BOARD OF TRUSTEES
John Coggins
Karen Abraham
Ginger Sykes Torres
Scott Montgomery
David M. Roche Chair Vice-Chair Secretary Treasurer Dickey Family Director and CEO
TRUSTEES
Tony Astorga
Nadine Basha
Jeri Y. Ben-Horin
Matthew Boland
Gregory H. Boyce
Susan Esco Chandler
Adrian Cohen
Dr. Craig Cohen
Judy Dworkin
John Furth
John Graham
Joe Gysel
Bill Howard
Sharron Lewis
LIFE TRUSTEES
Kay Benedict
Arlene K. Ben-Horin
Howard R. Berlin
Dr. George Blue Spruce, Jr.
Mark B. Bonsall
Robert B. Bulla
F. Wesley Clelland, III
Norma Jean Coulter
Robert J. Duffy
Mary G. Hamilton
Patricia K. Hibbeler
Joel P. Hoxie
Mary Hudak
Dr. Thomas M. Hudak
Carrie L. Hulburd
James R. Huntwork
Edward F. Lowry
Gov. Stephen R. Lewis
Marigold Linton
John F. Lomax
John Lucas
Janis Lyon
John Melamed
Shelley Mowry, Guild President
Paige Rothermel
Christy Vezolles
Frank Walter III
Ginny Weisman
Trudy Wiesenberger
Frederick A. Lynn
Carol Ann Mackay
Clint J. Magnussen
Robert L. Matthews
Mary Ellen McKee
James Meenaghan
Dr. Wayne Lee Mitchell
Susan H. Navran
Scott H. O’Connor
Dr. Arthur L. Pelberg
Leland Peterson
Wick Pilcher
David E. Reese
William C. Schubert
Sheryl L. Sculley
Richard H. Silverman
John G. Stuart
HEARD MUSEUM, HEARD MUSEUM SHOP
2301 N. Central Ave. Phoenix, AZ 85004
Open Tuesday - Sunday, 10 a.m. to 4 p.m.
Closed Easter Sunday, Independence Day, Thanksgiving Day & Christmas Day
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Events Hotline: 602.252.8848
Shop: 602.252.8344 or 1.800.252.8344
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WE APPRECIATE THE SUPPORT OF THESE SPONSORS:
EARTHSONG
Kim Alexis Adversario Associate Director of Membership & Circles of Giving
Sarah Moore Graphic Design
Sean Ornelas Director of Marketing & Communications
Deborah Paddison Copy Editing
CONTRIBUTING WRITERS:
Kim Alexis Adversario, Allison Avery, Olivia Barney, Amanda Hiatt, Lucia Leigh Laughlin, Roshii Montaño, Diana F. Pardue, David M. Roche, Mike Webb
Cover: Phillip L.P. Vigil (Jemez Pueblo, Jicarilla Apache, b. 1981). FRONT: Untitled, 2018. Acrylic paint, acrylic spray-paint, Converse Chuck Taylor High Top All Star sneakers. Gift of Charles King, 5023-14A, B. BACK: Sweeter Than Bee Pollen, On A Summer Wind, 2016. Oil pastel, soft pastel, oil stick, acrylic, India ink, paper. Private Collector. Photos: Craig Smith, Heard Museum. The Heard Museum is a 501(c)(3) charitable organization incorporated in the State of Arizona. Exhibition, event and program funding provided in part by the Arizona Commission on the Arts, the Arizona Humanities Council, the National Endowment for the Arts, the National Endowment for the Humanities and the Phoenix Office of Arts and Culture.
By now, I hope you have had the chance to see Maria and Modernism in the Virginia G. Piper Charitable Trust Grand Gallery. If not, you have until July 28 to see what I consider to be one of the most beautiful and important exhibitions that the Heard Museum has ever produced.
Maria and Modernism is the most recent in a series of Grand Gallery exhibitions organized by the Heard that reveal the contributions of American Indian creative expression to the modern art movement. What sets this exhibition apart from the others, however, is the subject: Maria Martinez (San Ildefonso Pueblo), perhaps the most famous American Indian artist in the world. Maria’s work does not lack for appreciation or recognition, but this is the first exhibition and publication dedicated to her unique contributions to American Modernism. With this exhibition we celebrate Maria’s remarkable artistic achievements and place her in the pantheon of other great American Modernists, like Georgia O’Keeffe, George Morrison, Jacob Lawrence and Leon Polk Smith.
Two new exhibitions opened in May: Art and Sole and Harry Fonseca: Transformations, curated by Olivia Barney and Roshii Montaño, respectively. This issue of EarthSong features insights from the curators about their work. These exhibitions include both new and familiar works from the Heard Museum Collection and the Billie Jane Baguley Library and Archives. My personal favorite is Rose and Coyote Dressed Up for the Heard Show (1981) by Harry Fonseca. Rose was painted in the image of Fonseca’s beloved aunt, whom he recalled being “all painted up, fingernails, everything …” to go to the Heard Museum. The painting is an icon of our collection and even more fun to see in person.
