NAISDA has been granted permission by the relevant families to use these images. 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 … The letter also acknowledged the earlier use of the term/name Métis as applicable to mixed heritage people and the appropriateness for Rulan to be recognized under that term. It can activate people who are divided, and on the way to being conquered. Traditional dance forms may be the least referenced in our dances, because they are the ones that need to be the most protected. They are the core of ritual. 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. My hope is to address any misperceptions around my identity to ensure that I am not contributing to the violence Why do you think it’s so important to promote the preservation and exploration of Indigenous dance, both on a national and international level? 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. People are just these shopping heads or workhorses. I had so many questions for her of what I wanted to learn more about, but her response was often to ask me to help her make stew or clean the kitchen. in 2004. This has often led to community members reciprocating with attestations of cultural connections and relations. It feels necessary at this time to bring to light details that I had previously preferred to discuss in person. 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. I was dancing for life the way many Indigenous people connect their ancient dances to the perpetuation of life. What inspired you to form Dancing Earth Creations? led to the founding of Dancing Earth in 2004. Now I understand that she was trying to teach me about relationship building and showing commitment. There is something amazing that happens when Indigenous from diverse backgrounds come together – that’s the most powerful synergy there is. She wanted me to have something that had a purity, a link to ancestral ways. Indigenous people hold the knowledge, and have always held the knowledge, to help. Dancing Earth has been committed to working with Native American, global, and mixed Indigenous artists to support, nurture, and highlight diverse Indigenous embodied values and ways of being through creative artistic practice. “And they both told me they wanted to do the same, so it seemed like a natural combination. That’s the gift that you can bring to the rest of the world. You can create. 7 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. It impacts you and everything you’re wearing is part of the dance. 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.” That’s the regalia I still have to this day. Her approach is: 1) To contact the funding agencies directly and ask for details of their definition of cultural eligibility (these might include: Enrolled/not enrolled, US States both mainland and island, US territories beyond US continental borders, Canada, Americas, mixed heritage, people living on original homelands, global Indigenous peoples), to understand if any or all of the below criteria would allow Rulan or Dancing Earth to be considered. Rulan’s role in many of these endeavors has been as a creative conduit for Native and Indigenous diasporic community members, and as a bridge across divides by supporting their desires to tell their stories. 5. They can become more understanding of our ways by being attracted to the songs, the dances and the ways of being in connection. Rulan’s financial contribution supported the needs of families involved in Standing Rock. 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). But things were starting to shift. There is a long history in the U.S. of cultural fraud in relation to Native identity. 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 Earth. As a result, Rulan was given approval to apply on behalf of the project, and also as the project leader. https://bit.ly/2SFT23V 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. 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. One of my former dancers is a lawyer focussing on environmental law, another one is analysing treaties for her tribe. Walking at the Edge of Water - is an inter-tribal contemporary dance expression of Indigenous water perspectives. Dancing Earth serves Indigenous communities by co-creating dance productions of environmental, social or cultural themes, and under the guidance of Native and Indigenous elders. 9. 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. You had to be introduced into the Powwow circle through ceremony, which was all about relationship building! My childhood was quite chaotic, and I think I fell in love with the concept of dance as this way to discipline. Contemporary Dance Creations” refers to first peoples globally. Are there many platforms for Indigenous artists to express their art? Artistic Director Rulan Tangen is an Indigenous The following was written by Rhiana Yazzie (Navajo). I came out of it without my muscles, skin and hair. Dancing Earth is distinctive in its financial structure as it operates from a place of equity. 11 Similar to in Australia, they have incredible resilience against poverty, health challenges and all kinds of disadvantages. This Lakota ancient ceremony means that Rulan carries the honor and responsibility to be recognized as a “Hunka Lakota” relative to Geraldine’s family, with the understanding that this does not confer membership status in the Lakota Nation. There was a movement of Powwow dancing being introduced to a stage form, which was quite shocking at the time. Rulan continues to fulfill Hunka ( meaning ‘adopted’) Grandma Geraldine’s cultural directives including to: Use her gifts to inspire subsequent generations with culture and creativity; Remember cultural histories, stories, lifeways and teachings as passed down by elders; Maintain principles embedded within a symbolic object she was gifted; and, Uphold Lakota National Theater Project (for Between Underground and Skyworld). I was taught how to make a beautiful white deer skin gown, which is very, very difficult to make. To me, it’s more about how we can continue to explore how to express cosmologies through movement: the process and the outcome. formed a close relationship with a grandmother, who took me under her wing. - Lumhe Micco Sampson, Mvskoke/Seneca. Dancing Earth Founder and Artistic Director Rulan Tangen’s mixed ancestral heritage is Kampampangan and Pangasinan from Luzon Island, known colonially as part of Pacific archipelago of the Philippines, and Norweigian/Irish lineage, while she lives in the partition of Turtle Island which is often referred to as the U.S. 8 Again, I wasn’t