Category: Arts & Entertainment

37 years of tradition

Record turnout at Seafair Indian Days Powwow 

By Wade Sheldon, Tulalip News  

The steady heartbeat of the drums echoed across Discovery Park as vibrant regalia filled the dance arena during the 37th annual Seafair Indian Days Powwow at Daybreak Star Indian Cultural Center. Held July 17-19 in Seattle, this year’s celebration was the largest in the event’s 37-year history, drawing hundreds of dancers and drummers and more than 20,000 attendees to celebrate culture, community and tradition. 

Families gathered while drum groups kept the arena alive with songs that carried dancers through every session. Friends reunited, children played between dance sessions, and visitors explored Native-owned vendor booths featuring artwork, beadwork, clothing and traditional foods. Throughout the weekend, the atmosphere reflected the powwow’s enduring role as a place where generations gather to celebrate Native identity while strengthening connections across tribal communities.

Dance competitions remained a highlight of the weekend as participants of all ages entered the arena in Men’s Traditional, Grass, Fancy and Chicken Dance categories, while Women’s Traditional, Jingle Dress and Fancy Shawl dancers showcased their own unique styles. Teen, Junior, Tiny Tot and Golden Age dancers also competed throughout the weekend, with intertribal and special dances inviting everyone into the circle.

Whether competing for prize money or dancing during intertribal songs, every participant contributed to the celebration. Eagle bustles, jingles, brightly colored shawls and intricate beadwork reflected countless hours of craftsmanship while honoring traditions passed from one generation to the next.

For many families, the Seafair Indian Days Powwow is about much more than dancing, serving as an opportunity to reconnect with loved ones, make new friends and celebrate culture together year after year.

Yakima’s Dolly Heemsah knows that feeling well. Having danced since infancy and attended the Seafair Indian Days Powwow for many years, she has watched generations of families gather beneath the arbor. After beginning as a jingle dancer and later dancing Fancy, she eventually found her place in Women’s Traditional. 

Spending the weekend alongside her family, Heemsah said the greatest joy comes from seeing both familiar and new faces. “With family and meeting new friends, new dancers, the new infants and everything, it’s nice,” she said. 

Encouraging first-time visitors to experience everything the celebration has to offer, Heemsah added, “Have fun, look at the vendors, and meet people. Dance and have fun.”

While Heemsah’s story reflects a lifetime spent in the dance circle, John L. Archuleta of the Shoshone-Bannock Tribes from the Fort Hall Indian Reservation in Idaho represents a newer generation of dancers discovering what the powwow trail can offer. After dancing for the first time in 2022 in his hometown of Fort Hall, Archuleta traveled 17 hours by bus to attend this year’s Seafair Indian Days Powwow, where he reunited with friends and was gifted a new shirt and apron before stepping into the arena.

“I just had this red outfit, the shirt and apron, gifted to me today,” Archuleta said. “I wasn’t going to waste any time, so I hurried and got everything switched over. It was great.”

A Northern Contemporary Traditional dancer, Archuleta said the powwow has quickly become much more than a place to dance. During a difficult period in his life, he said the powwow trail has become a source of healing, helping him cope while strengthening his commitment to sobriety.

“Powwowing for me is a de-stressor, and it’s also coping for me,” he said. “It’s helping me keep my sobriety. Without the powwow trail, without being able to dance in moccasins, do my face paint and wear my beadwork, I honestly wouldn’t be here. It’s medicine, and it helps me out a lot.”

Archuleta said his face paint is not intended to draw attention to himself but instead honors his family, his powwow family and the warrior traditions that inspire his dancing.

“I’m not out there for myself,” he said. “I’m out there for my mom, my family and my powwow family that’s here. Warriors went out to battle in face paint, so I’ve got to represent my people too.”

“It’s a once-in-a-lifetime experience,” Archuleta said. “People get to come here, hang out and see our way of life. I would motivate non-Natives to come because every sunrise, every sunset and every person we meet matters. Come experience a powwow.”