The renovation of the Heard Museum Shop is well underway. The Shop sets us apart from other museums, mainly in the way it aligns with our mission of connecting the world to Indigenous creativity by lifting up the voices and visions of American Indian artists. What I find most special about the Shop experience is that visitors have the chance to interact with the art in ways that they can’t in the museum itself. They can handle a Navajo textile, to appreciate more fully the quality of the weave, or try on a beautiful piece of jewelry by Richard Chavez or Sonwai.
They can also engage with a member of our knowledgeable Shop team. Most importantly, they can purchase a work of American Indian art in the Shop and take it home with them.
A work of art is like a great book: It only gets better over time as the viewer brings more of themselves to it. The viewer can find inspiration in it, or perhaps just comfort, like an old friend. A work of art purchased at the Heard Shop has extra meaning, though, because it serves as a reminder of the visitor experience. Something purchased might trigger a future memory of an exhibition, a program, a performance or a delicious cup of posole at the Courtyard Café.
The Shop is also important because it is a vital economic engine for American Indian artists. We buy artworks directly from hundreds of artists each year. A 2014 study found that the economic impact of our shop on Indian Country is more than $45 million per year.
The newly renovated Shop will open on October 26 at Moondance, our annual fundraising gala. Until then, the Shop is open and operating out of Encanto. You can also find us online at heardmuseumshop.com. As always, members receive a 10% discount on purchases.
We look forward to seeing you at the Heard Museum this summer.
David M. Roche Dickey Family Director and CEO
Harry Fonseca (Nisenan Maidu/Portuguese/Native Hawaiian, 19462006), Rose and Coyote Dressed Up for the Heard Show, 1981. Mixed media, 48 X 37 Inches. Heard Museum Purchase, IAC1598.
On View Now
SPACE MAKERS: INDIGENOUS EXPRESSION AND A NEW AMERICAN ART
HARRY FONSECA: TRANSFORMATIONS
MERYL McMASTER: BLOODLINE
Opens
OLIVIA BARNEY (DINÉ) | COLLECTIONS COORDINATOR AND EXHIBITION CURATOR
This May, Art & Sole opened at the Heard Museum. The exhibition features shoes that have been painted, drawn on, beaded and styled by Native artists. Each pair of shoes is partnered with an artwork by the same artist — many of them potters, painters and bead workers — showing the style within which they commonly create. In this way, the exhibition is meant to demonstrate how an artist’s visual language translates across different mediums and forms, highlighting their innovation when practicing a new or different method. There are a total of 15 pairings, representing 30 artworks and 17 artists.
ABOVE: Gallery view of the Art & Sole exhibition. LEFT: Duane Koyawena (Hopi-Tewa), Untitled, c. 2015-2018. Paint, Converse Chuck Taylor High Top All Star sneakers. Gift of Charles King, 5023-13A, B. Photos: Craig Smith, Heard Museum.
Art & Sole takes place in two gallery spaces: Kitchell Gallery, which visitors enter directly after Admissions, and the Alcove Gallery. Guests are immediately greeted with works by Harlan Reano (Santo Domingo/Kewa Pueblo), Lisa Holt (Cochiti Pueblo), Susan Folwell (Santa Clara Pueblo) and Phillip L.P. Vigil (Jemez Pueblo, Jicarilla Apache). Right beside these works is a wall covered with vinyl to make it appear as a brick wall with large paint splatters on it; the exhibition title is displayed in stylized and organic text forms, setting the tone of the space before leading into more of the artists’ works. Throughout the exhibition, many of the shoes are positioned as if they are walking and taking
a step, which was an early decision made during the curation process to reinforce the life and movement of the footwear, as well as the energy the artists put into creating them.
Many of the shoes were donated to the museum as a generous gift by Charles King, owner of King Galleries in Scottsdale and Santa Fe. King began asking artists if they would decorate shoes for him in 1998, starting with Susan Folwell. This first pair of shoes actually began as an artwork exchange between the two. Folwell would design shoes for King, and he would do the same for her. Since then, King’s collection of commissioned shoes has grown to include a variety of artists and styles.
Susan Folwell (Santa Clara Pueblo, b. 1970), Untitled, 1997. Ceramic, paint, etched, 6 x 10 1/2 inches. Gift of Neil and Sarah Berman, 4391-17. .Susan Folwell (Santa Clara Pueblo, b. 1970), Untitled, n.d. Paint, Converse Chuck Taylor High Top All Star sneakers. Gift of Charles King, 5023-5A, B. Photos: Craig Smith, Heard Museum.
Discussions and ideas for what would become Art & Sole began a couple years ago, before the exhibition had a title, an opening date, or even a set direction beyond a desire to show the artist-adorned shoes at the museum. An addition to the exhibition’s concept was pairing the shoes with other artworks by the same artists. The artwork pairings were also a way to present further works from the museum’s collection that either hadn’t been shown in many years or had not been on view at all. For those artists whose work wasn’t already in the museum’s collection, we contacted the artists themselves or collectors of their work to determine a pairing.
