Dreamcatcher 062 Nov 2014

AMERICAN INDIAN NATIONS CULTURE + EVENTS

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Tuesday - Friday 8 am - 5 pm Saturday 10 am - 3 pm Open to the Public No Admission Fee 1899 S. Gordon Cooper Dr. Shawnee, OK 74801 (405) 878-5830 www.potawatomiheritage.org

SATURDAY, NOVEMBER 15

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How To Say: Let’s Eat ...7 Gatherings

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Poems by Melissa Fry Beasley ...10 Yatika Starr Fields ...12 Pow Wow Dancers ...18

Oklahoma Casinos & Entertainment Native Gaming

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Three-Card Poker ...22 Casino Trail Map ...24 online...28

Cover: Yatika Starr Fields live paint, Oakland, CA; Dreamcatcher Images.

This spread: photo by John Jernigan.

NOVEMBER 2014

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Oklahoma Casinos &v Entertainment 062 3101 N Flood Ave, Norman, OK 73069 info @ dreamcatchermag.net 405-360-8805, 405-360-2228 FAX http://www.dreamcatchermag.net Single (1 issue/mo) Subscription: $30/yr Bulk (25 issues/mo) Subscription: $230/yr James T. Lambertus, Publisher, james@dreamcatchermag.net Laurie Haigh, Operations Manager, laurie@dreamcatchermag.net Advertising Inquiries: ads@dreamcatchermag.net Letters & Editorial Submissions: edit@dreamcatchermag.net Š Copyright 2014 OCE Publishing, LLC/First Mesa, LLC N AT I V E A M ER I C A N O W N ED

Dreamcatcher Images

H O W T O S A Y : ( L E T 'S ) E A T

Ilimpa’chi’

CHICKASAW

MIJET

POTAWATOMI

MUSCOGEE (CREEK)

CADDO

OSAGE

Pvpetv

YÁASA’

Wanumbre

DELAWARE

CHEYENNE

SHAWNEE

CHEROKEE

MITSIN

Emese

˘ ˘ MIIC I

Agi’a

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11.29.1864 : COLORADO

BY COLONEL ATTACKS

AND

CHEYENNE AT SAND

JOHN

MILITIA LED

CHIVINGTON

DESTROYS

AND

ARAPAHO

CREEK,

PEACEFUL VILLAGES

KILLING

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105 OF WHOM WERE WOMEN & CHILDREN

> >

PARK HILL > Round Reed Basketery Class

LOS ANGELES, CA > Red Nation Film Festival & Awards Show Monday Nov 3 thru Wednesday Nov 12 Awards, Film Screenings, Conversations and much more in several LA venues. For all the info, go to: http://www.rednationff.com

> >

RADIO

> >

> Chickasaw Community Radio KCNP 89.5 FM > Indians For Indians Saturdays at 10 am on KACO 98.5 FM > Kiowa Voices Sundays at 12 noon on KACO 98.5 FM Music and more from the Kiowa and area tribes. > Seminole Nation Weekly Radio Show Live on Tuesdays, 11 am on KWSH 1260 AM > >

TULSA

WWW

Nov 8, 10 am to 3 pm Cherokee Heritage Center Contact Tonia Weavel at 918-456-6007 ext. 6161 http://www.cherokeeheritage.org

> >

PERKINS > Iowa Nation Grey Snow Eagle House 2 mi S of Perkins on Hwy 177 Weekend tours by appointment, call 405-334-7471 http//:www.facebook.com/GreySnowEagleHouse

> New Years Eve Sobriety Powwow Wednesday Dec 31; Grand Entry 7 pm Cox Business Center Contact Lorraine Bosin at 918-639-7999

> >

WASHINGTON, DC > White House Tribal Nations Conference Wednesday Nov 3 Capital Hilton Leaders from the 566 federally recognized tribes will interact directly with the President and members of the White House Council on Native American Affairs. http://www.whitehouse.gov

> Mvskoke Trail of Tears Virtual Tour http://www.muscogeenation-nsn.gov/Pages/Tourism/ virttot.html

> Research Your Indian Ancestry Oklahoma Historical Society website http://www.okhistory.org/research/dawes

> Eye on NDN-Country with dg smalling Saturdays, 9 am on http://www.thespyfm.com Conversations with Native leaders.

