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"Raven and the Box of Daylight is the Tlingit story of Raven and his transformation of the world—bringing light to people via the stars, moon, and sun. This story holds great significance for the Tlingit people. The exhibition features a dynamic combination of artwork, storytelling, and encounter, where the Tlingit story unfolds during the visitor’s experience."--
In a time when darkness covered the land, a boy named Weget is born who is destined to bring the light. With the gift of a raven's skin that allows him to fly as well as transform, Weget turns into a bird and journeys from Haida Gwaii into the sky. There he finds the Chief of the Heavens who keeps the light in a box. By transforming himself into a pine needle, clever Weget tricks the Chief and escapes with the daylight back down to Earth. Vividly portrayed through the art of Roy Henry Vickers, Weget's story has been passed down for generations. The tale has been traced back at least 3,000 years by archeologists who have found images of Weget's journey in petroglyphs on the Nass and Skeena rivers. This version of the story originates from one told to the author by Chester Bolton, Chief of the Ravens, from the village of Kitkatla around 1975.
"Raven and the Box of Daylight is an ancient creation story based on oral history that has been passed from generation to generation for thousands of years."--Back cover.
A long time ago, Raven was pure white, like fresh snow in winter. This was so long ago that the only light came from campfires, because a greedy chief kept the stars, moon, and sun locked up in elaborately carved boxes. Determined to free them, the shape-shifting Raven resourcefully transformed himself into the chief's baby grandson and cleverly tricked him into opening the boxes and releasing the starlight and moonlight. Though tired of being stuck in human form, Raven maintained his disguise until he got the chief to open the box with the sun and flood the world with daylight, at which point he gleefully transformed himself back into a raven. When the furious chief locked him in the house, Raven was forced to escape through the small smokehole at the top — and that's why ravens are now black as smoke instead of white as snow. This engaging Tlingit story is brought to life in painterly illustrations that convey a sense of the traditional life of the Northwest Coast peoples. About the Tales of the People series: Created with the Smithsonian's National Museum of the American Indian (NMAI), Tales of the People is a series of children's books celebrating Native American culture with illustrations and stories by Indian artists and writers. In addition to the tales themselves, each book also offers four pages filled with information and photographs exploring various aspects of Native culture, including a glossary of words in different Indian languages.
In her first book, Blonde Indian, Ernestine Hayes powerfully recounted the story of returning to Juneau and to her Tlingit home after many years of wandering. The Tao of Raven takes up the next and, in some ways, less explored question: once the exile returns, then what? Using the story of Raven and the Box of Daylight (and relating it to Sun Tzu’s equally timeless Art of War) to deepen her narration and reflection, Hayes expresses an ongoing frustration and anger at the obstacles and prejudices still facing Alaska Natives in their own land, but also recounts her own story of attending and completing college in her fifties and becoming a professor and a writer. Hayes lyrically weaves together strands of memoir, contemplation, and fiction to articulate an Indigenous worldview in which all things are connected, in which intergenerational trauma creates many hardships but transformation is still possible. Now a grandmother and thinking very much of the generations who will come after her, Hayes speaks for herself but also has powerful things to say about the resilience and complications of her Native community.
A retrospective celebrating this Tlingit artist's unique alchemy of Northwest Coast formline design and glass-blowing technique. In a meeting of European glass-blowing tradition and Northwest Coast design, Preston Singletary's art depicts cultural and historical images from his Tlingit ancestry in richly detailed, beautifully hued glass. By infusing traditional formline design with fresh energy through the use of modern materials, his work pays homage to his forebears. Recognized internationally, Singletary's works are held in such museum collections and galleries as the National Museum of the American Indian, the Museum of Fine Arts (Boston, MA), the Seattle Art Museum, the Corning Museum of Glass (Corning, NY), the Spirit Wrestler Gallery (Vancouver, B.C.) and the Handelsbanken (Stockholm, Sweden). This beautifully illustrated retrospective of an innovative artist at midcareer accompanies a touring exhibition. It includes a DVD and features essays by Melissa Post, curator at the Museum of Glass; Steven Brown, former curator of Native American art at the Seattle Art Museum, and Walter Porter, a Tlingit storyteller.