For the labels that accompany the artwork, the artists were presented with information the museum had in its records. They were asked if they wanted to make any additions or changes to the label text. In that way, the artists had the option to determine how their names, tribal affiliations, materials and artwork titles were presented. The title for the exhibition itself also came from another collaborative aspect in which multiple departments at the Heard Museum were asked for suggestions once a concept was settled on. Adam Scott, a senior graphic designer, was the staff member who proposed the final name: Art & Sole.
TOP TO BOTTOM: Tammy Garcia (Santa Clara Pueblo, b. 1969), Spring Time Converse, 2016. Fabric marker, Converse Chuck Taylor High Top All Star sneakers. Gift of Charles King, 5023-7A, B. Jennifer Tafoya (Santa Clara Pueblo, b. 1977), Untitled, c. 2012-2018. Paint, Converse Chuck Taylor High Top All Star sneakers. Gift of Charles King, 5023-17A, B. Michele Tapia-Browning (Santa Clara Pueblo, b. 1960), Walking Your Path, 2014. Photograph printed on Converse Chuck Taylor High Top All Star sneakers. Gift of Charles King, 5023-16A, B. Photos: Craig Smith, Heard Museum.
On the first Friday of May, the exhibition’s opening celebration involved local talent from Arizona: an all B-Girl group’s breaking showcase (also known as breakdancing), DJ Nina G from Phoenix and artist Chris Murphy from Jupiter Customs of the Gila River Indian Community, who demonstrated his shoepainting techniques.
By utilizing shoes as a common thread, Art & Sole shows the interconnectedness of creations by Native people with their cultures, broader society and the artistic world. About his donation of artist-decorated sneakers, King shared, “At the Heard, they are where they should be, a daily conversation starter about great Native art, leading us into the future step by step.” The exhibition will be on view through January 5, 2025.
Lisa Holt (Cochiti Pueblo, b. 1980), Harlan Reano (Santo Domingo/Kewa Pueblo, b. 1978), Pueblo Warrior Trio, 2014. Ceramic, paint. Gift of American Indian Art Magazine, 4850-1A, B, C. Harlan Reano (Santo Domingo/Kewa Pueblo, b. 1978), galaVANts, 2014. Paint, Vans shoes. Gift of Charles King, 5023-6A, B. Photos: Craig Smith, Heard Museum.
Harry Fonseca (Nisenan Maidu/Portuguese/Native Hawaiian, 1946-2006), Coyote in the Mission, 1983. Lithograph, 31 x 22 inches. Gift of Limestone Press, IAC1705.
Transformations Harry Fonseca:
ROSHII MONTAÑO | ASSISTANT REGISTRAR
This May the Heard Museum reintroduced Harry Fonseca’s beloved characters Coyote and Rose in the exhibition Harry Fonseca: Transformations, an inspired exploration of Coyote’s metaphorical transformations of self, liberated to explore facets of gender/sexuality and identity against the backdrop of San Francisco, mainly focusing on the 1980s and ’90s.
Harry Fonseca (Nisenan Maidu/Native Hawaiian/ Portuguese, 1946-2006) formally began his artistic practice in the early 1970s while attending Sacramento State University. During this period, he met Henry Ke’a’a’la Azbill, a Maidu and Native Hawaiian knowledge keeper, along with California Native artists who ignited Fonseca’s participation in Maidu dances and cultural activities. These relationships significantly impacted Fonseca’s emerging artistic practice, and from the 1970s to the early 2000s he would create a diverse body of work.
Fonseca’s work lingers beyond the viewer’s first encounter, especially his effervescent Coyote. I acutely recall his painting Rose and Coyote Dressed Up for the Heard Show (1981) emerging from the painting racks. I was immediately captivated by the “campy” representation of gender/sexuality and identity exaggerated in the application of chunky glitter highlights. Coyote is fashioned in black leather, wearing high-heeled chained boots, with the sensational Rose by his side. The painting was saturated with a queer visual language that evoked personal sentiment, allowing me to find myself in the work.
Harry Fonseca: Transformations is a brief but important presentation comprising 10 works recognizing the complexities of identity.
While completing my undergraduate program at Stanford University, I escaped the campus to visit San Francisco at every opportunity. I returned frequently to the Mission district, the Castro and South of Market (SoMa). Queer subcultures have a historical presence in these neighborhoods, providing havens for the LGBTQ2+ communities—SoMa specifically is known for leather bars and the Folsom Street Fair. Fonseca’s Coyote resonated with style- and fashioning-associated signaling in queer communities I witnessed. While Fonseca didn’t explicitly “come out” until his 1993 painting Wide-Eyed and Bushy-Tailed #1, I was inclined to explore aspects of queerness I saw in Fonseca’s work.