As the final songs echoed through the arena Sunday afternoon, dancers embraced, families packed away their chairs and vendors began closing their booths, bringing another successful Seafair Indian Days Powwow to a close. For lifelong dancers like Heemsah and newer dancers like Archuleta, the gathering continues to demonstrate that the powwow is more than a competition. It is a place where culture is celebrated, friendships are strengthened, healing is found, and traditions continue to thrive for generations to come.

In The Spirit

By Micheal Rios, Tulalip News

At the heart of the Evergreen State College campus stands the House of Welcome’s cultural arts center. For the last 30 years, this center has affirmed Native arts and cultures by providing a space for customary practices to be transferred across generations. 

In celebration of the center’s 30th anniversary, the House of Welcome partnered with the Washington State Historical Society to organize the first In The Spirit Festival and Art Show. This stunning show was hosted at the Tacoma Art Museum and was an incredible opportunity for 30 Native artists who represented 27 regional tribes.

The life of their artworks embodied creation, stories, land connections, and history rooted in living traditions. 

“Our In The Spirit collection includes artworks ranging from customary (the gatherers of natural materials, who practice labor-intensive warping and weaving) to contemporary (technically proficient techniques used to create designs and symbolism),” explained program specialist Mary Kummer (Makah). “Together, they highlight the beauty of their culture and traditions while honoring all that is sacred and of creation.”

Urban Spirit, Bill Pfeifer
Digital Illustration, Acrylic Print

“Urban Spirit” reflects a journey of rewilding after leaving the city – torn between its energy and a natural place in the woods. It captures the push and pull of longing for urban life while embracing the quiet strength of my Tlingit roots. Though I carry lessons from the metropolis, the forests call me home. This piece embodies the balance between past and present, tradition and modernity, solitude and connection.
I feel my offering to the world these days is to make art accessible to the next generation. I started my own company, Formline Evolved, to encompass my love of cartoons, comic books, and video games. My goal as an artist is to always be experimenting with new methods and pushing at the boundaries of our traditional artforms.
The Gathering, Dylan Sanidad
Red Cedar, Acrylic Paint

“I am Seattle born and raised Alaska Native artist with Haida, Tlingit, Tsimshian and Filipino roots. I began my journey as an artist began 2018. I left my career as an aerospace mechanic to pursue my passion to craft and revitalize traditional art. Through the guidance of Tsimshian master carver, David Boxley, I have been able to refine my techniques to carve, paint and cultivate pieces of my own. Through my art I envision bringing awareness of my culture through the creations of indigenous art while bringing in elements of modern concepts to tell my own stories. Traditional masks, staffs, rattles, paddles, bowls, trays, and regalia are only some of the favorites I enjoy creating. I am proud that our culture was resurrected for my generation, and I want to help continue grow the artwork to new heights for generations to come.”
Salish Huckleberry Dancer
Shaadootlaa Tinaayeil Iyall
Merino wool warp & weft, Woven merino wool strap, Dyed salmon leather, Natural smoked moosehide, Cotton, Ermine hides, Trade beads, crystals, and abalone buttons.

Shaadootlaa is a woman of many talents. She is a traditional herbalist, a weaver, a beader, a sewer, a tattooist, a singer, a dancer, a storyteller, a teacher, and a student, among other things. This woven piece honors Coast Salish design and the natural color palettes of treasured huckleberries, blending traditional materials with mathematically precise weaving. It features two-color All Our Ancestors & Lightning twining with the concentric Haida tattoo designs framed with spiraling weft designs of octopus hugs patterns. Crafted with S-twist merino wool warp and hand-dyed weft in shades of huckleberry.
Copper Ravenstail Collar
Sydney Akagi
Merino wool and copper cones

