly contributes to the actions and conversations as he quietly moves from place to place and person to person. Cufe’s lack of action and voice present a great challenge for Four Sheets. His own actions hardly yield any consequences. As an unfortunate result, Cufe does not hold any sway to the plot progression. In this movie, the
By Brian Young
apartment. Struggling to survive in the city, Miri often resorts to stealing to pay rent as well as partying to stabilize her turbulent emotions. Her estranged relationship with Cora provides the only source of tension and accomplishment. Tamara Podemski (Saulteaux) who plays Miri also won the Special Jury Award for Acting.
plot pulls him to locations and people. There really is no way of telling where he is going or why he wants to go there. So, it’s a wonder if his character is important beyond mere observation. Even though Cufe’s father plays an important catalyst for the film, his father’s character and suicide never materializes into anything substantial for him. He briefly grieves but that’s it. His reason for going to Tulsa is that Miri told it would be good for him. The story also doesn’t give any explanation for why he returns to his reservation; one moment he is in the city, the next he is back on the reservation. He merely floats between encounters, listening and blending in with the background. In a sort of compensation, the Muscogee narrator dictates and interprets many of Cufe’s actions. This is not to say that Cody Lightning does a terrible job. On the contrary, he holds the character Cufe quite well and his subtle facial expressions can write volumes. The choice of making Cufe silent really hurts the overall film. The real character of interest is his sister, Miri, who hosts Cufe’s visit to Tulsa in her small sparsely furnished
Underneath the shortcomings of Harjo’s storytelling lies his technique and humorous creativity. At the very beginning, the first character we are introduced to is the omniscient narrator. With his lyrical lines, the audience starts to listen. Nowhere in any other film have I seen, or rather heard of, does listening evolve into an important theme. As much as I harked at the beginning of this review, Cufe’s silence does strengthen thematic of storytelling in general. Many shots show Cufe listening in on conversations about him or his father. He listens to his mother recount Frankie’s first words to her; “He said, ‘Four-Sheets-to-the-Wind, that’s my name.’” The tension between Miri and Cora comes from their inability to communicate and listen to each other. In fact, the only person that truly listens to Cufe is his love interest Francie. In one scene, Cufe visits a psychiatrist. True to character, Cufe contributes few words. The psychiatrist takes the reins and confuses 49ing with 69ing. He once dated a Seminole, “a real princess.” Cufe, a speaker of his Native tongue, accurately translates the psychiatrist’s nickname, “Great White Warrior,” given to him from his Seminole princess to something much less flattering. This conversation and others fleshes out Harjo’s humor that reverberates through the first part of the film. A lot of the film’s humor readily ridicules the non-Native characters and their misinterpretations. Harjo has a very distinct visual style. He shoots many of his scenes through filtered lens highlighting one particular color. Blue dominates the opening continued page 13
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“Barking Water” Review
“Four Sheets to the Wind” Review
Continued from page 11
Continued from page 12
and veer off course again. His health wanes yet he’ll want to spend a great deal of time watching young ones play tag. These “precious” scenes prevent this road-trip film from shifting to a higher gear. Another qualm that arises from these deviations is a complete disregard for landmarks. It isn’t until half-way through the film that we finally find out Wewoka is the city to which they are travelling. Until then, all we know is that they are travelling to Frankie’s biological offspring. Where the restaurant is during their second stop or any other location during any other of their stops and how far that place is from Wewoka is total guess work, and that’s saying it gently. The acting is believable in the most laudable sense. With his contemplative gazes at sunsets and his pained nauseated expressions, Whitman handles Frankie’s gradual decline with such control that you’ll never forget that he is a dying man. Camp Horinek deserves special praise for her acting. Her portrayal of Irene won two Best Actress Awards in the Breckenridge Film Festival 2009 and the American Indian Film Festival in San Francisco respectively. She captures spiteful, frustrated, shocked, angered, determined, and many other emotions with ease. There are many other great performances in this piece but the two main protagonists really steal the silver light. With Barking Water, Harjo refines his technique and storytelling. Whereas, Four Sheets in the Wind had no narrative direction, Barking Water presents a final direction and a strict time frame. Harjo uses his color schematics to aid in temporal transitions. Despite the improvements, Harjo’s road trip drives in a low gear. The flashbacks are just too jumbled and unfocused. Some of the dialogue, including the zombie attack and the land ownership, is ultimately forgettable. Much of their previous relationship is left for the audience to decrypt on their own time. There really is no way to tell where they are at any given point and time. Still, this is a good movie. It showcases many emerging talent both in front and behind the camera. Poignant in all the right places, humorous and light in tone, Barking Water is a worth the price to fill up a gas tank.
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sequence and douses Miri’s surroundings. Red and orange light up the bar where Cufe and Francie meet, the party they later visit together, and even Francie’s own apartment. A very impressive feat, Harjo connects spaces and associates bond between people with color. Another visual puzzle presented here, Cufe assume the role of his father, filling in for his void. He inherits the truck and the suit of his late father. He even sits in the chair where he found the body of his father. These neat visual tricks all hint to a greater sum for which Harjo strives. With all these subtle associations, it’s hard not to sense a great talent emerging. At the end of the movie, there is no denying that this is a first. A lot of the problems stem from the decision to make Cufe a silent character. In Harjo’s culture, the rabbit is a humorous trickster inspiring change amongst the environment and characters usually at his or her expense. Cufe, which translates to rabbit, stands in for this caricature. Cufe does allow room for his sister to grow at the expense of his own development. Four Sheets to the Wind achieves what most Hollywood films struggle to do, telling a contemporary story of a young man who happens to be Native.
