It has come to my attention that some folks are interested in the DNA tests I took years ago. I was part of a National Geographic project tracking human migration out of Africa, the major genetic groups as they exist today, and the effects of contact and current globalization for gene distribution.
I was also originally in a project called the Sanchez Name project but was later dropped when I did not fit conclusively what they were looking for in that project (Taino DNA). That project was taking the name Sanchez as jumping off point as it is one of the most geographically diverse names on the planet. They were interested in Jewish history and Native American history and the connections to Puerto Rico particularly north Eastern Puerto Rico. Being that my mothers side of the family is from the exact area they wanted to study and by family legend my great grandmother was Indian I was asked to take part. I turned up some Jewish traits but not what they were looking for and no one I know in my family is a practicing Jew (might have had to do with that whole Inquisition thing or that whole Hitler thing after that).
The results I am squarely North African and Roma (formerly known as Gypsy) but an unknown section (perhaps the Native American section) required deeper testing of which I was unwilling to pay for at the time. So I was dropped from the project.

The National Geo project goes on and you too can take part.

https://genographic.nationalgeographic.com/

https://genographic.nationalgeographic.com/human-journey/

https://www.youtube.com/watch?v=mZ7XNWJ0_d0&feature=player_embedded

I did my DNA test through My Family Tree DNA (not to be confused with familytree.com)

https://my.familytreedna.com/

A little explanation


Haplogroups are the major branches of the Y-chromosome tree. They are defined by Single Nucleotide Polymorphisms (SNPs), which have accumulated over many generations as the Y-chromosome is passed from father to son. These SNPs map the paths back to the single common male ancestor from which all men alive today descend.

The Y-Chromosome Consortium (YCC) has reconstructed the structure of the Y-chromosome tree by testing SNP mutations in different human populations. As scientists have discovered more SNPs (e.g., M254), the structure of the tree has changed. Currently, there are 20 haplogroups (A through T). In turn, each of these major haplogroups has subgroups, or subclades, that are named with alternating letters and numbers (e.g., I1c).

Below I will post my results keep in mind these are very general.
My specific Haplogroup: E-M35.1 or E1b1b1 wandered out of Ethiopia some 50,000 years ago. 20,000 years ago they had settled in many North African coastal areas including the Canary Islands (where my so-called Spanish ancestors came from). Mixing with Phoenician and Berber groups eventually becoming a different genetic group. My family was said to be Roma (or Gypsy) Jewish and of this North African group. Arriving in Puerto Rico they became Native American and West African. Physically we show some of this but the DNA test did not turn up and Indian this comes purely from family legend that my great grandmother on my mother's side was Indian. So what do I do with this info? There is a section on test on my mothers's side that turned up unknown deeper testing required, Indian?

Haplogroup Test: your matches suggest that you belong to Haplogroup E3b, therefore you qualify to order our deep clade test which focuses on all mutations shown on the next screen after you click on the "Continue for more information" button. Order your Y-DNA SNP test for Deep Sub-clades.E-M81 is found in NW Africa, not found in sub-Saharan Africa and its frequency sharply decreases eastwards. E-M81 is a "Berber" marker. It is also found in all Iberian populations, signifying Berber admixture, ranging

from 1.5% in Northern Italians, 2.2% in Central Italians, 1.6% in southern 
Spaniards, 3.5% in the French, 4% in the Northern Portuguese, 12.2% in the 
southern Portuguese and 41.2% in the genetic isolate of the Pasiegos from 
Cantabria. It is found in only 0.7% of Sicilians and in no southern 
Italians. It is also not found in the Balkans

Y-DNA - Ancestral Origins

The Y-DNA - Ancestral Origins page allows you to view the ancestry information for your matches from one of our Y-chromosome DNA STR (short tandem repeat) tests, Y-DNA12, Y-DNA25, Y-DNA37, Y-DNA67, or Y-DNA111.

Country - This is the paternal country of origin.
Match Total - This is the total number of matches for a specific country.
Country Total - This is the total number of people with Y-chromosome DNA (Y-DNA) results from the country of origin in the Family Tree DNA database.
Percentage - This is the percentage from the country of origin compared to the total number from that country in the database, i.e., the MATCH TOTAL column divided by the Country Total column. Please note, a percentage will not be shown if the Country Total is less than 100.
Comment - This is additional information such as a social, religious, or ethnic group. Where more than one match from a country has provided the same comment, the number of matches is shown beside the comment. For example, someone with matches in Germany might have Baden-Württemberg (2) and Schleswig-Holstein (7).
NOTE: Family Tree DNA uses the International Organization for Standardization's ISO 3166 for country names.
12 Marker

