Would you believe that the Hawaiian voyaging movement began as a scientific and social experiment? In 1973, an anthropologist named Ben Finney, Hawaiian artist Herb Kawainui Kāne, and sailor/surfer/waterman Tommy Holmes formed the Polynesian Voyaging Society. Their first task was to build a replica of a Hawaiian deep-sea voyaging canoe, as one had not sailed the Hawaiian waters in over 600 years.
It was the morning of 7 Ajpu according to the Maya calendar, a date that represents strength, confidence, and bravery. Fifty-three Indigenous youth representing three countries and at least seven distinct Indigenous communities gathered in the shadow of volcanoes on a secluded patio overlooking Guatemala’s Lake Atitlan to participate in a traditional Maya ceremony. The ceremony would usher in the First International Radio Conference for Indigenous Youth, to take place from November 26–28, 2013.
We traveled for five days by car, boat, and two airplanes to reach the remote community of Andoas in the Peruvian Amazon,” says Matilde Chocooj Coc, an Indigenous Q’eqchi Maya
According to the UN Declaration on the Rights of Indigenous Peoples, Indigenous communities have the right to give their Free, Prior and Informed Consent (FPIC) to proposed projects that may affect their lands, resources, livelihoods, and communities. This means that Indigenous communities have the right to decide whether to allow companies or governments
to mine, deforest, or in other ways develop their lands, and they have the right to make informed decisions through culturally relevant processes based on their right to self-determination and sovereignty.
Native art is not just what was in the past; any kind of art has to grow,” explains Amalia FourHawks of the Fire Hawk Studio in Florence, Massachusetts. Amalia and her husband Leonard have been displaying their artwork, which includes jewelry and pottery, at Cultural Survival Bazaars since 2006.