Sydney’s work as a weaver began as an interest in fiber arts and has revealed itself as a vital part of healing her identity with her Tlingit culture. During her journey into traditional Tlingit Northwest Coast Arts, Akagi was introduced to Ravenstail weaving and later Chilkat. She is also a professional photographer. The color and tones she uses to draw are inspired by the warm moody colors found in Southeast Alaska. In her textile and dyes, the materials she uses are all sustainable, foraged and sourced from its lush summer forests and sleeping winter wonderland.
Dáku Arts
Becky Quinlan
Hand-dug, hand processed clay

Becky is a Caddo Nation citizen, artist, and geographer with a passion for preserving and revitalizing Indigenous culture and knowledge. Living in Washington State, Becky is the owner of Dáku Arts, which features her traditional and contemporary pottery, and works as an independent contractor in GIS and Remote Sensing.
She creates her works in the traditional way: hand dug, hand processed clay; hand coiled and shaped; stone burnished and open pit-fired.  Her etched and incised designs combine traditional themes with inspiration from the natural environment of the Caddo homelands.
“This artform was virtually lost until we had one Caddo potter, Jeri Redcorn, revive it in the 1990s. She taught Chase Earles who offered a year-long class to interested Caddo Nation members. That’s where I learned the art form, from Chase. I always wanted to connect more with my tribe and my ancestors. By using their same methods of harvesting by hand, processing by hand, and etching by hand, I really feel that sense of connection.”
Game of Telephone
Cynthia Masterson
Czech glass seed beads / found objects

Oklahoma-born Seattle resident Cynthia Masterson bead weaves using deep knowledge of a misunderstood technique inconsistently called gourd or peyote.  With grit and a VHS tape she taught herself to bead in 2003 and is working to document sixteen different ways to do this stitch. Her art combines writing, everyday objects and beadwork, creating assemblages with stories reacting to current events, loss of language, and time.
“I used a vintage candlestick telephone, a Westen Electric for those old enough to remember such things, that was restored by Old Phone Shop in Canada. They rewired it to make it a working landline telephone, or, as it’s being used here, it can be hooked up via Bluetooth to any cell phone to make or receive calls.
“I’m also using the phone to demonstrate two off-loom weaving styles that can be used for cylinder-shaped objects. One style is a 3 drop and the other style is a 2 drop. Both are interchangeably referred to as Peyote stitch.”

Tulalip shines at Strawberry Festival

By Wade Sheldon, Tulalip News  

The Tulalip Tribes were prominently featured during the 94th Annual Strawberry Festival Grand Parade on Saturday, June 20, as thousands of spectators lined State Street in downtown Marysville to celebrate one of Snohomish County’s most beloved summer traditions.

This year’s parade carried special significance for Tulalip as Board of Directors Chairman Hazen Shopbell was recognized during the event. Riding through the parade route in a vintage convertible, Chairman Shopbell waved to the crowd as community members and visitors applauded his leadership and service to the Tulalip Tribes.

Also representing Tulalip was 2026 Strawberry Festival Queen Mone’t Clemens. The Tulalip tribal member rode atop a strawberry-themed float, greeting spectators throughout the parade route. As Strawberry Festival Queen, Clemens has spent the past year serving as an ambassador for both Marysville and Tulalip while participating in community events across the region.

Representing the Tulalip Senior Center, King Billy Fryberg and Queen Sharleen Fryberg rode through downtown Marysville, receiving cheers and waves from the crowd.

Throughout the morning, Tulalip’s presence was evident in a variety of parade entries. Tulalip Bay Fire Department crews showcased their equipment and greeted families from aboard a ladder truck, while local youth participated with marching bands, cheerleading, and community organizations. 

For generations, the Strawberry Festival has brought together residents from Marysville, Tulalip, and communities throughout Snohomish County. This year’s parade once again showcased the strong connection between the neighboring communities while highlighting the pride and participation of Tulalip tribal members of all ages.

