Last fall, the National Park Service (NPS) announced that it was eliminating its existing programs and projects that focus on cultural and historic preservation.
This week, the NPS announced that the National Endowment for the Arts (NEA) would be the new organization tasked with overseeing cultural preservation and preservation projects.
While NEA’s mandate is to protect cultural heritage, the new program will likely focus on protecting arts and performing arts programs, especially as they relate to Indigenous artists and the arts in general.
But while the new initiative may be a step in the right direction, it may not be enough to stop the ongoing cultural genocide.
What do Indigenous artists need?
One of the most important cultural achievements made by Indigenous people in the United States was the birth of modern day indigenous music and dance.
The music and dancing of the Lakota and Cheyenne peoples have been an integral part of their culture for thousands of years, with a large part of this heritage being lost to industrialization.
However, while these songs and dances have been important to many Indigenous communities, many of the cultural resources that they hold are now under threat.
These cultural resources include music and performance arts, art, and storytelling.
As the cultural and artistic heritage of the United State and other countries is being lost, artists need to be more aware of how their work is being used to further an oppressive system of white supremacy and racism.
As such, they should be supporting those artists who are trying to preserve the cultural heritage that is now under attack.
In this article, we’ll explore how Indigenous artists can support and protect the cultural history and art that they love in their work.
First, we need to understand what Indigenous people are up against.
Indigenous people, as a people, face a myriad of social and economic issues that are exacerbated by the current cultural genocide that is being waged against Indigenous people.
These issues include racial profiling, police violence, and the use of police violence to enforce policies like land and resource extraction.
The United States has an estimated 16 million Indigenous people who live in rural and urban areas, as well as communities of color.
These numbers are growing, but Indigenous people continue to face discrimination, and a lack of cultural, artistic, and spiritual spaces to explore and create.
The recent national commemoration of the centennial of the Wounded Knee Indian Reservation in South Dakota was met with intense backlash from those who called it racist and an attempt to erase the legacy of the armed men who fought for the Lakotas in the 1857 Battle of Little Big Horn.
Many people took to social media to share their outrage, calling it a “white genocide,” and a “tourist trap” designed to “silence” the voices of Indigenous people and silence Indigenous voices.
In response to this backlash, the Wound Knee Tribe hosted a community gathering on January 6, 2018, to remember the men who were killed and the struggle that the Wounds Knee had waged to protect the land.
The gathering was a massive success.
It drew hundreds of people from all over the country, as many as 5,000 people from across the country came to attend, including a number of Indigenous artists who participated in the ceremony.
The community members, artists, and musicians that attended included artists from a wide range of fields, including film, theatre, music, theater and performance.
Many Indigenous people have been struggling with the loss of their cultural heritage for generations.
In 2017, the New York City Commission on Human Rights published a report on the impact of institutional racism, including white supremacy, on the lives of Indigenous communities.
This report found that white supremacy had affected the lives and experiences of many Indigenous people for decades, but it was especially acute during the 1970s and 1980s, when racism and white supremacy were at their most extreme.
As a result of this, many Indigenous artists are feeling isolated and left to their own devices as they try to find artistic inspiration and formative experiences in a world that is more likely to reject and marginalize them.
In the wake of the 2017 gathering, a group of artists launched the New Orleans Indigenous Arts Collective to share the stories and experiences they have with the struggle of Indigenous art and the stories of those who are artists.
The New Orleans Collective has been meeting to share and work on their stories since 2018.
It has been an important way for Indigenous artists to work together to support each other.
It is an important space for us to come together and be in solidarity and to have our voices heard.
As an artist myself, I find myself drawn to the idea of sharing the stories I have been told.
I am always thinking of the stories that I have told, and how I have felt, and I find it so healing and cathartic to share them.
For many Indigenous performers, this is an ongoing struggle.
The idea of participating in the New Mexico and New York events is a way for them to express their experiences and support each others work.
This event is