Ramson Lomatewama is the first documented Hopi glassblower, having 25 years of experience behind him. Prior to that, he was a katsina doll carver, and worked in creating wire wrapped sterling silver jewelry. Shortly after graduating from Goddard College in Plainfield, Vermont, he went on to publish several books of poetry.

Ramson has taught various glass workshops and classes in the U.S., and has served as a consultant for several museums throughout Japan. He was also an adjunct professor of sociology at North Central College in Naperville.

Hopi ceremonies and cultural activities play a significant role in his life, and Ramson continues to dedicate time to schools, universities, and museums as a visiting scholar and artist.

Ramson also teaches glass art for the Hopitutuqayki (The Hopi School), an arts apprenticeship program on Hopi land. He also volunteers as one of the school board members.

Ayen Talashoma is the second generation of great Hopi glass artists. Ayen is currently an apprentice of his grandfather, Ramson Lomatewama, learning the tricks of the trade while developing his own unique approach to glasswork. These traditional ways of transferring knowledge from generation to generation ensure a rich artistic heritage for years to come.

• Clothing should be all cotton – no synthetic materials! These materials can and will heat up and/or catch fire. Cotton shirts, sweatshirts, etc. are acceptable. Jeans or other cotton materials are suitable for pants.
• No sandals or open toed shoes are allowed. Leather boots are recommended.
• Your favorite polarized eyewear
• Refillable water bottle
• Personal spray water bottle. ����ֱ�� temperatures are hot, a spray bottle may help in keeping you cool.

Optional:

• Comfortable lawn chair with seat cushion

Your workshop starts at 9 a.m. each day. Lunch is served from 12pm to 1pm. Workshops resume at 1pm and wrap up at 4pm. Dinner is served from 5pm to 7pm. You are welcome to join evening programming led by other adult art programs. Please see your schedule for event listings. 

NOTE: Some instructors allow for after-hour work sessions. If the instructor(s) is/are willing and present in the studio, you can work on your pieces after 4pm. 

Engagement, enthusiasm and stamina are necessary for this workshop. Students work independently with guidance from their instructor(s) while sitting for extended periods and performing repetitive movements for up to 3 hours at a time during a 6 hour day. Participants must have finger, hand, and arm dexterity and are encouraged to work consistently throughout the workshop. This is a serious consideration for those who have arthritis, chronic neck, shoulder or back pain.

Generous donors have made scholarships and fellowships for adult workshops available on a limited basis for these specific groups:

1) Native American Community Leaders, Artists, Members, and Teachers.
2) Southern California professors, and graduate students.

Scholarships include workshop tuition, dorm housing, and all meals provided by the campus dining service. 

Please note: Transportation to and from campus is not provided. Registration and Lab Fees are also not included in scholarship awards.

Scholarship Details:

1. Native American Community Members, Leaders, Artists, and Teachers
   For adults 18 and older with current tribal affiliation or proof of descent. This scholarship intends to support the traditional transference of knowledge in Indigenous communities. The scholarship welcomes community leaders, artists, members, and educators to workshops at ����ֱ�� to benefit both the scholarship recipient and those in their schools or tribal home communities. Applicants must explain how this opportunity will enhance their understanding of Indigenous arts and their potential benefits to their home community(s). Applicants with financial needs may receive priority. We also offer scholarships for Native American Teens for both the ����ֱ�� Program and the Academy.
2. Southern California professors, and graduate students
   For adults 18 and older who are current teachers in lower and higher education who will benefit from learning about Native American Arts and Culture to take back into the classroom as well as currently enrolled graduate students. The scholarship is designed to provide professional development for those in education to share with their learning communities.

Click for more information about adult scholarships.

Richard Tsosie, Diné (Navajo), is a jeweler and sculptor from Flagstaff, Arizona, and the Wide Ruins area of the Navajo Nation. He currently lives in Scottsdale, Arizona. His work has been featured in American Indian Art Magazine, Arizona Highways, the video Beyond Tradition: Contemporary Indian Art and Its Evolution, and several books, including Southwestern Indian Jewelry by Dexter Cirillo and Enduring Traditions: Art of the Navajo by Jerry Jacka. His art is on permanent exhibition at the Smithsonian, the Heard Museum, the Museum of Us in San Diego, and the Museum of Northern Arizona. His work has also been photographed by renowned photographer Jerry Jacka.

Richard’s contemporary silver and gold work features fabrication, overlay, and granulation. He is also known for his colorful inlay work using a variety of natural stones, as well as his precision and attention to detail. His designs are inspired by the natural world, particularly the Wide Ruins area of the Navajo Nation, where he spent much of his youth. Richard says of his work, “I am inspired by the colors of the mountains at sunset, the patterns of shadow and light that emerge at dawn, and the pinpoints of starlight against the black night sky.”

Tools & Materials

A basic metalsmithing tool kit is provided to each student as part of your lab fee, but you’re welcome to bring any personal jewelry-making tools you already own.

We work with each instructor to develop a materials list for their workshop and, whenever possible, purchase the materials needed for the planned projects. The exception is workshops that utilize silver. Because of the cost of silver, participants in these workshops will be responsible for purchasing their own silver to work with. A specific materials list, including reputable suppliers and the amount needed for the planned class project, will be provided upon registration. Silver supplies may cost up to $300 USD, depending on the project and current metal prices.

For workshops using other metals or materials, the cost of those supplies will generally be calculated into your lab fee. A comprehensive list of what is provided and what you will need to purchase will be sent upon registration.

Safety & Studio Clothing

Please bring closed-toe shoes, which must be worn in the studio at all times, as well as comfortable clothing suitable for working in a studio environment. Natural fibers are generally recommended. If natural-fiber clothing is not possible, wearing an apron is encouraged; aprons are available for participant use in the studio.