ABOUT BRIAN YOUNG Brian was born and raised on the Navajo Reservation. He graduated with a Bachelor of Arts in Film Studies from Yale University in 2010. This column reviews movies that portray or are constructed by Native Americans. Each issue, Brian will review a recently released film or a critically acclaimed film. On his spare time, Brian enjoys reading, video games, and has modeled for the 2011 Men of the Navajo Calendar. If you or someone you know has a film that portrays or is made by Native Americans feel free to email Brian at email@example.com.
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NORTH AMERICAN INDIGENOUS IMAGE AWARDS GAINING STATUS 2nd Annual NAIIA - April 29, 2011 Hard Rock Hotel & Casino Albuquerque, on the beautiful Isleta Pueblo Reservation, to host celebrity-studded event recognizing North American Indigenous Peoples in the Arts, Media, & Entertainment Industry Albuquerque, NM - March 11, 2011 - The 2nd Annual North American Indigenous Image Awards (NAIIA) event will take place on Friday, April 29, 2011. This high-end formal awards event is being hosted by the Hard Rock Hotel & Casino Albuquerque on the majestic Isleta Pueblo Reservation. The NAIIA awards event is receiving attention from the industry, celebrities, talent, and fans across North America. It is the first awards show of its kind to recognize Native Americans and Canadian Aboriginals and is garnering attention from entertainment industry talent -- both behind and in front of the camera. This year’s award categories include Film, TV, Music, Magazine, Comedy, Calendar, and more. NAIIA is accepting award nomination submissions through March 25, 2011 in all categories. "I think it's awesome that we have an image award specifically for indigenous people. What a great opportunity to put a spotlight on some of the great work our community is creating," says Chaske Spencer, Actor (Twilight Saga: Sam Uley). Chaske is of
Lakota (Sioux) Nation, Nez Perce, Cherokee, and Creek heritage. The NAIIA event honors outstanding and amazing talent from across North America. The show will feature and award artists from genres of the entertainment
"We appreciate the NAIIA for recognizing the work of people like us. We produce a calendar and we work very hard every year to entertain the public. It is great to finally be recognized for all our effort and hard work," commented Krista Thompson (Navajo) owner of “Women of the Navajo” and recipient of 2009 NAIIA Outstanding Calendar Award. This event is the mustattend arts & entertainment awards show for Indigenous North America. The multitude of American Indians and Canadian Aboriginals in the Arts and Performing Arts require an avenue where talents will be recognized. This is a venue to recognize, elevate, and advance Indigenous peoples careers and aspirations and also an opportunity for growth and recognition at the international level. NAIIA is the event to see and be seen.
industry such as film, television, news, music, comedy, and photography. The event caters to entertainment celebrities, young professionals, talent agencies, managers, actors, musicians, models, filmmakers, designers, and fans. The awards show will feature a Red Carpet opening, VIP seating, live performances, celebrity presenters, and a VIP Afterparty.
Tickets to the 2011 North American Indigenous Image Awards go on sale March 2011. General admission ticket price is $20. Proceeds from the event benefit a student scholarship fund at a local tribal college. If you would like more information on the event or to make a donation, please contact Christine Means at firstname.lastname@example.org or for additional information about submission categories or show details, please visit the addreses below.
www.indigenousimageawards.com • Contact: Maryl Hamilton 505-717-2085 • email@example.com
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TWELVE SELECTED TO GRACE THE 20TH EDITION Edited By Natasha K. Johnson
GALLUP –On February 12, over 40 beautiful Navajo women filled the Thunderbird Supply Company store, with the mission to become selected for the 2012 Women of the Navajo calendar. The girl’s shared friendly banter as they waited to give one last impression to a panel of judges, but a nervous energy had settled in the air.
