s'gʷi gʷi ʔ altxʷ: House of Welcome

Longhouse Education and Cultural Center: A Gathering Place for People of all Cultures

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Native Creative Development Program Awards for 2019

We are proud to announce this year's winners of the Native Creative Development ProgramThis award, provided by the Evergreen Longhouse, helps Native artists acquire the resources they need for individual artistic development. Artists propose a project that can be completed in one year. The Longhouse advisory board comprised of Native artists and scholars select the recipients for each year. Application forms are available in August and due October 10 of each calendar year.

The Longhouse is pleased to announce the most recent group fo award recipients:

Kunu Dittmer-Bearchum , Northern Cheyenne/Ho-Chunk

Kunu will be finishing the mixing and mastering of his album, Through the Battle Smoke.  Funds will be used to finish post-production aspects of the album, produce a video, and invest in merchandising for the album.

Ryan! Feddersen, Colville

Ryan! will prepare for her solo exhibition at the Tacoma Art Museum with the goal to contribute to surrounding communities’ understandings of relationships to water, land, climate, each other, and the effects of our participation by engaging the audience in the conversation through exploration, storytelling, symbolism, fun, humor, analysis, and bold, eye-catching designs.

Malynn Foster, Squaxin Island

Malynn will create a multi-purpose studio to create work and photograph it in a dust free environment. The studio will also incorporate a way to professionally exhibit work when clients come to visit.

Dan Friday, Lummi

Dan will prepare for a solo exhibition Future Artifacts at Northwest Museum of Art. The primary piece will be a glass interpretation of the skexe (Coast Salish Dog) blankets.  The glass blanket will be made by unfurling large blown glass cylinders in a kiln very similar to the way antique sheet glass was made. The body of the cylinders are composed of veil canes that are laid out in a mosaic-like format to represent the pileated patterns of the woven blankets.

Sean Gallagher, King Island Inupiaq

Sean will create a full-size human figure sculpture based on his intensive research of Inupiaq figure carvings. The project will allow for a detailed study of the human figure through the lens of an Inupiaq person. He will create opportunities for public interaction during the process. Teaching and garnering interest in carving figures is a practice that needs elevation and representation in order to preserve and continue this tradition.

John Goodwin, Makah

John will upgrade sandblasting equipment for glass work to improve shop safety, preserve other equipment in the space and allow him to see work in process more clearly and make it possible to work on larger glass projects.

Morningstar Means, Colville

Morningstar will work with Wa He ​Lut students (priority 4-8th grade) for six months during the school day on beading several projects learning 3 beading stitch techniques and how to follow a beading pattern. Students will learn several pow-wow dances and how to care for and repair regalia.

Danielle Morrisette, Suquamish

Danielle will create a new body of work using hand-dyed wools. She will use plant dyes, mushroom, and lichen to create a new palette of colors for her work.

Lillian Pitt, Warm Springs, Wasco, Yakama

Lillian will continue her work with Lummi glass artist Dan Friday on a new series of vessels. Lillian will provide presentations to younger artists on how to translate their work to the medium of glass.

Greg Robinson, Chinoo​k

Greg will produce a series of cast glass sheephorn bowls in the Chinookan style, working with big horn sheep horn to develop a teaching platform for other Chinookans.  He would like to expand on that by learning the process of cast glass.  This provides an alternative bowl material for future students, when sheep horn itself is not an option.

Aurolyn Stwyer, Warm Springs

Aurolyn will provide a class to create a young lady’s beaded cape for the people in the Warm Springs community. Building on her successful model of year-long classes with two-person teams, Aurolyn will be able to offer this class to more families interested in the project.  The parents/grandparents and family will have the local support to create a family heirloom within a one-year timeline.  It is critical for the success of this project to assure the completion of the Plateau beaded cape. The young ladies will use the cap in several key events and ceremonies in which they will be expected to participate.

Terresa White, Yup’ik

Building upon her bronze sculpture work, Terresa will enlarge her bronze sculpture Dependent Rising-Owl and Lemming to a 3 ft sculpture for the City of Lake Oswego Gallery show.

Dependent Arising: Owl and Lemming celebrates the interdependence of all beings and embodies the universal theme of survival. Her aim is to have the visceral experience of drifting one's hands along the smooth lines and curves of both lemming and owl speak to viewers, consciously or subconsciously, of the interrelationship and equal positions, regardless of assumed power differentials, all beings inhabit in the give and take of survival. In Yup’ik, there is no independent existence, only interconnection.​


Eighth Generation’s Inspired Natives Award Recipient 2019

Shirod Younker (Coquille/Miluk Coos/Umpqua), “an artist and educator who has committed to perpetuating the artwork of his people and supporting others to do the same,” received the Eighth Generation’s Inspired Natives Award at the Evergreen Longhouse's Fall Community Dinner on November 9th.