If you have long hair, please bring a hair tie or clip to keep it securely pulled back. We also recommend bringing hearing protection and any personal safety equipment you prefer to use, such as safety glasses, an apron, or other protective gear. Basic eye and ear protection will also be available in the studio.

Personal & Studio Items

You’re welcome to bring a sketchbook and photos or other visual references for inspiration. For additional comfort during long studio sessions, consider bringing a seat cushion or padding. If you use Optivisors, you are welcome to bring your own; a limited number will be available onsite.

Bedding & Bath

Towels for personal and studio use
Toiletries, including shampoo, conditioner, soap, toothbrush, toothpaste, etc.
A personal pillow, if preferred
Clothing & Weather

Idyllwild’s mountain weather can vary throughout the summer, so we recommend packing for a range of conditions. Temperatures can occasionally drop to around 40°F, especially in the evenings, while particularly warm days can reach around 80°F.

Appropriate footwear — campus is very hilly

• Comfortable socks
• Shorts
• Pants
• Sweatshirts or other warm layers
• Sun hat
• Sunglasses
• Sunscreen
• Bathing suit — the campus has a pool
• Other Comforts
• Reusable water bottle
• Travel mug
• Flashlight or headlamp
• Bug spray
• Sunscreen
• Medications, if needed
• Music device and headphones
• Any favorite personal safety gear

The campus store carries some of the items listed above, and there are grocery stores and other shops available in town for additional supplies.

A typical studio day begins at 9:00 AM after breakfast in the dining hall. Mornings are generally the most instruction-focused part of the day. Instructors may begin with demonstrations, introduce new skills, or check in with participants individually. Teaching styles vary. Some instructors address the class as a whole, while others prefer to work with participants one-on-one. Studio Assistants work alongside the instructor throughout the day, helping to answer questions, reinforce demonstrations, and provide additional support as you work through your projects.

The morning is primarily spent in the studio, with opportunities to step outside for a break as needed. Water is available just outside the studio, and participants are always encouraged to take a walk around campus, get some fresh air, or simply take a break.

Lunch is served from 12:00–1:00 PM. Assistants typically close the studio during lunch and head to the dining hall themselves. Studio time resumes at 1:00 PM and continues until 4:00 PM, when the formal class session ends. Afternoons generally transition into more independent studio time, giving participants an opportunity to continue working on their projects at their own pace.

Dinner is served from 5:00–7:00 PM. The time between the end of class and dinner is a good opportunity to continue working, freshen up, take a break, or explore campus.

Evenings are an active part of the ����ֱ�� Program, with artist talks, activities with visiting craftspeople, gallery hours, and opportunities to visit other studios. Participants are encouraged to take advantage of these offerings. The studio may also remain open after dinner for additional work time, overseen by the Studio Assistants. Evening studio access is intended for independent work, and Assistants may occasionally need to step away for a break or to participate in other program activities.

The lab fee covers access to studio facilities and equipment, as well as common materials, consumables, and supplies used during your workshop. In most cases, silver is not included and must be purchased separately by participants.

Lab fees also cover supplies that your instructor has requested we order or provide specifically for the workshop. Depending on the workshop, these costs may include items such as gas, solder, flux, saw blades, sandpaper, and materials used for demonstrations.

Coordinators calculate these costs specifically for each workshop to accurately reflect the supplies used throughout the week. A complete list of materials and consumables provided through your lab fee will be available after registration.

Generous donors have made a limited number of scholarships and fellowships available for Native American community leaders, artists, community members, and teachers participating in adult workshops.

Scholarships include workshop tuition, dorm housing, and all meals provided by the campus dining service.

Please note: Transportation to and from campus, registration fees, and lab fees are not included in scholarship awards.

Scholarship Details:

Scholarships are available to Native American community members, leaders, artists, and teachers ages 18 and older with current tribal affiliation or proof of descent. These scholarships are intended to support the traditional transfer of knowledge within Indigenous communities by welcoming participants to workshops at ����ֱ�� that can benefit both the scholarship recipient and their school or tribal home community.

Applicants must explain how this opportunity will enhance their understanding of Indigenous arts and how they may share or apply that knowledge within their home communities. Applicants with demonstrated financial need may receive priority.

Scholarships are also available for Native American teens participating in both the ����ֱ�� Program and the Academy.

Click for more information about adult scholarships.

Metals J.A.M. is coordinated by Fernanda Gaspar and Edward Donato, who are available to answer questions about workshops, materials, scheduling, registration, or other program-related information.

Please contact both coordinators with any questions:

Fernanda Gaspar: mwcoordinator@idyllwildarts.org
Edward Donato: metals@idyllwildarts.org

If your question is better suited for someone else, Fernanda and Edward will be happy to point you in the right direction.

Richard Tsosie Diné (Navajo) is a jeweler and sculptor from Flagstaff, Arizona, and the Wide Ruins area of the Navajo Nation and is currently living in Scottsdale, AZ. His work has been featured in American Indian Art Magazine, Arizona Highways, the video Beyond Tradition: Contemporary Indian Art and Its Evolution, and several books, including Southwestern Indian Jewelry by Dexter Cirillo and Enduring Traditions, Art of the Navajo by Jerry Jacka. His art is on permanent exhibition at The Smithsonian, The Heard Museum, The Museum of Us in San Diego, and The Museum of Northern Arizona. His artwork has been featured in the magazine Arizona Highways and photographed by renowned photographer Jerry Jacka.

Richard’s contemporary silver and gold work features fabrication, overlay, and granulation. He is also known for colorful inlay work with various natural stones and his fine degree of control and attention to detail. His designs are motivated by images of the natural world, particularly the Wide Ruins area of the reservation, where he spent a large part of his youth. Richard says of his work, “I am inspired by the colors of the mountains at sunset, the patterns of shadow and light that emerge at dawn, and the pinpoints of starlight against the black night sky.”

