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In celebrating Indigenous expressiveness and cultural enrichment, we are excited to spotlight three more fellows from the Cultural Capital (CC) and Artist in Business Leadership (ABL) programs.

The following artists represent how Indigenous creativity thrives through each fellow participating in our fellowships. These artists come from varying backgrounds and artistic fields and showcase a deep passion for their craft and community. 

Cultural Capital

Jason Garcia, a Santa Clara Pueblo CC fellow, is working on a project that challenges the historical narrative surrounding artist Georgia O'Keeffe's depiction of Tsí Pín (Tewa)/Cerro Pedernal in northern New Mexico. This initiative marks the first time a Tewa artist has critically examined O'Keeffe's assertion of ownership over the Tewa landscape, addressing the broader context of settler colonialism in the region.

“I think knowledge of land and then also the transference of knowledge while also using Tewa place names is essential for having this type of work that we're working on. Names aren't necessarily used as often as they should be,” Garcia said. 

“I think knowledge of land and then also the transference of knowledge while also using Tewa place names is essential for having this type of work that we're working on. Names aren't necessarily used as often as they should be,” Garcia said. 

This initiative aims to highlight historical truths and reclaim the cultural significance of Tsí Pín within the Tewa world, while challenging the dominant narrative of "O'Keeffe Country" and bringing visibility to O'Keeffe's erasure of Tewa people and landscapes. 

“I think that's part of understanding place names and also sharing some of the places that we're visiting. There are some collaborators who are involved in the project that haven't visited some of the locations that we've seen so far. So I think that's been really good to share that intergenerational knowledge as well,” Garcia said. 

“I think that's part of understanding place names and also sharing some of the places that we're visiting. There are some collaborators who are involved in the project that haven't visited some of the locations that we've seen so far. So I think that's been really good to share that intergenerational knowledge as well,” Garcia said. 

By documenting his journey and the project's process through a Tewa perspective, Garcia wants to educate the public about the history and cultural significance of Tsí Pín.

Artist in Business Leadership

ABL fellow Nena Howell, from the Tlingit community, channels her connections to nature into contemporary oil paintings that blend Tlingit form line art with abstract elements. Her dynamic compositions celebrate and steward all sentient life, inviting viewers to explore timeless cultural narratives.

“I've been having responses where people feel what I feel when I'm working, like a kind of airiness. It's almost like I'm lighter in my body working. A couple of people said that's what they felt when they purchased my work. They felt a bright future when they saw my work,” Howell said. 

“I've been having responses where people feel what I feel when I'm working, like a kind of airiness. It's almost like I'm lighter in my body working. A couple of people said that's what they felt when they purchased my work. They felt a bright future when they saw my work,” Howell said. 

Howell’s project is to develop a Shopify webshop to connect with collectors and artists in her rural community and the Pacific Northwest, featuring photos, descriptions, packaging, and framing materials, supported by a direct mail flier and catalog. 

“I have a large background in marketing, I think from the cultural preservation aspect, I will have a different strategy than most people. I have a broader audience to share our beautiful work with and the collaborative work of first people,” Howell said.

“I have a large background in marketing, I think from the cultural preservation aspect, I will have a different strategy than most people. I have a broader audience to share our beautiful work with and the collaborative work of first people,” Howell said.

Committed to her rural community, Howell will share best practices and knowledge through online posts and direct invites.

Tiffany Adams, a multi-talented artist of Chemehuevi, koyoomk'awi, and Nisenan heritage, brings a diverse range of skills to her journey as an Artist in Business Leadership Fellow. Her primary mediums include jewelry, and traditional and contemporary finery, incorporating local materials such as abalone, feathers, and natural beads. Adams uses her art to spark conversations about Native issues and resource protection.

“To receive this [fellowship] at this time feels like it's going to give me the resources I need to take a break, do some research, get some training in my own business development, and get the tech that I need. It's very wonderful to be honored in that way and recognize the work I have been doing for the last 15-20 years and to give me this opportunity to grow my business and really settle into the next part of my development,” Adams said. 

“To receive this [fellowship] at this time feels like it's going to give me the resources I need to take a break, do some research, get some training in my own business development, and get the tech that I need. It's very wonderful to be honored in that way and recognize the work I have been doing for the last 15-20 years and to give me this opportunity to grow my business and really settle into the next part of my development,” Adams said. 

Adams aims to overcome the challenges of her art practice while maintaining cultural and community empowerment. After a hiatus during the COVID-19 pandemic to serve on her Tribal Council, she is ready to refresh her practice and build a sustainable business foundation. Her goals include creating a business plan with proper bookkeeping, updating technology to meet accessibility needs, and increasing her visibility on social media platforms.

“It's weird when you do art that's private like that isn't necessarily made for public consumption. But I do think it's important to acknowledge that they are happening, even if we're not on the cover of Vogue and all of that, it is still happening,” Adams said. 

“It's weird when you do art that's private like that isn't necessarily made for public consumption. But I do think it's important to acknowledge that they are happening, even if we're not on the cover of Vogue and all of that, it is still happening,” Adams said. 

With support from First Peoples Fund, she plans to purchase new technology, create a purchasing platform for her website, and receive training on content creation and social media management.

Each of these fellows symbolizes the resilience, creativity, and cultural richness of Indigenous artists today. Through their unique perspectives and artistic mediums, Jason, Tiffany, and Nena are paving the way for future artists, ensuring Indigenous voices and traditions thrive in the modern artistic landscape.

In celebrating Indigenous expressiveness and cultural enrichment, we proudly present this month’s latest highlight of Cultural Capital (CC) and Artist in Business Leadership (ABL) fellows. 

The following artists represent how Indigenous creativity thrives through each fellow participating in our fellowships. These creatives come from diverse backgrounds and artistic fields and embody a deep passion for their craft and community. ‍

Cultural Capital

Loren Waters, a CC Fellow from the Kiowa Tribe and Cherokee Nation, is a multifaceted artist whose work varies from filmmaking to storytelling to jewelry design. With a strong commitment to her community, Loren’s fellowship project proposal is to host three Indigenous youth storytelling workshops.

“I hope that bringing my experience to the youth will help bridge that gap for some people and maybe push them farther along than I could have been at that age and get more Native people working in this industry,” Loren said.

“I hope that bringing my experience to the youth will help bridge that gap for some people and maybe push them farther along than I could have been at that age and get more Native people working in this industry,” Loren said.  

In her attempts to bridge the gap between her cultural background and the non-Indigenous world, Loren draws from her experiences growing up close to her culture in Oklahoma. She acknowledges the challenges of navigating between two worlds and the impact of lacking representation in media and film.