The expertise of Native glass artists, in combination with the stories of their cultures, has produced a remarkable new artistic genre. This flowering of glass art in Indian Country is the result of the coming together of two movements that began in the 1960s--the contemporary Native arts movement, championed by Lloyd Kiva New, and the studio glass art movement, founded by American glass artists such as Dale Chihuly, who started several early teaching programs. Taken together, these two movements created a new dimension of cultural and artistic expression. The glass art created by American Indian artists is not only a personal expression but also imbued with cultural heritage. Whether reinterpreting traditional iconography or expressing current issues, Native glass artists have created a rich body of work. These artists have melded the aesthetics and properties inherent in glass art with their respective cultural knowledge. The result is the stunning collection of artwork presented here. A number of American Indian artists were attracted to glass early in the movement, including Larry "Ulaaq" Ahvakana and Tony Jojola. Among the second generation of Native glass blowers are Preston Singletary, Daniel Joseph Friday, Robert "Spooner" Marcus, Raven Skyriver, Raya Friday, Brian Barber, and Ira Lujan. This book also highlights the glass works of major multimedia artists including Ramson Lomatewama, Marvin Oliver, Susan Point, Haila (Ho-Wan-Ut) Old Peter, Joe David, Joe Fedderson, Angela Babby, Ed Archie NoiseCat, Tammy Garcia, Carol Lujan, Rory Erler Wakemup, Lillian Pitt, Adrian Wall, Virgil Ortiz, Harlan Reano, Jody Naranjo, and several others. Four indigenous artists from Australia and New Zealand, who have collaborated with American Indian artists, are also included. This comprehensive look at this new genre of art includes multiple photographs of the impressive works of each artist.
This is a critical analysis of contemporary politically engaged art.
In the spring, the bear returns to the forest, the glacier returns to its source, and the salmon returns to the fresh water where it was spawned. Drawing on the special relationship that the Native people of southeastern Alaska have always had with nature, Blonde Indian is a story about returning. Told in eloquent layers that blend Native stories and metaphor with social and spiritual journeys, this enchanting memoir traces the author’s life from her difficult childhood growing up in the Tlingit community, through her adulthood, during which she lived for some time in Seattle and San Francisco, and eventually to her return home. Neither fully Native American nor Euro-American, Hayes encounters a unique sense of alienation from both her Native community and the dominant culture. We witness her struggles alongside other Tlingit men and women—many of whom never left their Native community but wrestle with their own challenges, including unemployment, prejudice, alcoholism, and poverty. The author’s personal journey, the symbolic stories of contemporary Natives, and the tales and legends that have circulated among the Tlingit people for centuries are all woven together, making Blonde Indian much more than the story of one woman’s life. Filled with anecdotes, descriptions, and histories that are unique to the Tlingit community, this book is a document of cultural heritage, a tribute to the Alaskan landscape, and a moving testament to how going back—in nature and in life—allows movement forward.
AN INSTANT NEW YORK TIMES BESTSELLER A New York Times Notable Book of the Year WINNER of the NBCC John Leonard Prize, the Kirkus Prize, the Center for Fiction First Novel Prize, the Dylan Thomas Prize, and the VCU Cabell First Novelist Award One of Barack Obama's Favorite Books of 2020 A BEST BOOK OF THE YEAR: NPR, The New York Times Book Review, O Magazine, Vanity Fair, Los Angeles Times, Glamour, Shondaland, Boston Globe, and many more! "So delicious that it feels illicit . . . Raven Leilani’s first novel reads like summer: sentences like ice that crackle or melt into a languorous drip; plot suddenly, wildly flying forward like a bike down a hill." —Jazmine Hughes, The New York Times Book Review No one wants what no one wants. And how do we even know what we want? How do we know we’re ready to take it? Edie is stumbling her way through her twenties—sharing a subpar apartment in Bushwick, clocking in and out of her admin job, making a series of inappropriate sexual choices. She is also haltingly, fitfully giving heat and air to the art that simmers inside her. And then she meets Eric, a digital archivist with a family in New Jersey, including an autopsist wife who has agreed to an open marriage—with rules. As if navigating the constantly shifting landscapes of contemporary sexual manners and racial politics weren’t hard enough, Edie finds herself unemployed and invited into Eric’s home—though not by Eric. She becomes a hesitant ally to his wife and a de facto role model to his adopted daughter. Edie may be the only Black woman young Akila knows. Irresistibly unruly and strikingly beautiful, razor-sharp and slyly comic, sexually charged and utterly absorbing, Raven Leilani’s Luster is a portrait of a young woman trying to make sense of her life—her hunger, her anger—in a tumultuous era. It is also a haunting, aching description of how hard it is to believe in your own talent, and the unexpected influences that bring us into ourselves along the way. “An irreverent intergenerational tale of race and class that’s blisteringly smart and fan-yourself sexy.” —Michelle Hart, O: The Oprah Magazine