Tools & Materials

A basic metalsmithing tool kit is provided to each student as part of your lab fee, but you’re welcome to bring any personal jewelry-making tools you already own.

We work with each instructor to develop a materials list for their workshop and, whenever possible, purchase the materials needed for the planned projects. The exception is workshops that utilize silver. Because of the cost of silver, participants in these workshops will be responsible for purchasing their own silver to work with. A specific materials list, including reputable suppliers and the amount needed for the planned class project, will be provided upon registration. Silver supplies may cost up to $300 USD, depending on the project and current metal prices.

For workshops using other metals or materials, the cost of those supplies will generally be calculated into your lab fee. A comprehensive list of what is provided and what you will need to purchase will be sent upon registration.

Safety & Studio Clothing

Please bring closed-toe shoes, which must be worn in the studio at all times, as well as comfortable clothing suitable for working in a studio environment. Natural fibers are generally recommended. If natural-fiber clothing is not possible, wearing an apron is encouraged; aprons are available for participant use in the studio.

If you have long hair, please bring a hair tie or clip to keep it securely pulled back. We also recommend bringing hearing protection and any personal safety equipment you prefer to use, such as safety glasses, an apron, or other protective gear. Basic eye and ear protection will also be available in the studio.

Personal & Studio Items

You’re welcome to bring a sketchbook and photos or other visual references for inspiration. For additional comfort during long studio sessions, consider bringing a seat cushion or padding. If you use Optivisors, you are welcome to bring your own; a limited number will be available onsite.

Bedding & Bath

Towels for personal and studio use
Toiletries, including shampoo, conditioner, soap, toothbrush, toothpaste, etc.
A personal pillow, if preferred
Clothing & Weather

Idyllwild’s mountain weather can vary throughout the summer, so we recommend packing for a range of conditions. Temperatures can occasionally drop to around 40°F, especially in the evenings, while particularly warm days can reach around 80°F.

Appropriate footwear — campus is very hilly

• Comfortable socks
• Shorts
• Pants
• Sweatshirts or other warm layers
• Sun hat
• Sunglasses
• Sunscreen
• Bathing suit — the campus has a pool
• Other Comforts
• Reusable water bottle
• Travel mug
• Flashlight or headlamp
• Bug spray
• Sunscreen
• Medications, if needed
• Music device and headphones
• Any favorite personal safety gear

The campus store carries some of the items listed above, and there are grocery stores and other shops available in town for additional supplies.

A typical studio day begins at 9:00 AM after breakfast in the dining hall. Mornings are generally the most instruction-focused part of the day. Instructors may begin with demonstrations, introduce new skills, or check in with participants individually. Teaching styles vary—some instructors address the class as a whole, while others prefer to work with participants one-on-one. Studio Assistants work alongside the instructor throughout the day, helping answer questions, reinforce demonstrations, and provide additional support as you work through your projects.

The morning is primarily spent in the studio, with opportunities to step outside for a break as needed. Water is available just outside the studio, and participants are always encouraged to take a walk around campus, get some fresh air, or take a break when needed.

Lunch is served from 12:00–1:00 PM. Assistants typically close the studio during lunch and head to the dining hall themselves. Studio time resumes at 1:00 PM and continues until 4:00 PM, when the formal class session ends. Afternoons generally transition into more independent open studio time, giving participants an opportunity to continue working on their projects at their own pace.

Dinner is served from 5:00–7:00 PM. The time between the end of class and dinner can be a good opportunity to continue working, freshen up, take a break, or explore campus.

Evenings are an active part of the ����ֱ�� Program, with artist talks, activities with visiting craftspeople, gallery hours, and opportunities to visit other studios. Participants are encouraged to take advantage of these offerings. The studio may also remain open after dinner for additional work time, overseen by the Studio Assistants. Evening studio access is intended for independent work, and Assistants may occasionally need to step away to take a break or participate in other program activities.

The lab fee covers access to the studio facilities and equipment, as well as common materials, consumables, and supplies used during your workshop. Silver in most cases is not included and must be purchased separately by participants. A complete list of materials and consumables provided through your lab fee will be available after registration.

Shop fees include supplies that your instructor has requested we order or provide for the workshop. Depending on the workshop, these costs may include items such as gas, solder, flux, saw blades, sandpaper, and materials used for demonstrations.

Coordinators calculate these costs specifically for each workshop to most accurately reflect the supplies used during the week. A complete list of materials and consumables provided through your lab fee will be available after registration.

Generous donors have made scholarships and fellowships for adult workshops available on a limited basis for:

Native American Community Leaders, Artists, Members, and Teachers.

Scholarships include workshop tuition, dorm housing, and all meals provided by the campus dining service. 

Please note: Transportation to and from campus is not provided. Registration and Lab Fees are also not included in scholarship awards.

Scholarship Details:

For Native American adult Community Members, Leaders, Artists, and Teachers 18 and older with current tribal affiliation or proof of descent. This scholarship intends to support the traditional transference of knowledge in Indigenous communities. The scholarship welcomes community leaders, artists, members, and educators to workshops at ����ֱ�� to benefit both the scholarship recipient and those in their schools or tribal home communities. Applicants must explain how this opportunity will enhance their understanding of Indigenous arts and their potential benefits to their home community(s). Applicants with financial needs may receive priority. We also offer scholarships for Native American Teens for both the ����ֱ�� Program and the Academy.

Click for more information about adult scholarships.

Metals J.A.M. is coordinated by Fernanda Gaspar and Edward Donato, who are available to answer questions about workshops, materials, scheduling, registration, or other program-related information.

Please contact both coordinators with any questions:

Fernanda Gaspar: mwcoordinator@idyllwildarts.org
Edward Donato: metals@idyllwildarts.org

If your question is better suited for someone else, Fernanda and Edward will be happy to point you in the right direction.