"I think that there's a lot of emphasis in the film industry or in filmmaking on Indigenous people being historical or people of the past," Loren said.

"I think that there's a lot of emphasis in the film industry or in filmmaking on Indigenous people being historical or people of the past," Loren said. 

Through these experiences, Loren hopes to contribute to the growth and development of future generations of Indigenous filmmakers, connecting the gap between historical representations and contemporary narratives in the film industry. 

Sarah “Giihz” Agaton Howes, a CC Fellow of Fond du Lac Ojibwe and Muscogee descent, is a beadworker, illustrator, graphic designer, and fashion designer. She envisions the creation of “Auntie’s Table”- a safe space where learners and makers can come together to create, learn, and build community. Sarah plans to use the fellowship funds to provide essential supplies, rent space for gatherings, and compensate herself and her teachers for their time and expertise.

“I think it's cool to be able to have grant funding that works with and is run by Native folks and to go through that process with other Native folks,” Sarah said.

“I think it's cool to be able to have grant funding that works with and is run by Native folks and to go through that process with other Native folks,” Sarah said. 

Auntie’s Table aims to create a welcoming environment for makers of all skill levels to come together and learn. It is supported by a dedicated team of employees and mentees.

“I realized that what my community needed was not for me to be making them things but for them to have those cultural competencies and to make their items for their family. And so that's what I spend a lot of my time doing: just teaching people how to do everything that I know how to do,” Sarah said. 

“I realized that what my community needed was not for me to be making them things but for them to have those cultural competencies and to make their items for their family. And so that's what I spend a lot of my time doing: just teaching people how to do everything that I know how to do,” Sarah said. 

Artist in Business Leadership

ABL Fellow Juliette Morris Williams, an Oklahoma Choctaw, is working to expand her artistic reach and create opportunities for broader community engagement. Due to Multiple Sclerosis, Juliette faces mobility challenges. She aims to create an online platform to showcase and sell her artwork, ensuring its accessibility to collectors worldwide.

“These funds will allow me to meet some artists I've wanted to meet and to travel there. And I feel so good that things that mean so much to me might help others see what they can do and inspire them to do more in their own lives or communities,” Juliette said.

“These funds will allow me to meet some artists I've wanted to meet and to travel there. And I feel so good that things that mean so much to me might help others see what they can do and inspire them to do more in their own lives or communities,” Juliette said.

Through her Mujeres Divinas project, Juliette plans to celebrate Indigenous women, drawing inspiration from her Choctaw family and her roots in Oklahoma. She sees creating a body of work that honors the resilience and beauty of Indigenous women, incorporating elements of clay and soil from her family's land into her artistic creations.

“I feel that with the lifting up of women who do so much and work so hard for their communities in their culture, I hopefully inspire others to say, ‘Wow, these people are pretty amazing. They do a lot of work. And I should try to do something like that,’” Juliette said.

“I feel that with the lifting up of women who do so much and work so hard for their communities in their culture, I hopefully inspire others to say, ‘Wow, these people are pretty amazing. They do a lot of work. And I should try to do something like that,’” Juliette said.

As we honor Loren Waters, Juliette Williams, and Sarah “Giihz” Agaton Howes's additions to the FPF Fellowship family, let us celebrate the passion and creativity of Indigenous artistry and reiterate our commitment to supporting and uplifting Indigenous artists in their pursuit of cultural expression.

As we celebrate Indigenous expression and cultural enrichment, we are thrilled to spotlight three more fellows from the 2024 Cultural Capital (CC) and Artist in Business Leadership (ABL) programs.

The following artists represent how Indigenous creativity thrives through each fellow participating in our fellowships. These artists come from diverse backgrounds and artistic fields and showcase a deep passion for their craft and community. 

Cultural Capital

Kamali'ikūpono Hanohano, an ʻŌiwi Hawaiʻi/Native Hawaiian CC Fellow, practices traditional Hawaiian tattoo art of Kākau Uhi. Through Kamali'ikūpono's fellowship project he will explore the impact of traditional Hawaiian tattoos on individuals within the Native Hawaiian community. He will conduct video interviews to document the experiences of people from various lifestyles—teachers, cultural practitioners, and individuals with different religious or spiritual beliefs.

“I had an idea to showcase the effects of our traditional markings within our people and how they can serve as healing sparks,” Kamali'ikūpono said.

“I had an idea to showcase the effects of our traditional markings within our people and how they can serve as healing sparks,” Kamali'ikūpono said.

The project will be a short film that shares these perspectives, highlighting the significance and emotional impact of Kakau Uhi. By documenting these stories, he hopes to share the healing power of traditional Hawaiian tattoos with a broader audience, sharing a deeper appreciation for this cultural practice.

“We are accustomed to our history, our experience, and the events that have transpired here (Hawaii). It's nice to hear the first perspective on other Native peoples and maybe some of their experiences,” Kamali'ikūpono said.

Artist in Business Leadership

Richard D. York, an ABL fellow and a citizen of the Cherokee Nation, uses a diverse array of mediums in his art, including acrylic and oil paints, charcoal, graphite, and natural materials like deer, horse, and elk rawhide. His work spans painting, drawing, and the crafting of musical instruments like drums and flutes, connecting traditional techniques with contemporary practices.

“To me, art is about connecting with others, and it's kind of putting my experience out there to share with others and hopefully allowing them to bring themselves into that experience,” Richard said.

“To me, art is about connecting with others, and it's kind of putting my experience out there to share with others and hopefully allowing them to bring themselves into that experience,” Richard said.

For his fellowship project, Richard wants to enhance his online presence by establishing an online marketing strategy. He also plans to set up his print production space to avoid outsourcing costs. By purchasing a professional inkjet printer and supplies, he can control the quality and consistency of his prints, which will ultimately improve his online marketing and participation in art markets. 

“I just feel super grateful for the opportunity and the grant, but also for what this allows me to do in the community,” Richard said.

I just feel super grateful for the opportunity and the grant, but also for what this allows me to do in the community,” Richard said.

Richard's overall vision is to support youth and individuals in recovery by uplifting them to explore art as a meaningful hobby or career path. By sharing his knowledge through public presentations and classes, he wants to inspire others and create a sense of community and creativity.

Sabrina Saleha, a Diné ABL Fellow, represents her filmmaking, writing, and acting work. Her films highlight themes of identity and grief, yet are created to be light-hearted, aiming to shatter the stoic "Hollywood Indian" stereotype by infusing humor and hope into her narratives.

“TV and film historically have portrayed Native Americans as one-dimensional people of the past, which is both frustrating and couldn’t be further from the truth,” Sabrina said.