Two grueling hours later, the judges finalized their decisions. Each woman was critiqued on her response to numerous questions, along with her overall appearance, but the wait period wasn’t over yet. The names of the selected women would be unveiled at a special VIP Women of the Navajo selection party at Sammy C’s Rockin’ Sports Bar and Grill. Finally, the evening had arrived, but the anxious feeling many of the women were feeling earlier in the day had intensified. As they began making their way into the restaurant, you could sense the flustering butterflies in their stomachs. Many of them An Arts & Entertainment Publication
spent their afternoon preparing, and all arrived in semi-formal dresses. They all brought their family and friends to the event for support, but many of them displayed the same fidgety mannerisms one usually does when there is uncertainty lingering. Nearby bar patrons stared at the women; the men were especially intrigued and it was apparent they were enjoying the pretty ladies. Some approached them to wish them good luck, while others asked for autographs and photos with the women. At 6:30 p.m., the candidates began taking their seats in front of an audience. The girls greeted WOTN-The Magazine - 17
“Navajo Spirit” models delight the audience with color and designs one another once again, offering words of support and well wishes. There were television monitors throughout the private room, and a looped PowerPoint presentation featuring former images of the women played. It didn’t take long for the seats to be filled by a crowd, and soon there was standing room only. DJ Sixkiller of Tuba City, AZ. took the microphone, and soon his energy radiated the room. His charm and charisma captured the audience, and help to settle their nerves; people began to relax and enjoy themselves. As with any anticipated event, there were quite a few celebrities and personalities present, and DJ Sixkiller introduced them. Among the crowd was Winifred B. Jumbo, 2010-2010 Miss Navajo Nation; Karl Jim, 21Native owner and creator of the WOTN logo; Khrissy D. Enditto, 2010-2011 Miss Eastern Navajo; 2011 Men of the Navajo models; McKaela Arviso, 2011 Women of the Navajo cover model; graphic designer, Alistair McCray, graphic designer and filmmaker, Norman Patrick Brown, filmmaker; and entertainer James Bilagody. After the introductions, a fashion show by Virginia Ballenger of Navajo Spirit ensued, and the crowd was dazzled by her newest designs. The crowd was temporarily distracted by soft velvet adorned with silver embellishments, and 18 - WOTN-The Magazine
DJ Mike Sixkiller then Bilagody took the stage, and the audience was thrown into a state of laughter for the next 30 minutes. As he finished his final act and wrapped up playing some tunes on the guitar, the crowd screamed with excitement and gave a loud round of applause. It seemed the tension in the air had settled, but DJ Sixkiller took the microphone once again and An Arts & Entertainment Publication
Over 200 hearts were pounding, palms sweating, and stress levels were beyond extreme. But... announced the unveiling of the women would be happening momentarily; the tension was instantaneous. After a few words from Krista Thompson, owner of Women of the Navajo, and the some brief recognition awards, the time had arrived. The 40 calendar prospects began repositioning themselves closer to the edge of their chairs. They glanced at the other women to gauge whether they shared their worry. The moment had finally come. Would their name be called? If so, what would they do? Jump and yell, or just nonchalantly walk up and join the other girls. James Bilagody Over 200 hearts were pounding, palms sweating, and stress levels were beyond extreme. But, DJ Sixkiller did not empathize with the crowd. He knew everyone was experiencing a stress level beyond the danger zone, and decided to take his time. The crowd could sense his playful malevolence, but strangely, were enjoying the frightfulness of it all. The first named was called: Shelia Hollowhorn. Sheilaâ€™s family and friends let out a loud cheer. Sheila approached the stage and was given a dozen red roses. Only 11 spots left. DJ Sixkiller, still detecting the tension, took his time to say the second name: Kaylen Barton. In the next five agonizing minutes, the women held hands, and held their breath, as they wished for their name to be called. Tiffany Williams, Nicole Rogers, Cassandra Saunders and Saffron Watchman were called next. Looks of worry and hurt began to fill the room, and some of the women struggled to home themselves together. DJ Sixkiller called the next six names, Deidre Greyeyes, Moriah Carlson, Crystal Begay, Denise Smith and Bronwyn Bitsilly. Only one name left. A few of the girls had already started to cry, and their families began to offer comforting words. The last named was called: Tanya Lister. Tanya Lister made her way to the stage to join her new found associates. It was over for 28 girls, but it had begun for the selected 12 women in the upcoming 2012 Women of the Navajo calendar. An Arts & Entertainment Publication
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Cody Sanderson was raised in Window Rock, Arizona and is of DinĂŠ descent. His career in jewelry making began in 1999 after several years of working as a traveling sales representative for a jewelry company. Cody learned his craft by experimenting, asking questions of other jewelers and taking classes on techniques such as tufa casting. Codyâ€™s use of both traditional and contemporary themes provide the inspiration to create truly unique pieces. He works primarily in sterling silver and 18-karat gold though he does sometimes enjoy working in aluminum, copper, stainless steel and 14karat gold. He uses varied techniques such as casting, forging, fusing, repousse, and stamping. He is always working to create pieces that keep the eyes and imagination dancing. Cody creates from his studio in Santa Fe, New Mexico.
submitted by Al Henderson • UNM- Gallup Economic Development Specialist
Gallup Entrepreneur Expo Discovers Untapped Talent For years, it has been the talk among the University of New Mexico (UNM) and City of Gallup to establish a unique program that will respond to individuals who are interested in operating their own small business. The interesting situation is there are already many government-funded programs that provide assistance to small businesses, but for the most part, the assistance benefits “established businesses” because they qualify by having a track record and financial statement. Suppose an entrepreneur or inventor comes up with a new and unique idea that merits serious consideration and support. Where does the entrepreneur go to get assistance, or who does the entrepreneur turn to for advice and guidance? This is the challenge that faced UNM Gallup when, in fall 2009, the Johnson Scholarship Foundation awarded the university $60,000 to implement the Rural Entrepreneurship Institute. On March 25, 2011, seven area entrepreneurs and inventors displayed their creative ideas, products and services at the first Entrepreneur Expo on the university campus. The event ushered in a new excitement among young and old to share with the public what we may be looking forward to in the future. The exhibitors included Zuni Pueblo high school students, two men and four women who put on a grand display of their creativity before 125 people. Each exhibit drew crowds of inquiring minds, and though it may have been tiring for the entrepreneurs to repeat their story about their creation or invention, it was not apparent they minded at all. There was no doubt public interest existed for such an event. The Zuni high school students captured a lot of attention with their horticulture project involving the raising of bees and producing products such as bees wax, lip balm 26 - WOTN-The Magazine
and honey. The women showed off their skills in custom jewelry making from raw material to finished finejewelry; wholesome health center featuring a gymnasium, bookstore, organic foods and a coffee shop to promote healthy lifestyles; welding with exotic metals in an environmentally-friendly way; and stress release using massage, light energy and colonic hydrotherapy. The men displayed custom graphic design talent and a garden system which utilizes used tires and homemade sifter to make quality compost which won the top prize of $1,500. Cash prizes for all of the exhibitors came from contributions from the San Manuel Band of Mission Indians along with the following Navajo Nation tribal enterprises: Navajo Agricultural Products Industries, Navajo Engineering and Construction Authority, Navajo Petroleum, Navajo Tribal Utility Authority and Nova Corporation. “The hand is the greatest tool of an entrepreneur that makes connection at arm’s length” said John Freisinger, CEO, Technology Ventures Corporation (TVC), Albuquerque, New Mexico, who was the keynote speaker for the Expo. He elaborated on his work for Coca Cola in Russia. That experience led him to discover that not a lot of people are happy with the way things are. From that type of environment emerges a lot opportunities. And those opportunities are the focus of entrepreneurs. His advice: read books, meet new people, and find new ways to look at ideas. Technology Ventures Corporation is a non-profit organization dedicated to technology commercialization that provides guidance for startup
Jonathan Helf: Top Entrepreneur Project: Displays a homemade composter created from recycled tires, and a compost sifter set on top of a wheelbarrow..