Wearing the Big Red Dress

By Wade Sheldon, Tulalip News; photos courtesy of Mone’t Clemens

For generations, the Marysville Strawberry Festival Parade has signaled the arrival of summer for families throughout the Marysville and Tulalip communities. From colorful floats and marching bands to the festival royalty who wave to thousands along the parade route, the annual tradition has remained a cherished part of local life.

This year, Tulalip tribal member Mone’t Clemens is at the center of that tradition. As a graduating high school senior and the 2026 Strawberry Festival Queen, Mone’t is representing both Marysville and Tulalip while serving as an ambassador for one of the community’s most celebrated events.

The opportunity is one that has been years in the making for Clemens. Growing up attending the Strawberry Festival Parade, she remembers watching the royalty court make its way down State Avenue and imagining herself in their place one day.

“The first thing is growing up in Tulalip and going to Marysville to watch the parade,” she said. “Then seeing the Princesses and the Queen, that’s what first made me go, I want to be up there, and I want to be in that big red dress. As I got older, I realized it was more than just the dress, but being able to be up there representing who you are and where you came from.”

While earning the title was a proud accomplishment, the journey also required Clemens to overcome self-doubt and trust in her own abilities, something she said was one of the biggest challenges she faced along the way.

“Growing up, I feel many people face a lot of good and bad situations, but for me, what I had to get over was not believing in myself,” Clemens said. “I tend to put myself down and discredit much of the work I do. So, I think it was finding in myself that I am capable of doing what I put my mind to. I can push myself and get the support I need to get what I want.”

As she progressed through the royalty program, Clemens said she gained a deeper appreciation for the role and what it meant to represent not only herself, but also the communities that helped shape her.

“Well, when I first wanted to do it, I didn’t really look at it culturally,” she said. “But as I began my journey to becoming queen, I realized I am not only representing Marysville but also Tulalip. I think that helped shape my understanding that we, as Native Americans, can accomplish big things in a world that is kind of against us. And I think it shows that we, as Tulalip people, are powerful and can accomplish anything.”

That realization also strengthened her desire to inspire and show what can be achieved through determination and hard work.

“I hope to be that representation for the younger generation, someone they can see themselves in,” she said. “Not like the standard. So, they can say, maybe one day I could be up there, and I, too, could achieve big things. I want to be that voice for my community by being queen. It’s not just a title, it’s an embodiment of what I have achieved.”

Beyond the crown and public appearances, Clemens believes the experience has prepared her for future opportunities by building confidence and strengthening skills she will carry long after her reign has ended.

“I think this will help me feel confident pursuing other things in my future,” she said. “Having the opportunity to go through all the volunteering events as queen has helped me build my communication and leadership skills, which will help me make big changes in the future wherever I am. To know that I can speak what’s on my mind and not let anything diminish that. I am capable, and I do belong here.”

Since being crowned, Clemens has attended community events and public appearances throughout the region, experiences she said have made the significance of the title feel real in ways she never expected.

“It’s been a great experience,” she said. “The first parade I went to and saw all the faces of the young girls filled me with pride and honor. Being able to represent Marysville, Pilchuck, Tulalip, and my African American side, and to embody everything, has been surreal. It’s almost hard to put into words how it has made me feel. Also, having all my peers, friends, and family telling me how proud they are of me has really made me feel like I have accomplished a big thing and that this is just the start.”

Among the many highlights of her reign so far, one memory stands above the rest and serves as a reminder of how far she has come.

“I would say wearing the big red dress,” she said. “All the opportunities that have opened up for me and being able to be seen for all that I have done have been incredible. Not everyone sees the long nights at home doing homework. No one sees all the mental breakdowns and the not knowing if I am good enough. But being able to see the outcome has filled my heart with joy and love.”

Looking back on her journey, Clemens hopes her story encourages others to take chances and pursue opportunities, even when they may seem intimidating.