“TV and film historically have portrayed Native Americans as one-dimensional people of the past, which is both frustrating and couldn’t be further from the truth,” Sabrina said.

With the support of the fellowship grant, Sabrina’s will  direct her first short film, addressing the negative effects of Native American mascots on identity and community. Her goal is to create stories that capture Native humor and portray the rich diversity of Native American experiences, moving away from clichéd and inaccurate representations. 

“This fellowship has given me validation that my stories are worth telling,” Sabrina said.

“This fellowship has given me validation that my stories are worth telling,” Sabrina said.

The Cultural Capital and Artist in Business Leadership Fellowships support artists like Kamaliikupono, Richard, and Sabrina, helping them pursue their creative work while honoring their culture. These programs not only offer financial support but also provide a platform for these artists to amplify their voices and share their unique perspectives.

Each fellow adds to a broader narrative of resilience, creativity, and cultural preservation through their respective mediums. They show the transformative power of art in promoting understanding and appreciation for Indigenous cultures.

After a monumental journey that spanned 25 years, Lori Lea Pourier (Oglala Lakota), the founding President and CEO of First Peoples Fund, has transitioned into a new role as Founder and Senior Fellow. This role will allow Lori to focus on the future of Native artists and culture bearers while bringing forward the knowledge and narratives that celebrate the organization’s years of preserving and supporting culture bearers.

“I am immensely grateful in reflecting on the many artists, tradition keepers, and communities I have had the honor of serving as President and CEO of First Peoples Fund,”

“I am immensely grateful in reflecting on the many artists, tradition keepers, and communities I have had the honor of serving as President and CEO of First Peoples Fund,” Lori said. 

In her new role as Senior Fellow, Lori will continue to promote Collective Spirit principles, which embody the commitment to foster our shared humanity and honor our connections to one another, the lands surrounding us, and the spirit.

“It's about the way of life of 1000 years and generations that allow us to continue and allow us to continue to practice those [same] teachings,"

“It's about the way of life of 1000 years and generations that allow us to continue and allow us to continue to practice those [same] teachings,” Lori said. 

As Lori takes on her new role, her goals and aspirations are embedded in her devotion to narrative change and amplifying the voices of tradition keepers. She can see herself creating a publication that showcases the stories of Community Spirit Award recipients over the past years, capturing the narratives of their experiences and artistic contributions to their Indigenous cultures.

“We always knew that we wanted to support the tradition keepers or the culture bearers within our communities, asking ‘how do we honor those that selflessly give of themselves in community?’"

“We always knew that we wanted to support the tradition keepers or the culture bearers within our communities, asking ‘how do we honor those that selflessly give of themselves in community?’” Lori said. 

Despite the challenge of finding the time to document these stories during the organization's rapid growth, Lori looks forward to being able to help First Peoples Fund preserve its legacy and impact on Indigenous communities.

“Now I have the honor and the privilege to tell our story directly through the eyes and the lens of the Community Spirit Award honorees,”

“Now I have the honor and the privilege to tell our story directly through the eyes and the lens of the Community Spirit Award honorees,” Lori said. 

With a cache of over 7,000 photos and videos documenting the history of First Peoples Fund, Lori sees an opportunity to capture the experience of FPF's journey and share it with a wider audience. Through ideas like the 25th-anniversary stage production from the Kennedy Center, Lori wants to find different ways to showcase the diversity and richness of Indigenous culture, from traditional practices to contemporary expressions. 

“I always believed that the creatives ruled the world,” Lori said. 

She shares the significance of the organization's name, "First Peoples," which reminds her of the Indigenous peoples' powerful presence on the continent from Canada to Mexico.

“First People's Fund values generosity and integrity, and we hope to keep doing things well so that we're not just about the business,” Lori said. 

Lori is still strongly devoted to uplifting Indigenous voices, preserving the various aspects of cultural heritage, and advocating for a greater understanding and appreciation for First Peoples' contributions to society. Through storytelling and celebration, she hopes to leave a lasting impact that honors the creativity of Indigenous communities.

“There are so many good things happening now due to First People's Fund’s long history of working alongside artists and culture bearers. What's important now and moving forward is how we celebrate and continue to lift those voices.”

“There are so many good things happening now due to First People's Fund’s long history of working alongside artists and culture bearers. What's important now and moving forward is how we celebrate and continue to lift those voices.”

In celebrating Indigenous creativity and cultural enrichment, we proudly present this month’s latest highlight of Cultural Capital (CC) and Artist in Business Leadership (ABL) fellows. 

The following artists represent how Indigenous creativity thrives through each fellow participating in our fellowships. These creatives come from diverse backgrounds and artistic fields and embody a deep passion for their craft and community. 

Cultural Capital

Tessie Naranjo, an 83-year-old CC fellow, captures the wisdom and cultural richness of her Santa Clara Pueblo community. Growing up in a prevalent Indigenous language tradition, she cherishes the impact of her matriarchal figures –her great-grandmother, grandmother, and sister. 

“I come from a large body of artists in our community. Sculpting, writing, or making pottery, stone carving. Those things come naturally to us, here in the community, and especially within my family,” Tessie said.

“I come from a large body of artists in our community. Sculpting, writing, or making pottery, stone carving. Those things come naturally to us, here in the community, and especially within my family,” Tessie said.

With support from her fellowship, she will document Tewa place names in their homeland. She plans to collaborate with a Tewa male elder and a young tribal photographer and mapper. The project's mission is to capture Tewa names of mountains and land places, creating hard-copy and digital maps exclusively for the community.

“There is much to learn from traditional place names. Tewa names given by my ancestors are wondrously descriptive. My ancestors knew the land well,” Tessie said.

By documenting traditional place names, Tessie wants to ensure that future generations can access and appreciate their cultural wealth and protect the importance of language, story, and the enduring relationship between people and place.

CC Fellow Savanna Rilatos, a member of the Confederated Tribes of Siletz Indians, is working on a meaningful project to support her community through the Siletz Regalia Sharing Co-op, which she co-founded. This initiative aims to loan culturally appropriate regalia to dancers for local powwows and cultural events who may not have access to those items – a “regalia closet”.

“Regalia is not always accessible; it can be expensive to craft. And the people crafting it deserve compensation for their time and work because it is a lot of work. So we were just thinking about opportunities and things to help with the cost of it and not worry about how much money we're putting into it,” Savanna said. 

“Regalia is not always accessible; it can be expensive to craft. And the people crafting it deserve compensation for their time and work because it is a lot of work. So we were just thinking about opportunities and things to help with the cost of it and not worry about how much money we're putting into it,” Savanna said. 

