The Native Circle

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Some of the members of The Native Circle teaching and learning weaving arts. From left to right around the table: Minerva Soucie, Betty Hawley, Sara Barton, Anne Sissions, Beverly Beers (hidden) and Olivia Miller. Photo by Beth Coahran, 2006

Who We Are

The Native Circle began as a loose association of dedicated artisan Indian women more than five years ago. Within months of beginning, the association became a powerhouse of strong, dedicated, and often opinionated Indian women who shared a dedication to the mental, emotional, and physical well-being of their sister Indian women.

Meeting multiple times a week on the Burns Paiute Indian Reservation, The Native Circle and the individuals of the membership quickly became known locally, nationally, and internationally for our dedication to learning, preserving, and the teaching of traditional Native practices, culture, and arts for the betterment of Indian women, their families, and their communities.

Three years ago The Native Circle solidified our base of work, rededicating ourselves to advocating for the women of our Native community: their economic stability; personal, spiritual, and familial health; personal and familial pride; and to teach a better ability to negotiate through the complexities of their cross-cultural existence. This work included codifying our Mission, creating a body of yearly work and creating an active fiscal plan that included actively fundraising and future fiscal sustainability.

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Sara Barton, Yosemite Miwok/Mono Lake Paiute and artisan member The Native Circle. On the left is Sara at a Harney County event, showing and selling a small selection of her art work, inccluding red abalone jewelry and tule weaving. On the right Sara shows her newest doll size Paiute style cradleboard or baby board of willow, Pendleton wool, yarn fiber, and hide. (left photo by Lauren Brown 2007, right photo by Beth Coahran 2006)

Our Request

We request aid in support of a member of our Native Circle community in expanding her artistic knowledge and to find her personal creative voice through the medium of lampworking. Sara Barton has tried making lampwork beads and has become fascinated with glass and its possibilities. We understand that this ancient art form which began in Egypt, was perfected in the Mediterranean, and nearly died out as a world-wide art had its rebirth in the Pacific Northwest in the late 1980’s, and has provided artisans with an amazing and unparalleled avenue to express their individual symbology and aesthetic venturing into new realms of color and form.

Sara needs equipment, tools, and glass to begin her exploration of this artform. We asked Kathe Nagy, a member of the local International Society of Glass Beadmakers (ISGB), the Oregon Regional Society of Glassbeadmakers (ORBS), to coordinate with the local president, Karen Moyer, to help keep track of needs and possible donations from the beadmaking community. Kathe has volunteered to also give Sara instruction and guidance for as long as needed.

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Sara Barton in her traditional “Sally Dress” with beaded mesh yoke and willow winnowing tray. Sara attending (with Kristeny Soucie in red with elk teeth yoke and Minera Soucie in willow cap) the opening of the “Art of Celebration: Native Regalia” exhibit at the Hallie Ford Museum in Salem Oregon. Photo by Beth Coahran, 2008.

Sara Barton

Retired from a career in substance abuse counseling, Sara Barton is an artist of rare and unequalled grace. A lifelong women’s and children’s advocate, she works tirelessly to help Tribal women learn the means to support themselves and their children in a manner that is financially stable and within their own definition of “culturally appropriate”.

Through the years, Sara has worked in many mediums, including abalone, beads, leather, natural fibers, and cloth. Sara was introduced to lamp working at an art show in Newport, Oregon when she met Kathe Nagy, a lamp work artisan. Intrigued by the form and substance of the lamp working, Sara immediately saw the possibilities and the relevance of that medium to the aesthetic forms she brings to all of her own works of art. Despite much research and investigation, the Native Circle has not been able to locate another Native artist versant in this medium. Sara looks forward to exploring the possibilities of reaching a whole new level of Native symbology within this medium as a unique and vital means of self expression.

Currently Sara uses her art work not only as a mean of personal fiscal support, but also as a means to teach other Native women. As Native women, the women of the Native Circle – including Sara - understands that within Reservation communities, women have always gathered together to teach and learn skills that have the other advantage of encouraging their own self expression. While in these classes, the Native women are given a rare and vital community of support, comfort, aid, and solace. They are given the time to be with those who are older and can receive advice. They are given the time to be with those who are younger that they can mentor, giving themselves the opportunity to be of service and gain that self esteem lost in the disintegration of the common Native extended family.

The Studio in progress

As founding members of The Native Circle, Sara Barton and Beth Coahran have designate a large room for the “Lampwork Studio” within the newly acquired Native Circle building (total footage of the building: 2100sq/ft). This 20 x 20 foot designated space is perfect for lampworking: not only is it a large space with access to water and electricity, but the space is within the current teaching and community facility, associated with the on-line store (launch date December 1, 2008), and attached to the future ‘store front’ (to open June 15, 2009). Once Sara learns the mechanics of the art she will have immediate access to the storefront and the on-line sales for The Native Circle as well as the venue to teach other interested women within the native community this art form.

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The new building purchased by Beth Coahran and on permanent lease to The Native Circle. Beth Coahran on the left, Sara Barton on the Right. The door to the left enters onto the workroom, classroom, and offices of The Native Circle. The right door enters onto the future store-front and research/museum room. Sara’s lampworking studio is in the left side of the building. Photo by Laurellyn Coahran, 2008

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Sara Barton, together with Minerva Soucie and Truman Teeman at the Annual City of Portland Natives Art Show, selling and displaying their artwork. Here Sara is wearing her own creation of Red Abalone necklace, belt, and earrings. Her other jewelry is also displayed on the blue board and the tear-drop willow display on the right. Photo by Beth Coahran, 2007

The Future Studio – Creating a Lucrative Art Form

This new and amazing art form has allowed many artists around the United States a lucrative medium for their art. Eye-catching and vibrant, this art form allows the artist to express themselves in a new and vital manner that speaks to many, many people. The skill involved in learning and gaining expertise in this medium requires someone with a natural artistic eye, skill, and patience.

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The 20x20 foot room aka “The Sara Barton Lampwocking Studio” (currently used as the wool and cat tail storage space! These materials will be moved to the storage unit on Beth’s property.) Photo by Laurellyn Coahran, 2008

Thank you, ORBS members for your consideration. We hope to meet you in Burns in the summer of 2009 for the First Annual Native American Traditional and Modern Bead Festival.

The founding women of the Native Circle

Beth Coahran, Osage/ Assiniboine Sioux

Sara Barton, Yosemite Miwok/Mono Lake Paiute

Minerva Soucie, Burns Paiute Tribal Elder

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