Exact Match

Country	Match Total	Country Total	Percentage	Comments
Albania	2	28	N/A
Armenia	1	222	0.4%
Austria	4	606	0.7%
Belarus	1	666	0.2%
Belgium	1	517	0.2%
Bosnia and Herzegovina	2	87	N/A
Bulgaria	6	170	3.5%
Croatia	2	213	0.9%
Czech Republic	3	676	0.4%	Bohemia (1)
England	49	23931	0.2%
Ethiopia	2	34	N/A
France	12	3366	0.4%
Georgia	1	54	N/A
Germany	41	12073	0.3%	Ashkenazi (1) Rhineland-Palatinate (1)
Greece	24	681	3.5%
Hungary	13	1181	1.1%
Iraq	1	179	0.6%
Ireland	9	14064	0.1%
Israel	1	138	0.7%
Italy	26	3335	0.8%	Sicily (2)
Kosovo	1	2	N/A
Lithuania	3	1013	0.3%	Ashkenazi (3)
Macedonia	1	61	N/A
Montenegro	1	20	N/A
Morocco	1	82	N/A	Sephardic-Levite (1)
Netherlands	5	1709	0.3%
Norway	4	1335	0.3%
Poland	11	3630	0.3%	Ashkenazi (1) Prussia (3)
Portugal	2	786	0.3%	Azores (1)
Romania	2	546	0.4%
Russian Federation	9	3070	0.3%	Ashkenazi (2) Ashkenazi-Levite (1)
Scotland	12	11425	0.1%
Serbia	3	87	N/A
Slovakia	1	498	0.2%
Slovenia	3	148	2%
Spain	6	3351	0.2%	Canary Islands (1)
Sweden	6	1595	0.4%
Switzerland	7	1844	0.4%
Turkey	1	559	0.2%
Ukraine	8	1545	0.5%	Ashkenazi (4)
United Kingdom	16	10657	0.2%
United States	5	2563	0.2%
Wales	2	2029	0.1%

Genetic Distance -1

Country	Match Total	Country Total	Percentage	Comments
Albania	1	28	N/A
Austria	17	606	2.8%	Ashkenazi (4)
Bahrain	1	28	N/A
Belarus	23	666	3.5%	Ashkenazi (19)
Belgium	3	517	0.6%
Bosnia and Herzegovina	2	87	N/A
Bulgaria	14	170	8.2%
Canada	2	353	0.6%
Cape Verde	2	23	N/A
Chad	2	2	N/A
Croatia	7	213	3.3%
Cyprus	1	53	N/A
Czech Republic	10	676	1.5%	Bohemia (3) Moravia (1)
Denmark	3	814	0.4%
England	111	23931	0.5%
France	20	3366	0.6%
Georgia	3	54	N/A
Germany	159	12073	1.3%	Ashkenazi (7) Baden-Württemberg (1) Schleswig-Holstein (1) Silesia (1)
Greece	26	681	3.8%	Rhodes (1)
Hungary	27	1181	2.3%	Ashkenazi (3) Bukovina (1)
Ireland	19	14064	0.1%
Israel	2	138	1.4%	Ashkenazi (1)
Italy	85	3335	2.5%	Sephardic (1) Sicily (9)
Kuwait	1	155	0.6%
Latvia	2	260	0.8%	Ashkenazi (1)
Lebanon	1	239	0.4%
Libyan Arab Jamahiriya	1	22	N/A
Lithuania	24	1013	2.4%	Ashkenazi (16)
Macedonia	1	61	N/A
Mexico	1	814	0.1%
Moldova	2	78	N/A	Ashkenazi (1)
Mongolia	1	588	0.2%
Netherlands	10	1709	0.6%	Ashkenazi (2)
Norway	1	1335	0.1%
Poland	52	3630	1.4%	Ashkenazi (25) Ashkenazi (Galicia) (2) Prussia (1)
Portugal	5	786	0.6%	Azores (1)
Puerto Rico	1	242	0.4%	MDKO: Puerto Rico (1)
Qatar	1	147	0.7%
Romania	15	546	2.7%	Ashkenazi (4)
Russian Federation	38	3070	1.2%	Ashkenazi (18)
Saudi Arabia	6	1132	0.5%
Scotland	18	11425	0.2%
Serbia	1	87	N/A
Slovakia	13	498	2.6%	Ashkenazi (5)
Spain	19	3351	0.6%
Sudan	1	149	0.7%
Sweden	5	1595	0.3%
Switzerland	15	1844	0.8%	Bern (2) Zurich (1)
Syrian Arab Republic	2	205	1%	Sephardic (1)
Turkey	7	559	1.3%
Ukraine	41	1545	2.7%	Ashkenazi (19) Ashkenazi (Bessarabia) (1)
United Arab Emirates	2	269	0.7%
United Kingdom	49	10657	0.5%
United States	24	2563	0.9%
Wales	9	2029	0.4%

Please wait while we check for your 12 marker matches...