businesses and connects them with private equity firms and other resources. Local entrepreneur, and highly successful at that, Penny Emerson, president of Native Resource Development told the gathered lunch crowd to “believe in yourself because accomplishment is just a belief away.” “Starting from scratch,” as she commonly refers to how she got started on her successful venture, she advised to “look out for critical need” which you can turn into a profitable business. That is what happened to her when she began her first business which was transporting patients from their homes to hospitals over the vast territory of Navajoland. Since then she has expanded her business to include janitorial and home care services employing 350 people. How did she do it? Make the commitment, know your revenue and expenses, get good credit, build relationships and, to reiterate what Freisinger pointed out earlier, she told the crowd to read and read widely. And don’t forget, she advised, “there are many things to be solved.” The afternoon sessions were devoted to three workshops: Starting your business, protecting your creativity, and small business support services. “Starting your business” workshop brought together experts from the city of Gallup, Navajo Nation and Zuni Pueblo. Each presented a review of the requirements necessary in order to start a business in the respective jurisdiction. Zuni, as it turned out, is the easiest place to get into business. As Kurt Nastacio put it pointedly, “all An Arts & Entertainment Publication
UNM-Gallup is the community college arm of the University of New Mexico located in Albuquerque, New Mexico. It was established in 1968 to serve the educational and training needs of the region that includes the city of Gallup and neighboring Indian reservations of Navajo and Zuni Pueblo. UNM-Gallup serves just over 3,000 students,
you have to do is come onto the reservation, pay your fee, put down your tailgate and start selling.” The “small business support services” workshop featured presenters from the United Indian Development Association (UIDA) and the Small Business Development Center (SBDC.) UIDA, represented by Cyndi Jarvison, is an arm of the National Center for American Indian Economic Development devoted to helping Native American small businesses obtain federal contracts. SBDC provides small businesses with training, management and technical assistance services. SBDC is part of the U.S. Department of Commerce, Small Business Administration and they are affiliated with community colleges across the U.S. In the course of marketing the Entrepreneur Expo, one often repeated
remark was that the prospective entrepreneur and inventor seriously believed that once they let their idea, product or service go public, they feared theft of their creation. To allay the fear the workshop on “protecting your creativity” opened some eyes. To begin with, it is a risk to get into business, much more so when it is unknown that another entrepreneur maybe thinking along the same line. So the challenge to entrepreneurs is to be the first to get into business with their creativity. To the entrepreneur who does not have a patent, copyright or trademark on their idea, product or service, it does not matter. It will always be the case that the person who holds the patent or copyright can claim ownership. This was the message presented by Dan Allan who works for Science and Technology Corporation at the University of New Mexico. Allan recommends to all entrepreneurs to get the patent first before going public. The implementation of the Entrepreneur Expo is a major achievement for the Rural Entrepreneur Institute that was funded by the Johnson Scholarship Foundation to educate and train individuals who are interested in establishing their own businesses. Students were involved in the planning and running of the event along with volunteers from the Rural
Entrepreneur Institute Advisory Team. The Expo is the University’s attempt to generate interest among the diverse population of our region to think about careers in business and it is one venue where potential entrepreneurs receive support and guidance. Another venue to generate interest in business ownership is the traditional approach that involves recruiting and attracting students to enroll in the Certificate of Entrepreneurism or the Associate of Applied Science in Entrepreneurism. The programs are designed to teach students the necessary skills and knowledge that will enable them to establish, manage, business, and sustain business for a long time. UNM-Gallup is the community college arm of the University of New Mexico located in Albuquerque, New Mexico. It was established in 1968 to serve the educational and training needs of the region that includes the city of Gallup and neighboring Indian reservations of Navajo and Zuni Pueblo. UNMGallup serves just over 3,000 students, with 80% of the student body representing tribes from the Navajo and Zuni Pueblo. Women outnumber men in student enrollment. There are no student dormitories on campus, so all UNM-Gallup students are commuters, many travelling from as far away as fifty miles.
