| 词条 | Draft:Rose Powhatan |
| 释义 |
BiographyPowhatan was raised in the Washington, D.C., metropolitan area.[3] There, she attended Howard University, earning undergraduate and graduate degrees in studio art, art history, and education.[1] She completed her graduate studies at the University of London.[1] She is a member of numerous art boards and groups, including the American Association of Museums,[2] the John F. Kennedy Center for the Performing Arts, the Intertribal Women's Circle, and the ATLATL National Native Arts Network.[1] She is married to her collaborator and fellow artist Michael Auld.[3] CareerPowhatan creates art in a wide range of media, including paintings, murals, art installations, screen printing, and totem poles.[1][4] She researches and incorporates authentic Eastern Woodlands Native American designs elements in her artwork.[4] She also includes cultural symbols of other indigenous peoples, including the Maori of New Zealand and the Dominican Carib, expressing a universalized regard for traditional cultural values, which is one of the central themes of her art..[5] Her artistic process is inspired by her heritage and connection to historic Powhatan women, and she has said that "[i]n addition to Pocahontas I call on the energies of my ancestor Keziah Powhatan Outside of art, Powhatan has also written numerous articles for newspapers and academic journals. Powhatan's 1999 article "Surviving Document Genocide," was published in the 2012 book The People Who Stayed: Southeastern Indian Writing After Removal, a collection of writings by Native Americans from and of the southeastern United States, a region in which Indian removal was widely and thoroughly practiced.[2] In the article, Powhatan describes "document genocide," the name she gives to the Native American experience of having one's officially documented racial identity changed against one's wishes due to moving off of a tribal reservation, lacking a registration card for one's tribal affiliation, or the lack of an official tribal registration for one's tribe.[2] Powhatan's other work includes humanities education, course writing, playwriting, and acting in historical film.[1] References1. ^1 2 3 4 5 6 7 {{Cite web|url=http://www.powhatanmuseum.com/People/Profiles.html|title=Profiles|website=www.powhatanmuseum.com|access-date=2019-03-02}} 2. ^1 2 3 {{Cite book|url=https://www.worldcat.org/oclc/574940396|title=The people who stayed : southeastern Indian writing after removal|last=|first=|date=2010|publisher=University of Oklahoma Press|others=Hobson, Geary., McAdams, Janet, 1957-, Walkiewicz, Kathryn, 1981-|year=|isbn=9780806141367|location=Norman|pages=1-2|oclc=574940396}} 3. ^1 {{Cite web|url=https://www.bayjournal.com/article/diversity_of_resources_at_riverbend_has_attracted_visitors_for_millenia|title=Bay Journal - Article: Diversity of resources at Riverbend has attracted visitors for millenia|website=www.bayjournal.com|access-date=2019-03-02}} 4. ^1 {{Cite journal|last=Farris|first=Phoebe|date=Fall 2005 – Spring 2006|title=Visual Power: 21st Century Native American Artists/Intellectuals|url=https://www.jstor.org/stable/40643899|journal=Indigenous Studies Today|volume=Issue 1|pages=251-274|via=JSTOR}} 5. ^{{Cite journal|last=Farris|first=Phoebe|date=2005-04-01|title=Contemporary Native American Women Artists: Visual Expressions of Feminism, the Environment, and Identity|url=https://www.jstor.org/stable/10.2307/20459008?origin=crossref|journal=Feminist Studies|language=en|volume=31|issue=1|pages=95|doi=10.2307/20459008}} External links
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