Harry Fonseca: Transformations is a brief but important presentation comprising 10 works recognizing the complexities of identity. The exhibition slowly cultivated over the last few years, and its thesis truly emerged while I was reviewing the Harry Fonseca archive in the Heard’s Billie Jane Baguley Library and Archives. I diligently sifted through boxes of business communications, invoices, personal letters, articles and exhibition ephemera. I found resource pamphlets from the American Indian AIDS Institute of San Francisco and the National Native American AIDS Prevention Center, both of which reproduced Fonseca’s paintings of Coyote on their covers. Finding these incredible pieces of Indigenous queer history focused the exhibition to the 1980s and ’90s, while he was active in California. His 1983 lithograph Coyote in the Mission cemented a dialogue with a city during that moment in time.
Maidu dance and tradition were formative to Fonseca’s practice while he was living in California in the 1970s. Aspects of movement, gesture and performance that refer to Maidu dance traditions are conveyed in his painterly watercolor studies in Coyote (1987), and Rose—The Black Swan (1984) asserts a Native presence in Western dance styles. Activating the body through dance is liberatory—when Fonseca paints Coyote in motion, there’s a metaphorical resistance to the perceived “vanishing” Native body, traditions and culture. Coyote exists in perpetuity. Fonseca reflected on the importance of dance; he said, “Dance serves as a vessel that preserves the life force, its uncertainties, and above all, it enhances awareness of one’s own existence.” This notion of enhancing one’s existence is inseparable from queer joy that occurs in embodied practices such as dance.
American Indian AIDS Institute of San Francisco, Educational Pamphlet, c. 1990s. Harry Fonseca Collection, Billie Jane Baguley Library and Archives, RC 175(5):950.
Harry Fonseca (Nisenan Maidu/Portuguese/Native Hawaiian, 1946-2006), Pow Wow Club, 1981. Acrylic on paper, 33 x 25 ¼ inches, framed. Gift of Drs. Willam G. and Kathleen L. Howard, 5054-1.
But Fonseca doesn’t shy away from stillness. Pow Wow Club (1981), illustrated in black acrylic on white paper, is an intimate, gestural composition of two Coyotes gazing at each other at the bar. The scene is absent of bold color and reveals only the back perspective of the Coyotes, which is uncharacteristic of Fonseca’s oeuvre but perfectly evokes the dreamy setting. This conveys a sense that the music is low, lights are dim—it’s nearing closing time, but time is irrelevant to the Coyotes coupled up in a romantic entanglement. Fonseca’s use of perspective
diminishes a definitive sense of sexuality/gender that has been previously bound to Coyote and Rose. Pow Wow Club embraces the ambiguity to imagine a space of possibility and romance, defiant of heteronormative expectations.
Harry Fonseca: Transformations offers a poignant exploration of Fonseca’s kaleidoscopic identity that resonates with contemporary conversations on Indigenous gender/sexuality.
Hidden Gems
Native American Children’s Literature in the Billie Jane Baguley Library and Archives
Since the beginning, the Heard Museum has nurtured a library that has steadily increased in significance, owing much to generous donations and the dedicated volunteers who devote their time fulfilling the library’s needs to maintain it as an invaluable resource for both the museum and the community. While renowned as a comprehensive research facility on Indigenous art and cultures worldwide, the Billie Jane Baguley Library and Archives also boasts a robust collection of Native American adult and children’s literature.
In the vast expanse of literature, it is imperative to ensure that readers encounter stories that reflect the rich tapestry of human experiences and cultures. These narratives provide insights into the unique perspectives, values and struggles of Native peoples. They offer much-needed representation, countering the historical underrepresentation and misrepresentation of Indigenous peoples in mainstream media. Native American children’s literature, in particular, introduces diverse characters who authentically mirror the realities
of Indigenous communities. Through these tales, young readers find themselves reflected in protagonists grappling with the complexities of identity, heritage and belonging. Representation fosters a sense of pride and validation, affirming the worth and significance of Indigenous cultures.
Moreover, Native American children’s literature serves as a conduit between generations, preserving oral traditions and cultural knowledge. Many Indigenous cultures have a rich tradition of storytelling, transmitting wisdom, history and values through oral narratives. By transcribing these tales into written form, authors ensure their preservation for future generations. Through books, young Native Americans can forge connections with their heritage, delving into their ancestors’ struggles, triumphs and enduring traditions. These books also offer invaluable educational opportunities, providing insights into Indigenous perspectives and fostering critical thinking on issues such as identity, sovereignty, land rights and social justice.
AMANDA HIATT | ASSOCIATE LIBRARIAN
The Billie Jane Baguley Library houses a wealth of such literature. Fry Bread by Kevin Noble Maillard, a member of the Seminole Nation, Mekusukey Band, celebrates the diversity in the creation of this global dish and underscores the importance of cultural differences. Jingle Dancer by Cynthia Leitich Smith, a member of the Muscogee (Creek) Nation, immerses readers in the preparations for a powwow as protagonist Jenna gathers materials for her jingle dress. Similarly, Powwow Day by Traci Sorell of the Cherokee Nation invites readers to experience the excitement of a tribal powwow. These books not only entertain but also educate, with authors including expanded histories on terms and traditions to enhance their educational value. Even board books like Coyote at the Big Time by Lyn Risling of the Karuk, Yurok and Hupa peoples of Northern California provide early readers with a window into Indigenous culture.
