CN Movie Workplace, Native American Media Alliance current writers seminar | Arts-entertainment

TULSA – The Cherokee Nation Film Office partnered with the Native American Media Alliance to launch the first Native American Writers Seminar.

The new initiative aims to help Native American Indians break into the entertainment industry by supporting new and developing writers.

The week-long virtual seminar, slated for this July, includes several writing-intensive workshops, as well as individual mentoring and group sessions that focus on developing existing scripts and preparing for scholarship submissions.

“The Cherokee Nation Film Office is pleased to present this new seminar for aspiring Native American screenwriters. We are experiencing a renaissance where television and film audiences crave more varied stories,” said Jennifer Loren, director of the film office. “The need to develop more Native American screenwriters to sit down at these tables and create this content is immediate. We believe workshops like this are an integral part of the pipeline already set up by the Barcid Foundation, the Native American Successfully supplied writers has access to Hollywood decision-makers. “

The Native American Writers Seminar offers in-depth feedback, insights into prestigious scholarships and their application processes, rigorous writing sessions, and access to seasoned industry professionals.

“We are honored to partner with the Cherokee Nation Film Office on this new endeavor. With the success of our television and feature film writing laboratories, we continue to develop new ways to support our artists,” said Ian Skorodin, CEO of the Barcid Foundation .

The submission deadline for this year’s intensive is now open and applications are accepted until May 14th.

Established in 2019, the Cherokee Nation Film Office’s mission is to increase Native American presence in all areas of the film and television industry while creating opportunities for economic development and jobs in the Cherokee Nation.

NAMA is a community-based organization that brings the real Native American voice to the entertainment industry and offers unique programs that educate the non-native population.

For more information or to submit an application, visit https://nama.media/inaugural-native-american-writers-seminar-call-for-applications.

A Northeastern Oklahoma group is elevating cash for his or her native school college students | KSNF/KODE

QUAPAW, Okla. – An organization in northeast Oklahoma raises funds for its native college students.

The All Tribes Educational Consortium held a Frito cake and cake sale at Quapaw City Hall on Friday afternoon.

The money raised through ATEC’s fundraiser goes to the nonprofit general fund that provides local students with a college scholarship for the fall and spring semesters.

Last year they were unable to collect donations due to coronavirus.

Annette Clark Treasure for ATEC: “A lot of these students have to be within 100 miles but they may not qualify for a scholarship in their own tribe just because they are often competitive and people just don’t make it that way we can continue to support them financially to facilitate their access to these post-secondary schools. “

In 2019, ATEC raised over $ 100,000.

Harjo participates in NEA, NEH seminar on Native artwork, tradition | Arts-entertainment

In February 2020, the Native Arts & Culture Foundation, together with the National Endowment for the Arts and the National Endowment for the Humanities, hosted a unique meeting in Washington, DC.

The Indigenous Arts and Culture Meeting: Resilience, Reclamation, and Relevance brought together over 225 attendees, including members from more than 40 tribal nations, representatives from over a dozen federal, state, and regional units, many native artists and students, as well as nonprofit professionals and donors who support aborigines.

To learn more about the convocation results and actions, register for the Native Arts and Culture: Resilience, Reclamation and Relevance webinar hosted by Grantmakers in the Arts.

The webinar will take place on Tuesday, March 30th, at 1 p.m. There will be an in-depth discussion of the drafting recommendations, the movement and mobilization around Native Arts leadership in art philanthropy, rethinking funding methods and practices, and promoting partnerships in research and research promoting social justice.

Panelists include Lulani Arquette (native Hawaiian), President and CEO of the Native Arts and Cultures Foundation; Joy Harjo (Mvskoke), internationally renowned performer and writer and the nation’s 23rd Poet Laureate; Shelly C. Lowe (Navajo), executive director of the Native American Program at Harvard University; and Clifford Murphy, director of the National Endowment for the Arts, Folk & Traditional Arts.

visit www.giarts.org to register for the webinar.

Our Native Daughters convey Black ladies’s voices to forefront | Leisure

“There is stigma and there is a lot of pain and there is a lot of reasons why it is,” said McCalla.

Songs of Our Native Daughters, released in 2019 on the Smithsonian Folkways record label, focused on the stories of women during the transatlantic slave trade, but also on the triumphs of black women. One song focuses on Polly Ann, the wife of the steel folk hero John Henry, while “Quasheba, Quasheba” is about Russell’s African ancestor who was bought as a slave.

“People are ready to deal with this story, and I think doing it with music is the best way to disarm a person,” said Kiah.

Kiah received a Grammy nomination for her song “Black Myself” from the record, which she incorporated into a new version released on Friday. The song deals with racial discrimination that focuses on the darkness of a person’s skin, inspired by experiences they have seen in their own life as well as historical accounts.

“There’s this idea that the lighter you get, the more you are respected by the white supremacist society that they lived in, that we still live in,” Kiah said.

The documentary shows her on tour in front of a largely white audience, a topic that sparked a lot of internal discussions in the group. They are not responsible for how their music is marketed in a commercial music industry, but what does it mean if they don’t reach a black audience?