Native Arts and Cultures Foundation

2020 in review: At last, over & out

2020? Perish the thought. The ups, downs, disasters, trends, outrages, and occasional triumphs of Oregon's arts & culture in a tortuous year.

2020? Perish the thought. Good riddance to bad rubbish: We’re gonna wash that year right out of our hair. Don’t let the door hit you on the way out. Or, as the old curse has it, “may you live in interesting times” – but not quite this interesting, thank you very much.

The Year That Should Not Speak Its Name led pretty much everyone, including all of us here at Oregon ArtsWatch, on a frantic and astonishing chase. It was discombobulating, because for the most part we were chasing in isolation inside the confines of our own homes, like cats in a cardboard box desperately racing after our own tails. Oh, sure, there were those fair-weather walks through the neighborhood, and the masked-up trips to the grocery store. But, really: Things might’ve been new, but they were far from normal.


LOOKING BACK: 2020 IN THE REAR VIEW MIRROR


Normality, of course, is how the year began. Even optimism. On Jan. 1, 2020, a year ago today, ArtsWatch strode brashly into the Brave New Year with the first dispatch in Vision 2020, an ambitious series of 20 interviews over 20 days with a cross-section of Oregon arts figures who agreed to talk with us about how things looked from their corners of the cultural world, and what they hoped to see in the coming year and decade. They had some terrific insights and ideas, and the series makes for some fascinating reading: From Rachel Barreras-Kleeman’s tale of why she teaches dance to low-income kids on the Coast, to Dañel Malan’s vision of creating bilingual arts through Teatro Milagro, to 18 compelling stories in between, you can find all 20 interviews here. But nobody – least of all those of us at ArtsWatch Central, in our eager editorial innocence – anticipated what was lurking just around the corner.

In January Maya Vivas and Leila Haile talked with Martha Daghlian for ArtsWatch’s “Vision 2020” series about the joys and challenges of running an adventurous art gallery on North Mississippi Avenue featuring work from a wide range of artists who identify as QTPoC (Queer Trans People of Color). Because of the Covid-19 crisis, their Ori Gallery has since shifted to an online presence. Photo courtesy Ori Gallery

And how could any of us have? Yes, news reports buried on the inside pages of the newspapers alerted us to some new virus very far away, but it didn’t seem like much to get alarmed about. Then things began to build, until, come March, the virus was all very real, and all over the place, and in spite of a determined right-wing campaign to persuade people that it was all fake news and the disease was a hoax, the world began to shut down.

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Portland, protests, the theater of life

ArtsWatch Weekly: The theater of politics comes to town, and the city's center stage. Plus: polka-dot square, Black & classical, a big gift.

FRUSTRATED BECAUSE THERE’S NO THEATER TO SEE FOR THE CORONADURATION? Look around. The show’s running 24/7, and we’re in the middle of it – unlikely stars of the Show of the Moment, praised and panned for our performances, from the pages of The New York Times to the breathless patter of cable-television talking heads to the bombastic Twitter feeds of 1600 Pennsylvania Avenue. Boffo! A bomb! Lurid, violent spectacle! A bracing warning for us all! Shocking demolition of the fourth wall! Strains credibility! Nonstop action! Predictable performances in a shoddy script! Oughtta be in jail!

Everybody’s a critic in the Theater of Real Life. In the past week Portland’s been getting more national and international attention than it’s had since the heyday of Portlandia jokes (no, you put a bird on it!), and it’s hard to tell whether this new show – let’s call it “The Siege of Portland!” – is tragedy, documentary, or farce. However it all plays out, we’re like a city full of Beckett characters, caught in a world far bigger than we can comprehend, stumbling through the confusion toward a conclusion that we can’t predict.

You know the basic plot. It begins, after a preamble that traces a complex but necessary 400-year backstory, with the deaths at police hands of a seemingly endless string of Black Americans: George Floyd, Breonna Taylor, Trayvon Martin, Tamir Rice, Philando Castile, Eric Garner, Michael Brown – the list goes on and on. This is the moral heart of the story, the unshakable truth that cannot be denied. Add a pandemic, an economic calamity, a historic shift of wealth from bottom to top, two months of nightly protests, a profusion of graffiti and torn-down fences (“Shocking!” “Criminal!” “Not to be believed!”), a trip-wired political standoff, a president with diving poll numbers in an election year, a steady supply of tear gas, “non-lethal” bullets, smashed heads, and broken bones – who’s writing this script? The guy who wrote the Book of Job? Then add an invading force of militarized mystery federal police, upping the ante on everything, bullying into a story where they weren’t invited and are not wanted. Tighten the tension with a Wall of Moms, some Leaf Blower Dads, and an explosion of new and angry protesters filling the stage like essential extras in a spectacle about the French Revolution.
 

Besides presenting a united front and sometimes being tear-gassed, flash-banged, roughed up, and arrested, the “Wall of Moms” at the re-energized protests in downtown Portland have shown a flair for the moment, making theatrical counter-statements of their own. Photo: Deborah Dombrowski

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A new home for the Native Arts and Cultures Foundation

Yale Union transfers its building at SE 10th and Morrison to the Native Arts and Cultures Foundation and will dissolve by the end of 2021

About two years ago, T. Lulani Arquette, president and CEO of the Native Arts and Cultures Foundation (NACF), got a call out of the blue from Yoko Ott, a fellow former Hawaiian and a fellow figure working in the field of arts and culture. Ott had recently been hired as the new executive director of Yale Union, the nonprofit contemporary art organization, and she invited Arquette over to their headquarters on SE Morrison. 

“I thought we were just getting together to catch up,” Arquette remembers, “and ‘talk story’ as we say in Hawaii.” 

Instead, Ott had something much bigger in mind: she and Yale Union wanted to transfer ownership of their building, and the land it sits on, to NACF. 

T. Lulani Arquette. Photo courtesy of the Native Arts and Cultures Foundation.

“I was stunned into silence,” Arquette says. “I was shocked. Pleasingly shocked. This has been a really amazing experience and very profound for all of us that are involved.” 

The shockwaves have yet to die down since the transfer was announced this past Thursday, especially as their joint news release also included the detail that, at the end of next year, Yale Union would dissolve their nonprofit and cease operations.

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