In addition to narratives centered around family and tradition, the library offers biographies of individuals who have made significant contributions to their communities.
Some literature goes beyond storytelling to support Native Americans at every stage, from the story to the author, illustrator and even the publisher. One such example is the young adult book Running with Changing Woman. This story about navigating new challenges is by Diné author Lorinda Martinez, who is Lók’aa’ Dine’é (the Reed People Clan) born for Táchii’nii (Red Running into the Water Clan), and the cover design is by Brittany Gene, who is from the Towering House Clan born for the Two Water Coming Together Clan. The book is published by Salina Bookshelf, a publisher specializing in multicultural materials, including duallanguage books.
Visitors of all ages can discover books on historical figures or artists, such as a look-and-learn book about artist Oscar Howe (Yanktonai Dakota). Some writings also offer a glimpse into different artistic mediums; for instance, while visitors may admire sculptures by Allan Houser (Chiricahua [Warm Springs] Apache) at the Heard Museum, they may not know that he also illustrated stories like Blue Canyon Horse by Ann Nolan Clark. The library provides an opportunity to engage with artists in new ways and connect with a rich history.
The children’s literature collection at the Billie Jane Baguley Library and Archives continues to expand, utilizing resources such as the American Indians in Children’s Literature (AICL) blog, founded and maintained by Dr. Debbie Reese (Nambé Pueblo), a scholar, educator and advocate of Indigenous peoples in children’s literature. On your next visit to the Heard Museum, take a moment to explore the library shelves— it’s an enriching experience waiting to unfold!
A New Heard Museum Catalogue Contemporary Sculptures by Native American Artists Majestic Figures:
The Heard Museum has published a new catalogue that celebrates Charles and Valerie Diker’s donation of 23 sculptures and acknowledges the talented work of five masterful artists: Rhonda Holy Bear (Lakota), Jamie Okuma (Luiseño/Shoshone-Bannock/OkinawanHawaiian) and Joyce Growing Thunder, Juanita Growing Thunder Fogarty and Jessa Rae Growing Thunder, Ph.D. (Assiniboine/Sioux). Mr. and Mrs. Diker initially loaned their collection of sculptures for an exhibition at the Heard that opened in 2019. Visitors to the museum continue to be mesmerized not only by the tiny micro-beads incorporated into each sculpture, but also by their artistry and the details in clothing and accoutrements bestowed upon each work.
The Heard developed the catalogue Majestic Figures to recognize this important gift while bringing new scholarship to the topic. Gaylord Torrence, Curator Emeritus at the Nelson-Atkins Museum of Art in Kansas City, is the author of the first chapter of the catalogue. Torrence provides context for the Dikers’
DIANA PARDUE | CHIEF CURATOR
sculpture collection by relating it to their larger collections of Native American historical works now on exhibit at the Metropolitan Museum of Art in New York, and he provides insights into the works of each artist. In another chapter, Dr. Jessa Rae Growing Thunder discusses Indigenous dolls made in historical times, which are the antecedents of these contemporary sculptures; recounts the development of the first sculptures by Joyce Growing Thunder and Rhonda Holy Bear; and discusses works by each artist. Diana Pardue discusses materials that the artists use as well as the complexities of sewing with micro-beads. Interviews with each artist were conducted by Heard curatorial staff members Olivia Barney (Diné), Velma Kee Craig (Diné) and Roshii Montaño (Diné).
In the gallery where the sculptures are displayed, exhibition labels will be updated to incorporate the new information gathered for the catalogue. Majestic Figures is available in the Heard’s Books & More bookstore and online through the Heard Museum Shop.
CELEBRATING CHILDREN AND FAMILIES
ALLISON AVERY | MANAGER OF FAMILY ENGAGEMENT & LEARNING PROGRAMS
The Heard Museum’s Maria & Modernism exhibition made its debut at the end of February and will be closing on July 28. This stunning exhibition features the incredible black-on-black pottery of San Ildefonso Pueblo artist Maria Martinez and her family. In conjunction with the exhibition, the Heard featured inspiring programs for visitors of all ages through the Maria & Modernism Exhibition Celebration, our scholar seminars called Virtual Art Talks, and Clay Day.
On April 28, families and youth experienced Clay Day, a day of Maria Martinez–inspired activities at the museum. In the Steele Auditorium, participants glazed ceramic tiles from As You Wish Pottery, painted with clay slip with Marcus Monenerkit, created polymer clay magnets and earrings with Kenzi Dupree from STILL She Lives, built their own pinch pots with Yolanda Hart Stevens, and indulged in a clay exfoliating arm wrap from Aji Spa.
Clay enthusiasts were also welcome to participate in an “art search,” similar to a scavenger hunt, that led them to various exhibitions in the museum. Heardlings-branded push-pop balls were given to all art search participants. Guests also could enjoy a costume photo op that was inspired by Maria Martinez’s famous family-portrait plate, flex their creativity through the Maria Martinez coloring page in Crossroads Gallery, and celebrate the spring day on a 16-foot-tall inflatable slide on the Plaza lawn.