25 Marker

Genetic Distance -1

Country	Match Total	Country Total	Percentage	Comments
England	1	18790	< 0.1 %
Germany	1	7082	< 0.1 %
Poland	1	2029	< 0.1 %	Prussia (1)

Genetic Distance -2

Country	Match Total	Country Total	Percentage	Comments
Albania	1	10	N/A
Austria	1	293	0.3%
Belarus	1	419	0.2%
Croatia	1	71	N/A
Czech Republic	1	343	0.3%
England	5	18790	< 0.1 %
Ethiopia	1	8	N/A
Germany	4	7082	0.1%
Greece	2	221	0.9%
Hungary	1	661	0.2%
Italy	3	1315	0.2%
Poland	1	2029	< 0.1 %
Romania	1	235	0.4%
Russian Federation	1	1088	0.1%
Slovenia	1	68	N/A
Spain	1	1569	0.1%
Sweden	1	673	0.1%
Switzerland	2	1182	0.2%
United Kingdom	1	6893	< 0.1 %

being online

Talk about Being Online in this Sakai Discussion Forum. Explore and participate in Art Education 2.0, Scoop.it, Facebook, Flickr, and Twitter. Describe some of the interesting content, people, or groups you found in any of these online networks. What makes this/these content, people, or groups interesting? Tell us specifically about some of the things that people are sharing in these groups (give a couple concrete examples).

http://arted20.ning.com/group/mosaicsandmurals Is a group on art ed 2.0 that adds another element to the their student projects by posted their finished works online. Students around the globe can then take part in their projects virtually but also comment, share their projects on the other side of the globe. The most fascinating idea is that with any traditional work of art it is generally fixed to a wall somewhere, the site allows for these student created and conceived works to travel to other students and around the globe.

Then discuss the potential of these global online networks to enhance your creative thinking and professional development.

http://youtu.be/X0hVEH4se-0 This animation clip is wonderful in that it explains visually and in a traditional narrative the history and future of animation. As an important and diverse element of visual culture animation is now reaching a point where its visual potential is limitless. The clip was presented by animation teachers for students and fans of animation. By presenting the past, and present in traditional and computer animation students are challenged to push the medium allow it reach new levels. A simple textbook article or slide show could never have conveyed what this tiny clip has, so in effect it greatly benefits from the internet, computer based editing programs, and the general formating that social media sites have embraced. The potential to visually and equally simply teach other aspects of history or techniques is of course exciting and implied by the film.

How might these networks be of value to you and to your current or future students in your practice as an art educator? 

http://www.imls.gov/ Is a site that advertises scholarships grants fellowships and work oppurtunities. Many other similar sites exist and can first and foremost allow students to become professionals through a variety of programs, profiles, and cold cash. The bleak economics of the art field make it important that students and artists have as much information as they can about what financial resources are out there be it job or grant listings. Getting attention such sites might as well land someone a job or give a nice gem for the resume. The site also often showcases images of student works adding another incentive to the students producing the art projects.

Briefly describe a possible lesson or project inspired by something you found in one of the groups in any of your online professional networks this week.

From the Rock and the River (imaging ancient pueblo life)

http://www.crowcanyon.org/ Using the Crow Canyon website students will explore the history and culture of the American Southwest in specific the four corners region. First students can visit the education section of the site http://www.crowcanyon.org/education/education.asp and answer a few basic questions to determine that they visited the page and by way of introduction to the site.

Next students will click on the student resources link.

http://www.crowcanyon.org/EducationProducts/pueblo_history_kids/introduction.asp again answering a few questions from the page. Under the Castle rock section students should then follow the link that reads lesson plans.

http://www.crowcanyon.org/EducationProducts/WCP_ElecFieldTrip_StudyGuides/WCP_EFT_IntroPage.asp

then imagining that the class is of 4^th graders click on the 4^th grade link.

http://www.crowcanyon.org/EducationProducts/WCP_ElecFieldTrip_StudyGuides/4thgrade_arch_lessonplan.asp

Then click on the wood canyon link

http://www.crowcanyon.org/EducationProducts/WOODS/welcome_animation/welcome_new.asp

A brief slide show animation will follow then students will be invited to click on the link in the ruin window.

This takes students to the final page. It attempts to imagine life in an ancient pueblo then contrasts it with current pueblos or post contact pueblos. The lesson is then two fold the research and questions gained by surfing the site and then producing a drawing of a pueblo. Things to consider what would you make the building out of and why? How would you arrange you living space? How did the ancient pueblo people arrange their homes (sacred spaces astronomy windows etc..) http://www.crowcanyon.org/EducationProducts/WOODS/PPwoods.asp

The big goal would be to emphasize the limits of place and environment and how we live completely dependent ofn technology. Further to try and get students to think in terms of sustainabilty and dependence on your natural environment. I can think of no better example then desert people squeezing out an existence with tiny amounts of water, no electricity, metalurgy, or animal husbandry. You could take the lesson further and get kids to imagine trying to live on the moon underwater all would emphasize the same idea of living in balance with you environment. A further example might be to bring Arco Santi and similar projects to get kids thinking about why we live the way we do and should we? http://www.arcosanti.org/

Finally, what does it mean to you to be online, globally connected, and basically sharing and collaborating with strangers?  What are the benefits and challenges of being online and globally connected?

