You had to be introduced into the Powwow circle through ceremony, which was all about relationship building! I was so proud to make this beautiful gown, but when I finished, I was told to give it away. So much of modern life is about getting people out of their bodies. 4. Rulan offers the session as an opening to ancient ideas of movement, sound and … Indigenous people hold the knowledge, and have always held the knowledge, to help. If you have the creative fire in you, you don’t have to wait for someone to choose you. funding resources to support Native and Indigenous artists, culture carriers, and communities to compensate them for their creative time. Though Rulan had previously referenced herself using the term ‘Métis’, which in that era was applicable to ‘mixed heritage’ also inclusive of French-Scots-Irish,she now understands that in Canada, the term is now reserved for Red River historical Métis descendants only. My sense of cultural inclusion (as a diasporic mixed woman of color in America) is through personal and extended familial connections. "Working with Dancing Earth recently has helped me EVOLVE and stay on the cusp of what is being done, and more so, what is possible by learning from collaborators about the latest tech innovations. Similar to in Australia, they have incredible resilience against poverty, health challenges and all kinds of disadvantages. We’ve received generous support from farmers offering locally grown produce, kind neighbors offering spare beds, studio space discounts, and other services. Meet Indigenous dance artist and choreographer Rulan Tangen, founder of Dancing Earth and 2018–2019 # CitizenArtist fellow.. Tangen is the first artist profiled as part of our # HumanJourney series of mini-documentaries exploring the personal experiences that drive the creative process. When presented with this evidence, both Mr. Burdeau and Ms. Mumford decided to proactively assert kinship versus bloodline, with Mumford asking for her words to be shared with the funder. She did this to me four times. We honour these people for their passion and commitment to NAISDA. More info about Rulan Tangen: Rulan Tangen is the recipient of the first dance fellowship for Artistic Innovation from Native Arts and Cultures Foundation; the Costo Medal for Education, Research and Community Service; National Museum of American Indian’s Expressive Arts Award; Washington University’s Visiting Distinguished Scholar, and Dance Magazine’s top “25 To Watch.” Rulan’s financial contribution supported the needs of families involved in Standing Rock. Rulan’s work supports inter-tribal and inter-cultural collaboration and grows community-led dance works as platforms for Indigenous worldviews and First Nations experiences. Inter-tribal and International Indigenous collaborating community and artists, as well as recent emerging female leaders include: Anne Pesata (Abaachi), BA in Environmental Policy with a minor in Peace and Conflict Studies, who subsequently worked as a Community Health Representative with the Jicarilla Community Health & Fitness Center, and spearheading a variety of different programs to serve her community. It impacts you and everything you’re wearing is part of the dance. Live Event, Live Streaming, ASU Gammage, BTW US, Dancing Earth, Indigenous, News, Rulan Tangen, Newsletter, Movement of Dancing Earth, BTW US, ASU Gammage, Utah University, UtahPresents, News, Indigenous, Founding & Artistic Director, Rulan Tangen. 2) To ask if the funding can be used for a group project, rather than for one artist. DIRECTOR BIO: RULAN TANGEN (Director, Choreographer, Dancer) is an internationally accomplished dance artist and the Founding Artistic Director and Choreographer of DANCING EARTH. rulan tangen DANCING EARTH’s performance – WALKING AT THE EDGE OF WATER – is an inter-tribal contemporary dance expression of Indigenous water perspectives. It’s such a decolonising gift to be in your body and breathing fully and feeling with all of your senses – it makes you aware on all of your so many dimensions! There was a movement of Powwow dancing being introduced to a stage form, which was quite shocking at the time. Dancing Earth’s ongoing creative, cultural, and communal response to these times is one of kinship between all voices, as we recognize the need for solidarity and reciprocity. They can become more understanding of our ways by being attracted to the songs, the dances and the ways of being in connection. Her interest in creating welcoming spaces, fostering inclusivity, and building global Indigenous relationships stems from the multiple ways of being in relation. She is claimed by Kainai, Lakota, and Métis/Anishnaabeg families of First Nations