Clay Day was a day of art, creativity and family adventure for all to enjoy.
34th Annual World Championship Hoop Dance Competition: History in
Motion
MIKE WEBB PUBLIC ENGAGEMENT MANAGER
Eric Manuelito, arena director for the 34th World Championship Hoop Dance Contest, welcomed sleepy families and anxious dancers as they gathered in the Heard Museum’s Steele Auditorium on Saturday morning, February 17, the opening of the championship. Manuelito started his address by illustrating the purpose of this gathering and encouraged participants to remember the healing nature of hoop dance. He concluded his announcement with a prayer and instructed all dancers to line up for the Grand Entry. Then, 119 competitors—the most ever in the history of the event—dutifully lined up behind the elders to begin the annual procession.
This year’s competition broke the records for most dancers ever to compete and the highest attendance in the event's history. Over the two days, 7,500 visitors converged upon Libby Amphitheater, braving the elements, finding the perfect seat on the lawn, and
watching closely to see complex hoop formations take shape with an ease that only a skilled dancer could ever pull off.
After Saturday’s preliminary rounds, in which dancers competed two at a time, each qualifying dancer took center stage for the final round on Sunday, when a share of the $25,000 in cash prizes came closer within reach. The Youth, Teen and Senior divisions led the day with fierce competition. Anjalee Andrews (Hopi), in her sophomore year of dancing, took first place in the Youth Division, while Mateo Ulibarri (Pueblo of Pojoaque), maintained his champion status by taking first place for the second year in a row. Six hoop dancing legends competed in the Senior Division, with Moontee Sinquah
Josiah Enriquez, 2024 World Champion, completes a formation.
Photo: Joel Farias-Godinez Jr
(Hopi-Tewa/Choctaw), patriarch of the Sinquah family, winning the title of Senior Champion.
On Sunday, the final round of the Adult Division held one more surprise for the record-breaking audience. Hoop history was made when Talon Duncan (San Carlos Apache, Arikara-Hidatsa-Mandan), scoring 209 points, was followed by Josiah Enriquez (Pueblo of Pojoaque/Navajo/Isleta Pueblo) with the exact same score. For the first time ever there was a tie for first place, causing a buzz in the arena as the two dancers prepared to perform another round of dancing for the tie-breaker. The evening sun was setting on the competition as Enriquez claimed victory with a repeat score of 209. He fell to the ground in elation and exhaustion, realizing he was just announced the 2024 World Champion Hoop Dancer.
The World Championship Hoop Dance Contest aims to uplift and celebrate the community of dancers who work tirelessly through the year to perfect their craft. In addition, it is extremely important to note that this competition thrives not only on the energy and
commitment of the dancers, but also on the dedication and passion of the announcers, drummers, Hoop Dance Contest staff and Heard Museum staff. Dennis Bowen Sr. (Seneca) continued his legacy as master of ceremonies with a new team of Hoop Dance Contest staff by his side. The Thunder Boy Singers (Northern drum) and the Cozad Singers (Southern drum) shared the responsibility of providing the heartbeat of the contest, singing and drumming over 120 songs across the two days.
For relatives and community members unable to attend, Gila River Broadcasting Corp. provided a live stream of the competition, featuring live interviews of the competitors for the first time ever. Shawn Martinez (Diné), live entertainment director for the Phoenix Suns, and Melody Lewis (Mohave/Tewa/Hopi), founder of Indigenous Community Collaborative, engaged with the dancers, providing never-before-heard insight into their performances.
The Heard Museum is extremely humbled and sincerely grateful for the special moments and indispensable collaborators that were part of this year’s competition.
Dancers in unison for Grand Entry. Photo: Zee Peralta
66th Annual Heard Museum Guild Indian Fair & Market
Hollis Chitto (Mississippi Choctaw, Laguna/Isleta Pueblos) Napakanli Um Okla Imma (Flowers for my Family)
Beaded Bandolier Bag
Since 1959, the Fair has showcased the beauty and vitality of indigenous, creative expression by artists from not only the southwest, across the country. In 2024, our signature Fair exceeded our previous record by welcoming more than 19,175 visitors to enjoy the works of 620 Indigenous artists.
Many artists competed in the juried competition for a coveted ribbon across numerous classifications. For the artists, these ribbons carry with them cash awards, as well as enhanced recognition in their artistic fields. Thanks to the many generous donors, we exceeded our goal by raising more than $115,000, securing more support for the juried competition than ever in the Fair’s 66year history. Congratulations to Best of Show winner Hollis Chitto (Mississippi Choctaw, Laguna/Isleta Pueblos) for his work titled Napakanli Um Okla Imma (Flowers for my Family) Beaded Bandolier Bag
Tyrrell Tapaha (Diné (Navajo)), Ashkii Tsoh
Carol Emarthle Douglas (Northern Arapaho-Seminole Nation of Oklahoma), Opynkv Haco “Stomp Dance”
Juanita Growing Thunder Fogarty (Assiniboine/Sioux), Joyce Growing Thunder (Fort Peck Assiniboine/Sioux) and Pamela Briggs. Photo: Zee Peralta
Kevin Tsosie (Navajo). Photo: Zee Peralta
Youth Art Show & Sale Participants. Photo: Zee Peralta
In addition, the Youth Art Show and Sale brought youth artwork to a wider audience, encouraging American Indian students in grades 7-12 to submit their original artwork for display and sale. Youth artists had their art judged by a professional panel that awarded ribbons and cash prizes totaling $10,000.