Roy Talahaftewa is from Shungopovi Village on the Hopi Reservation in Arizona and is a member of the Water Clan. He works in silver and gold, using both Hopi overlay and tufa casting in his designs. Roy has received significant awards for his work since 1981, including Best of Show at the Heard Museum, among many others. Working with the non-profit Hopi Pu’tavi Project, Inc., Roy teaches Hopi youth the art of metalsmithing, and he is an active advocate and promoter of Hopi artists on the reservation.

Tools & Materials

A basic metalsmithing tool kit is provided to each student as part of your lab fee, but you’re welcome to bring any personal jewelry-making tools you already own.

We work with each instructor to develop a materials list for their workshop and, whenever possible, purchase the materials needed for the planned projects. The exception is workshops that utilize silver. Because of the cost of silver, participants in these workshops will be responsible for purchasing their own silver to work with. A specific materials list, including reputable suppliers and the amount needed for the planned class project, will be provided upon registration. Silver supplies may cost up to $300 USD, depending on the project and current metal prices.

For workshops using other metals or materials, the cost of those supplies will generally be calculated into your lab fee. A comprehensive list of what is provided and what you will need to purchase will be sent upon registration.

Safety & Studio Clothing

Please bring closed-toe shoes, which must be worn in the studio at all times, as well as comfortable clothing suitable for working in a studio environment. Natural fibers are generally recommended. If natural-fiber clothing is not possible, wearing an apron is encouraged; aprons are available for participant use in the studio.

If you have long hair, please bring a hair tie or clip to keep it securely pulled back. We also recommend bringing hearing protection and any personal safety equipment you prefer to use, such as safety glasses, an apron, or other protective gear. Basic eye and ear protection will also be available in the studio.

Personal & Studio Items

You’re welcome to bring a sketchbook and photos or other visual references for inspiration. For additional comfort during long studio sessions, consider bringing a seat cushion or padding. If you use Optivisors, you are welcome to bring your own; a limited number will be available onsite.

Bedding & Bath

Towels for personal and studio use
Toiletries, including shampoo, conditioner, soap, toothbrush, toothpaste, etc.
A personal pillow, if preferred
Clothing & Weather

Idyllwild’s mountain weather can vary throughout the summer, so we recommend packing for a range of conditions. Temperatures can occasionally drop to around 40°F, especially in the evenings, while particularly warm days can reach around 80°F.

Appropriate footwear — campus is very hilly

• Comfortable socks
• Shorts
• Pants
• Sweatshirts or other warm layers
• Sun hat
• Sunglasses
• Sunscreen
• Bathing suit — the campus has a pool
• Other Comforts
• Reusable water bottle
• Travel mug
• Flashlight or headlamp
• Bug spray
• Sunscreen
• Medications, if needed
• Music device and headphones
• Any favorite personal safety gear

The campus store carries some of the items listed above, and there are grocery stores and other shops available in town for additional supplies.

A typical studio day begins at 9:00 AM after breakfast in the dining hall. Mornings are generally the most instruction-focused part of the day. Instructors may begin with demonstrations, introduce new skills, or check in with participants individually. Teaching styles vary—some instructors address the class as a whole, while others prefer to work with participants one-on-one. Studio Assistants work alongside the instructor throughout the day, helping answer questions, reinforce demonstrations, and provide additional support as you work through your projects.

The morning is primarily spent in the studio, with opportunities to step outside for a break as needed. Water is available just outside the studio, and participants are always encouraged to take a walk around campus, get some fresh air, or take a break when needed.

Lunch is served from 12:00–1:00 PM. Assistants typically close the studio during lunch and head to the dining hall themselves. Studio time resumes at 1:00 PM and continues until 4:00 PM, when the formal class session ends. Afternoons generally transition into more independent open studio time, giving participants an opportunity to continue working on their projects at their own pace.

Dinner is served from 5:00–7:00 PM. The time between the end of class and dinner can be a good opportunity to continue working, freshen up, take a break, or explore campus.

Evenings are an active part of the ����ֱ�� Program, with artist talks, activities with visiting craftspeople, gallery hours, and opportunities to visit other studios. Participants are encouraged to take advantage of these offerings. The studio may also remain open after dinner for additional work time, overseen by the Studio Assistants. Evening studio access is intended for independent work, and Assistants may occasionally need to step away to take a break or participate in other program activities.

The lab fee covers access to the studio facilities and equipment, as well as common materials, consumables, and supplies used during your workshop. Silver in most cases is not included and must be purchased separately by participants. A complete list of materials and consumables provided through your lab fee will be available after registration.

Shop fees include supplies that your instructor has requested we order or provide for the workshop. Depending on the workshop, these costs may include items such as gas, solder, flux, saw blades, sandpaper, and materials used for demonstrations.

Coordinators calculate these costs specifically for each workshop to most accurately reflect the supplies used during the week. A complete list of materials and consumables provided through your lab fee will be available after registration.

Generous donors have made scholarships and fellowships for adult workshops available on a limited basis for:

Native American Community Leaders, Artists, Members, and Teachers.

Scholarships include workshop tuition, dorm housing, and all meals provided by the campus dining service. 

Please note: Transportation to and from campus is not provided. Registration and Lab Fees are also not included in scholarship awards.

Scholarship Details:

For Native American adult Community Members, Leaders, Artists, and Teachers 18 and older with current tribal affiliation or proof of descent. This scholarship intends to support the traditional transference of knowledge in Indigenous communities. The scholarship welcomes community leaders, artists, members, and educators to workshops at ����ֱ�� to benefit both the scholarship recipient and those in their schools or tribal home communities. Applicants must explain how this opportunity will enhance their understanding of Indigenous arts and their potential benefits to their home community(s). Applicants with financial needs may receive priority. We also offer scholarships for Native American Teens for both the ����ֱ�� Program and the Academy.

Click for more information about adult scholarships.

