Photo by Lee Bennett on Flickr | Copyright: Creative Commons
Since 1950, members of the local Cherokee tribe and actors from the University of North Carolina drama department have been performing Unto These Hills at the Mountainside Theatre in Cherokee, North Carolina.
Located in the Great Smoky Mountains in western North Carolina, the town of Cherokee is the traditional home of the eastern branch of the Cherokee tribe, and the town retains much of its original culture, including road signs written in the Cherokee language and script.
Although many of the attractions are kitschy and aimed at tourists, there are a number of authentic cultural destinations to seek out. Foremost among them is the Mountainside Theatre.
Every year, from June through August, a nightly production of “Unto These Hills” is performed in an outdoor ampitheatre built into a forested hillside.
The play tells the story of the “Trail of Tears,” in which over 16,000 eastern Native Americans were forcibly relocated to locations west of the Mississippi River.
In addition to the drama, traditional music and dance is also featured at the theatre.
A photographer’s journey into the Canadian Arctic reveals the vibrancy of life in one of the coldest inhabited regions on the planet.
In early November the sun dips below the horizon in Arctic Bay and the sky bruises violet and blue.
The sun won’t rise again here for three months, plunging the landscape into infinite twilight.
Amid tundra and sea, Nunavut (“our land” in Inuktitut) is the largest and northernmost territory of Canada, where a majority of the country’s Inuit population cluster in remote coastal communities.
Photographer and Fulbright grantee Acacia Johnson embraced one of the coldest and darkest winters on Earth in order to document the Inuit’s evolving relationship with their environment in her dreamlike series, Under the Same Stars.
“The only constant thing about the Arctic landscape is that it’s constantly changing,” Johnson says. “My [original] idea was to do this landscape project … I showed up and the reality is quite different from what you imagine. Instead, it seemed more important for me to focus on the cultural transition happening there.”
The faces of the Tatatoapik family glow under the light of the full moon. Each of their parkas has been sewn by women in the family.
The festival, which was first held in 2011, aims to enhance international visibility of indigenous people, advocate the nation’s indigenous culture of music and dance, and promote exchanges between Taiwanese indigenous peoples and international indigenous peoples.
“There will be trips arranged to tribal areas during the festival as a great opportunity for Taiwanese and overseas indigenous peoples to get first-hand experience of other groups’ traditional music and dance,” the council said.
In addition, the council is to hold a Guinness World Record attempt on the first day of the festival at the Taoyuan County Arts Facilities Management Center to create the “largest Malikuda dance” — a traditional Amis tribal dance.
In Taiwan, Indigenous Peoples Day is observed on Aug. 1 of each year because it was on Aug. 1, 1994, that the Constitution was amended to change a derogatory name for Aborigines, “mountain compatriots,” to “indigenous people.”
The festival commemorates those who had dedicated their lives to fight for Aboriginal rights, Council of Indigenous Peoples minister Lin Chiang-yi (林江義) said.
AUSTRALIA’S ICONIC CANNING STOCK Route, created in 1906, runs for 1800 km through Western Australia from the Kimberley to Wiluna in the state’s mid-west.
The history of this famous cattle track has typically been told from a colonial perspective, but a new exhibition at the Australian Museum , which has previously toured the National Museum of Australia in Canberra, seeks to retell the story through Aboriginal eyes and voices
“The Canning Stock Route (CSR) is a place where Indigenous and non-Indigenous histories intersect. This exhibition tells the story of the recovery of the Indigenous histories,” says Michael Pickering, head of the Aboriginal and Torres Strait Islander Program at the National Museum of Australia. “For many years the story of the stock route was represented as a white man’s story.
This exhibition, and the collection that forms its heart, allows us to recognise that its history goes back much further and is held in the hearts and minds of the Aboriginal people of the region.”
Tony Albert, We Can Be Heroes, Pigment print on paper
An artwork based on a police shooting in Sydney has become the first photographic work to win the first prize in the National Aboriginal and Torres Strait Islander Art Award.
We Can Be Heroes is a series of photographs of young Aboriginal boys staring at the camera, defiant and proud, with red targets on their chests.
Artist Tony Albert said he made the work after Sydney police shot two Aboriginal teenagers who drove into a Kings Cross footpath in April 2012.
At the announcement of the $50,000 award at the Museum and Art Gallery of the Northern Territory in Darwin, he said young Aboriginal men were targets for prejudice.
“We are kind of walking targets in society, whether that be through police violence or brutality, or being followed around in shops,” he said.
“It even transfers to things like the intervention in the Northern Territory, where without naming anyone or anyone imprisoned, there was blanket statements about men being paedophiles and women-bashers.