I think a challenge is to remain connected to the folks in your neighborhood increasingly I know people that chat with folks around the world but don't know their next door neighbor. There needs to be a balance between social media, it shouldn't be that protable devices are attached at birth and texting is easier for folks then speaking to one another. The impression that we are in fact conncected is of course illusory this is problamatic. I was getting to know a young musician in Algeria just as all hell broke loose over there. The fact that you can chat with someone in a warzone is interesting but it isn't that I can hide him if the troops come knocking or in anyway really help him if he needed. We need to remember that about virtual relations.

Clip featuring Oussama Becissa on Ud http://www.youtube.com/watch?v=49YM_OneRBk

The fact though that I see his music clips as quickly as he sees mine the instant gratification that the internet presents is wonderful. Years ago I would chat with other artists on Deviant Art and talk about a painting but also show my studio and each chance to the work. Now with iphones video clips of artists producing works are all over the place this adds a communal nature to the once solotary work of producing art. It also always students to learn techniques see them performed versus having to hear about them or imagine them.

Last, share your official Facebook name, Twitter name, Flickr Name, and Scoop.it name so we can search for you and friend you in these social media sites. Be sure to do this so we can all friend and follow each other in these sites.

http://www.facebook.com/pages/Sanchezartwerk

https://twitter.com/SanchezArtwerk

http://arted20.ning.com/profile/JonathanSanchez

www.youtube.com/

https://www.youtube.com/channel/UCNwn8XbVgDN4YIeZrHZLHBg?feature=mhee

Sanchez Art Werk Blog 

http://www.sanchezartwerk.com/jonathansanchez/arteducation.html



The readings this lesson describe how race, ethnicity, culture, and creative expressions are intertwined with and impacted by globalization (international commerce, travel, migration, and the creation of glocal creative and cultural practices). In about 250-300 words, describe how your own creative and cultural identities and practices have been shaped by globalization. How are your family traditions and practices interrelated with your multi-layered identities? In other words, how does who you are shape what you do? You may use some of the same personal insights you included in the Personal Reflection section of your Reading Review for this post

I grew on the gulf coast of Florida and feel I am a southerner. I have spent most of my life however, in the Southwest. Culturally I play the music of the Mississippi delta and cook the food of the gulf often.

My parents were both from Brooklyn of Puerto Rican descent though born and raised in the states.They loved Hollywood and the Beatles and did little that was Latin. They spoke English first and gave their kids Anglo/Biblical names. My father raised us as baptist my mother remained catholic. My father remarryied a southern woman of Sicilian descent and the family mix got even more diverse.

I began traveling to Europe and later worked for a French family and was emersed in European cooking and culture. Later I went and lived in Italy and eventually married a Swiss woman. German is now the only other language I am fluent in. It makes my wife feel she is home when I have made her one of her mothers dishes, speak to her in Swiss German and know why she does all the little cultural things that she has to do. I learned her culture as my own and have ingested large amounts of continental matter in the process. More than ten years on I feel that Switzerland is also kind of my home. While living there I carved a pumpkin every year, and always had a huge Thanksgiving feast and was the local blues missionary. So in a sense I realized I was American for the first time overseas. I am completely a product of globalization without some margin of it I would not be able to have a foreign wife or have lived in her country. I think sharing all of these perspective simultaneously is globalization in a nutshell.

A short film produced for my grad art history course.
http://www.youtube.com/watch?v=ASkJO1iHgLk 

Independent project

Jonathan Sanchez

Puzzle Pieces (An investigation of Yavapai history the lessons one tribe can teach us about the importance of place, identity, cultural and political resistance, and above all survival.)

Its a brisk day I enter a tiny cafeteria on the edge of a bingo hall. An elderly chain smoking woman drags an oxygen tank as she enters the hall pondering the illuminated menu in front of her like a deer in headlights. I order green chili and fry bread and receive it placed in a to go box. A subtle thing happens between receiving the only Native food on the menu and placing the order. I am sized up judged and it is assumed I must work at the resort or bingo hall. Everyone around orders Anglo food Kosher dogs, club sandwiches, and hamburgers. If I'm an Indian employee, am I not supposed to eat in the hall with everyone I would go to break a area. Everyone gets their meager portions on bright orange trays but certainly normal picnic style plates. I am given neither. Am I being asked to leave? Is it the Native food that causes all of this? It may seem silly but it is a good example of the way so many little cultural moments are exchanged on all reservations. I am given a righteous heaping portion of the finest green chili and hubcap size fry I have ever encountered so this isn't racial mistreatment this is a subtle favor. So I am mestizo or somewhere back there I am Indian. I'll take it prejudice or not as I wipe the sweat from my forehead and devour the molten material.