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For booking and information Check out DJ 6-Killer at www.facebook.com/dj6killer or call 928-429-1896. Also check out samples of DJ-6Killer mixes at www.dj6killer.podomatic.com Photography by Kyle Carrillo
FYI: Mike Sixkiller, (Tohono O’odham, Hopi, Cherokee) a.k.a. DJ 6-Killer was born and raised in Sells, AZ, and now resides in Tuba City, AZ. For the past six years, he has been bringing pure energy and excitement to every performance in the Four Corners region. From the most elegant of corporate events and weddings to the freakiest of clubs and college parties, DJ 6-Killer’s creative versatility allows him to rock an 80’s and 90’s set one night, and drop a set loaded with Hip-Hop, Reggaeton, and Club Rangers the next night. He possesses a rare ability to combine “club-quality” mixing equivalent and beyond any professional MC. Two turntables, a mixer, Serato, and chest pounding beats…that’s my Friday and Saturday nights! Music has always been a passion of mine. Since the days of Michael Jackson and Kool and the Gang, fresh beats and hypnotic vocals have consumed my life. I have always wanted to be where the music was. Since, I do not dance very well, DJing is where I found my groove. A space full of people feeding off energy that you emit, pumped through the speakers, all while feeding off their energy...is an “amazing” feeling.
In the first issue of WOTN, we took a look into the popularity of Native fashion shows on the rez. As with any burgeoning industry, there are individuals who work their way to the forefront with their creative ideas, unyielding determination, and outstanding skill. Success will continue to be a top priority for them, but to remain the crème de la crème in their growing industry, they must continue to be creative visionaries, constantly working to fine tune their craft. As with any artist, they must strive to improve and refine their product, or they risk becoming yesterday’s news. We’ve identified four individuals who are making a statement in today’s Native fashion, so we decided to see what they are about, and see how they continue to stay fresh in a steadily growing market.
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Shane Watson • Felix Earle • Darylene R. Martin • Dwayane Clauschee
1. What kind of woman are your designs for? SHANE WATSON: I create and design clothing for all ages of native and non native woman who have a desire to wear Southwestern fashion. FELIX EARLE: “I would like to think that my designs are for all women. But I do admire powerful, confident, independent, sexy, and beautiful women.” DARYLENE R. MARTIN: My designs are for all women, but it will bring out the best to those who are daring. DWAYNE CLAUSCHEE: My designs are for every woman regardless of race or religion. I do everything from Native Ceremonial wear to high fashion formal wear. Every woman in every phase of her life is covered.
2. How do you choose color and prints for your clothing line? SHANE WATSON: “I choose colors and prints that are uncommon. Once, I choose the color for a blouse, then I find a coordinating skirt fabric or vice-versa. After I find the color scheme, then I design the entire outfit. But on occasion, I have particular designs for specific materials and colors”. FELIX EARLE: As a designer, you will have so many ideas rushing at you all at once. That is where a keen since of fashion comes into play, you learn to edit. I’ve been drawn to rich, heavy, saturated, fabrics such as; lace, velvet, satins, and brocades. DARYLENE R. MARTIN: For me, it usually depends on the season. As a designer, I need to be a season ahead. So, when I’m doing a spring collection, I prefer to use soft colors and for the fall collection, I will use the dark colors. DWAYNE CLAUSCHEE: For the clothing line, I simply go by what customers demand. For fashion show pieces, I go by what I learned in design school about fashion forecasting and fashion history. I watch trends and see where it’s been and predict where it’s going. I don’t choose colors and prints - they choose me and it’s up to me to tell their story.
3. What will you “not” do for a costumer? SHANE WATSON: I’m compliant with all my customers and their requests. Even tailoring, I’ve always been flexible with clients. FELIX EARLE: Not just for a customer, but in general, I will not mass-produce. It’s just the fact that a lot of the fabrics I work with are so expensive. About 90 percent of my sales are from special order only. DARYLENE R. MARTIN: What “ever” is within my means, I’m willing to do what I can for them. Basically, I won’t say, no, unless I can’t do it. DWAYNE CLAUSCHEE: I refuse to do out right copies of other designers pieces. I was trained to create originality rather than look for something to copy.
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4. What kind of raw materials do you use to ensure longevity of your product? SHANE WATSON: All fabrics I use are of the best quality. Within the process of sewing the outfit, I also use a surger to keep materials from fraying. I do ensure all my work. FELIX EARLE: Using natural fibers is best when producing high quality products; cottons, silks, wool, etc. Still I do use other manmade materials, but you can’t go wrong with natural fibers. DARYLENE R. MARTIN: I use all kind of materials; the only way a garment will last is if the designer informs the customer of what type of materials are used and how to care for it, the basis of proper cleaning. DWAYNE CLAUSCHEE: For longevity, I don’t follow trends but create something that can carry over from one season to the next. Understanding fabric content and properties, which is taught in most textile classes in design school, teach to choose which fabrics will help me achieve the desired outcome.
5. What goes through your mind when you spot a person wearing one of your clothing? SHANE WATSON: It’s very exciting to see woman wearing my clothing. It makes me proud to know that they prefer to wear my line of clothing and inspires me to design and create more looks. FELIX EARLE: It is the best feeling in the world. You feel a sense of accomplishment, kind of like you are a part of that person’s sense of being. A lot of people don’t know this, but fashion has such a impact on our society’s psychology. DARYLENE R. MARTIN: I get so excited, just knowing that someone out there likes and appreciates what I have to offer as a fashion designer and artist. DWAYNE CLAUSCHEE: Clothing lines or designs? When I see someone wearing my designs, I’m thinking of the money they paid me. The fact that I am getting paid for what I love doing is a high. When they are wearing something from my clothing line, I’m thinking, “They should have also bought the pants and jacket that goes with that top,” which leads me to figure out how I can improve my selling skills to get customers to buy.