 Congratulations to these talented artists!


The Indigenous Arts Campus:


Fiber Arts Studio Eastern Entrance

Western entrance of the Fiber Arts Studio



As we prepare to celebrate our 25th anniversary next year, we would like to share an oldie but goodie documentary done for the Longhouse's  Tenth Anniversary Celebration. Enjoy!



Standing in Beauty Before the Creator

By Linley B. Logan

Roberta Kirk sharing five Plateau dresses with workshop participants.  Two of the dresses are in The Museum at Warm Springs collection.

Roberta Kirk, Warm Springs tribal member, led a four-day Plateau dressmaking workshop at the Museum at Warm Springs from Thursday, June 28th to Sunday, July 1st. The workshop, organized by Linley B. Logan, was part of The Evergreen State College Longhouse Northwest Heritage Program. Linley leads the organization of the program by working with tribal and native communities to develop artist in residence programs focused on cultural arts.

This Plateau dressmaking artist in residency received a great response. We hosted 18 participants who represented multiple generations and many interfamily groups. The youngest participant, Virgilena Walsey-Begay, is ten years old and she worked on her dress with her mother, Cece Walsey-Begay, and Virgilena’s sister in-law, Courtney Fasthorse. Virgilena danced in her dress at the Simnasho Hot Summer Nights Pow-Wow three days after completing it.

Our dressmaking space at the Museum at Warm Springs was at capacity, with folks spreading their dress material out on the board room table and the floor in the hallway. We ended up with a wait-list of 20 people who are interested in a future Plateau dressmaking workshop.

Plateau dressmaking workshop participants (left to right): Yvette Leecy, Judith Johnson, Roberta Kirk (instructor), Nicole Charley, and Angela Anne Smith.  Redina Billy and Redinea McKinney work in the background.

Roberta has great respect for all tribes and ways of cultural artistic expression: "I was taught our cultural value that when you are going into ceremony or you will stand before the Creator that you must present yourself in your best traditional attire."

The Plateau dressmaking residency proved to be a very powerful arts-in-action connector for community members. A number of the participants were making their dresses for family naming ceremony purposes. Many of the residency participants had great things to say about their experiences. One artist said, “This artist in residency is a blessing of wonderful days filled with laughter and love.” Another artist noted, “It was so beautiful to see the dresses come alive. Truly, each dress has the spirit of its maker in it.” Yet another artist noted, “Everyday held prayers, laughter, sharing, and cultural creativity.” An elder participant commented, “It was a thrill to see the young one sewing her shells on her own dress. I am inspired.” Another participant shared, “The artist in residency was a beautiful four days with family, friends and new friends.” One participant shared, “When I completed the last stitches in my dress, I cried. I mourn no more; my life has come together as well as our families. I am so proud to be released and lifted by my friends through making this dress in this artist in residency. Thank you to the organizers and leader of this artist in residency for providing a means of healing for me.” A healing song was shared by another participant for the healing tears that day.

Carlicia Dixon and Colleen Johnson work on Carlicia's dress.

Community members stopped in to the residency throughout the four days. One community member shared a comment about her visit via a social media post: “Lots of positive energy. You have done a wonderful thing to host this workshop for our people.” Another community member who did not attend the residency responded to the public posts, “The support for our regalia making gives us a better outlook on our traditional ways, that they will never die, that traditions hold strong, and it lets us walk as our elders did with pride to be Indigenous. Thank you for helping to keep this practice alive and well.”

The participants in the Plateau dressmaking artist in residency discussed the idea of organizing a Plateau dress fashion show with their dresses at a future Museum at Warm Springs event.

Participants in the Plateau dressmaking artist in residency pictured from left to right.

Back row; Tricia Charley, Tiyana Casey, Linley B. Logan, Courtney Fasthorse, Roberta Kirk, Angela Anne Smith, Yvette Leecy, Nicole Charley, Judith and Merilda Charlery.

Front Row; Matilda Wallulatum, Aurolyn Stwyer, Cece Walsey-Begay and Virgilena Walsey-Begay, Sara Dowty, Redinea Mckinney, and Redina Billy. Missing from the photo Violetta Vaeth, Marcus Johnson and Colleen D. Johnson.