Racial ambiguity can be troubling to some but it is something I have learned to embrace. While in Colombia at the slave port of Cartegena and old man there once explained his Caribbean world view. „When I give from heart am kind I am African, when I am clever I am Indian, and when I am greedy or bad I am Spanish.“ This sort of accepting of the odd fact that most Africans, Asians and Native Americans live on their Native soil and the peculiar European has found the need to travel to other lands and live there too is telling (Mann, xxiv). The old man has also made peace with the amalgamation that many of us are. By my families account I am Roma, Jewish, Spanish and Native American. According to a couple of DNA tests I can only verify one of these claims. So how does one form an identity based on percentages, family folk tales, and half truths? Yes north African folks are present in Spain but they aren't really European so am I truly Spanish (in the Latin sense stemming from Roman origins) no. But neither are the Basque or Galetian folks that live on the land mass named Spain. On both sides of the family there is evidence that I am in fact Native American but it didn't show up in the DNA (in truth there was a region marked unknown a deeper clade test might show Indian genes, then again maybe not).

I too have been addressed as a black person often, culturally share plenty with African Americans. I will play music and have someone after give me a soul hand shake and a knowing that was a good show my brother address. I then pass into the nether world of the African diaspora of all kinds of shades of black, brown and high yellow.

Now back to the reservation they were not wrong to assume I am Indian because supposedly I am. And what of the fact that I have sought out black history African culture, Native American history and archaeology for my whole life as if somewhere inside of me I always knew the truth of these things.

On a surface level purely my father looks a bit like James Earl Jones. We bare a Hispanic family name but as is the case of many Caribbean folks we show some Africa in our features.People the world over despise the implication that they are of mixed origins as my grandfather was once classified on a census record as mulatto, literally a mule or non-viable offspring. I have been called this often either jokingly or with a mean spirit (while living Europe I was called much worse).

Now here is where it gets really sticky, my father would never settle for being called black considered black or in anyway identify with African American culture. A friend of mine could be my fathers lost twin, and he teaches African folk tales at ASU. Here you have two folks that to all the world could be twins. Yet one raised in an African American community identifies with that culture. The other the son of Puerto Rican immigrants strives to get out of Brooklyn and to be as white as possible. Ashamed of relatives that speak with a Spanish accent, enamored with Hollywood movies and the Beatles, he grows up creating his own unique identity. In the process mulatto is never again seen in a census record, and the subsequent children he produces with a much whiter appearing woman are even further away from their African origins.

All of this is very personal and brought up in the wrong way if at all could be troubling at best fightin' words at worst. Looking into other peoples cultures is even more dangerous, which finally brings us to the Yavapai.

A Brief History of the Yavapai

The Pai people are a group that includes the Hualapai, Havasupai, and Yavapai. The estimates are that the Pai people once inhabitated some ten million acres (Heard Museum). The Yavapai once mistaken for Apache were deemed hostile and warlike and subsequently hunted and killed. They do share much linguistically with Apaches and are of the Athabascan language family (Basso, xiv).

In 1857 when gold was discovered in Arizona the Yavapai were suddenly in the way of gold fever. Eventually they would be removed from their lands forced to endure long marches laden with rape, murder and starvation (River of Time Museum).

Various nearly eradicated groups were ingested by larger groups while they lived in exile for twenty-five years and again when returned to their ancestral homes in 1900. Placed on three separate reservations by executive order they found themselves on hundreds of acres and numbering in the hundreds and for rest of time known as the Fort McDowell Indians.

1934 saw the establishment of a self-governing tribal system for each of the three groups under the Indian Reorganization Act, which most importantly preserved a few rights including legal claim to water (Murphy, 12).

In the 1970's the Phoenix area became one of the fastest growing in the nation a new type of gold was being mined, sunlight. Promising year round warm weather and cheap land developers were on the march, all of their efforts dependent upon water (River of Time Museum).

In the 1980's about 600 hundred Fort McDowell Indians lived at the long abandoned fort and surrounding land (Weber, 6).

A spirit of activism existed within the tribe having produced the first male Native American doctor, having participated in code activities in the second world war, returning soldiers pushed to gain the right to vote for Arizona tribes, they had fought legal battles in the past (Heard Museum). As the specter of the Orme dam project materialized in the early 80's put forward to provide water and power for bustling Phoenix and countless prefab communities surrounding, the Yavapai once again marched to Washington (Weber, 6).

Hiawatha Hood returned from Chicago to spend the rest of his days on his ancestral land only to hear that it would soon be flooded and the few remaining on it would be paid some to relocate. Remembering past Yavapai legal fights he rallied the elders and took the case to Washington. Local newspapers championed the small tribe and its struggle presenting their perspective and keeping the story alive for several years (Weber, 6). Despite the Bush administrations coming down on the side of the dam developers the dam was stopped making Hiawatha an elderly hero.

The victory has allowed the Ft. Mcdowell Yavapai to remain in the area first of all, develop businesses the above mentioned bingo hall, but also construction companies, a resort and golf course and other small businesses. Along the way they host several festivals a rodeo (to commemorate the dam victory) and other cultural events. The population of the tribe has grown steadily and now is mostly young people (Yavapai Nation Website).