Each year, nearly 150 supporters underwrite special ribbons and other costs associated with the Annual Fair and its Best of Show and other named awards. We wish to express our sincere gratitude to Joy and Howard Berlin, the Head family, Sharron Lewis, and Kristine and Leland W. Peterson for their very generous support of the Indian Fair & Market in sponsoring the $25,000 Best of Show award, and Betty Van Denburgh for sponsoring the Best of Show and Best of Division ribbons for the Youth Art Show and Sale.
In addition to the hundreds of Heard Guild volunteers who work tirelessly and throughout the entire year to make the Fair come to life, the event is also supported by partner volunteer organizations including Bank of America’s Native American Professional Network, employees from JP Morgan Chase, and friends from Brophy College Preparatory.
Maria Samora (Taos Pueblo), Bisbee Turquoise Ripple Link Bracelet
Cavan Gonzales (San Ildefonso Pueblo). Photo: Zee Peralta
Carrie Hill (St. Regis Mohawk). Photo: Zee Peralta
Celebrating the Heard Museum Guild!
KIM ALEXIS ADVERSARIO ASSOCIATE DIRECTOR OF MEMBERSHIP & CIRCLES
Since 1956, the Heard Museum Guild has impacted thousands of guests who visit the Heard’s world-renowned exhibitions and programs, the Heard Shops, Courtyard Café and Billie Jane Baguley Library and Archives. The Heard Museum is proud to have the support of over 400 volunteers who strengthen our ability to achieve our mission every day.
The Heard Museum Board and Staff celebrated our Guild volunteers with the annual Heard Museum Guild Appreciation Dinner on Thursday, April 25. It was an endearing evening recognizing the many accomplishments of the Heard Museum Guild, the graduation of the 2024 Las Guias Class and the installment of the 2024-26 Guild Officers. Over the past year, the Heard Museum Guild completed 36,963 hours of service, accumulating 1,529,388 hours of service for almost 70 years.
We are forever grateful to the Heard Museum Guild for their dedication and enthusiasm. If you are interested in joining this amazing group of volunteers, please do not hesitate to reach out to membership@heardguild.org.
2024 Heard Museum Guild Committee Chair Members Chuck and Dotty Starnes
Director of Research Ann Marshall and Guild Member Cyndy Ross
Guild Members Stu Passon and Ilona Shorb
Guild Members Jeff Ross and Dale Baker
Guild Member Susan Relecom
Heard Museum Guild Members
Guild Dinner Emcee Dan Hagerty, Chief Advancement and Engagement Officer with David Roche, Dickey Family Director and CEO
Guild Members Susan Orr, Barbara Echo, Dwanye Matthews and Geneva Sorum
Design Archie’s shoe collection! Archie loves the new Art & Sole exhibition at the Heard Museum and wanted to get in on the fun of self-expression. You can design Archie’s skateboarding shoes and sneakers in your own unique way. Just like the incredible designs found in Art & Sole, you can express your own creativity through Archie’s shoes.
SUMMER PROGRAM SCHEDULE
The Heard Museum is a great place to be during the summer, and we have an exciting program lineup in store. Check heard.org/events for more information. See you soon!
Free Family Summer Saturday: Express Yourself!
Saturday, June 22, 10 a.m. to 4 p.m.
Heardlings Art Cart: Harry Fonseca
Wednesday, June 26, 2 to 4 p.m.
First Friday: Concert Series, Jacob Shije Trio Friday, July 5, 4 to 8 p.m.
Free Family Summer Saturday: Festividades con Cultural Coalition: Latine Celebrations
Saturday, July 20, 10 a.m. to 4 p.m.
Heardlings Art Cart: Flowers
Friday, July 26, 10 a.m. to 12 p.m.
Scene & Heard Summer Film Series: Keepers of the Game
Saturday, July 27, 1 p.m.*, Steele Auditorium
First Friday: Concert Series, Indigenous Metal feat. Alliance, Existence AD
Friday, Aug. 2, 4 to 8 p.m.
Heardlings Art Cart: STEAM
Wednesday, Aug. 21, 10 a.m. to 2 p.m.
Free Family Summer Saturday: Full STEAM Ahead
Saturday, Aug. 24, 10 a.m. to 4 p.m.