Metals J.A.M. is coordinated by Fernanda Gaspar and Edward Donato, who are available to answer questions about workshops, materials, scheduling, registration, or other program-related information.

Please contact both coordinators with any questions:

Fernanda Gaspar: mwcoordinator@idyllwildarts.org
Edward Donato: metals@idyllwildarts.org

If your question is better suited for someone else, Fernanda and Edward will be happy to point you in the right direction.

Ramson Lomatewama is the first documented Hopi glassblower, having 25 years of experience behind him. Prior to that, he was a katsina doll carver, and worked in creating wire wrapped sterling silver jewelry. Shortly after graduating from Goddard College in Plainfield, Vermont, he went on to publish several books of poetry.

Ramson has taught various glass workshops and classes in the U.S., and has served as a consultant for several museums throughout Japan. He was also an adjunct professor of sociology at North Central College in Naperville.

Hopi ceremonies and cultural activities play a significant role in his life, and Ramson continues to dedicate time to schools, universities, and museums as a visiting scholar and artist.

Ramson also teaches glass art for the Hopitutuqayki (The Hopi School), an arts apprenticeship program on Hopi land. He also volunteers as one of the school board members.

Ayen Talashoma is the second generation of great Hopi glass artists. Ayen is currently an apprentice of his grandfather, Ramson Lomatewama, learning the tricks of the trade while developing his own unique approach to glasswork. These traditional ways of transferring knowledge from generation to generation ensure a rich artistic heritage for years to come.

Your lab fee covers the cost of clear glass needed to construct items as well as colored glass frit to color your glassworks. The lab fee also covers the costs of use of tools, protective gear, and gas consumables.

• Clothing should be all cotton – no synthetic materials! These materials can and will heat up and/or catch fire. Cotton shirts, sweatshirts, etc. are acceptable. Jeans or other cotton materials are suitable for pants.
• No sandals or open toed shoes are allowed. Leather boots are recommended. 
• Your favorite polarized eyewear
• Refillable water bottle
• Personal spray water bottle. ����ֱ�� temperatures are hot, a spray bottle may help in keeping you cool.

Optional:

• Comfortable lawn chair with seat cushion

Your workshop starts at 9am each day. Lunch is served from 12pm to 1pm. Workshops resume at 1pm and wrap up at 4pm. Dinner is served from 5pm to 7pm. You are welcome to join evening programming led by other adult art programs. Please see your schedule for event listings.

NOTE: Some instructors allow for after-hour work sessions. If the instructor(s) is/are willing and present in the studio, you can work on your pieces after 4pm.

Engagement, enthusiasm and stamina are necessary for this workshop. Students work independently with guidance from their instructor(s) while sitting for extended periods and performing repetitive movements for up to 3 hours at a time during a 6 hour day. Participants must have finger, hand, and arm dexterity and are encouraged to work consistently throughout the workshop. This is a serious consideration for those who have arthritis, chronic neck, shoulder or back pain.

Generous donors have made scholarships and fellowships for adult workshops available on a limited basis for these specific groups:

1) Native American Community Leaders, Artists, Members, and Teachers.
2) Southern California professors, and graduate students.

Scholarships include workshop tuition, dorm housing, and all meals provided by the campus dining service.

Please note: Transportation to and from campus is not provided. Registration and Lab Fees are also not included in scholarship awards.

Scholarship Details:

1. Native American Community Members, Leaders, Artists, and Teachers
   For adults 18 and older with current tribal affiliation or proof of descent. This scholarship intends to support the traditional transference of knowledge in Indigenous communities. The scholarship welcomes community leaders, artists, members, and educators to workshops at ����ֱ�� to benefit both the scholarship recipient and those in their schools or tribal home communities. Applicants must explain how this opportunity will enhance their understanding of Indigenous arts and their potential benefits to their home community(s). Applicants with financial needs may receive priority. We also offer scholarships for Native American Teens for both the ����ֱ�� Program and the Academy.
2. Southern California professors, and graduate students
   For adults 18 and older who are current teachers in lower and higher education who will benefit from learning about Native American Arts and Culture to take back into the classroom as well as currently enrolled graduate students. The scholarship is designed to provide professional development for those in education to share with their learning communities.

Click for more information about adult scholarships.

Barbara Jean Teller Ornelas is a fifth-generation Master Navajo Weaver and culture bearer, raised near the famed Two Grey Hills Trading Post on the Navajo Nation. Her father, Sam Teller was a Navajo trader for thirty-two years, and her mother, Ruth Teller, was a weaver, gardener, quilter and photographer. When Teller Ornelas was ten, her paternal grandmother dreamt that she would become a great weaver who shared their traditions around the world. Fifty-seven years later, Teller Ornelas has not only honed her artistry as a Two Grey Hills weaver but shared it with audiences internationally in the form of workshops, lectures, and exhibitions. For Teller Ornelas, weaving is a living thing, she uses her weavings to tell stories—a legacy passed down by her great-grandfather, a Keeper of Stories who was a prisoner of war at Bosque Redondo after the U.S. military forcibly relocated the Navajo people in 1863. Teller Ornelas is herself a survivor of two U.S. government residential schools—institutions which aimed to eradicate Navajo culture. In the face of this, she has dedicated her life to preserving and innovating Navajo weaving. Her designs reference both her matrilineal traditions and lived experience. As a teacher, she has shared her knowledge with students from Arizona to Peru and Oaxaca, to Uzbekistan, to Kyrgyzstan, building solidarity with other indigenous peoples. In 2023, Barbara became a US Artist fellow. Today, her mission is to connect Navajo people in her own cultural ecosystem with their heritage by passing on this crucial ancestral knowledge and nurturing new generations of Navajo weavers.