Puzzle Pieces (Joining the Puzzle Pieces of Culture History and Identity)

The project I have begun with the Gangplank community center and the Yavapai Youth Council entitled Puzzle Pieces will be a small exhibit, with talk, blog, press, and illustrations that provide the broad outline and intent of the exhibit and project. A short video summing up the project with slide images of the making of the events, the participants and their work. Several text panels with illustrations of museum quality along with illustrations also mounted by museum standards, will intiate locals into the rich history of the Yavapai. Working with Yavapai youth and the Youth Council several students will become involved and add their voices, ideas, and images to the project. As more students present their work and add it profiles will be created on a blog, where their ideas and images will be shared. Ideally a sort of yin and yang approach will be achieved the museum style items will be balanced by the current additions, as if to say here is the past and now lets journey into the present and future.

The most exciting thing about it is that I have no idea what they will bring to the project maybe they will want to take it in an entirely different direction which I am open to. Further, I know the history from the Heard Museum and newspaper articles but how do these figures and events resonate in the youth of the tribe?

I recently wrote a song entitled Puzzle Pieces, which addresses the idea that we kind of are trying to fit in a place, fit in our family, fit within our society and now as we become increasingly global citizens, in the larger global village. Some times you are searching for the pieces other times they fall in place. Looking at one society that has endured near genocide, still faces misunderstanding, bigotry, and health problems, I hope we can all learn something about ourselves. I will use the song as a sort of theme for the exhibit and short film I will produce inconjunction with the project.

As an added experiment of the theories of visual culture I am trying to avoid the use of the words art and artists as much as possible. I sincerely want to avoid steering the participants toward work that they think will meet with my approval but is honest and documentary. My larger hope is that the participants will notice (if they haven't already) that they have tremendous history and therefore power through that history and they need only learn to wield it through our current technology. Community centers such as the Gangplank but also webbased forums can give anyone a voice a platform or a chance to express themselves. It is my goal to help facilitate the process.

In this way I hope to bring the many ideas and concepts I have been exposed to in this class into the project.

Hiawatha Hood in an article entitled Hiawatha Comes Home, as an old man staring down Washington and Arizona developers when asked was most concerned about the state of Yavapai youth. „the young people ..It seems they don't care.“ Hopefully we can honor Hiawatha's memory, bravery, tenacity and prove him wrong by encouraging a few Yavapai youth to care (Weber, 8).

Bibliograghy

The Heard Museum Phoenix Arizona (archives and displays)

The River of Time Museum, Fountain Hills Arizona.

The Arizona Republic-several articles related to recent Yavapai history.

Hawley C. (1990, Nov. 2^nd ) Newspaper article, The Arizona Republic-a history of Yavapai water disputes and the final settlement in favor of the tribe. (call # ZP2A: E78.A7 075 1998 Library Use)

Johnson, A. (1986, April, 11^th) Newspaper article, The Arizona Republic-a brief history of Yavapai activism including the battle to stop the Orme dam. (call # ZP2A: E78.A7 075 1998 Library Use)

Murphy, M. ( 1990, July, 7^th) Newspaper article, Phoenix Gazette-an article related to the Orme Dam project (call # ZP2A: E78.A7 075 1998 Library Use) Archives at the Heard Museum Library.

Mann, C. (2011) 1493, Vintage Books.

Basso, K. (1990) Western Apache Language and Culture (Essays in Linguistic Anthropology), Universtiy of Arizona Press Tuscon Arizona.

Yavapai Nation Website

http://fortmcdowelldestination.com/yavapai-nation.html

http://www.ftmcdowell.org/

Play the Culture

The following is an assignment for the UF grad program in art education.

course 6641 Contemporary Issues in Art Education!

Lesson plan for Visual Culture Discussion Forum

Since I present my educational programs in a museum environment my lesson is geared toward the use of the MIM collection. Focusing on the guitar gallery and the adjacent museum orientation gallery.

Guitar gallery MIM

Orientation gallery MIM.

A Little background.

Guests enter the museum obtain their wireless headset system. They can watch a six minute film about the museum near the orientation gallery which focuses on the artistry of instrument making. In the middle between the theater, and the main museum galleries is a u-shaped room depicting the whole history of the guitar. From the oldest known guitar to a modern heavy metal doubleneck electric a guest can see the full evolution of the instrument. In the adjacent room sitars, ouds, and erhu are examples of near guitar Asian cousins of the European instrument.

Cross cultural Aspects

The opportunity to talk about cultural transmission the way instruments traveled the Silk Road into the far east made it to America is unique chance to discuss ways in which the world is connected historically through musical instruments.

Visual Culture themes

Instruments are handmade or manufactured functional works of design. Often inlayed with precious stone, polished shell, or metal they are fanciful works that can be used as well as viewed. The museum with so many instruments hanging on walls and simply viewed promotes the idea that someone dreamt the things up brought them to life.

