Free ADA
the Chickasaw’s
April 2010
Vol. 4 Issue 1
April 10
Contents Publisher Art Direction Graphic Designer
David Elliott Layers Media, Inc. www.layersmedia.com Guillermo Martinez
Guest Writers
Josh Forrester
Photographer
Ethan Hickerson
Ethan Hickerson photographed Jared Tate and Scout Cloud Lee from last month’s issue.
To advertise call David at (580) 235-5722
www.adahub.com Comments or Suggestions? info@adahub.com PO Box 2405 Ada, OK 74821 (580) 421-7874
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A Publication of Bolitho Ventures, Inc. © Copyright 2010
features 6 A brighter future for American Indians: The Jefferson Keel story
departments 4 Events
9 The Chickasaw’s Beethoven
Disclaimer: The Ada Hub community guide is published monthly by Bolitho Ventures, Inc. Copies are distributed FREE throughout the Pontotoc area. The publication is also available online at www.adahub.com. It may be viewed online or printed from our website for easy use. All rights reserved, none of this publication may be reproduced in whole or part without the written consent of the publisher. Neither Bolitho Ventures, Inc. or the advertiser will be held responsible or liable for typographical errors, misprints, misinformation, etc., herein contained.
April 10
events ■ 9-10 Time: 10 a.m. Animal Sale. OK Mule Sale at Pontotoc County Agri-Plex Large Animal Barn. For more information call Terri Love 580444-7291 ■ 9-10 Revenge of the Bulls World Championship Bullfights. Feat. Florida Boys in concert, $15, tix on sale March 22 at Pontotoc County Agri-Plex in Big Red Arena. For more information call Deanna Townsend 580-310-6447 ■ 10 So Percussion performing at Ataloa Theatre. Adult Tickets: $12 (includes $2 transaction fee), Student with ID: $6.00 (includes $1 transaction fee) For more information call 580-332-8000 ■ 10-11 Time: 10 a.m. - 6 p.m. Spring sale Monkey Business. Children’s consignment sale at Pontotoc County Agri-Plex Convention Center. For more information call Ashley 580-3203605
■ 16-17 Event: Southern Oklahoma Cutting Horse Association Cutting event at Pontotoc County Agri-Plex Arena. For more information call SOCHA 918-649-4608
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■ 23 Time: 9 a.m. - 6 p.m. Fri; 9 a.m. - 5 p.m. Sat. Pontotoc County Quilt Show. Annual quilt show; demos, prizes at Pontotoc County Agri-Plex Convention Center Admission is $2 For more information call OSU Extension 332-2153 ■ 23-24 Pontotoc County Quilt Show. Crafters compete for door prizes and a quilt give-away at this show, which also features demonstrations and arts and crafts. (580) 332-2153 ■ 23-24 Spring Dance ConcertAtaloa Theatre- Dr. Victoria Dansby
■ 16-18 Animal show. OK Boer Goat Show at Pontotoc County Agri-Plex Large Animal Barn. For more information call JD McNutt 332-3090
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■ 17 & 24 Time: 7:30 p.m. Live music/concert (country). A Night with Jae L. & Crossover at McSwain Theater. Adult Tickets $18.00 (includes tax) Senior Tickets - $17.00 (includes tax) Children Tickets - $10.00 (includes tax) Theatre 580-332-8108
Saturday Nights One free game of bowling with this ad (1 per visit)
■ 24 Miniatue horse show at Pontotoc County Agri-Plex Large Barn. For more informatio call 580332-2506 ■ 24 Time: 6:30 p.m. Live music/entertainment. Sens de Vie Tour. Family fun! Illusionist Harris III; musical group Everlife at McSwain Theatre. Formore information call McSwain Theatre 580-332-8108
Bowling League Night 4UESDAY AT PM
■ 27 Time: 8:30 a.m. Education. Pontotoc County Annual outdoor classroom. Agricultural and environmental education made fun! At Pontotoc Technology Center, 601 W 33rd St. For more information call April Casiano, Pontotoc County Conservation 580-332-7979 ext 101, Email: pontotocccd@ conservation.ok.gov ■ 28 ECU Wind Ensemble/ Symphonic Band Concert. The university woodwind instrument ensemble collaborates with the symphonic band for an evening of music. (580) 559-5611 Pontotoc County Agri-Plex 1700 N Broadway. ■ 29 ECU Wind Ensemble/ Symphonic Band Concert- Ataloa Theatre- Dr. Allen Correll ■ 30 Showtime Dazzling Duets & More- Mr. Patrick Sweet- Chalmers Herman Theatre Boy Scout troop 4. Troop 4 meets at the First Christian Church located at 101 E. 13th Street, Ada. Enter the Church through the northwest entrance (just south of the flagpole), the Scout Hall is located on the fourth floor of the Church, just follow the stairs all the way to the top. Mondays from 7:30 p.m. until 9:00 p.m. during the school year. For more information call (580) 3323564
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A brighter future for American Indians
The Jefferson Keel Story by: Josh Forrester
