Ortman is the recipient of the 2020 Residency, 2017 Jerome Foundation Fellowship, the 2016 Art Matters Grant, the 2016 Native Arts and Culture Foundation Fellowship, the 2015 IAIA’s Museum of Contemporary Native Arts Social Engagement Residency and the 2014-15 Rauschenberg Residency. In 2008 Ortman founded the Coast Orchestra, an all-Native American orchestral ensemble that performed a live soundtrack to Edward Curtis’s film In the Land of the Head Hunters (1914), the first silent feature film to star an all-Native American cast.
She has performed at The Whitney Museum of American Art and The Museum of Modern Art in New York, The Toronto BIennial in Ontario, the Musée d’Art Contemporain de Montréal, and the Centre Pompidou, Paris, among countless established and DIY venues in the US, Canada, and Europe. An inquisitive and exquisite violinist, Ortman is versed in Apache violin, piano, electric guitar, keyboards, and pedal steel guitar, often sings through a megaphone, and is a producer of capacious field recordings. If you lose the language, you’re not just losing words you’re losing an entire way of seeing and experiencing the world from a distinctly indigenous perspective.”Į pisode 7: Laura Ortman Hosted by Tara GatewoodĪ soloist and vibrant collaborator, Laura Ortman (White Mountain Apache) works across recorded albums, live performances, and filmic and artistic soundtracks, and has collaborated with artists such as Tony Conrad, Jock Soto, Raven Chacon, Nanobah Becker, Okkyung Lee, Martin Bisi, Caroline Monnet, Michelle Latimer, Martha Colburn, Tanya Lukin LInklater and Loren Connors. “It’s crucial for us to make sure that we’re using our language and passing it on to the next generation. “I’m doing this work because there’s only about a hundred Wolastoqey speakers left,” he says. The anguish and joy of the past erupt fervently into the present through Jeremy’s bold approach to composition and raw, affective performances enhanced by his outstanding tenor techniques. Delicate, sublime vocal melodies ring out atop piano lines that cascade through a vibrant range of emotions. These “collaborative”compositions, collected together on his debut LP Wolastoqiyik Lintuwakonawa, are like nothing you’ve ever heard. Long days at the archives turned into long nights at the piano, feeling out melodies and phrases, deep in dialogue with the voices of his ancestors. “Many of the songs I’d never heard before, because our musical tradition on the East Coast was suppressed by the Canadian Government’s Indian Act.” Jeremy heard ancestral voices singing forgotten songs and stories that had been taken from the Wolastoqiyik generations ago.Īs he listened to each recording, he felt his own musical impulses stirring from deep within. A member of Tobique First Nation in New Brunswick, Jeremy first did music studies in Halifax before taking a chance to work in the archives at the Canadian Museum of History, painstakingly transcribing Wolastoq songs from 1907 wax cylinders.
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His music, too, transcends boundaries: unapologetically playful in its incorporation of classical influences, full of reverence for the traditional songs of his home, and teeming with the urgency of modern-day struggles of resistance. Performer, composer, activist, musicologist - these roles are all infused into his art and way of life. From directors and writers to carvers and fashion designers, artists share their unique stories and perspectives on navigating these fields while reclaiming native identity.Įpisode 8: Jeremy Dutcher Hosted by Andi Murphy The Native Artist podcast takes a deep dive into the stories of Indigenous artists, spanning a wide range of artistic disciplines.
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