Drawing from her past, Savanna shares the importance of accessibility to regalia, noting the invaluable support she received from her community in participating in ceremonies and powwows. Inspired by her grandfather's belief that "culture is prevention," Savanna envisions the Co-op as a bridge between accessibility and culture for others.

“The dream is to be able to provide funds and stuff for people to make their regalia. They get to participate and create for themselves or work with artists to obtain regalia,” Savanna said. 

Artist in Business Leadership

Ashley Young, an ABL Fellow and a member of the Tlingit community, is elevating her music career into an impactful business. Understanding the importance of treating her music as a business, Ashley is focusing on developing a credible business model as the foundation of her project.

“I'm so incredibly fortunate to have this grant and support from everyone. I know I can reach out to anyone anytime I need something like that; that kind of support is incredible. And when it comes to other artists in my community, we don't have thousands of dollars to give each other, especially when we're constantly on that next project. And so we are always focusing on what we can do for each other,” Ashley said. 

“I'm so incredibly fortunate to have this grant and support from everyone. I know I can reach out to anyone anytime I need something like that; that kind of support is incredible. And when it comes to other artists in my community, we don't have thousands of dollars to give each other, especially when we're constantly on that next project. And so we are always focusing on what we can do for each other,” Ashley said. 

Her goals include revamping her online presence with a new website, shaping her branding, maintaining a consistent presence on social media, and creating merchandise for her upcoming tour. Through her music, she aims to share her personal message of love, loss, and change as a tribute to her community. 

“I think many artists are afraid to lift themselves like they don't feel worthy of it. The way that I view my community is we're all holding hands. And every once in a while we just catapult one person in the circle,” Ashley said. 

“I think many artists are afraid to lift themselves like they don't feel worthy of it. The way that I view my community is we're all holding hands. And every once in a while we just catapult one person in the circle,” Ashley said. 

As a member of both the queer and Indigenous communities, Ashley is committed to using her career to make a positive change, hoping to inspire Alaska Natives to be ambassadors in their communities.

As we celebrate Ashley, Savanna, Tessie, and their fellow cohort members' inclusion in the First Peoples Fund fellowship, we recognize the importance of uplifting indigenous artists in their creative endeavors and acts of cultural conservation.

One of First Peoples Fund founding inspirations, Leksi (uncle in Lakota) Ben Sherman, took his journey to the next world on Friday, April 5th. When it came to practicing the values he professed, there was no daylight between the values of Ben Sherman and the values that he instilled in First Peoples Fund work.

Beginning in 1999, from the kitchen table of his niece, Lori Pourier (then the brand new president of First Peoples Fund), Ben was shaping the founding days of the organization with his signature elevation of Native values. In his quietly insistent way – through curriculum development, training, listening, encouraging, governance, bridge-building and being an ambassador to hundreds of artists – Ben ensured that the work of supporting artists and culture bearers would include their consideration and regular revisiting of the Native values of integrity, respect, honesty, compassion and generosity.

From young beginnings as a member of the Oglala Lakota tribe on the Pine Ridge reservation, he attributed his strong orientation to values to his upbringing by his mother, Alice Sherman and to her upbringing from her grandmother. He carried these values through all of his experiences – from boarding schoo;l to working as a welder; to being an executive in the aerospace and technology fields; to earning a masters degree in business; to 25 years mentoring the field of Native arts, culture and tourism; to serving as a founding board member, long-term trainer, and wise counsel to First Peoples Fund; to founding  the World Indigenous Tourism Alliance (a global network to center Indigenous experiences, values and worldview) – Ben was always intentional and thoughtful, humble and wise.

Ben’s methods of unveiling inherent Native values in the fellows of First Peoples Funds programs usually entailed talking circles. In the first gathering of any FPF fellowship and training program, he would inquire of the artists about the values they carried from home that were the most important to them. Usually surprised by this unfamiliar line of inquiry, the artists would dig deep to remember and offer what these values were to each of them. The ensuing sharing resulted in a sense of reverence for ancestral knowledge; a building of trust with their fellow artists; and the beginning of an intimate and lifelong connection between the artist-fellows’ values and their expressions of their artistic work and community-spiritedness.

Theresa Secord, the Penobscot founder of the Maine Indian Basketmakers Alliance and 2009 Jennifer Easton Community Spirit Award honoree, board member and longtime trainer alongside Ben, described his way of being in this work:

“Ben served as a natural mentor to all, especially those in the FPF Native Artist Professional Development Trainings (NAPD). Emerging artists, in particular, were drawn to him and his wisdom. He helped transform the way they saw themselves in their communities and in the larger arts world through his lens and their own values systems. He mentored the trainers – myself included – and developed the train-the-trainers materials."

“In the FPF Indigenous Native Arts Ecology work, Ben was so respectful of the sovereignty of each Nation, that upon arrival in new communities, as co-trainers or co-advisors, we would immediately travel together to the seat of tribal government to meet with the President  and/or Councilors."

“In the FPF Indigenous Native Arts Ecology work, Ben was so respectful of the sovereignty of each Nation, that upon arrival in new communities, as co-trainers or co-advisors, we would immediately travel together to the seat of tribal government to meet with the President  and/or Councilors. Here he would make our First Peoples Fund presence and business known and establish proper protocols. Ben was a consummate professional and an ambassador for FPF. He would often characterize our work in the field as acting like the bridge for the artists between FPF, the Tribe, and organizations, such as the Native CDFIs (Community Development Financial Institutions) that served artists. We helped the artists weave an entrepreneurial network within their own tribe and the larger Native arts world.”

Juan Lucero (Isleta Pueblo), the Program Manager of the First Peoples Fund Native Artist Professional Development program, worked side by side with Ben with dozens of artists across many communities.

“What we are doing in NAPD has been guided by Ben Sherman from the beginning. When implementing updates to our trainings, I would often ask myself ‘What would Ben think about this change?’ It wasn’t just about his approval, but also about making sure his voice was still represented in the trainings. His voice is vital to NAPD and our trainers do their best to reflect the values he exhibited, which were so tremendous—so I’m comforted that his legacy in NAPD carries on.”

“What we are doing in NAPD has been guided by Ben Sherman from the beginning. When implementing updates to our trainings, I would often ask myself ‘What would Ben think about this change?’ It wasn’t just about his approval, but also about making sure his voice was still represented in the trainings. His voice is vital to NAPD and our trainers do their best to reflect the values he exhibited, which were so tremendous—so I’m comforted that his legacy in NAPD carries on.”