> Tribal Scene Radio Fridays, 8 am live on http://www.kbga.org Conversations with host Jodi Rave

Send us details or photos of your Gathering: edit@dreamcatchermag.net

GATHERINGS

> HONOR HEROES AND HEAL FROM THE ATROCITIES > Sand Creek Massacre Spiritual Healing Run Nov 29 – Dec 3 Start: Sand Creek Massacre National Historic Site, Eads, CO End: West steps of the CO State Capitol, Denver > Events and ceremonies are free and open to the public. > https://www.facebook.com/ sand.creek.90

> CAN YOU HEAR ME NOW > Holly Wilson Sculpture and Photography Thru Nov 29 > Friday, Nov 14: Artist Talk: 5 - 6 pm Reception: 6 – 10 pm > Mainsite Contemporary Art 122 E Main Street Norman 405-360-1162 http://mainsite-art.com

The Rider Bronze, Patina and Wood 21"x 63" x 5.25" Courtesy Holly Wilson

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> TO SING YOU DOWN

> WHILE IN HEAVEN OUR GHOSTS ARE TEARS I COME HERE TO THIS PLACE WHERE SONGS ARE BORN TO SING YOU DOWN SO YOU CAN FILL MY THROAT WITH VOICES OTHER THAN MY OWN I BRING YOU DOWN IN REMEMBRANCE AND HONOR GHOST WARRIORS DESCENDING SINGING THE GREAT DEEDS OF OUR ANCESTORS BEWAILING THEIR DEATHS WEEPING FOR SONGS CRYING FOR A VISION ONLY BORROWED FROM THE OTHER WORLD THESE ARE NOT FOREVER HERE AND WE MERELY COME TO DREAM THROUGH MANY RESTLESS WANDERINGS

> > PALE AND SMALL

> SHE STOOD PALE AND SMALL AGAINST THE NIGHT SKY SILENTLY WATCHING BEHIND THE FULL SKIRTS OF HER GRANDMOTHER. SHE STOOD OBSERVING ALL THE MAGIC AND METAMORPHOSIS SHE COULD DREAM OF. THE DRUM IS LIKE A HEARTBEAT, HEARTBEAT OF THE PEOPLE”SHE HEARS GRANDMOTHER TELLING HER. SHE WATCHES AS THE MEN BECOME EAGLES TAKE FLIGHT. SHE SEES HUNTERS STALKING CAREFULLY LOOKS ON AS EVEN THE GRASSES MERRILY DANCE. HER HEART THUMPS EXCITEDLY AS GRANDMOTHER GRABS SHAWL, HEADS INTO THE CIRCLE. SLOWS AND TURNS SAYING, YOU COMING?” SHE DANCED SMALL AND PALE AGAINST THE NIGHT SKY MAKING BIG CIRCLES, HAND IN HAND. FEELING EACH BEAT OF THE DRUM RESONATING AND VIBRATING DEEP,DOWN INTO HER TINY BONES. SHE WONDERED HOW LONG A BEAUTIFUL MOMENT MIGHT LAST. SHE WANTED TO DANCE RIGHT INTO TOMORROW. DANCE RIGHT INTO NEXT WEEK. RIGHT INTO FOREVER.

POEMS BY : MELISSA FRY BEASLEY

> A POEM OF MY GRANDMOTHER

> PIECING TOGETHER LIFE PAIN JOY SMILES INTO AMAZING SQUARES OF FAITH AND STRENGTH CATCHING LAUGHTER BINDING TEARS PLACING THEM JUST SO FEATHER STITCHING CHAOS INTO ORDER INTO YOUR HOOP GO DREAMS OF THE PEOPLE MEMORIES OF FAMILY NATIONS QUILTED INTO GLORIOUS HUGS AND WELL WISHES SENT ACROSS MILES OR JUST AROUND THE CORNER WRAPPED TIGHTLY SAFELY SHIELDED FROM THE ELEMENTS HARSHNESS OF THE WORLD HISTORY WOVEN INTO EACH BLOCK EVERY BLANKET CONTAINING A PIECE OF YOU YOUR WISDOM REMINDING US WHO WE ARE WHERE WE CAME FROM IN ONE OF YOUR BLANKETS I SAW CHICKENS IN A COOP ANOTHER CONTAINED STARTSTUFFS AND HEAVEN IVE SEEN WEDDING RINGS A TRAIL ACROSS KANSAS EVEN THE PATH OF A DRUNKARD I SAW THE BLANKET OF CHIEFS AND ONE MEN WRAP UP IN TO SEE HOLY THINGS THERE WAS EVEN ONE MADE BY YOUR GRANDMOTHER SO LONG AGO WHEN SHE WAS STILL LITTLE LOVE IN EACH STITCH PRAYER IN EVERY THREAD SO MUCH MAGIC IN EACH CREATION OF YOUR BEAUTIFUL HANDS I FOUND MY GRANDMOTHER HER GRANDMOTHERS BLOWING IN THE BREEZE SOAKING IN THE SUN AS THIS BLANKET WAS JUST HANGING THERE.