of the US and Canada. She also participated in the Northern Plains Women’s Traditional, on the powwow circuit, with the Maka Chante group, and later assisting with the Aboriginal Dance Program at the Banff Centre for the Arts. How to be part of a community, where it’s not just about creative self- expression. Tags: Bill Camp, Chaske Spencer, Ciaran Hinds, David Midthunder, Jessica Chastain, Louisa Krause, Michael Greyeyes, Rulan Tangen, Sam Rockwell, Susanna White, Woman Walks Ahead (2017) Related Posts Appaloosa (2008) She has historically contributed much of her freelance fees to support Dancing Earth with the exception of prioritizing higher rates of hourly honoraria for cultural elders participating in the opening of performances. This last instruction has manifested through several projects highlighting language, including evolving teaching methodologies and mentorships for educators and families; and the production of mainstream film projects the first of which allowed for reconstruction of Powhatan language to be returned to Powhatan people. “The artistic director of Dancing Earth, Rulan Tangen, had been to Socorro many times with NDI, and I had always wanted to have Robert and Rulan work together in Socorro” Kalish said. It made me realise that I wanted to give back. 3 Language is within dance. This is reflective in how staff, tech, and artists are paid at equal rates. Taking into account various assets, Eva's net worth is greater than $250,000 - $499,999; and makes between $150 - 174,999 a year. The Hunka relationship may be difficult to understand outside of Lakota culture, yet it binds each to Hunka ties of fidelity stronger than friendship, sisterhood, or family, and a relationship with spirit that cannot be undone. During this time of hardship, Dancing Earth not only employed my work as a creator. There are some Indigenous choreographers out there that are doing well in the mainstream. After years of teaching dance workshops to reservation youth starting in the 1980s, and having survived stage 4 cancer in the early 2000s, Rulan emerged back into life with newly clarified purpose: She strove to create hope and opportunity for aspiring Indigenous performers, theater artists and technicians, who also serve as culture carriers, art educators, and leaders. I was a working-class person so everything was just about getting good enough so that I could get paid. Later continuing to New York working professionally in ballet and eventually in modern dance through Peridance (with choreographer/mentor Miguel Valdez Mor) and then her extended career as a soloist with Michael Mao Dance, with whom she toured Norway and France (origin lands of surnames on her father’s side). 3) To provide any requested documentation or alternative documentation such as: Backgrounds of leadership and of artists, letter of support from specific Native community or advisors I was encouraged to just use the deer skin and bones and elements from nature, rather than cloth and beads from western sources (which are integrated into stunning Powwow regalia). NAISDA would like to thank Rulan for sharing her unique perspective and story with Australian audiences. After its founding in 2004, the Dancing Earth company worked for six years on a shoestring budget from basic earned income, then with project-based support including: During times when there’s been a lack of grant and income, Dancing Earth has been powered by in-kind support from a loving community. The care, leadership, embodiment, and connectivity is what makes up the identity of Dancing Earth and these are deeply rooted in relationship-building. Each world view is unique, but it’s important to carry these different perspectives and share them so that we can have a complete understanding of the world. Through discussion of their family lines, George and Rulan came to understand themselves to have a shared name that connected them to Blackfeet heritage (relating them as Blackfeet whose ancestors inherited a French voyager name). Please contact NAISDA if you have any questions in relation to photographs. When Rulan contacted Mr. Burdeau about this, he responded by affirming he sees Rulan as a relative – not based on bloodline or documentation – but out of respect for her, writing to her: “You’re still my relative where it counts the most! Dancing Earth quite distinctive in the fact that we make opportunities for young artists. What inspired you to form Dancing Earth Creations? -- or any Native association -- being listed alongside her name, Rulan contacted all funders, presenters, and educational invitations, including the funder, to address the concerns and invite dialogue about appropriate mutual action https://bit.ly/2SFT23V I don’t see myself as doing something that is imposing a vision onto people – to me that is like colonisation of the body. I am honoured to have made such opportunities from the earliest days of Dancing Earth. 