Diné tapestry weaver Lynda Teller Pete was born into the Tábąąhá (Water Edge Clan) and born for the Tó’aheedlíinii (Two Waters Flow Together Clan). Originally from the Two Grey Hills, Newcomb, NM area of the Diné Nation. She lives in Denver with her husband Belvin Pete. Weaving is a legacy in the Teller family. For over seven generations, her family has produced award-winning rugs in the traditional Two Grey Hills regional style. Along with her weaving, Lynda is collaborating with fiber art centers, museums, universities, fiber guilds and other art venues to educate the public about Diné history and the preservation of Diné weaving traditions. Lynda and her sister Barbara wrote Spider Woman’s Children, Navajo Weavers Today in 2018. This book is the first book written about Diné weavers by Diné weavers since the time of Spanish and colonial contacts. Their second book How to weave a Navajo rug and other lessons from Spider Woman published in 2020. Lynda has also collaborated with three authors on the book, Navajo Textiles: The Crane Collection at the Denver Museum of Nature and Science in 2016. Lynda has a Bachelor of Science degree in Criminal Justice in Public Programs from Arizona State University. She is also a 2022-2023 Luce Indigenous Knowledge Fellow and has an elected Board of Director position with the Textile Society of America for 2020-2025. Lynda has been selected for the 2024 School of Advanced Research’s Rollin and Mary Ella King Native Artist Fellowship in Santa Fe, NM.

All items are optional but suggested for ease and comfort: 

• Padded cushion for your seat
• Back support device
• Clamp-on light
• Clip on fan for comfort
• Reading glasses, if necessary
• Refillable water bottle

Your workshop starts at 9am each day. Lunch is served from 12pm to 1pm. Workshops resume at 1pm and wrap up at 4pm. Dinner is served from 5pm to 7pm. You are welcome to join evening programming led by other adult art programs. Please see your schedule for event listings.

NOTE: Some instructors allow for after-hour work sessions. If the instructor(s) is/are willing and present in the classroom, you can work on your pieces after 4pm.

Engagement, enthusiasm and stamina are necessary for this workshop. Students work independently with guidance from their instructor(s) while sitting for extended periods and performing repetitive movements for up to 3 hours at a time during a 6 hour day. Participants must have finger, hand, and arm dexterity and are encouraged to work consistently throughout the workshop. This is a serious consideration for those who have arthritis, chronic neck, shoulder or back pain.

Generous donors have made scholarships and fellowships for adult workshops available on a limited basis for these specific groups:

1) Native American Community Leaders, Artists, Members, and Teachers.
2) Southern California professors, and graduate students.

Scholarships include workshop tuition, dorm housing, and all meals provided by the campus dining service.

Please note: Transportation to and from campus is not provided. Registration and Lab Fees are also not included in scholarship awards.

Scholarship Details:

1. Native American Community Members, Leaders, Artists, and Teachers
   For adults 18 and older with current tribal affiliation or proof of descent. This scholarship intends to support the traditional transference of knowledge in Indigenous communities. The scholarship welcomes community leaders, artists, members, and educators to workshops at ����ֱ�� to benefit both the scholarship recipient and those in their schools or tribal home communities. Applicants must explain how this opportunity will enhance their understanding of Indigenous arts and their potential benefits to their home community(s). Applicants with financial needs may receive priority. We also offer scholarships for Native American Teens for both the ����ֱ�� Program and the Academy.
2. Southern California professors, and graduate students
   For adults 18 and older who are current teachers in lower and higher education who will benefit from learning about Native American Arts and Culture to take back into the classroom as well as currently enrolled graduate students. The scholarship is designed to provide professional development for those in education to share with their learning communities.

Click for more information about adult scholarships.

Barbara Jean Teller Ornelas is a fifth-generation Master Navajo Weaver and culture bearer, raised near the famed Two Grey Hills Trading Post on the Navajo Nation. Her father, Sam Teller was a Navajo trader for thirty-two years, and her mother, Ruth Teller, was a weaver, gardener, quilter and photographer. When Teller Ornelas was ten, her paternal grandmother dreamt that she would become a great weaver who shared their traditions around the world. Fifty-seven years later, Teller Ornelas has not only honed her artistry as a Two Grey Hills weaver but shared it with audiences internationally in the form of workshops, lectures, and exhibitions. For Teller Ornelas, weaving is a living thing, she uses her weavings to tell stories—a legacy passed down by her great-grandfather, a Keeper of Stories who was a prisoner of war at Bosque Redondo after the U.S. military forcibly relocated the Navajo people in 1863. Teller Ornelas is herself a survivor of two U.S. government residential schools—institutions which aimed to eradicate Navajo culture. In the face of this, she has dedicated her life to preserving and innovating Navajo weaving. Her designs reference both her matrilineal traditions and lived experience. As a teacher, she has shared her knowledge with students from Arizona to Peru and Oaxaca, to Uzbekistan, to Kyrgyzstan, building solidarity with other indigenous peoples. In 2023, Barbara became a US Artist fellow. Today, her mission is to connect Navajo people in her own cultural ecosystem with their heritage by passing on this crucial ancestral knowledge and nurturing new generations of Navajo weavers.

Diné tapestry weaver Lynda Teller Pete was born into the Tábąąhá (Water Edge Clan) and born for the Tó’aheedlíinii (Two Waters Flow Together Clan). Originally from the Two Grey Hills, Newcomb, NM area of the Diné Nation. She lives in Denver with her husband Belvin Pete. Weaving is a legacy in the Teller family. For over seven generations, her family has produced award-winning rugs in the traditional Two Grey Hills regional style. Along with her weaving, Lynda is collaborating with fiber art centers, museums, universities, fiber guilds and other art venues to educate the public about Diné history and the preservation of Diné weaving traditions. Lynda and her sister Barbara wrote Spider Woman’s Children, Navajo Weavers Today in 2018. This book is the first book written about Diné weavers by Diné weavers since the time of Spanish and colonial contacts. Their second book How to weave a Navajo rug and other lessons from Spider Woman published in 2020. Lynda has also collaborated with three authors on the book, Navajo Textiles: The Crane Collection at the Denver Museum of Nature and Science in 2016. Lynda has a Bachelor of Science degree in Criminal Justice in Public Programs from Arizona State University. She is also a 2022-2023 Luce Indigenous Knowledge Fellow and has an elected Board of Director position with the Textile Society of America for 2020-2025. Lynda has been selected for the 2024 School of Advanced Research’s Rollin and Mary Ella King Native Artist Fellowship in Santa Fe, NM.