As both a student and teacher of Lakota star knowledge, Ben professed that the constellations shining from the night sky are reflected on the geographies of the Earth. He taught the Lakota cosmology of the stellar Medicine Wheel or ‘Race Track’  mirroring the Bighorn Medicine Wheel and the buffalo formed by stars as the Tatanka Symbol of the Sun. One needed to study these to recognize them, both in the night sky and on journeys to the sacred places of the earth that they reflected. This practice stands as a metaphor for Ben, his power of observation, and his dedication to the practicing of values.

Though we will miss Ben’s physical presence here with us at First Peoples Fund, we will rely on his Star Knowledge teaching: as above, so below. His teaching, his values and his practices will echo through First Peoples Fund works: through all of the artists he has touched, all the kindnesses he has offered, all of the integrity and respect he modeled during his eight decades of life as a respected Lakota culture bearer.

‍

- Kalima Rose, longtime friend and FPF Board Co-Chair

Ben’s family has requested that anyone who wishes to honor him and his legacy, may do so by making a gift to First Peoples Fund.

In commemorating Indigenous creativity and cultural preservation, we proudly present this month’s latest highlight of Cultural Capital (CC) and Artist in Business Leadership (ABL) fellows.

The following artists represent how Indigenous creativity thrives through each fellow participating in our fellowships. These creatives come from diverse backgrounds and artistic fields, each embodying a deep passion for their craft and community.

Artist in Business Leadership

‍George Alexander, an ABL Fellow from the Muscogee (Creek) Nation, graduated with a Bachelor of Fine Arts in 2015. Mentored by Tony Abeyta – a renowned Diné artist most well known for mixed media paintings and oil landscapes of the American southwest – George explored the business side of art. Following a Master’s degree in Studio Arts from the Studio Art College International in Florence, Italy,  he opened Ofuskie Fine Art Studio in Sante Fe in 2021, where he continues his refinement of various art mediums such as printmaking and stickers alongside his paintings.

“This is my first actual fellowship… I'm not sure what to expect, but I know that whatever it will be, it's going to be exciting. And whatever doors open up after this will probably be because of my involvement with this fellowship,” George said.

“This is my first actual fellowship… I'm not sure what to expect, but I know that whatever it will be, it's going to be exciting. And whatever doors open up after this will probably be because of my involvement with this fellowship,” George said.

With his studio in central Santa Fe, New Mexico, George wants to create an accessible space for other artists to share resources and collaborate. He offers opportunities for artists to showcase their work and hosts open studios without taking commission, allowing artists to keep 100% of the proceeds from their sales.

“It becomes a nice little access point for other artists to utilize whatever I have. This is why I think it's important that I try to open up my resources, which aren't big resources by any means. But the capability of sharing the equipment that I have [is} essential to how I interact with my community,” George said.

“It becomes a nice little access point for other artists to utilize whatever I have. This is why I think it's important that I try to open up my resources, which aren't big resources by any means. But the capability of sharing the equipment that I have [is} essential to how I interact with my community,” George said.

Robert Yellowhawk, another ABL Fellow from the Cheyenne River Sioux Tribe, was raised with a strong connection to Lakota culture through performing dances. He has dedicated himself to serving Indigenous youth through different roles, including mentoring and suicide prevention programming.

“Receiving grants made me want to apply for more opportunities like this. If I can inspire people or the youth who are interested in doing similar work, that's satisfying to me,” Robert said.

“Receiving grants made me want to apply for more opportunities like this. If I can inspire people or the youth who are interested in doing similar work, that's satisfying to me,” Robert said.

Now serving as a business manager for Rural America Initiatives, Robert continues to advocate for cultural preservation and empowerment. He engages in traditional dance performances and educational tours to promote pride and knowledge in future generations and to bridge the gap between Indigenous and non-Indigenous communities.

“I feel inspired to continue what I'm doing and to inspire others to apply for great opportunities like this one. It’s also something to add to [my] resume, and if I can professionally represent supporting organizations, that's always a plus,” Robert said.

“I feel inspired to continue what I'm doing and to inspire others to apply for great opportunities like this one. It’s also something to add to [my] resume, and if I can professionally represent supporting organizations, that's always a plus,” Robert said.

Cultural Capital

‍Carrie Paton, a CC Fellow from the Bristol Bay Native Corporation and Tribal Village of Manokotak in Alaska, brings the art of music and language translation to her Yup’ik community. As the director of the Yup’ik choir in Anchorage, she leads performances at different events and has recorded multiple CDs featuring Yup’ik songs.

“One of my dreams was to make songbooks from translated songs; it has been my therapy. There are some personal issues I’m going through, and hymnals keep me motivated because there's a lot of comfort in the songs,” Carrie said.

“One of my dreams was to make songbooks from translated songs; it has been my therapy. There are some personal issues I’m going through, and hymnals keep me motivated because there's a lot of comfort in the songs,” Carrie said.

She recognizes a decline in fluency among younger generations and emphasizes the importance of using media such as CDs to keep the Yup’ik language alive. As someone who speaks fluently, Carrie is passionate about ensuring that future generations can access their culture through language preservation.

“I'm one of the cultural bearers trying to keep our language alive. And I'm doing it by publishing songbooks in Yup’ik and English so that the younger generation who don't speak Yup’ik fluently know what they see with the English version next to it,” Carrie said.

“I'm one of the cultural bearers trying to keep our language alive. And I'm doing it by publishing songbooks in Yup’ik and English so that the younger generation who don't speak Yup’ik fluently know what they see with the English version next to it,” Carrie said.

As we celebrate George, Robert, Carrie, and their fellow cohort's addition to First Peoples Fund, we recognize the importance of uplifting Indigenous artists in their passion for creative cultural preservation. Through these fellowships, we continue to advocate for the voices and visions of indigenous artists, empowering them to thrive and share their gifts.

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Tara Gumapac, (Kanaka Maoli or Native Hawaiian) based in O’ahu, Hawai’i, is a cherished community member that shines as a beacon of creative and cultural resilience. As a 2022 First Peoples Fund Artist in Business Leadership fellow, Tara embodies the spirit of innovation and dedication. Her daily life as a beloved faculty member at Kalāheo High School is filled with achievements, notably being honored as Teacher of the Year for the 2022-2023 academic period. Tara's profound connection to her heritage and unwavering commitment to her community illuminate her work, particularly in crafting a curriculum that celebrates Kanaka Maoli themes that deeply resonate with her high school students.