6. Are most fashion designers seamstresses as well? How do you view yourself? SHANE WATSON: Of all the designers, I have been exposed to, most are all seamsters, seamstresses, or tailors. Some professionals are just designers but a designer would have to know how to sew to create what he/she wants. For me, learning to sew made it easier to design and bring the entire outfit together. FELIX EARLE: I believe to be a great fashion designer, you must be a seam stresses or tailor. DARYLENE R. MARTIN: Yes, a true fashion designer “MUST” know how to sew, therefore, a seamstress. I view myself as an artistic and creative person. I grew up with art all around me.
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Shane Watson • Felix Earle • Darylene R. Martin • Dwayane Clauschee
DWAYNE CLAUSCHEE: I cannot speak for other designers but, I am a seamstress, patternmaker, marketer, market researcher, advertiser, and business person. I feel, I approach this from a whole different prospective than other native designers. I see myself as a business person first and foremost.
7. Which season affects your revenue the best? Why? SHANE WATSON: I receive most revenue in the beginning of the year for graduations, gifts and public events. But the beginning of fall is the second most active season because of weddings, fairs and pageants. FELIX EARLE: I have two seasons that draw in the most revenue; winter (Christmas) season, and what I call the graduation season. I get pretty booked completely during these times. DARYLENE R. MARTIN: It’s a tie. Why? I’m a new designer, so my revenue isn’t as near as where I would like it to be. But I’m hopeful for the future. DWAYNE CLAUSCHEE: Christmas is one of my best times of the year. Most Native American designers are limited to only clothing but I also work on accessories, home and holiday décor. The season gives me a great amount of freedom to really create. I am able to expand on my product base to increase sales by showcasing my dexterity with the medium.
8. What is your philosophy about the art of Native fashion? SHANE WATSON: I wanted to continue what I was taught from my late grandmother, a Navajo seamstress. She inspired me to continue designing and sewing. Since then, I carried what mattered to me and what life I could bring of Native Clothing. So now, I create a broad range of clothing that is inspired by traditional Navajo clothing but with a new world flair. FELIX EARLE: I really don’t like the word “native” associated with fashion. What I do is “fashion” in all aspects of the word. I believe you should create from the heart, and what you see as fit. I don’t think anyone should put a limit to what you are capable of. I have quite a few critics about my work not being “native” enough, and I don’t want my work to come off as such. I’m not a “Native American fashion designer”, I am a fashion designer and producer that happens to be Native American or Dine’. Sure my heritage and way of life does come through in my work at times, but I’m also influenced by other cultures of the world. That’s what I love about my work. I set no boundaries for my art. I always tell people, “If you have an open mind, we are capable of anything”.
SHANE WATSON Contact Info: Shayne Watson
DARYLENE R. MARTIN: Fashion designers who are of ethnic backgrounds have that extra edge to magnify fashion to another level, because of that; they end up setting a new trend. I’m glad to say, I am able to do just that. DWAYNE CLAUSCHEE: My philosophy on the “art” of native fashion is that it’s what other Native Americans do. I’m a fashion designer who happens to be Native American. My designs do not recall a bygone era in southwestern history or the chants and prayers of ceremonials. Culture plays little to no part in my design process. I design to reach the broadest audience rather than a small minority set on stereotypes. I think of designing for the human race rather than the Native American race.
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DARYLENE MARTIN: MARTINI COUTURE www.facebook.com/martinicouture.darylene www.myspace.com/martinicouture
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EARLE COUTURE by Felix Earle
EARLE COUTURE by Felix Earle
firstname.lastname@example.org â€˘ www.facebook.com/earlecouture
Nizhoni Way Apparrel DWAYNE CLAUSCHEE www.nizhoniwayapparrel.com www.facebook.com/nizhoni.way.apparrel email@example.com An Arts & Entertainment Publication
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www.sacredhogan.com 1-602-277-5820 Delivery Available
842 E. Indian School Rd. Phoenix, Arizona 85014
A BITE TO REMEMBER Despite being surrounded by popular restaurants and fast-food joints in a sluggish Phoenix economy, restaurant owners Sean and Dwayne Lewis of Sacred Hogan say their restaurant is doing well. Edited By Natasha K. Johnson
Sacred Hogan restaurant may be settled among a block of restaurants in central Phoenix, but these restaurants can hardly be called competition, since they don’t offer mutton sandwiches, mutton stew, or fry bread burgers. These are foods most Natives in the Southwest have an occasional, if not frequent craving, and the Lewis brothers are there to satisfy the taste buds of the growing Native population in the area.
The Lewis brothers enjoy the compliments from satisfied customers who come to eat their favorite foods. You can see them frequently interacting with their customers, since they, along with three other employees, work in the kitchen and in the restaurant area. Although their customers are predominately Native, they also have curious customers who want to get a taste of traditional Native foods.
While Sacred Hogan has become a favorite restaurant location to the thousands of Natives A who live in the area, they credit their grandmother who insisted they learn to make dough for fry bread when they were just young boys. They had no idea it would lead to them to opening a restaurant business, and while it NAVAJO FRYBREAD has taken a great deal of hard work and grit, they continue to look forward. Their hard work and commitment to serve the tastiest Native foods is one of Today, they offer more than just the regular items you many reasons for their ongoing success. might find at a tribal fair food stand. They refer to their food as elite Native cuisine, since they offer menu items So, when you walk into their establishment, put aside such as lamb stir fry which consists of lamb, squash, red your diet regimen for a bit and indulge in one of the onions and fire-roasted green chili. On the sweet side, many mouth-watering foods they have to offer. You will they offer vanilla ice cream dusted with powdered leave Sacred Hogan with a full tummy and time to sugar or cinnamon, or open-face fry bread smothered remember. with vanilla crème and bananas slices. •S
D HOG A
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The Lewis brothers (Dine/Pima) are originally from Klagetoh, Ariz., a tiny community on the Navajo reservation. They opened their doors in 2008, after they began testing the market for Native foods in the mid 1980’s. They sold favorite Native foods at local pow-wows and festivals before deciding to open a restaurant.
