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                <text>&lt;strong&gt;Artist Statement:&lt;/strong&gt;&lt;br /&gt;"The Sacredness of Hills series is based upon recurring desecrations of indigenous burial grounds surrounding my tribal community in Southampton, NY which largely bases its economy on real estate and development. On Monday, August 13th, 2018, skeleton remains were found during residential development on Hawthorne Road in the Shinnecock Hills. The developers and homeowners contacted the Southampton Town and Suffolk County police department, who quickly disturbed the ground further for evidence of recent criminal activity."&lt;strong&gt;&lt;br /&gt;&lt;/strong&gt;</text>
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                <text>&lt;p&gt;&lt;strong&gt;Artist Statememt:&lt;br /&gt;&lt;/strong&gt;"Part of my 'Circling Picasso' series. This piece is a gathering of various cultural and aesthetic elements symbolic of our creation story and imperative to our ways of life. The form stems from a mergence of both female and male forms which I represent through the incorporation of the turtle and whale tale. The layering on the surface references the three sisters (corn, beans, &amp;amp; squash) and the calling to the beings that contributed to the moment where all things were created on Turtle Island. "Matcik" in our language is turtle...this piece represents turtle's way or path in this moment."&lt;/p&gt;</text>
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                <text>Courtney M. Leonard</text>
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                <text>&lt;strong&gt;Artist Statement:&lt;/strong&gt; &lt;br /&gt;"'Nothing Happened Here' explores the violence/non-violence of postcolonial Native American psychology. My work is a reflection of my experience and observations in my community, the Shinnecock Reservation in Southampton, New York, and specifically the burden of loss of culture through assimilation, omission of our history in school curriculum, loss of land, and economic disadvantage. The arrows act as a symbol of everlasting indigenous presence. The decision to use non-native subjects reveals a shared burden. How do we overcome this troubled past?"</text>
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                <text>Graduation in Native communities is a family accomplishment—parents, aunties, grandparents, uncles, siblings, nieces, and cousins all encourage and help provide for students to graduate. Graduations are joyous occasions, and all the extended family and friends want to attend the event and celebrate. This exquisite, beaded mortar board speaks to the accomplishment of the graduate and distinguishes them as a proud member of their Indigenous community. Such a liberating action would have been forbidden during the 19th- and 20th- century boarding school and residential school system, when any sign of being Indigenous (hair, jewelry, clothing, language) was stripped from the child.</text>
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                <text>Collection of the Southold Indian Museum. Recovered in the early 20th century by Edward S. Vail and Roy Latham (1881–1979). &lt;br /&gt;&lt;br /&gt;&lt;em&gt;Unfortunately, the precise context in which this pot was discovered was not documented, nor were Shinnecock, Unkechaug, Montaukett, and other Indigenous peoples properly consulted at the time it was uncovered.&lt;/em&gt;</text>
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                <text>Shell-tempered clay. 18 x 15 x 17 in.  </text>
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                <text>This unique vessel is made of shell-tempered clay and features two human-form effigies on the shoulder. The exterior is decorated with cordmarking and four shell-stamped diamond designs and the interior is heavily channeled. The pot was discovered in what is known today as Three Mile Harbor, Suffolk County. The area was a Montaukett settlement important for hunting, fishing, and camping. </text>
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                <text>This vessel is slightly truncated at the bottom, has a flattened lip shape, and flares at its opening. Given its small size, the pot may have been carried between locations as it was used as, evidenced by wear at the bottom. </text>
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                <text>Collection of the Southold Indian Museum. Collected by Roy Latham (1881–1979) in the early 20th century. &lt;br /&gt;&lt;br /&gt;&lt;em&gt;Unfortunately, the context in which this pot was discovered was not documented, nor were Shinnecock, Unkechaug, Montaukett, and other Indigenous peoples properly consulted at the time it was uncovered.&lt;/em&gt;</text>
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                <text>Southold Indian Museum. Photograph by Jeremy Dennis. </text>
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                <text>Tempered clay </text>
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                <text>This vessel is part of the Niantic Punctate vessel tradition that is often associated with coastal Connecticut. The exterior has a smoothed or cord-marked surface treatment. The interior surface is decorated with rows of punctacts closely spaced across the vessel with small indents as part of the lip. The shape and size of the vessel indicate it probably did not hang but was placed into the ground for use. </text>
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                <text>Collection of the Southold Indian Museum. Collected in the early 20th century and probably reconstructed by Nathaniel E. Booth (1872–1948).&lt;br /&gt;&lt;br /&gt;&lt;em&gt;Unfortunately, the precise context in which this pot was discovered was not documented, nor were Shinnecock, Unkechaug, Montaukett, and other Indigenous peoples properly consulted at the time it was uncovered.&lt;/em&gt;</text>
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                <text>Southold Indian Museum. Photograph by Jeremy Dennis. </text>
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                <text>Tempered clay. 27 x 28. 5 in. </text>
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                <text>The carefully carved, larger shell beads on this necklace are generally thought to reflect a bird-like form. Examples of these kinds of bird-like shell beads are present in the material culture of Indigenous peoples across what is now New York. </text>
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                <text>Unknown Indigenous artist </text>
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                <text>Southold Indian Museum. Collected in Cutchogue in the early 20th century by Nathaniel E. Booth (1872–1948). &lt;br /&gt;&lt;br /&gt;&lt;em&gt;Unfortunately, the precise context in which this pot was discovered was not documented, nor were Shinnecock, Unkechaug, Montaukett, and other Indigenous peoples properly consulted at the time it was uncovered.&lt;/em&gt;</text>
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                <text>ca. 1650</text>
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                <text>Southold Indian Museum. Photograph by Jeremy Dennis.</text>
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                <text> “Morning Prayer at Shinnecock”</text>
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                <text>Why would prayer and spiritual beliefs be an act of liberation? In 1978, the passage of the American Indian Freedom of Religious Act (Public Law No. 95-341, 92 Stat. 469) permitted Indigenous people to openly practice their spiritual beliefs. At the time, the freedom to participate and organize dances and other cultural practices had only been deemed legal for 45 years. </text>
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                <text>Martine, David Bunn (Shinnecock, Montauk, Chiricahua Ft. Sill Apache)&#13;
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                <text>David Bunn Martine</text>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="232">
                <text>"Shinnecock Potedaup (Whale) Ceremony, 17th Century"</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="233">
                <text>Martine's work gifts us an intense and vibrant visualization of an Indigenous Sewanhaky past, where daily life and ceremony are freely expressed. Martine's painting interrupts a European art history narrative that attempts to side-step or leave out Indigenous presence.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="234">
                <text>Martine, David Bunn (Shinnecock, Montauk, Chiricahua Ft. Sill Apache)&#13;
</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="235">
                <text>Collection of the artist </text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="236">
                <text>David Bunn Martine</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="265">
                <text>2005</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
</itemContainer>