3. She is also, through ceremonial adoption as a "Hunka Lakota," in relation with Lakota peoples, and has been claimed as a relative by Kainai and Anishnaabeg/Métis families. Life is about striving for balance with each step we take which makes us kinetic by nature, where everything changes with each breath we take.”. 11. When outside research into her genealogy in 2018 raised questions about having Métis One of my former dancers is a lawyer focussing on environmental law, another one is analysing treaties for her tribe. You can create. RULAN TANGEN Dancing Earth: The Continuum of Dance as Embodiment of Inter-Tribal Knowledge (Transcript of the paper as delivered, with special thanks to Dr. Karen Barbour and to Dr. Peter Cleave for editing) Rulan began with a prophecy song and then commenced her talk by referring to it; This is a prophecy song that was shared with me by Edna The Indigenous Choreographers at Riverside (ICR) project is an annual event that brings indigenous dance artists and scholars to UC Riverside to connect, discuss, and share work, with many events presented at UCR ARTSblock. I had hunched shoulder and big, thick glasses! “And they both told me they wanted to do the same, so it seemed like a natural combination. If you’re dreaming of something that you haven’t seen manifested someplace else, that’s your vision. Rulan Tangen is an internationally accomplished dance artist and choreographer. This is a fluid, collective model and collective vision: Artists and community collaborators are invited to co-create and shift society’s dominant understanding of diasporic Indigeneity. ECP – Rulan Tangen – Dancing Earth – YouTube October 27, 2014 500 Nations Earth Chronicles Project – New Mexico An Interview with Rulan Tangen – Dancing Earth Creations This is just one of the 14 segments that make up our ECP-NM Pr… Traditional dance forms may be the least referenced in our dances, because they are the ones that need to be the most protected. Dancing Earth is distinctive in its financial structure as it operates from a place of equity. To me, it’s about creating an atmosphere where they can contribute to a collective dream or vision. In this interview, Rulan shares the inspirational story of how she overcame many barriers and challenges to pursue her passion for dance, as well as the events that led her to form her own company, Dancing … Rulan’s cultural lifeways expanded after being invited to South Dakota in the late 1980’s to be mentored by elder Geraldine Ziegler, originally from Crow Creek (Kȟaŋğí Wakpá Oyáŋke) (whose lineage includes Laura Spotted Hawk and Lucy One-In-Center) but who spent her adult married life as part of the Kul Wicasa Oyate (Sicangu)Lakota. As of this date, Eva is married. , -- was the same name mentioned as a family name in the few letters that Rulan's patrilineal grandmother had sent her. Rulan is the Artistic Director of Dancing Earth, an Indigenous Contemporary Dance Company based in the USA. In my 30s I had a life-threatening battle with stage four cancer. Artistic Director Rulan Tangen is an Indigenous These are designed to certify whether these opportunities are intended exclusively for Native American peoples, or are open more broadly. I am continually exploring the idea of Indigenous inter-cultural sharing. Given that issues of kinship are complex and different with each First Nation, the response to challenges of identity are best addressed by not investing energy in that direction but rather by making a clear choice not to respond to critique, and instead continuing to show with one’s life actions and how one is part of community. That style is about being connected to the heartbeat of Mother Earth. Every creative aspect of this eco-production reflects cultural and environmental worldview, with Indigenous collaborators in movement, musical composition, language, video imagery, costume and … Other grants for travel support have allowed Dancing Earth to accept some of their many invitations for International Indigenous cultural exchange. 8 Often the through-line is an energetic through-line in our narratives. So, I checked out books from the library and tried to teach myself. Tell me about the style of dance and the creative processes at Dancing Earth. Rulan Tangen After years of teaching dance workshops to reservation youth, she brings to life a new Indigenous contemporary dance theater, cultivating hope and opportunity for performers, artistic collaborators and technicians, who become culture carriers, art educators, and leaders. Tangen was recently named “One of the Top 25 To Watch” by Dance Magazine. Before that point in my life, I was living to dance. 