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An Interview With Philana Kiely
“ Shideezhi Project”
By Natasha K. Johnson
So, there’s been some buzz about a project you started called the “Shideezhi Project”. Philana Kiely
What is the Shideezhi Project? Shideezhí means “my little sister” in the Navajo language. The Shideezhí Project is a mentor program in which members of the National Association of Women MBAs (NAWMBA) all over the U.S. are paired with female youth from the Navajo Nation in an effort to empower a new generation of leaders, who have been severely disadvantaged. Battling issues such as alcoholism, drug abuse, and rising rates of teen pregnancies, many girls do not finish high school or go on to pursue higher education. The mentors will aim to inspire and motivate these individuals, through hands-on mentoring, to achieve the following life goals: (1) Graduate from high school (2) Pursue higher education and graduate from college (3) Enter the workforce as a productive member of society and the tribe Shideezhí draws from rich Navajo cultural traditions that emphasize the vital importance of relationships known as “k’é”, particularly as manifested in the clan and extended family. 36 - WOTN-The Magazine
Why did you decide to start the Shideezhi Project? I had always wanted to come back to the area to try to help the girls realize their potential because I noticed so many of my cousins falling through the cracks; getting pregnant, dropping out, etc. When was the idea for the project born, and when did you decide you were going to definitely launch the program? I was the chapter president of NAWMBA at the University of Houston Bauer College of Business at that time. My board of directors and I wanted to take on an initiative where we could give back to the community. My board at UH loved the idea of coming out to the area, so 5 of us came during our spring break in March of 2009. We visited JFK Mid to visit with 8th grade girls, Window Rock High School to meet with Senior girls and Sanders High School to meet with all grades. The day we went out to Sanders, the counselor told me that the electricity had gone out and that they had to send all the kids home for the day.
We went to the school anyway to meet with the counselor, teachers and principal. The girls who had never been to the Navajo Nation before were very surprised and astonished at the environment the girls have to grow in. They couldn’t believe some had no electricity or running water and the rates of attempted suicide and other behavior problems. After this visit, we decided we were needed at that school because the counselor told us no one ever came out there to help. From there we worked on creating a one-on-one mentor program to help the girls stay in school, graduate and go on to college to break the cycle of poverty. We want the girls to become self-sufficient, so they don’t have to depend on government programs to support themselves and their families. After our inaugural visit in 2009, I presented the feedback we had received from the community and Sanders Valley High School to NAWMBA’s executive director, Tonya Olpin. At that point, she empowered me to structure the program to launch on a national basis. We aimed at launching in January of 2010 at SVHS. Where has the project been implemented? Sanders Valley High School with mentors from the University of Houston, Rice University, Boston College, University of Maryland, Baruch College, Monroe College, and Indiana University. Do you plan to expand the project? Yes, but carefully. We need to get the program at our pilot school right before we expand. “Shideezhi Project” continues on Page 37
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“I quit the lucrative consulting position and volunteered my time for the next 5 months to get the project launched”. How do you select mentors for the project? What is the process? We have an application process by which mentors submit a written application, biography and background check authorization. What we have found is that the individuals who submit an application often have an extensive history of volunteer and community service. These are really amazing individuals. Are many of the mentors familiar with Native communities prior to becoming part of the project? For the most part, not at all. We work on providing background information on the community and cultural awareness before the mentors come to the area. What are the mentors most taken aback by when they first visit the Navajo Nation? Besides the lack of infrastructure, such as dirt roads, access to basic amenities like running water and electricity, the mentors are most affected by the backgrounds of the mentees. The trials and issues the young ladies face on the Navajo Nation are beyond what they could imagine. Why did you decide to call it the Shideezhi Project? Did you have other names in mind? We named it right away. We wanted a family component and since it was on the Navajo Nation, it flowed naturally to the Shideezhi Project. We chose “project” because we had no idea what would come of the initial visit, and being MBA’s, we were used working on many abstract projects. Where did you grow up? Where did you go to high school and college? Tell us more about yourself? I was born in Zuni, NM near my parents’ home in Pine Hill, NM. When I was three, we moved to Burnt Water, AZ just 3 miles from my mother’s family in Querino, AZ. A
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“Shideezhi Project” couple years later we moved to Querino to be closer to family. However, due to violence brought on by alcoholism, my parents thought it would be safer to move to Gallup, NM where I lived until I graduated from Gallup High School in 2000. After graduation, I decided to work for a year and live on my own before going to college. I attended Fort Lewis College in Durango, CO majoring in Business Administration. I had chosen this major because I had met a beautiful, successful native woman in New York the summer before my freshman year. She had her own production company and worked in Manhattan. She was strong and independent though she had a beautiful family. I asked her what her major was and she told me Business Administration. After that, I never strayed from business studies. Though I met her just that one time, she has played an important role in my educational career. She gave me something to aspire to. This experience has helped me in forming the foundation of the Shideezhi Project. After I graduated with my BA, I worked for Estee Lauder in Murfreesboro, TN and Baker Botts, LLP in Houston Texas. I began my MBA career at the University of Houston in 2007 where I played an active role in NAWMBA. When I graduated in 2009, I was offered a position as an IT Energy Consultant which I took. For two months, I worked for a small consulting firm where I was absolutely miserable. I didn’t have the freedom to work on the Shideezhi Project which needed much work. After much thought and consideration, I decided I would take a chance and work on Shideezhi alone. I quit the lucrative consulting position and volunteered