http://melissafrybeasley.wordpress.com

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B R OA D S T R O K E S A N D T H E B I G P I CT U R E : YAT I K A S TA R R F I E L D S

by heather ahtone

>

W

HEN YOUR father is a celebrated photographer and your mother’s ceramics are

found in every significant Native American museum collection, one might be tempted to choose another professional field. For Yatika Starr Fields (b. 1980; Osage/Cherokee/Creek) the urge to make art started early and never abated. By the age of fifteen, he was exploring all aspects of two-dimensional art, arriving in his early thirties at a mature painting style that is

i am motivated " by the

search for freedom in all forms "

a synthesis between his roots in Oklahoma and his artistic adventures in international urban spaces. That synthesis is a celebration of color, abstraction, and subjectivism that evokes Fields’ vibrant appetite for culture. The broad strokes that mark Fields’ canvases serve as cartographic connections, carrying layers of bold color that are just as easy to find at a tribal ceremonial as on a Trinitron screen in New York’s Times Square. Fields brings these together in a uniquely conceptual manner that reflects the path he has found in the twenty-first century between his home and the global arts community.

> After graduating from Stillwater High School, Fields attended the Art Institute of Boston while gravitating towards the boldness of graffiti. The street style art he began to love connected with his love for hiphop music. As Fields began connecting with the artists working in the urban aesthetic, he found a place that was little traveled by the American Indian community.

Only a few have established a name working in graffiti and murals, and that small community embraced Fields whose compositional vision was suited to the large scale walls. From living in Boston, Fields moved to New York City, which served as an East Coast home base as he traveled across Europe and the Pacific Rim participating in “art battles,” a timed painting competition done “live” and judged by the audience on site. All the while, he continued to work diligently on his own canvases and earned a living as a bicycle messenger in New York City (this seems to have become a fairly common path for young Native artists living in urbanity).

> > IELDS HAS continued to paint prolifically working largely in oils on canvas for gallery exhibitions and continuing to do commissioned murals when the opportunity is presented. Recently he was invited to be the 2013 Visiting Artist at the Oklahoma State University’s newly established Museum of Art

F

Treeline

All images courtesy the artist unless otherwise credited

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Yatika and his mother Anita Fields with their respective works; Dreamcatcher Images

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B R OA D S T R O K E S A N D T H E B I G P I CT U R E : YAT I K A S TA R R F I E L D S

(OSUMA). Located in the historic downtown postal plaza facility, the museum brought Fields to Stillwater where he worked with OSU students to complete a ten-panel mural that was installed on campus at the Seretean Center. He worked with students to prepare the canvases and then brought them in collaboration with the music department for a performance in the Student Union Plaza that completed the murals with a “live painting” and an improvisational performance of Terry Riley’s landmark composition, “In C.” Fields was quoted in Stillwater Living Magazine, “I am really excited to work with the concept of synesthesia with the students. I feel it does all work together: music,

color, and all around sharing of ideas—the end process will be very beautiful.” He also completed a mural for the museum at the postal plaza site, “Connecting Roads from Past to Present.” This painting responds to the historic mural that already existed in the space

by Grace Hamilton, “The History of Payne County” (1963). Fields understood that his response needed to “radiate” his youth and the modern focus of the museum. As a Native American who grew up in Stillwater, Fields sought to bring his unique style of abstraction into play visually celebrating the cultural dynamic of the local community.