For a man who has conversed with leaders as renowned as Barack Obama and Nancy Pelosi, Jefferson Keel is anything but vain. As both the Lieutenant Governor of the Chickasaw Nation and the President of the National Congress of American Indians (NCAI), Keel is both a humble and self-aware leader who is extraordinarily dedicated to his work and to the service of the Chickasaw Nation and all Native American peoples. Keel’s story is simple, but his achievements are anything but. “I’ve been a Chickasaw all my life, but I haven’t been in politics for very long,� jested Keel while remembering his beginnings as a politician. Keel “went into the Army when [he] was a youngster� in which he accumulated over
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twenty years of active duty service, and after he retired from the Army he went to work for the Chickasaws. In 1999 a man by the name of Bill Anoatubby was in need of a Lieutenant Governor and asked Keel to run with him. After their election to office in ’99, Keel started attending NCAI meetings, and eventually was elected as the Area Vice President of the organization in 2000. In 2005 he was elected the First Vice President, and just last year he was the first tribal leader from Oklahoma to be elected President. This is no small accomplishment considering the NCAI is one of the most important Indian organizations in the world. Currently comprised of about 250 tribes in twelve different regions, it is the oldest and largest tribal organization in
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the world. Established in 1944 it has been on the forefront of halting termination legislation to end tribal governance and has played a large role in allowing greater Indian participation in the federal government’s decision-making process. With all of this history and influence the job as President can be a daunting task. “To look back at all of those great tribal leaders who have gone before me as the president of NCAI… it’s a tremendous honor, but there is a lot of pressure involved in it too.” Even with all of the pressure, as President, Keel has continued in the manner of those who have gone before him in working with “other tribal leaders around the country regarding budget reformation, sovereignty issues, and Supreme Court issues.” Keel, through the NCAI, has now achieved what he calls “true consultation” with the federal government. “Some government officials believe that a phone-call equals true consultation, but tribal leaders need to sit down with their federal counterparts and come up with real solutions,” and in November the NCAI achieved that true consultation with President Obama. “President Obama is now reaching out to tribes, asking for our input on federal rules and regulations. We now have a place in those consultation meetings and now we feel our voices are truly being heard. We have two wars going on and an economy that is falling apart and the fact that he took that day in November to listen to tribal leaders and to have each of his secretaries sit down and listen and talk with the tribes is unheard of. There are things that are happening now in terms of true progress that I believe are enormous.” Even as enormous as his job as President of NCAI is, Keel humbly states, “the job as Lieutenant Governor of the Chickasaws is my primary role and it is what I’m dedicated to— this is my day-job. The Chickasaw people come first and foremost in everything that Governor Anoatubby and I do. The needs of our citizens need to be paramount in everything that we do.”
This self-awareness and dedication has served Keel well in his three terms as Lieutenant Governor. “I recognize that if I don’t take care of business here at home, there’s no need to go outside. I feel lucky to work for such a great organization as the Chickasaws. We’re really fortunate to have stable leadership and to have such successful businesses. If that were not the case I might not be involved in national politics.” Being afforded the chance to see first-hand all the “tribes around the country that are less fortunate; tribes that are struggling with their
economy, with citizen needs, with payroll to keep their doors open, and with threats to their environment, it makes you realize that sometimes you have to step back and say, ‘It could be a lot worse—we need to count our blessings.’ We complain about the unemployment here being eight to nine percent when other tribes will tell you that they would love to get down to fifty percent because there simply are no jobs to be had.” While Keel hopes to continue playing a role in letting Indian voices be heard through the NCAI, he is truly dedicated to his work here at home. “I hope to see that our people continue to thrive, that we one day become one-hundred percent self-sufficient and independent of the federal government, and that our young people will continue to strive towards education and above all to always remember that they are Chickasaw.”