Scene & Heard Summer Film Series: The Guardians
Saturday, Aug. 31, 1 p.m.*, Steele Auditorium
*Advanced Seating for Heard Museum Members
Member Spotlight: Judy and Stan Getch
The more than 6,000 Members who support the Heard every year represent the museum’s single largest source of unrestricted income. On top of that, Heard Members compose the Heard Museum Guild volunteer corps, they are the Shop’s best customers, and they are our most loyal museum visitors. Many Members also make donations to support special programs and projects at the Heard, whether that’s our YearEnd Artist Fund, the Grand Gallery Exhibition Fund, Moondance or other initiatives that align museum needs with their interests.
Stan and Judy Getch are two of those remarkable individuals. They have been steadfast Heard Museum Members for more than 25 years. Over that time—in addition to their membership in Circles of Giving—they have supported Heard exhibitions and important initiatives. In 2023, they made a special contribution to sponsor new shelving systems to house baskets from the Basha Family Collection of American Indian Art, which was recently donated to the Heard. In our first Member Spotlight, we asked Judy to share some thoughts about what the Heard Museum means to her.
Judy and Stan made a special gift in 2023 to underwrite a much needed shelving unit to store basketry.
How would you describe the Heard Museum to someone who has never been here before?
Always Welcoming! The Heard is a dynamic and most wonderful museum that provides a balanced approach to the art and culture of Native Americans. The exhibitions are enticing, stunningly beautiful and always accompanied by enriching information. There is something for everyone at the museum, including spots to engage, reflect, or relax and enjoy.
You have been a member since 1998. Why did you decide to join?
I have long admired the Heard Museum for its approach to Native cultures and its commitment to supporting Native American creativity in all of its forms. The Heard provides a way of looking into the art, the craft and the culture, not at it.
What motivated you to become even more involved with the museum by supporting special projects, like funding the needed storage systems for collections?
The collections and the curators who manage
them are the essence of an innovative and visionary museum. There is no greater reward than supporting a special project, like storage, that in turn supports the vibrancy of the museum as a whole.
Why do you live in Arizona? What about our state and community appeals to you?
I moved to Arizona for family reasons. The science and beauty of the Sonoran Desert and its proximity to the ponderosa pine forests of the north have kept me here. Art, culture and desert plants keep me engaged.
What role does the Heard Museum play in making Arizona a great place to live?
The Heard Museum is a shining star in Arizona’s constellation of natural, historical and cultural wonders. In addition to its considerable collections, outstanding exhibitions, and expansive library and archive resources, the Heard has annual events and programs that draw people from across the state and nation. Authenticity is the middle name of the Heard Museum Shop. It represents and makes available Native American art in traditional as well as innovative forms and styles.
Additionally, there is the chefinspired Courtyard Café, the Coffee Cantina and a wellstocked bookstore. All in all, the Heard is an art venue, an educational institution, a cultural and historical repository, an innovative place to shop and a great place to have lunch. It broadens our personal horizons and enriches our lives.
Do you have any special memories of the Heard Museum?
My first visit to the Heard was a momentous occasion. I was awed by the differences and similarities between the Native Americans of the Southwest and the Midwest, where I grew up. At the time, I was a university student with a very small discretionary budget. In the gift shop, then located within the museum, I swallowed hard at the price tags in front of each artful piece of pottery. Then, there it was: a pot I could afford! It was beautifully proportioned, mottled brown in color, with a pie-crust pinched rim. I gladly spent every cent of my $38 budget to purchase it. Today, the museum and that Diné pot are cherished as much as they were on the first day I saw them.
10.26.24 SAVE THE DATE
SATURDAY, OCTOBER 26, 2024
CELEBRATING THE NEWLY RENOVATED HEARD
MUSEUM SHOP
HONOREES
ROSE & HARRY PAPP
Longtime Heard Supporters
Milena & Tony Astorga
Nadine Basha
Arlene Ben-Horin
Jeri & Michael Ben-Horin
Joy & Howard Berlin
Tara & John Coggins
Libby & Joel Cohen
DY BEGAY (DINÉ)
Textile Artist
CHAIRS
Merle & Steve Rosskam
COMMITTEE
Erika & Russell Dickey
Marilyn Harris
Mimi Horwitz
Sharron Lewis
Janis Lyon
Carol Ann & Harvey Mackay
Mary Ellen McKee
Jean & Jim Meenaghan
Janet & John Melamed
Harry Papp
Jill & Wick Pilcher
Carol & Randy Schilling
MERYL MCMASTER:
Opening on October 4, 2024, Meryl McMaster: Bloodline presents a survey of a remarkable Canadian artist whose pioneering large-scale photographic works reflect her mixed Plains Cree/Métis, Dutch, and British ancestry. This exhibition revisits McMaster’s past accomplishments and brings us up to date on her current explorations of family histories, focusing particularly on her Plains Cree female forebears from the Red Pheasant Cree Nation in present-day Saskatchewan. Meryl McMaster: Bloodline is organized and circulated by The McMichael Canadian Art Collection in partnership with Remai Modern.
Meryl McMaster (b. 1988) Remember The Sky You Were Born Under, 2022. Giclée Print, 101.6 x 152.4 cm. Courtesy of the artist, Stephen Bulger Gallery, and Pierre-François Ouellette art contemporain.
BLOODLINE