One of Tara's remarkable initiatives involved guiding her students in constructing a traditional Kanaka Maoli hale halawai (meeting house, a building for public meetings). This project was born from a blend of curiosity and a heartfelt desire among the students for a space that was unequivocally theirs. This space was envisioned as a haven for creativity and cultural engagement within the school's bounds. In collaboration with Kanaka Maoli community leaders, Tara and her enthusiastic students embarked on this journey, meticulously gathering materials, drafting a building plan, and successfully proposing their vision to the school administration.

“We worked with many organizations, but the main organization was Paepae O Heʻeia. Others included Ke Kahua o Kualiʻi, Office of Hawaiian Education, Kaneohe Marine Corps Base and Kapaʻa Quarry HC&D who donated pōhaku (stone) for our wall.” This comprehensive network of partnerships exemplifies the depth of community involvement. Tara also mentions, “Mason Architect was an amazing architectural company that walked us through the process of producing blueprint drawings for the hale.”

When describing the collaborative process, Tara elaborates, “We worked with many organizations, but the main organization was Paepae O Heʻeia. Others included Ke Kahua o Kualiʻi, Office of Hawaiian Education, Kaneohe Marine Corps Base and Kapaʻa Quarry HC&D who donated pōhaku (stone) for our wall.” This comprehensive network of partnerships exemplifies the depth of community involvement. Tara also mentions, “Mason Architect was an amazing architectural company that walked us through the process of producing blueprint drawings for the hale.” The local community's overwhelming support underscored the project's profound cultural significance, propelling Tara and her students forward with renewed vigor and the unwavering backing of the community.

This initiative served not only as a cultural revival but also as a poignant reminder of the historical challenges the Kanaka Maoli community faced, including the loss of land, language, and culture. The hale halawai project symbolized honor for Kanaka Maoli architectural wisdom, emphasizing the cultural teachings and values inherent in utilizing locally sourced materials and traditional construction methods. Furthermore, it presented an opportunity to highlight the application of Indigenous knowledge on the contemporary issue of homelessness, showcasing the value and enduring relevance of Kanaka Maoli traditions in today's society.

Over months of collaborative effort, students, faculty, and community members poured their hearts into creating the hale halawai at Kalaheo, a process marked by care, enthusiasm, and communal spirit. The project's completion not only celebrated the rich tapestry of Kanaka Maoli culture, language, and arts at Kalaheo High School but also underscored the vital role of the community in preserving and elevating cultural heritage for future generations.

“There are so many individuals I would like to mention but the main people I would like to mahalo (thanks/gratitude) are Keahi Piʻiohia who was our leader in building the hale and Resha Momilani Ramolete who was my supportive Administrator overseeing the project. Both gave me the drive and the passion to see the project through.”

Tara Gumapac, reflecting on the project, emphasizes its collaborative nature, stating, “There are so many individuals I would like to mention but the main people I would like to mahalo (thanks/gratitude) are Keahi Piʻiohia who was our leader in building the hale and Resha Momilani Ramolete who was my supportive Administrator overseeing the project. Both gave me the drive and the passion to see the project through.” Tara Gumapac's leadership and passion have inspired a reconnection with the land and culture, leaving an indelible mark on her students and the wider community.

From the breezy, small town of Winslow, Arizona, Justin Kii Huenemann's story unfolds with the backdrop of the Navajo Reservation in Tsaile—where the majestic Canyon de Chelly sprawled out before him as a playground and the Chuska Mountains stood guard behind. Born into a tapestry of cultures, with a Diné mother, Martha, and a German father, Lynn, Justin was the spirited eldest of three, whose vibrant childhood was focused on outdoor adventures from climbing pinon trees to exploring the red rock canyons that painted his world with wonder.

In a blend of cultures and landscapes, Justin's early years were marked by independence and an adventurous spirit, embodied by his distinctive light-colored eyes and the traditional tsiiyééł (Navajo bun) he wore—a striking image against the 1970s and '80s reservation backdrop.

The journey led the Huenemann family to the vicinity of Mission, SD, within the embrace of the Rosebud Sioux Tribe, before settling in Mitchell, SD—a town celebrated for its unique Corn Palace and the Oscar Howe Museum. Here, Justin's high school days were filled with creativity and athleticism as he delved into band, choir, running, basketball, and art while discovering a keen interest in drafting and design. This passion for art and structure-guided him to pursue architecture at the University of Minnesota in the Twin Cities, where he achieved his degree and enriched his studies with a minor in American Indian Studies. His thirst for knowledge didn't stop there; Justin secured a Master's in Policy and Administration in Higher Education, making Minneapolis/St. Paul is his second home.

In Minneapolis, Justin's professional journey began to blossom. From teaching at the Heart of the Earth Survival School to designing at AmerInd Architecture Firm, counseling undergraduates at the University of Minnesota, and directing youth programming at the Minneapolis American Indian Center, Justin laid the groundwork for a remarkable community development and leadership career.

Assuming pivotal roles within the Minneapolis American Indian community, Justin's influence spread wide. He chaired the Metropolitan Urban Indian Directors, collaborated with the Police and Community Relations Council for the U.S. Department of Justice, and served on numerous boards including the Woodlands National Bank, the Indian Health Board, and the Neighborhood Development Center. His vision also led to the founding of the Tiwahe Foundation.

Justin's drive to uplift his community saw the birth of the American Indian Families Project with Hennepin County, the establishment of the Native American Community Development Institute, and the creation of the first-of-its-kind American Indian Cultural Corridor along historic Franklin Avenue. His leadership developed initiatives like the All My Relations Gallery, Powwow Grounds Café, and Woodlands National Bank on Franklin Avenue - the first tribally owned bank in a major city, marking significant contributions to community development.

Justin’s commitment to community development caught the attention of the Northwest Area Foundation in St. Paul, where Justin worked with 72 tribes across eight states, spearheading a social enterprise initiative. 

Yet, the call of the Southwest to move back closer to home proved irresistible, leading Justin and his family to Albuquerque, NM. Here, he took the helm as the President and CEO of the Notah Begay III Foundation (NB3), focusing on the health and wellness of Native children and families, before venturing into his role as President and CEO of Jemez Enterprises, owned by the Pueblo of Jemez. During this time frame, Justin was highly active in providing critical COVID relief to regional Native American tribes in the southwest.

Still residing in New Mexico, Justin cherishes life with his four children and a dog. He enjoys golf, painting, hiking, camping, fishing, and culinary explorations. His journey from a spirited child of the Navajo reservation to a national visionary leader embodies the spirit of resilience, creativity, and a deep commitment to community.

In a tribute to the diversity and artistic brilliance within Indigenous communities, we proudly present this month's latest highlight of Cultural Capital (CC) and Artist in Business Leadership (ABL) fellows. 