Includes four skeins of wool and use of tools

Optional: 

• Pre-warped loom -l $80
• Wool dyeing session – $20

All items are optional but suggested for ease and comfort: 

• Padded cushion for your seat
• Back support device
• Clamp-on light
• Clip on fan for comfort
• Reading glasses, if necessary
• Refillable water bottle

Your workshop starts at 9 a.m. each day. Lunch is served from 12pm to 1pm. Workshops resume at 1pm and wrap up at 4pm. Dinner is served from 5pm to 7pm. You are welcome to join evening programming led by other adult art programs. Please see your schedule for event listings.

NOTE: Some instructors allow for after-hour work sessions. If the instructor(s) is/are willing and present in the classroom, you can work on your pieces after 4pm.

Engagement, enthusiasm and stamina are necessary for this workshop.  Students work independently with guidance from their instructor(s) while sitting for extended periods and performing repetitive movements for up to 3 hours at a time during a 6 hour day.  Participants must have finger, hand, and arm dexterity and are encouraged to work consistently throughout the workshop. This is a serious consideration for those who have arthritis, chronic neck, shoulder or back pain.  

Generous donors have made scholarships and fellowships for adult workshops available on a limited basis for these specific groups:

1) Native American Community Leaders, Artists, Members, and Teachers.
2) Southern California professors, and graduate students.

Scholarships include workshop tuition, dorm housing, and all meals provided by the campus dining service.

Please note: Transportation to and from campus is not provided. Registration and Lab Fees are also not included in scholarship awards.

Scholarship Details:

1. Native American Community Members, Leaders, Artists, and Teachers
   For adults 18 and older with current tribal affiliation or proof of descent. This scholarship intends to support the traditional transference of knowledge in Indigenous communities. The scholarship welcomes community leaders, artists, members, and educators to workshops at ����ֱ�� to benefit both the scholarship recipient and those in their schools or tribal home communities. Applicants must explain how this opportunity will enhance their understanding of Indigenous arts and their potential benefits to their home community(s). Applicants with financial needs may receive priority. We also offer scholarships for Native American Teens for both the ����ֱ�� Program and the Academy.
2. Southern California professors, and graduate students
   For adults 18 and older who are current teachers in lower and higher education who will benefit from learning about Native American Arts and Culture to take back into the classroom as well as currently enrolled graduate students. The scholarship is designed to provide professional development for those in education to share with their learning communities.

Click for more information about adult scholarships.

Barbara Jean Teller Ornelas is a fifth-generation Master Navajo Weaver and culture bearer, raised near the famed Two Grey Hills Trading Post on the Navajo Nation. Her father, Sam Teller, was a Navajo trader for thirty-two years. Her mother, Ruth Teller, was a weaver, gardener, quilter and photographer. When Teller Ornelas was ten, her paternal grandmother dreamt that she would become a great weaver who shared their traditions around the world. Fifty-seven years later, Teller Ornelas has not only honed her artistry as a Two Grey Hills weaver, but shared it with audiences internationally in the form of workshops, lectures, and exhibitions. For Teller Ornelas, weaving is a living art form. She uses her work to tell stories—a legacy passed down from her great-grandfather, a Keeper of Stories who was imprisoned at Bosque Redondo after the U.S. military forcibly relocated the Navajo people in 1863. Teller Ornelas is herself a survivor of two U.S. government residential schools—institutions which aimed to eradicate Navajo culture. In the face of this, she has dedicated her life to preserving and innovating Navajo weaving. Her designs reference both her matrilineal traditions and lived experience. As a teacher, she has shared her knowledge with students from Arizona to Peru and Oaxaca, to Uzbekistan, to Kyrgyzstan, building solidarity with other indigenous peoples. In 2023, Barbara became a US Artist fellow. Today, her mission is to connect Navajo people in her own cultural ecosystem with their heritage by passing on this crucial ancestral knowledge and nurturing new generations of Navajo weavers.

Diné tapestry weaver Lynda Teller Pete was born into the Tábąąhá (Water Edge Clan) and born for the Tó’aheedlíinii (Two Waters Flow Together Clan) and originally from the Two Grey Hills, Newcomb, NM area of the Diné Nation. She currently lives in Denver with her husband, Belvin Pete. Weaving is a legacy in the Teller family. For over seven generations, her family has produced award-winning rugs in the traditional Two Grey Hills regional style. Along with her weaving, Lynda collaborates with fiber art centers, museums, universities, fiber guilds and other art venues to educate the public about Diné history and the preservation of Diné weaving traditions. Lynda and her sister Barbara co-authored Spider Woman’s Children: Navajo Weavers Today in 2018—the first book about Diné weavers written by Diné weavers since the era of Spanish and colonial contact. They went on to publish How to Weave a Navajo Rug and Other Lessons from Spider Woman in 2020, as well as Navajo Textiles: The Crane Collection at the Denver Museum of Nature and Science in 2016. Lynda has a Bachelor of Science degree in Criminal Justice in Public Programs from Arizona State University. She is also a 2022-2023 Luce Indigenous Knowledge Fellow and has an elected Board of Director position with the Textile Society of America for 2020-2025. Lynda was selected for the 2024 School of Advanced Research’s Rollin and Mary Ella King Native Artist Fellowship in Santa Fe, NM.

