Arts and Cultural Heritage Grant
Arts and Cultural Heritage Grant
Sharing Iron Range History and Culture
Tara Makinen: former-Executive Director of Itasca Orchestra and Strings, musician; Tammy Mattonen: Executive Director of Itasca Orchestra and Strings, visual artist, co-founder of Crescendo Youth Orchestra; Kathy Neff: musician, Director, Fine Arts Academy at the University of Minnesota-Duluth; Ron Piercy: jeweler, gallery owner; Emily Swanson: arts administrator at Oldenburg Arts and Cultural Community; Kris Nelson: artist, teacher; Roxann Berglund: musician; Bill Payne: Professor of Theater at the University of Minnesota-Duluth
Bill Payne: Professor of Theater at the University of Minnesota-Duluth; Emily Swanson: arts administrator at Oldenburg Arts and Cultural Community; Leah Yellowbird; visual artist, designer; Tiffany Quade: visual artist; Classie Dudley: ARAC Equity Fellow
ACHF Cultural Heritage
Dr. Anton Treuer is the acknowledged leading scholar in the field of Ojibwe History and Language. He is head of Anishinaabe Studies at Bemidji State University. Ryan Bajan (Ma'iingan) : As Director of the NLMF/Bois Forte collaboration, the artists, faculty, and students represent the Bois Forte, Leech Lake, Red Lake, Fond du Lac, and White Earth Ojibwe reservations and communities. These individuals are leaders in their communities, regionally, and nationally in their areas of artistic representation.? Instrumental and Vocal Teachers: Jordan Gawboy (Bois Forte) Chaz Wagner (Bois Forte) Lance Kingbird (Bois Forte) We want the program to include at least one traditional measure of assessment, and that will be the Music Fundamentals course. There will be a paper and pencil exam, with an ear training component. The curriculum, and the exam, will be based on the level of the students. There will be at least two sections of the class, possibly more, depending upon the student's needs and levels. The results of the test will tell us if the teacher was successful. Short "jury exams" will be held in basic keyboard skills, i.e. play a major scale, play a minor scale and the I IV V7 chords of each; play a simple 8 bar melody. Students who arrive with greater skills will have more achievement to display. Opera chorus mastery will be determined by the Music Director and Choral Conductor. Parents, teachers and students will be asked to respond to surveys that reflect their own feelings about what they have learned musically and theatrically, and what social benefits they feel they derived from the program.
The concept was a good one, yet, one that was filled with unknowns. The lectures by professional historians, the Ojibwe drumming concert in Ely, and the summer music camp for Ojibwe students were all successfully implemented. Community response was excellent; it was not only a learning experience for our regular audiences, but brought in people to events that we had not reached in the past. The children's participation in the opera productions was a disappointment; students had learned their parts during the camp with genuine enthusiasm. Yet, most parents withdrew the children from the rehearsals following the weeklong camp. A mother of 4 participants decided to go on vacation rather than allow the children to participate. In the case of a pair of brothers, one of whom exhibited great talent and interest, a foster father didn't see the point. We don't know all the reasons, because they haven't shared that information with us. We will try to find dependable partners for the future.
Other,local or private