> > N HIS artist statement, Fields writes, “I am motivated in my work fundamentally by the search for freedom in all forms.” This search for freedom is evident in his most recent body of work. The activated surfaces teem with vibrant colors that dance at all angles across the canvas, as in “Yellow Emergence” (2014). The yellow glow that begins at the bottom of the canvas is carried up through marks that are as much budding floral references as the hint of reflected light at the edge of abstracted marks. Contrasted against the shadowy purples, reds, and blues that move through the other floral references in the background, the yellows become flashes of the light that animates the entire composition. Fields builds so many layers of color that it could lend itself to chaos, but his carefully modulated composition is a celebration of color anchored by dark recesses that allow the brightness to lift. It is a difficult balance to use a full palette without dissolving into a saccharine sweetness. Fields pulls it off by bringing a groundedness to the canvas. As the colors move they never seem to lose their focus or become distractions from one another, rather a harmony. That harmony and grounded vision may be a reflection of Fields’ own personal relationship to place. Truly, while he travels where the opportunities provide, he also rarely misses participating in his traditional cultural ceremonies and rituals.

I i create a terrain " in the juxtaposition of my memories "

Yellow Emergence

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Untitled piece painted live at a meeting of Northern California Osages; Dreamcatcher Images

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B R OA D S T R O K E S A N D T H E B I G P I CT U R E : YAT I K A S TA R R F I E L D S

That capacity to move on without becoming lost is evident in Fields’ paintings. His use of color continues across different canvases. The quick, gestural marks of yellow seen above reappear in “Fall” (2014) as leaves falling. Fields’ painting is an exercise in motion and form, finding affinity between the movement of curling water and the autumn splendor of the trees. The surface is organized by carefully placed leaves that arc and fall, bridging the space between the treeline and the water. The activated image evokes the cool, brisk wind that causes the color changes and urges both the falling leaves and water through the season. These motions which are linked in nature are

a synthesis of forms " and objects floating, negating the rule of linear experience "

related within the painting. Like Fields’ own adventures, the shifting movement of the air and water flow as complements to one another.

> > OT EVERYTHING that Fields paints is quite so abstracted, but they all have a feeling of movement and shifting surfaces. The movements speak to time and the endless, constancy of the vibration of life. That vibration then translates through the compositional image to conflate spaces. Fields images feel as much of Oklahoma as they are of New York, or any of the places that Fields has traveled. The images reflect his own capacity to move between geographic and cultural boundaries to find personal connections that are consistent with his vision for what the world is, and perhaps even more importantly, what the world has to offer. Fields describes, “In this suspended dichotomy between nature and the urban environment with traditional environment a new world is made.” Fields brings an indigenized perspective on the old idea of the “New World” by asserting that culture and connection to nature still have a role within our sense of spaces. The big picture he paints does not isolate or disenfranchise the viewer, but allows each of us to find our own way into the future, brightly colored as it may be. .

N

> website : http://yatikasatarrfields.com instagram : @yatikafields youtube : http://youtu.be/Y-TU8nsK5Zg Upcoming shows : Portland + Native Art, Nov 6 W + K Gallery, Portland, Nov 7-21 Miami Art Basel, Dec 4-7

> > heather ahtone (Choctaw/Chickasaw) is a curator and writer living in Norman, OK. She is the James T. Bialac Assistant Curator of Native American and Non-Western Art at the Fred Jones Jr. Museum of Art at the University of Oklahoma.

Fall

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Yatika at work on a mural for the Seretean Center at OSU

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Madison Carroll (Ho-Chunk) by John Jernigan

POW WOW DANCERS

Mali Youngman (Arapaho/Comanche/Choctaw) by John Jernigan

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Mark Strom (Te Roroa) by Dreamcatcher Images

GAMING NEWS

NATIVE GAMES > > KO MAAKA AHAU (I AM MARK)

> KO TE ROROA TAKU IWI (MY TRIBE IS TE ROROA)

> KO RURUAI O PARIRAU TAKU WHENUA (MY ANCESTRAL LAND: SHELTERING UNDER WINGS‘)

> KO PIWAKAWAKA TAKU MAUNGA (MY MOUNTAIN IS PIWAKAWAKA

> KO WAIMAMAKU TAKU AWA (MY RIVER IS WAIMAMAKU)

> > Native Games America, LLC (Native Games) is the creation of Mark Strom, a New Zealand Maori from the northern tribe of Te Roroa and Jeff Martinez of Apache descent. Together, they have teamed with G3 (Global Gaming Group) to bring a wealth of gaming knowledge and expertise to make Native Games a serious future manufacturer and developer of Land-based, Internet and Mobile games. “Native casinos are among the largest purchasers of electronic games, why shouldn’t Natives make them too?” reasoned Mark at NIGA 2014 last spring.