The following creatives represent how Indigenous artistry flourishes through each fellow participating in our fellowships. With practices spanning generations, these fellows epitomize the essence of keeping their cultures alive while excelling in their freedom of expression.

Cultural Capital 

From the Lac Courte Oreilles Ojibwe, Fort Peck Assiniboine, and Dakota Nations, Anangookwe Wolf is a CC Fellow with many artistic practices. Their personal narratives are woven with cultural perspectives through writing, spoken word, music, and textile art. 

“I'm using this fellowship to bring more opportunities to my reservation. If there's any opportunity to lift up fellow youths back home, I will do it. And I think that really aligns with First Peoples Fund. You're returning to your community; it's sharing a love for your culture, the artwork, and whatever subject you choose.” Anangookwe says. 

“I'm using this fellowship to bring more opportunities to my reservation. If there's any opportunity to lift up fellow youths back home, I will do it. And I think that really aligns with First Peoples Fund. You're returning to your community; it's sharing a love for your culture, the artwork, and whatever subject you choose.” Anangookwe says.

Since completing high school, Anangookwe has sought a means to reconnect with their reservation and community, finding solace in poetry, particularly slam poetry.

“Much of my poetry is now tied to a complex love for my reservation. I lived on the reservation when I was four or five years old. It's a beautiful place,” Wolf said. 

“Much of my poetry is now tied to a complex love for my reservation. I lived on the reservation when I was four or five years old. It's a beautiful place,” Wolf said. 

Anangookwe doesn’t just want to paint a simplistic picture. They acknowledge both the beauty and struggles of their surroundings, which are shaped by intergenerational trauma and the complexities of family dynamics. Through their poetry, they aim to show the multifaceted nature of reservation life with empathy and understanding.

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Another CC fellow, Mariah Claw (Diné or Navajo) brings the multigenerational art of weaving and textiles into her fellowship. 

“Weaving has been a practice in Diné culture for much longer than we can even imagine. Weaving is an art form and an oral tradition, wherein a loom represents the world,” Claw said. 

“Weaving has been a practice in Diné culture for much longer than we can even imagine. Weaving is an art form and an oral tradition, wherein a loom represents the world,” Claw said. 

She reflects on a cherished story passed down by her nálí, paternal grandmother, who recounted her childhood memories of sitting beside her own grandmother at the loom. The loom serves as a gateway not only to the present but also to the past and future, symbolizing the interconnectedness of generations and their stories. 

“I am new to many of these practices and techniques and always learn something new. But one of the things that I have always wanted to do is work with youth in my community, specifically at home,” she said. 

“I am new to many of these practices and techniques and always learn something new. But one of the things that I have always wanted to do is work with youth in my community, specifically at home,” she said. 

Inspired by her grandmother's narrative, Mariah finds purpose in preserving and passing on the traditions of Diné weaving. She recognizes the loom as a teacher and a vessel for cultural heritage. While acknowledging her own journey as a weaver and learner, Mariah emphasizes the importance of providing opportunities for youth to engage with cultural arts.

Artist in Business Leadership 

Dan Friday, an ABL Fellow from the Lummi Nation, is rooted in a family tradition of artistry. Despite his early passion for art, practicality led him down a different path of working as a mechanic to meet life's necessities. However, at age 20, he discovered the world of glass artistry, which became a livelihood and a means to express himself creatively.

“It [glass making] has its own magnetism just in making it, even if that's when I was ready to make gift store items for the rest of my life. But once I got involved and went to the Pilchuck Glass School and met a lot of successful glass artists, that was really eye-opening for me,” Dan said. 

“It [glass making] has its own magnetism just in making it, even if that's when I was ready to make gift store items for the rest of my life. But once I got involved and went to the Pilchuck Glass School and met a lot of successful glass artists, that was really eye-opening for me,” Dan said. 

Dan has initiated a program in collaboration with the Pilchuck Glass School, focusing on outreach to Native youth, providing them with opportunities to learn and explore the art of glassmaking. Dan aims to inspire and empower others to discover the transformative potential of glass artistry.

“That's all we have as kids. It's a battle to get them away from the screens. It's easy to lose kids to the trappings of the modern world. Art isn't saving the world, but you can find a way to save yourself by doing it. And I know it's been good for me,” he said. 

“That's all we have as kids. It's a battle to get them away from the screens. It's easy to lose kids to the trappings of the modern world. Art isn't saving the world, but you can find a way to save yourself by doing it. And I know it's been good for me,” he said. 

Through Dan, Anangookwe, and Mariah’s creativity, resilience, and commitment to sharing their knowledge with others, they are preserving cultural traditions and shaping the future of Indigenous artistry. As we celebrate their achievements and honor their journeys, let us recognize the profound impact they have made and continue to make within their respective fellowships.

We are reaching out to you to share some significant news regarding the leadership transition of our beloved organization.

After an illustrious tenure of twenty-five years, Lori Lea Pourier (Oglala Lakota), First Peoples Funds’ esteemed founding President & CEO, will be stepping down from this role at the beginning of March 2024 and into a new role as Founder and Senior Fellow at First Peoples Fund. This new role will allow her to focus on the future of Native artists and culture bearers and bring forward the historical knowledge and cultural narratives that celebrate our 25 years of honoring and supporting culture bearers. From her new platform, Lori will share the compelling stories and power of Collective Spirit (a term she coined)-- the commitment to nurture our shared humanity and honor our connections to one another, the lands around us and the spirit of all things. Collective Spirit has been at the heart of Lori and FPF’s work for the last quarter century and will continue to be deeply practiced as we move forward.

Since 1995, when First Peoples Fund was established with a generous gift from our original benefactor, Jennifer Easton, FPF has achieved remarkable milestones and grown into the thriving and impactful organization it is today. Lori’s visionary leadership and entrepreneurial spirit established groundbreaking programs and initiatives that have uplifted Indigenous art and culture practices and traditions throughout the country, including honoring more than 100 Community Spirit Award honorees whom people in their tribal communities nominated; executive producing We the Peoples Before, a national dramatic rendition of the resilience of Native culture bearers produced in partnership with the Kennedy Center in 2022; and the establishment of the Oglala Lakota Artspace, a state of the art artistic practice and cultural gathering space on the Pine Ridge Reservation. Her work has codified a recognizable field of Native arts and culture and influenced the U.S. national arts field to center Native artists. Lori’s work to nurture emerging talents and facilitate intergenerational knowledge transfer has ensured the survival of ancestral teachings, storytelling, and artistic techniques and allowed them to thrive and evolve in the contemporary world. A national leader in Native arts, culture, and the creative economy, Lori truly embodies Collective Spirit. She approaches her work with rootedness, intuition, listening, humility, and deep relationships, and we look forward to her continuing these core values in her future role.