The Longhouse Education and Cultural Center and the Northwest Heritage Program are excited and very proud to be able to partner with The Museum at Warm Springs to develop and host such incredible, culturally powerful, and healing community-based artist in residencies in a native community. We are thankful to everyone who makes these residencies possible.

Migwech, Gunalchéesh, Nia:weh, We are Thankful.



Wood & Bone: Traditions in Carving

By Linley B. Logan

Traditions in Carving workshop participants holding their West Coast Chinook-style canoe replicas. Left to right: Michelle Ward (Siletz), Ruby DeWilde (Athabascan), Carson Viles (Siletz), Gasun McCabe (Siletz), and one of the workshop organizers and lead artists, Shirod Younker (Coquille/Coos).

On June 11th-15th, the Journeys in Creativity: Explorations in Native American Art and Culture program held the Wood & Bone: Traditions in Carving artists in residence camp for seven Native American participants in Portland, Oregon.

The week started with an introduction to bone carving traditions, taught by local resident and Hawaiian transplant, Kaliko Yokoyama. Students were expected to use their unique tribal aesthetics and translate, carve and polish small bone, antler or Corian materials into small pendants using rotary tools, files and sandpaper.  Traditional wrapping techniques to make cordage were used to help fix and string the pendants so that participants could wear their newly finished pieces of art.

After completing the two-day bone carving workshop, students transitioned to a three-day wood carving workshop, taught by Shirod Younker (Coquille/Coos). The students learned the basics of wood carving using traditional bent and straight knives. Each student was given a 12-inch block of fresh-cut red alder, roughly cut down to a small canoe.

Students learned the basics of rough stock removal and finishing techniques using the knives popularized by the traditional carvers of the Pacific Northwest. The basics of carving canoe models gave the students a unique perspective on the traditional design and science of making a replica West Coast Chinook-style canoe. The Chinook canoe style, designed to handle the rough waters of the Pacific, is believed to be more than 5,000 years old.

At the end of the last day, participants were each given a traditional bent knife and a rotary tool to help perpetuate their newly learned skills during potential future projects.

The Artist in Residence program is run by the Northwest Heritage Program of the Longhouse Education and Cultural Center.




The Longhouse team, in collaboration with the Museum of Glass, intends to add a cast glass studio to the Indigenous Arts Campus in the future. This series of studios will allow the Longhouse to greatly expand its capacity to offer academic classes and a wider variety of residencies in traditional and contemporary arts. In building the Indigenous Arts Campus, we are simultaneously creating the infrastructure for a planned MFA in Indigenous Arts in the future. The Indigenous Arts Campus will add new dimensions to Evergreen’s educational leadership as an interdisciplinary liberal arts college with a commitment to teaching across significant differences.



Shawn Brigman, Phd. is reviving Salish Sturgeon Nose canoe culture on the Upper Columbia waterways with support from the Longhouse's Northwest Heritage Program.

Multiple committed groups and individuals have generously contributed funding to the Indigenous Arts Campus studio development. Support for the Fiber Arts Studio came from the Ford Foundation, Margaret A. Cargill Philanthropies, the Surdna Foundation, the Hearst Foundation, the National Endowment for the Arts, The Evergreen State College, seven Northwest tribes, and more than 165 individual donations. Funding for the new carving studio has been secured from Margaret A. Cargill Philanthropies, the Hugh and Jane Ferguson Foundation, and individual donors.

What We Do

We promote Indigenous arts and cultures through education, cultural preservation, creative expression and economic development—learn more.

  • The Longhouse supports Native artists and hosts Native art Sales and Exhibits throughout the year.

  • Fund your art project with the Grant Programs that we offer to Native artists in the Northwest—The 2019 Native Creative Development Grant is available to Native artists in Washington and Oregon.

  • Host your event at the Longhouse with Evergreen’s Conference Services.

  • We host and offer multicultural classes, presentations, performances, and more! Visit our Events page to see what's happening next.

  • The Longhouse is in the process of developing a graduate-level academic program—a Master of Fine Arts in Indigenous Arts.

Stay up-to-date with the Longhouse by visiting our Facebook page!


Longhouse Merchandise

You can support Longhouse programming by purchasing merchandise. We offer a variety of gifts, including the beautiful Thunderbird Arrives wool blanketco-designed by Louie Gong (Nooksack) and Longhouse staff, and produced by Louie Gong's Eighth Generation.