30 years ago, when I made an entrance into these two different worlds [Powwow and classical/modern theatre dance], there seemed to be no good reason for these two worlds coming together. 6. I moved to New York City when I was almost 16 and I was working professionally at age 17. 8. in 2004. We’ve certainly seen some pockets of culture form in the US. There was a lot of conservatism, it didn’t seem appropriate. I moved myself to my grandparents’ house, because I knew that I could go to school consistently there. - Lumhe Micco Sampson, Mvskoke/Seneca. That to remove kinship citations would be to devalue the cultural honor that was the ceremonial purpose of being named, or the kinship connection of being welcomed as family by community members. 1 The state of Minnesota for example, has much higher budget for the arts and two of the best-known Indigenous choreographers in the country have relocated there to create better opportunities. Tangen is internationally acknowledged as a leader in Indigenous contemporary dance with over three decades of experience in movement arts. Though Geraldine Ziegler has since passed, Rulan has continued to honor and acknowledge her Hunka Lakota family relations, and the Lakota lifeway teaching of “Mitakuye Oyasin” (we are all related). Dakota Alcantara-Camacho. Dancing Earth directly redistributes The work includes programs designed to meet the specific community needs, and advocacy for diverse local and global Indigenous perspectives in forums, art performances, universities, and more.13 To date, over 10014 Indigenous intergenerational and interdisciplinary artists, and community members from over 28 First Nations have co-created with Dancing Earth. But we are all working together and bringing in our own perspectives, which might be shared through gesture or coded movement. The author explores these theoretical propositions through her participation in Oxlaval Q'anil, an emerging Ixil Maya dance project in Guatemala, and Dancing Earth, an itinerant and inter-tribal U.S.-based company founded by Rulan Tangen eleven years ago. 7. 10. That’s what will make the true change. The CONNECTION to other amazing beings and having space to be heard and hear each other was HUMANIZING... We were all able to assure each other that we still have each other and that we are stronger together... not only as collaborators, but as community, as FAMILY." Some of it is just built into a person’s way of moving, such as the way the foot touches the ground. Are there many platforms for Indigenous artists to express their art? Director Rulan Tangen comes from a richly complex, mixed heritage. She is the Founding Artistic Director and Choreographer of Dancing Earth and winner of the National Museum of American Indian's Expressive Arts award. There is something amazing that happens when Indigenous from diverse backgrounds come together – that’s the most powerful synergy there is. (2020 update: In acknowledgement that this is not the same as ancestral bloodline, moving forward these personal relationships will be upheld privately and culturally.). This dossier opens up a set of questions about what theatre and performance can do and be in a climate-changed future. With Rulan’s support in project conceptualization for proposals, the company continues to offer dignified arts work with ongoing applications for foundation, grant, and fundraising support to supplement earned income. Rulan Tangen Actress | The New World Rulan Tangen is an internationally accomplished dance artist and choreographer. After my fifth time making one, I was allowed to keep my gown and was introduced into the Powwow circle. It was classical music, so I was imagining myself in ballet – a form I didn’t even know yet. It was originally posted on Facebook and is republished here with permission. My hope is to address any misperceptions around my identity to ensure that I am not contributing to the violence They of course, were not the only ones to come to the US, and some of the people and cultures that have come over promote much more of a celebration of arts. It feels necessary at this time to bring to light details that I had previously preferred to discuss in person. But in terms of opportunities for the arts, the USA has one of the lowest arts budgets in the world. I graduated high school when I was about 14 and a half. The word “Indigenous” in the company name “Dancing Earth: Indigenous. In 2019, Doris Duke Charitable Foundation Leadership funding allowed Dancing Earth to retain a part time management cohort (still paid at same rate as artists), and to secure and expand multi-disciplinary cultural arts education and training programs. And that’s something that I think Indigenous dancers have always known. 