my time for the next 5 months to get the project launched. The project launched in January of 2010, and in February, I was offered a full time position with NAWMBA to work on the project and to handle membership for the organization. What are the long terms goals for the Shideezhi Project? This is our vision statement: The Shideezhí Project is built on the premise that every successful woman has had mentors and supporters who have helped her get to where she is today. We aim to give Navajo high school girls the encouragement, love and guidance they need to attain a more positive future free of poverty, alcoholism, drug abuse, and teenage pregnancy. We as mentors and big sisters, or ádí, will encourage our little sisters, or adeezhí, to attain the following short-term and long-term life goals: high school graduation, college graduation, entrance into the workforce as a productive member of society and the tribe. Through our mentoring services and relationships, we will create awareness among Navajo youth about the importance of achieving higher education to define personal goals, recognizing hidden potential and strengths, and using these to reach their aspirations. Our goal is to reach all Navajo Reservation high schools, while getting all NAWMBA chapters involved so as to touch as many lives as we can and to help the next generation of Navajo women to move into a new cycle of prosperity and self-sufficiency. How can people help with this project? First and foremost by donating funds to the project. The monetary demands on the project are high as travel one of the key aspects of the program. We bring the mentors to the mentee high school once a year, and we send both mentee and mentor to a leadership retreat in the spring. Donations can be made at www.mbawomen.org/shideezhi. WOTN-The Magazine - 37
Model of the Month Chanelle Tilden Photography by Kyle Carrillo www.kylecarrillophotographer.com
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ASU appoints Diane Humetewa to advise President on Indian Affairs TEMPE, AZ –– Arizona State University has named Diane Humetewa as special advisor to the President for American Indian Affairs. Humetewa, a former United States Attorney for the District of Arizona, takes over the duties previously handled by Peterson Zah, who left the university last year to return to work for the Navajo Nation, where he served as president of the tribe. She will continue to practice in the tribal affairs and natural resources areas with the law firm of Squire, Sanders and Dempsey (US) LLP.
practice in the Sandra Day O’Connor School of Law. Humetewa is looking forward to discovering opportunities the university offers to Native American students and finding out how higher education at ASU has evolved during the years since she graduated with the addition of new campuses and advances such as the variety of courses that are now taught online.
“ASU has changed in terms of its ability to reach outside of Tempe,” Diane Humetewa Humetewa said. One of her initial goals in taking over the position is to take a hard look “ASU is committed to working with Arizona’s tribes to at the future plans of the university and where Native bring more Native American students to the American students and Indian Tribes fit into ASU. university. Diane Humetewa will provide advice and counsel to ASU on its efforts to design and implement “One of the comments most often heard among tribal programs and initiatives to better serve Native leaders is that providing higher education American students and to partner with Arizona’s opportunities to tribal members is an important goal. Indian tribal governments,” said ASU President There’s a real priority placed on providing as much Michael M. Crow. assistance to tribal members or identifying and tackling the roadblocks to education in the native Humetewa will serve as chairperson of the ASU Tribal communities,” Humetewa said. This can be Liaison Advisory Committee and will be a member of challenging in an environment where nationally the Provost’s Native American Advisory Council. approximately 50 percent of Native American She’ll continue the university’s work to promote higher students don’t obtain a high-school diploma. education opportunities among Arizona’s tribes. Humetewa, a member of the Hopi tribe, was born “I am looking forward to working with Diane to and raised in Arizona. She started school on the improve the retention and success of Native Hualapai Reservation. Her exposure to Arizona’s tribes American students at the university,” said Elizabeth D. began at an early age. Her father worked for the Capaldi, ASU Executive Vice President and Provost. Bureau of Indian Affairs and traveled throughout Arizona’s Indian country, often taking her with him. Humetewa is looking forward to building She attended public high school in the Valley, but ties relationships with students. to her family and culture kept her close to the Hopi reservation. “At the time, Indian children were still “President Zah had been so instrumental in recruiting attending boarding schools far from the reservation,” Native American students at ASU. The student Humetewa recalled. population had grown immensely. We want to continue to build on the foundation he laid in terms Humetewa received her Juris Doctor degree in 1993 of bringing in new students to pursue higher from ASU’s Sandra Day O’Connor College of Law and education from Native American communities and to her bachelor’s degree from ASU in 1987. She has work to retain those students who come to ASU,” served on the Sandra Day O’Connor College of Law Humetewa said. Indian Legal Advisory Committee since 1997. Humetewa was the first Native American female in She will also serve as legal counsel and in an history to be appointed as a U.S. Attorney in 2007. advisory capacity with ASU in its relations with During her long career in public service, she also served as counsel to the U.S. Senate Indian Affairs Native American tribal governments. In addition, Subcommittee, then chaired by Sen. John McCain. Humetewa will be appointed as a professor of (Julie Newberg, Media Relations • firstname.lastname@example.org • March 24, 2011)