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music has been described as “utterly spellbinding” and “evocative.” His work has been performed by the National Symphony Orchestra, Detroit Symphony Orchestra, Minnesota Orchestra, Buffalo Philharmonic Orchestra, Colorado Ballet, the Contemporary Music Forum, and the Oklahoma City University Wind Philharmonic, just to name a few, and his name is Jerod Impichchaachaaha Tate. He is a professional composer whose innovative blend of traditional Native American and classical music is both prolific and inspirational. Tate essentially began his career as a composer at the age of eight. That was the age in which he began piano lessons and within a few weeks of lessons he “had made the decision that [he] would be a musician, that’s just how it was going to be.” Born with a Chickasaw pianist and vocalist for a father and an Irish choreographer for a mother, Tate “had been exposed to a lot of classical music and theatre as a kid.” After graduating from high school, Tate decided to attend Northwestern University as a piano performance major. “Towards the end of my studies at Northwestern was when I received my first commission to write music,” recalled Tate. “My mother taught dance at the University of Wyoming and was embarking on an original ballet that incorporated stories from the Indian tribes of the Northwest Plains and Rockies, and she wanted me to write the music for it.” At first Tate was apprehensive. “Sometimes you push away the things you actually want to do, perhaps because you’re not quite sure if you can do them. Nowadays musicians are compartmentalized into different categories. You’re either a musician, conductor, or composer, so I had to overcome that formalistic split between those different roles.” Even though he had no formal experience, for the first time Tate began to compose rather than play, which ended in him writing a full-length ballet entitled Winter Moons. He even received $8,000 in commission, which is nothing compared to what an established artist receives but for a first-time composition, it wasn’t too bad. “I was very fortunate to be commissioned right away,” stated Tate, “and that really set the pace for the rest of my career. From then, on, I decided to be a commissioned composer.” Since then, Tate has gone on to produce multiple works, all-the-while injecting a flavor of unique nationality. “This,” said Tate, “is what makes my music unique. When we think about all the great European classical composers, they are most identifiable by their specific nationality. They infused their nationality into their music which is what made them distinct. That is what I want to do—to inject my personal nationality and heritage into my music. That, I believe, is one of the most satisfying feelings I can think of—to feel unique.” >
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students gather. “I know that when the kids come out of this they are going to come out feeling better about themselves and that a greater confidence is going to be fostered in their lives. They have a better grasp of their capabilities and I just love helping to make that happen.” And in the end everything, comes full-circle. “By teaching, I’m inspired to compose more, which in turn, makes me want to go back and teach.” As fulfilling as composing, teaching, and performing might be, there is one aspect that Tate’s profession provides that is more rewarding than them all, and that is the relationships that he forms with others. “To me music and composing is about relationships. Whenever I talk about music I’m building connections with people. Performing music is all about relationships because music is very personal to people. When you listen to an artist you form a relationship with that artist whether you meet them or not. This relationship is very important because they are making you feel a way that you need to feel. I love being the person that creates that.” Indeed, it seems as if Tate has grasped that which alludes so many, which is a true sense of fulfillment, evidenced by a simple profession: “I love music; I love people; therefore, I’m a composer—in what better way could you experience both?”
This tremendous passion for music and composition has led Tate to another passion: teaching. Tate is Composer-in-Residence for the Chickasaw Summer Arts Academy. The academy is headed into its sixth year and is dedicated to helping foster arts and heritage for children and young people, specifically in the tribe, but also throughout the community. The students are able to take two weeks to learn a myriad of disciplines including “dance, theater, literature, 2D and 3D art, film production, textile design, and music composition.” “Over the past five years I’ve coached over 100 original compositions by the students in this academy,” Tate said, “and these kids generate unbelievable music as far as I’m concerned.” Through the academy, Tate is able to coach students through the ins and outs of composition. Each student composes a piece for a string quartet from scratch and gets to see, first-hand, their compositions come to life. At the end of the program they hire a quartet to come and record the music that the students have written. “It’s one of the best feelings in the world to look at these kids and think ‘I just know you’re going to love what you’ve written. You have no idea how proud you’re going to be when this is all finished.” Possibly the best outcome of this summer academy is the boost in self-esteem that these
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