The plan

A busload of kids arrives they are broken into groups some take the standard tour some go to the theater to watch the orientation film and the final group comes to me at the orientation gallery. Addressing some of the near guitar instruments and the hand crafted quality of them, that they come from far off countries, how the influenced the guitar and focusing on the visual elements the design aspects of the instruments, a foundation for the program is presented. Moving into the guitar gallery familiar electric guitars are seen a humorous display case exhibiting an air guitar and some very old instruments are visible. In keeping with the ideas of visual culture items that are contemporary and in truth the kids might even have at home are contrasted with the old court instruments of the Renaissance and the folk instruments of the Appalachia.

What do the instruments say?

After presenting some history behind the instruments a discussion is opened up. First about the visual elements why are they pretty or ugly how are they appealing or boring. What does that mean? The court instruments are incredibly fancy the old Spanish village instruments simple plain, opening a chance to discuss class and the stratification society historically.

What do these instruments symbolize? Prestige, homespun entertainment, race, gender?

Moving to the electric guitars a conversation is presented over the fight between Gibson guitars versus Fender. Using printed visual aids the contrasting ad campaigns are presented (a surfer with a playing Fender while riding a wave vs a concert hall with Les Paul in a tuxedo playing a gold gilded instrument). Again how are things marketed? What does a gold plated instrument mean vs a plain beat up Fender?

Modifications are everything.

Finally a beautifully hand painted instrument is presented to state that a guitar can be a canvas.

visit the MIM website and find out how you can get involved and support this new national treasure.

www.themim.org 

A Discussion of Visual Culture

Jonathan Sanchez
Date Jan 23 2013
   A Discussion of Visual Culture Theory. All three writters agree that the basic premise of viusal culture theory is that there is a need to create a multi-disciplinary approach to education at large and art history in specific. Tavin makes the case that art history can benefit greatly from cultural studies (Tavin, 199) and has listed some thrity disciplines that he argues should be incorporated into the sphere of visual culture. Julie C. Van Camp in her critical look at the visual culture movement, seems to warn of the rise of a potential new dogma (Van Camp, 34). "Still further, the term "interdisciplinarity" can simply suggest ways of expanding our methodologies in a variety of disciplines without staking a claim that only particular notions of interdisciplinarity are acceptable" (Van Camp, 34). Van Camps mild endorsement of visual culture theory comes in the form of a question, "Can our understanding of visual culture be used to enchance our undertanding of what we traditionally termed or deemed as art?" (Vaan Camp, 34). 

   Tavin seems to burn with the fire of a zealot lighting a torch to the whole art academy and Eisner rests somewhere between Van Camp and Tavin, when he simply states, "Justification improves overall performance," (Eisner, 7). Pluralism pushes in one direction and standardized testing in another a pedullum swing that leaves art educators grasping.

    Perhaps the strongest points that all agree on are the following; art is no island, visual experiences are profound and far reaching, the everyday in the classroom breaks down the barrier of high art. Art is no island. In short transdisciplinary approaches inspired by visual culture theory, can only help to bring context and a socialogical component into the art classroom.
    Visual experiences are profound and far reaching even if they happen in a football stadium.The "medium is the message," to see someone's name in lights is thrilling weather we know why or not (Mcluhan 1). It is that visual experiences reach us on a primal level like moths drawn to a flame. By saying that some experiences are high art and others not worth mentioning we close off a vast current of inspiration, and limit are realm of intellectual meandering. As Tavin states, "By inculcating students to existing cultural hierachies, the canon of high art is maintained as unproblematic," (Tavin, 197).

   Finally, bringing the current and the everyday into the classroom will not only help students relate it will address issues of whose culture are we making? Are we to simply repeat what has been done as a kind of art mantra or are we as May said active change agents (May, 146).

Problems with a visual culture approach

 1. Visual culture does not seem to have an overarching or concrete quintessence all of the authors seem to allude to this as a point of confusion. 
2. It is perhaps too far reaching it would be as if arguing, why do we need geology and biology why not talk about them as the same thing? We break things into categories in order to make sense of them. 
3. How do we talk about art or visual culture if all terms are deemed antiquated and culturally loaded? "Visual culture seems to have rejected not only formalism but also almost any other way of appreciating and understanding art objects themselves." (Van Camp, 35) She seems to warn of throwing out the baby with the bath water, suggests that we should be slow to throw all of our ideas out in favor of the new Zeitgeist. 
4. Funding to create a whole new department for visual culture studies would be costly.

Terms 
   Interdisciplinary is addressed in all three papers and is a tenet of visual culture and can be defined as a paradigm shift that allows for other studies to be incorporated into art studies.  Context or contextualization the process of placing art into a historic or social sphere.

Critcal Response/Application/Personal Reflection/ Assignment Souvenirs                         Rose Bean Simpson from Santa Clara Pueblo uses found objects, traditional and non-traditional media to create often haunting and introspective works. Her creations exist somewhere between the ancient world of Santa Clara Pueblo (first inhabited around 1300) and the modern world of nearby Santa Fe and Albuquerque.

   In contrast, Rose Roxanne Swentzell also from Santa Clara uses traditional images and themes. Her works do not at first glance appear to often vary little from museum artifacts of her ancestors. Under closer examination it is revealed that in fact she has used the traditional art forms to express everyday modern ideas.