> The companty was formed in 2008 with a

patented device called the Multi Wager Gaming System, which requires wagers to be made in two coin or credit increments. Native Games certified games that utilise this system have better hit frequencies, especially on the higher awards.

For example a Royal Flush, the top hand in the game of video poker, hits around one in 40,000 hands played (pays 4000), whereas in the game of Royal Spoil the same hand hits around one in 6250 hands played (pays 4000). According to Mark, “There are many ways to use the method in game math as the mathematicians can manipulate the two coins in many ways to effect volatility and create dynamic attractive paytables.”

With a team of world-class developers, Native Games has built an international presence connecting with operators from Europe, Asia, Caribbean, South and North America. Plans to roll out certified Class III gaming equipment commence throughout 2014 with California and Wisconsin casinos being the first to feature the new content.

> Mark has been travelling to the US for the

last 12 years and in particular developing cultural relationships within the Native American gaming communities. He hosted a delegation of Native Americans in New Zealand on his tribal lands which was of great significance as they talked about sovereign, economic and social issues that face native communities worldwide. He believes indigenous trade between tribes internationally is a project with huge prospects for future economic development of native communities. “Being able to be involved with my tribe’s development is very important for me.”

> >

See Quad Crush and Royal Spoil games online: http://freeplayvegas.com/video-poker/ (Quad Crush is currently available on Google Play)

>

Te Roroa tribe: http://www.teroroa.iwi.nz

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DJe tuY adS ghi xzc vbA QWE TUl XCp VBN dax ghY

ANTE UP

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3-CARD POKER > > Have you ever played a game of Three-Card Poker? The game is gaining popularity across the nation. It’s different than traditional poker and depends more on luck than strategy. For starters, each player receives three instead of the traditional five cards, so there are no Royal Flushes, Four of a Kinds, Full Houses, or Two Pairs.

> There are two games in Three Card Poker: 1) Pair Plus and 2) Ante & Play.

Bet on one or on both games.

you must raise by placing what is called the Play bet, equal to the Ante. Now you play–no raises.

The dealer must qualify with at least a Queen.

If the dealer does not qualify, you win even money on the Ante and the Play bet is returned. If the dealer qualifies, here’s how the payout works: if you have a better hand, you win even money on both the Ante and Play bets; if you tie, both the Ante and Play bets push; if the dealer beats your hand, kiss both the Ante and Play bets goodbye.

>

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HAND RANK, FREQUENCY, PROBABILITY & TYPICAL PAYOUTS 1 STRAIGHT FLUSH-THREE SUITED CARDS IN SEQUENCE 2 THREE OF A KIND-THREE CARDS OF SAME RANK 3 STRAIGHT-THREE CARDS IN SEQUENCE

48

0.22%

40 TO 1

52

0.24%

30 TO 1

720

3.26%

06 TO 1

4 FLUSH-THREE SUITED CARDS

1,096

4.96%

04 TO 1

5 PAIR-TWO CARDS OF SAME RANK

3,744

16.94%

01 TO 1

6 HIGH CARD

Pair Plus The Pair Plus bet is a straight payout depending on your hand. The dealer’s hand isn’t an issue. You’re dealt a good hand–you win.

> Ante and Play The Ante and Play game is you against the dealer.

First you’ll make your initial bet, the Ante. You’ll be dealt three cards and can decide to either play or fold. Keep in mind that if you fold, you not only lose your Ante but also lose any Pair Plus bet you made. So think carefully. If your Pair Plus bet won anything, you shouldn’t fold. If you decide to play,

16,440

74.39%

Bonus Then there’s the Bonus. If you have a Straight or higher, there is a bonus payout. This is paid whether or not the dealer qualifies. If the dealer qualifies, the play bet wins even money and the payout on the ante is based on the casino’s pay table. If the dealer does not qualify, the payout on the ante is the same as above but the play bet is returned.

> Three-Card Poker’s popularity comes from the simplicity of the game. Since you are playing against the dealer, a camaraderie can develop amongst the players. Are you ready to play?

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John Jernigan

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