Meet our Panelists

Day One of the Emerging Indigenous Voices Project will showcase a panel of established indigenous artists who will offer pearls of wisdom to our emerging artists about how to carry forth an indigenous voice grounded in the teachings of the ancestors.

Panel facilitator, Bethany Edmunds states, “The artists will talk about how they explore concepts of self and identity and how this is reflected in the imagery in their work, addressing issues of colonization, sovereignty and the stories of our ancestors; and finally how cultural protocols and the responsibility as kaitiaki or guardians of the environment are encapsulated in their work and translated visually, to spread these messages to indigenous communities and wider audiences around the world.”

The panel members include:

Jeanette Acosta (Filipina)
Jeanette is a performing artist and a life long student of music, who began her music career as a child prodigy performing throughout Europe and later studied music at Cal Arts and UCLA. Jeanette has played keyboard for artists like Taj Mahal and John Trudel, composed music for TV shows Falcon Crest and Emmy Award winning Murphy’s Law. Jeanette’s many accomplishments also include working for MBST Entertainment, Inc., where she managed the careers of John Pizzarelli, Bucky Pizzarelli, Mindi Abair, and assisted with the business affairs of Woody Allen, The Beatles, The Estate of George Harrison, and The Estate of Frank Zappa. Jeanette’s life journey has brought her to the practice of Kundalini yoga and meditation and she is currently a certified “permaculture” designer and instructor.

L. Frank Manriquez (Tongva/Ajachmem)
A Native California Indian artist, tribal scholar, cartoonist, language advocate, and self-described “decolonizationist,” L. Frank is the co-founder of Advocates for Indigenous California Language Survival and serves on the board of The Cultural Conservancy.

L. Frank is a mixed media artist, accomplished in stone carving, etching, painting, and drawing. Her artwork has been exhibited at the Gorman Museum at UC Davis, the Phoebe A. Hearst Museum of Anthropology at UC Berkeley, the San Francisco Museum of Modern Indian Contemporary Arts in San Francisco, and Gallery One in Pt. Reyes. She has a regular column/graphic piece entitled Acorn Soup in the quarterly publication, News From Native California, and authored two books, Acorn Soup and First Families: A Photographic History of California Indians, both published by Heyday Books.

Meleanna Aluli Meyers (Native Hawaiian)
Meleanna comes from Mokapu, O’ahu, and is the second child of Harry and Emma Meyer. She has had a lifelong love for the arts in all forms. She received her BA in design and photography from Stanford University. Meleanna was mentored by Nathan Oliveira and Leo Holub. Her kumu (teacher) in mana’o Hawai’i (Hawaiian knowledge) is respected educator Keola Lake. Meleanna received her MA in Educational Foundations from the University of Hawai’i at Manoa under the mentorship of Dr. Royal Fruehling. An East West Center grantee, APAWLI and Salzberg Fellow, she has been able to lend her many talents to a wide range of arts and culture collaborations.

Meleanna is a practicing artist, educator, and filmmaker, and has taught in a wide range of educational settings both public and private, as an artist in residence, and contractually as a consultant with Kamehameha Schools Literacy and Instruction program. As a filmmaker, she has three documentaries to her credit, and is a published author and illustrator.

Timoteo Ikoshy Montoya (Lipan Apache Band of Texas)
Ikoshy Montoya was born in Corpus Christi, Texas in 1956. When he was nine, his family moved to San Francisco, California. His artistic abilities have been with him since his youth. As he made his way through school, this creativity was encouraged by his family and instructors. Ikoshy lived in the San Francisco bay area until his move up to Humboldt County where he attended the College of the Redwoods. It was there that he entered the Native American Studies Program and began his involvement with other native peoples in securing their culture and history. He began to paint using acrylics, his work making the most of ideas and inspiration from the native environment he was in. His art, from its inception, represents the evolution of immersion in native teachings as it traced its way through ceremonies and the everyday part of his own personal life. Ikoshy has never had any formal art training. “I was born with my artistic abilities and my elders, the sweat lodge, and related ceremonies have been my art instructors.”

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