Your lab fee includes the use of a pre-warped loom, essential tools such as a batten and comb, four skeins of wool, and paper and pencil for note-taking and design work. Additional wool and tools will be available for purchase during class if needed or desired.

All suggested items are optional but suggested for comfort.

• Padded cushion for your seat
• Back support device
• Clamp-on light
• Clip on fan for comfort
• Reading glasses if necessary

Your workshop starts at 9am each day. Lunch is served from 12pm to 1pm. Workshops resume at 1pm and wrap up at 4pm. Dinner is served from 5pm to 7pm. You are welcome to join evening programming led by other adult art programs on campus, please see your schedule for event details.

NOTE: Some instructors allow for after-hour work sessions. If the instructor(s) is/are willing and present in the classroom, you can work on your pieces after 4pm.

Engagement, enthusiasm and stamina are necessary for this workshop. Students work independently with guidance from their instructor(s) while sitting for extended periods and performing repetitive movements for up to 3 hours at a time during a 6 hour day. Participants must have finger, hand, and arm dexterity and are encouraged to work consistently throughout the workshop. This is a serious consideration for those who have arthritis, chronic neck, shoulder or back pain.

Generous donors have made scholarships and fellowships for adult workshops available on a limited basis for these specific groups:

1) Native American Community Leaders, Artists, Members, and Teachers.
2) Southern California professors, and graduate students.

Scholarships include workshop tuition, dorm housing, and all meals provided by the campus dining service.

Please note: Transportation to and from campus is not provided. Registration and Lab Fees are also not included in scholarship awards.

Scholarship Details:

1. Native American Community Members, Leaders, Artists, and Teachers
   For adults 18 and older with current tribal affiliation or proof of descent. This scholarship intends to support the traditional transference of knowledge in Indigenous communities. The scholarship welcomes community leaders, artists, members, and educators to workshops at ����ֱ�� to benefit both the scholarship recipient and those in their schools or tribal home communities. Applicants must explain how this opportunity will enhance their understanding of Indigenous arts and their potential benefits to their home community(s). Applicants with financial needs may receive priority. We also offer scholarships for Native American Teens for both the ����ֱ�� Program and the Academy.
2. Southern California professors, and graduate students
   For adults 18 and older who are current teachers in lower and higher education who will benefit from learning about Native American Arts and Culture to take back into the classroom as well as currently enrolled graduate students. The scholarship is designed to provide professional development for those in education to share with their learning communities.

Click for more information about adult scholarships.

Dorothy Ami (Hopi-Tewa) is from the village of Polacca at First Mesa in Arizona. She began practicing the art of Hopi-Tewa pottery 30 years ago under her cousin and innovator in Hopi pottery, Mark Tahbo. She later went on to win several awards in competitions, including the Museum of Northern Arizona’s Annual Hopi Show, the NAU Road Scholar Program, and other private organizations.

Emerson Ami (Hopi-Tewa) lives with his wife Dorothy in the village of Tewa on First Mesa and they have both been featured in many publications, including Talking with Clay in the 21st Century and Hopi Tiles. He has been creating pots during his tenure as a BIA Law Enforcement officer (now retired). Emerson is currently the Probation Supervisor for Hopi Tribal Court.  He has not won and ribbons but says, “If I sell one pot, then that’s my prize winning creation.”  Emerson specializes in making a wide variety of pots, not just the traditional styles. Those who know him well call him, “Fire God.”

Your lab fee includes the use of natural clays and pigments, tools, and firing materials.

Optional:

• Small portable lamp (clamp is best)
• Seat cushion
• Refillable water bottle
• Boxes/containers and bubble wrap/towels to secure and transport finished work

Your workshop starts at 9am each day. Lunch is served from 12pm to 1pm. Workshops resume at 1pm and wrap up at 4pm. Dinner is served from 5pm to 7pm. You are welcome to join evening programming led by other adult art programs. Please see your schedule for event listings.

NOTE: Some instructors allow for after-hour work sessions. If the instructor(s) is/are willing and present in the classroom, you can work on your pieces after 4pm.

Your workshop concludes on Friday at 4pm, however, your ceramic pieces will not be fully complete until noon on Saturday June 19, 2027 following the traditional firing of the ceramics. Be sure to plan for this special Saturday event!

Engagement, enthusiasm and stamina are necessary for this workshop. Students work independently with guidance from their instructor(s) while sitting for extended periods and performing repetitive movements for up to 3 hours at a time during a 6 hour day. Participants must have finger, hand, and arm dexterity and are encouraged to work consistently throughout the workshop. This is a serious consideration for those who have arthritis, chronic neck, shoulder or back pain.

Generous donors have made scholarships and fellowships for adult workshops available on a limited basis for these specific groups:

1) Native American Community Leaders, Artists, Members, and Teachers.
2) Southern California professors, and graduate students.

Scholarships include workshop tuition, dorm housing, and all meals provided by the campus dining service.

Please note: Transportation to and from campus is not provided. Registration and Lab Fees are also not included in scholarship awards.

Scholarship Details:

1. Native American Community Members, Leaders, Artists, and Teachers
   For adults 18 and older with current tribal affiliation or proof of descent. This scholarship intends to support the traditional transference of knowledge in Indigenous communities. The scholarship welcomes community leaders, artists, members, and educators to workshops at ����ֱ�� to benefit both the scholarship recipient and those in their schools or tribal home communities. Applicants must explain how this opportunity will enhance their understanding of Indigenous arts and their potential benefits to their home community(s). Applicants with financial needs may receive priority. We also offer scholarships for Native American Teens for both the ����ֱ�� Program and the Academy.
2. Southern California professors, and graduate students
   For adults 18 and older who are current teachers in lower and higher education who will benefit from learning about Native American Arts and Culture to take back into the classroom as well as currently enrolled graduate students. The scholarship is designed to provide professional development for those in education to share with their learning communities.

Click for more information about adult scholarships.