"I am immensely grateful in reflecting on the many artists, tradition keepers, and communities I have had the honor of serving as President and CEO of First Peoples Fund. In 1998, we humbly began developing an entrepreneurial leadership model for artists in the Northern Plains region while honoring tradition keepers who were selflessly giving of themselves in their tribal communities. Together, we bring spirit back to tribal communities through art and establishing an Indigenous arts ecology. Collectively, our work will impact future generations of culture-bearers.  I am confident that under Justin’s leadership, artists and tradition keepers will remain at the heart of our organization. I look forward to supporting a seamless transition and witnessing the continued growth and success of First Peoples Fund.”  – Lori Lea Pourier‍

While bidding farewell to Lori is bittersweet, we are thrilled to announce that Justin Kii Huenemann (Diné) will be stepping into the role of President & CEO commencing March 4, 2024. Justin served as Acting President/CEO when Lori was on sabbatical in 2023 and since December has served as Interim President/CEO. He brings a wealth of experience, an inspiring vision for our future and a deep commitment to the values and history that define First Peoples Fund. He has a long and distinguished career working to improve the quality of life and well-being of Indigenous peoples. Justin brings extensive background in Native community and economic development, having successfully led several Native-serving organizations. With experience in philanthropy, nonprofit management, and private sector development, FPF is honored to bring his knowledge and experience. Justin’s strategic foresight, passion for our mission and collaborative leadership style make him an exceptional fit to lead FPF.

"It is an honor to be called to lead the First Peoples Fund. I am excited about the incredible work that lies ahead and committed to building upon the strong foundation laid by Lori. I look forward to working collaboratively with her and FPF’s dedicated team, passionate stakeholders, and supporters. Most importantly, I look forward to serving the culture bearers, Indigenous artists and communities to achieve our shared goals." – Justin Huenemann

Please join us in expressing our heartfelt gratitude to Lori for her remarkable dedication and warmly welcoming Justin as they embark on new journeys.

We also thank the First Peoples Fund community for your ongoing support and dedication. Your commitment is vital to our continued success and we look forward to your continued collaboration and success under the leadership of Justin Huenemann.

The next few months will involve a thoughtful transition process, ensuring a smooth transfer of leadership responsibilities.

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Warmly,

Vickie Oldman & Kalima Rose

Co-Chairs, First Peoples Fund Board of Directors

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Earlier this month, we unveiled the 2024 cohort of  Cultural Capital (CC) and Artist in Business Leadership (ABL) fellows, marking another significant milestone in the ongoing celebration of Indigenous culture and the promotion of creative artistic expression. This is the beginning of a transformative year for 38 individuals, each hoping to leave a lasting impact on their communities.

Within this cohort, the depth of Indigenous artistry knows no bounds, showcasing the rich diversity of creative expression across various mediums. From traditional practices passed down through generations to innovative approaches that push the boundaries of artistic innovation, these fellows embody the spirit of cultural preservation and entrepreneurial excellence.

“Without this opportunity, it would take me a couple of years to try and acquire the tools that I need,”...“This opportunity is going to help me fulfill that transition I need, with equipment that I'll need.” - Leah Mata Fragua (Tak Tityu Tityu Northern Chumash), 2024 ABL Fellow

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Artist in Business Leadership 

“Without this opportunity, it would take me a couple of years to try and acquire the tools that I need,” says Leah Mata Fragua (Tak Tityu Tityu Northern Chumash), a diverse artist and a 2024 ABL fellow, “This opportunity is going to help me fulfill that transition I need, with equipment that I'll need.”

Ranging in art forms from basketry, regalia, jewelry, and sculptural papermaking, Fragua intends to use the fellowship to buy the tools that will help speed up her process. 

“Most of my mediums are physically demanding and I want to prepare as I get older. [I need] to be able to take care of my body and not overwork it in a harmful way,” says Fragua.

The Artist in Business Leadership Fellowship brings together visionaries bridging the gap between artistry and entrepreneurship. This year, 16 fellows will create captivating art and demonstrate the skill to navigate their businesses, ensuring their work has a lasting impact.

Steven Arrowtopknot (Blackfeet Nation), another ABL Fellow has traveled across the country singing with different pow-wow groups and round dance groups. It wasn’t until 15 years ago that he started to get into recording music. 

“Thanks to the fellowship, because it advances everything by years,” Arrowtopknot says, “it's going to allow me to work faster and create a higher quality of music for the people I work with. And that's exciting because we don't have a lot of options, especially Native-run options for opportunities.”

Arrowtopknot plans to use the fellowship funds to buy high-quality equipment to help record an album, such as preamps, microphones, and a bus processor. “Any money I get goes right back into purchasing more stuff, to make it sound cooler, and to make it higher quality, and to push our music out further.”

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Cultural Capital 

In parallel to the ABL Fellowship, The Cultural Capital Fellowship recognizes commitment to Collective Spirit and preserving Indigenous art and culture. In 2024, the Cultural Capital Fellowship comprises 12 individuals who are dedicated to maintaining generosity, wisdom, and integrity through community-based and cultural preservation projects.

“I want to capture the unique dynamic stories of Indigenous people and underscore that we're not a monolith. There's so much diversity and multifaceted stories in our communities that we could spend a lifetime capturing these stories and never get to the end,” - Tai Simpson (Nimiipuu), 2024 CC Fellow

“I want to capture the unique dynamic stories of Indigenous people and underscore that we're not a monolith. There's so much diversity and multifaceted stories in our communities that we could spend a lifetime capturing these stories and never get to the end,” says Tai Simpson (Nimiipuu Nation), storyteller and CC Fellow. 

Drawing from her experience as both a storyteller and an anti-violence advocate, Simpson emphasizes the importance of sharing stories that remove shame, inspire bravery, and foster resilience. Through her craft, she seeks to honor elders' wisdom and celebrate Indigenous traditions' richness, inviting others to celebrate old ways while allowing new voices to emerge. 

“Tell me the story of your name. Tell me the story of your land. And tell me the story of your people. There's always such deep magic and connection in the stories that follow those prompts that lend themselves to much deeper, vibrant stories about how we engage with the land, who we are in relation to our name and our people whom we want to be who we want our descendants to be,” says Simpson.

In a landscape where Indigenous perspectives are frequently sidelined, First Peoples Fund is dedicated to uplifting and empowering these individuals and stands as a catalyst for progress. The 2024 fellowship cohort emerges as a powerful convergence of tradition and innovation, poised to forge a legacy that resonates across generations.

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