   Open a discussion with students about how important a sense of place, your personal history, and that of your ancestors, and what are art materials? Using these three themes, three different ideas present in visual culture theory are presented. 
First, your home, your environment personally shapes your experience be it a seven hundred year old Pueblo or a modern suburban home. This theme addresses ideas of what visual experiences surround us daily, mesas, chilis and katsina, or shopping malls, SUVs and Ipads. 

   Second, Pueblo folks often live with their ancestors in items, in the walls of their sacred spaces, and symbolically. How important are our ancestors in mainstream America? Do we have a sense of history? If not how do we relate to our present surrounding friends and family? 

    Both artists are from the same unique culture, trained in western eurocentric schools, but choose to express their identities very differently. Rose leans toward contemporary art but still uses Pueblo themes and Roxanne bends and pushes traditional themes and icons to make them lifelike and fill them with a sense of the everyday and universal. Start out with images that orignate within the culture and everyday experience of students rather than imposing too quickly academic constraints on what counts as legitimate art. (Tavin 206) Simpson uses items that she has had contact with, a connection to sorts of souvenirs of her daily life. Students would be given the assignment to bring in three tiny items from their daily life symbolizing past, present and the future. They are then charged with combining them into an original work.


References;
Tavin, K. (2004). Wrestling with angels, searching for ghosts: Toward a critical pedagogy of visual culture. Studies in Art Education, 44(3), 197-213.
Eisner, E. (2001). Should we create new aims for art education? Art Education, 54(5), 6-10.
Van Camp, J. C. (2004). Visual culture and aesthetics: Everything old is new again. . . . Or is It? Arts Education Policy Review, 106(1), 33-37.
May. W. (1994). The tie that binds: Reconstructing ourselves in institutional contexts. Studies in Art Education, 35(3), 135-148.

Marshall McLuhan,(1964) “The Medium is the Message” From Understanding Media: The Extensions of Man (New York: Signet, 1964): 23-35, 63-7

Tower Gallery Website http://www.roxanneswentzell.net/r_swentzell Tower Gallery 78 Cities of Gold Road Santa Fe NM

Website Contemporary Native American Artists http://contemporarynativeartists.tumblr.com/post/39391980928/rose-bean-simpson-santa-clara-pueblo

Wendy Red Star Adjunct Professor Department of Art Portland State University

Portrait Jonathan Sanchez

Jonathan Sanchez
Artist, musician, field archaeologist, museum worker and educator

BA in Physical Anthropology,

BA in Fine Art Studies

Collections Technician and museum educator, Musical Instrument Museum, Phoenix, AZ, USA

Museum worker general, Museum of Cultures Basel, CH

Museum worker general, Museum Liner, Appenzell, CH

Museum worker general, Kunsthalle Ziegelhütte, Appenzell, CH

Museum Educator, Western Museum of Mining and Industry Colorado Springs, CO, USA

Field archaeologist, UCCS, Colorado Springs, CO, USA

Field archaeologist, Museum of New Mexico, Santa Fe, NM, USA

Collections technician, Nature and Science Museum, Denver, CO, USA

Collections technician, Colorado Springs Pioneers Museum, Colorado Springs, CO, USA

Paintings (traditional artwork)

http://www.sanchezartwerk.com/jonathansanchez/newestworks.html

As an artist I have been able to exhibit in seven countries, sell many works, and be involved with both gallery and museum exhibits. I currently display works throughout the Southwest of the US having returned from extended stays in Switzerland and Italy.

Music projects (performer, photographer, songwriter, and producer)

http://www.sanchezartwerk.com/theupperstrata.html

Music has been a vital portion of my life experience since church choirs as a child through recording, writing, and producing CD releases. I have been able to live from music and perform countless shows in several countries.

As an Educator

My latest adventure has been a journey into the world of education. Having worked for several museum education departments I have decided to focus on art education through a mostly online graduate program. It is my hope that I will be able to use what I learn through the program to enrich the museum programs I present through the Musical Instrument Museum and other institutions. Below are photos of the Delta Blues themed Museum Encounter I present for MIM.

Slides or bottlenecks of various materials and sizes with a voodoo hang.  

Demonstration of resonator guitars.                                                                                              

 

Research Interests

Museum education

Art therapy

Art in the penal system

Multicultural studies

Creative - Research Biography

My most recent research and application of research has been related to music ethnocology. Trying to trace the rooots of Delta and Piedmont blues of the 20's and 30's back to West Africa. Along the way trying to relate the multicultural aspects of the Blues (from Celtic to Spanish influences) to the overall history of the genre. The goal of this research was to add a historic and cultural component to a lively and entertaining musical presentation. Being that the event was to take place at a musical instrument museum a look at the many stringed instruments and musical traditions of West Africa was needed. Through the process of weaving very ancient and current ideas together a profound respect and reverence for the multifaceted and living musical genre of the blues was instilled and hopefully conveyed through the program.