that talented, but I had that crazy look in my eyes, so people just got out of my way! When outside research into her genealogy in 2018 raised questions about having Métis that appropriation of Native identity has enacted” - Rulan Tangen. "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. Rulan Tangen is the Founding Artistic Director/Choreographer of Dancing Earth, a grassroots Indigenous contemporary dance initiative. These may also include people who are separated from their respective cultures, languages, and communities through many forces beyond their control or by generational choices, and global Indigenous diasporic peoples such as of the Pacific, sub-arctic circle, and Afro-Native peoples. These include: the Lakota name I was given, my sanctioned participation in powwows as a Northern Plains traditional dancer, the regalia gifted to me during Hunka ceremony, the language and songs I carry- all of which are part of my explicit responsibilities within those relations; as well as the designations of Métis and Blackfeet/Kainai I used in ways I believed at the time to be appropriate. With each movement that Rulan Tangen gave us virtually, I was instantly taken back to my undergrad days in Durango, Colorado, where I initially met Tangen, the artistic founding director of Dancing Earth Indigenous Contemporary Dance Creations. 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. 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 But in terms of opportunities for the arts, the USA has one of the lowest arts budgets in the world. Dance has the power to unify. 5 14. - Natalie Benally, Diné. We look forward to exploring opportunities to collaborate with Rulan and Dancing Earth in the near future. “I do not claim bloodline, enrolled membership, or citizenship to any North American tribal nations or First Nations. 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… I tell this to young students because they often say, ‘I don’t have this’, or ‘I don’t have these advantages’ – but I didn’t even have talent! In 2018, birth certificates from Rulan’s patriarchal line confirmed a conflict with the surname spelling, with Burdo and Bordeau instead coming from Irish sources. NAISDA would like to thank Rulan for sharing her unique perspective and story with Australian audiences. Combining community visioning exercises and interdisciplinary movement, their resulting performances center Indigenous artistic and ecological knowledge. 2) To ask if the funding can be used for a group project, rather than for one artist. Confronting ecological collapse, choreographer Rulan Tangen creates seeds : ReGeneration. Especially with younger generations. I couldn’t understand why she wanted me to be so domestic, I wanted to be an artist! I remember listening to music one day and I could just feel inside myself what it would be like to dance to that kind of music. Every creative aspect of this eco-production reflects cultural and environmental worldview, with Indigenous collaborators in movement, musical composition, language, video imagery, costume and visual art. 12. Even though I was finding a very full-bodied contemporary form, it connected more to life force. 9 Dancing Earth is a contemporary Indigenous dance company that supports Indigenous dance and related arts. These intentions are driven by her life experiences- not centered on her stories/personal narratives but commitments to the communities in which s she is deeply embedded. An example: A fellowship was awarded to Rulan after the above questions/responses about eligibility were put forward before submitting an application, based on yes for one of the criteria mentioned above. Please contact NAISDA if you have any questions in relation to photographs. Maybe it’s who I am as a ‘mixed’ person. Over 20 years ago Rulan met George Burdeau (Blackfeet); George's last name -- Burdeau 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. This year , Rulan also worked with staff, artists, and tech advisors to transition from in-person to online educational programming and performance to support artists and culture carriers during the challenging Covid-19 era. 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. Artist Statement As a modern Indigenous artist my intentions are to perpetuate the continuous existence of my People's diverse ways of life. 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. 12 11. People can learn when their hearts are open, and I think that’s what dance can do. The company allowed me to not just amplify my voice and of others in the company, but it has amplified the voices of all our communities during this time. Native Arts and Cultures Foundation (for Walking on the Edge of Water). But I did have my life. I don’t see myself as doing something that is imposing a vision onto people – to me that is like colonisation of the body. Use our art to change hearts. If you’re dreaming of something that you haven’t seen manifested someplace else, that’s your vision. 4 NAISDA Dance College is a registered business name of NAISDA Ltd. Committed to fusing indigenous and contemporary styles, this celebrated troupe is at once primal and articulate, relating vivid stories of cultural heritage while exploring the identity of present-day Native peoples. As project leader, and as requested, Rulan provided a letter affirming community relationship instead of blood/tribal affiliation (which she does not have). Rulan Tangen: I have devoted my life to dance since an early age -- first in highly specialized forms such as ballet, powwow, and modern dance. There was a lot of conservatism, it didn’t seem appropriate. SUMMARY. 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) It was classical music, so I was imagining myself in ballet – a form I didn’t even know yet. It is used intentionally, as the term Native American or American Indian signifies original peoples of the United States and can involve specific treaty rights and Sovereign Nation status. I see it as quite an ancient way to reinvigorate the humans of the planet around very modern causes. For the week of 9/14/2020, The Bridge welcomes new guest artist Rulan Tangen. Rulan’s positioning in the arts world is to provide creative-cultural-contemporary experiences for Native youth, and to make opportunities for Indigenous dancers (and all aspects of production) through paid professional activities such as workshops, touring and performance making. There are ways to try and make change, such as treaties, going to the UN and speaking through environmental platforms. 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