12 Rulan Tangen’s life of constant movement began with birth in Oxford, England, to an American citizen expat mother who was protesting involvement in the Vietnam war. There is a long history in the U.S. of cultural fraud in relation to Native identity. But dance stays in their lives and keeps them healthy and creative. At a certain point, I took a step back so I could consider what else dance was in this world and wanted to explore my cultural links to dance. The Bridge, Nai-Ni Chen’s Virtual Dance Institute of boundary-breaking dance experiences and Free One-Hour Company Class is open to all dancers at an Intermediate to Advanced Level with Guest Master Artists and Company Dancers September 14-18, 2020 at 12pm EDT on Zoom – Open to All Dancers at an Intermediate to Advanced Level Featuring Guest Artists: Rulan Tangen and Peiju Chien-Pott. A lot of the young kids that I had taught out on the reservations appeared before me. But things were starting to shift. Walking at the Edge of Water - is an inter-tribal contemporary dance expression of Indigenous water perspectives. I couldn’t understand why she wanted me to be so domestic, I wanted to be an artist! 1. Dance has the power to unify. This, however, excludes Rulan’s compensation as she often donates her time with extended work hours, exceeding 40-70 hours over the years. While there, Rulan became involved with Northern Traditional powwow dancing and helped start the Maka Chante children’s powwow dance group. Confronting ecological collapse, choreographer Rulan Tangen creates seeds : ReGeneration. Led by acclaimed dancer and choreographer Rulan Tangen, Dancing Earth is an ensemble of performance artists and dancers representing more than 15 First Tribal Nations. With an unsteady childhood, Rulan often found herself staying with maternal grandparents who originally came from Luzon Island of Philippines and made their home in San Francisco after World War II. My people's southwest Indigenous epistemology is still very relevant within the 21st century. Indigenous contemporary dance is our way to connect, heal, learn, discuss, grow and engage, and to create and redistribute power in the wake of a devastating history. Since childhood, she had minimal contact with her father (who struggled with mental health) or with the patrilineal side of her family except for some letters. © 2021 NAISDA Dance College. But I did have my life. But lately, there has been a charge from different Elders, telling us to use our art. What that means is that we aren’t always telling a particular story from beginning to end, from one viewpoint. The arts are most deft instruments and always have been. Eva maintains relationships with many people -- family, friends, associates, & neighbors -- including Jordan Tangen, Miville Cristobal, Rulan Tangen, Stone Tangen and Sione Tangen. ECP – Rulan Tangen – Dancing Earth – YouTube October 27, 2014 500 Nations Earth Chronicles Project – New Mexico An Interview with Rulan Tangen – Dancing Earth Creations This is just one of the 14 segments that make up our ECP-NM Pr… What I think is quite distinctive and powerful about Dancing Earth is the fact that we are a safe circle for cultural exchange, dialogue and experimentation. I enrolled myself in ballet classes. “I do not claim bloodline, enrolled membership, or citizenship to any North American tribal nations or First Nations. Artist Statement As a modern Indigenous artist my intentions are to perpetuate the continuous existence of my People's diverse ways of life. As a performer and choreographer, she has worked in ballet, modern dance, circus, TV, film, theater, opera and Native contemporary productions in the United States, Canada, France, Norway, Mexico, Brazil and … We are reclaiming spaces beyond what we could have imagined." You can apply yourself to something. 4 I learned the physical dynamics and committed myself with every cell: body, mind, heart, and soul. National Theater Project (for Between Underground and Skyworld). The funders were given new of documentation that directly conflicted with the previous understanding of Rulan, and Burdeau and Mumford, of Rulan’s heritage. The right of each cultural community to self-determine kinship terms, self-determinations that are diverse and can change over time, and that this is not appropriate for external monitoring. Of opportunities for young artists about being connected to the perpetuation of life, such as the way being! 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