“I think that all the younger people who are scared to do something big, just do it,” she said. “You never know what the outcome will be, and even if the outcome is not something you want, you will grow from it. Just trying things and experiencing different things will help you grow as a person and open your world to a lot of new things and people.”

Those hoping to cheer on Clemens can catch her riding through downtown Marysville during the 2026 Marysville Strawberry Festival Grand Parade on Saturday, June 20, at 5:00 p.m. along State Avenue in Marysville.

Here, Now and Always: Finding common ground in Pueblo Country

 Father Sky, Mother Earth. Painting.
Tony Abeyta (Navajo) 

By Micheal Rios, Tulalip News

Roughly 1,400 miles separate the Tulalip Reservation from the heart of Pueblo Country in New Mexico. The landscapes are dramatically different. The evergreen forests and saltwater shores of the Pacific Northwest give way to high desert mesas, sandstone cliffs, and endless blue skies.

Apache Mountain Spirit Dancer. 24-foot bronze sculpture.
Craig Dan Goseyun (San Carlos Apache).
“The Apache Mountain Spirits are very important to Apache culture. They are the agents of the Supreme Being and provide protection from disease and enemies. Crowned with wooden-slat headdresses, armed with wooden swords and a bullroarer, they dance at night, wielding their wooden swords to the resonating sounds of drums, singing, and the whirling bullroarers. The Spirit Dancers bring the spiritual world into physical manifestation and give blessings to many ceremonies.”

Yet, inside the Museum of Indian Arts and Culture, the similarities between Native peoples become impossible to ignore.

Located on Museum Hill in Santa Fe, the Museum of Indian Arts and Culture serves as one of the nation’s premier sources of Indigenous art, history, and material culture. Through exhibitions, educational programming, and community engagement, the museum interprets both the historical and contemporary lives of Native peoples throughout the Southwest. Its collections tell stories that span generations, from ancestral traditions to modern expressions of identity.

Bear Dancer. Bronze.
George Rivera (Pojoaque Pueblo)
Lightning Boy. Bronze.
George Rivera (Pojoaque Pueblo)

Walking through the museum’s galleries feels less like visiting a distant culture and more like visiting relatives whose stories have taken different paths across time and geography.

The centerpiece exhibition, Here, Now and Always, showcases more than 600 objects from the museum’s extensive collection. Ceramics, jewelry, textiles, paintings, fashion, basketry, and ceremonial items are presented through the voices and perspectives of Indigenous peoples of the Southwest. Rather than viewing Native history as something confined to the past, the exhibition centers living cultures and ongoing traditions.

Merciless. Mallery Quetawki (Zuni Pueblo.
Acrylic, gold, leaf, Declaration of Independence parchment on MDF.
“An homage to Mt. Taylor. He broken treaties and desecration of Mother Earth, may she show no mercy against the re-opening of Uranium mines that threaten her place of vigil. As born stewards to these places and spaces, we bleed alongside the environment that has been ravaged by industries with ‘money eyes.’ We live by the Laws of Nature and not by the fancy calligraphies of settler greed and domination. May we find solace in our prayers and cultures to bring balance back to this bleeding land.”

Like Coast Salish communities, Pueblo nations continue to balance the responsibilities of preserving ancestral teachings while embracing today’s realities. Artists featured throughout the museum demonstrate that Indigenous culture is not frozen in time. It evolves, adapts, and grows while remaining rooted in community, language, family, and place.

STAR CHILD. Painting.
Geoge Toya (Jemez Pueblo)
“Everything in the universe exudes energy or life. In Pueblo life, homage is paid to the elements – Air, Water, Fire, and Earth. The physical universe is composed of these elements. Everything within our universe has a spirit that exudes energy. This energy reminds us that we are only a part of this vast universe that we do not control and that we must respect and care for.”

One gallery showcases the renowned pottery traditions of Pueblo communities. Clay vessels adorned with intricate designs reveal generations of knowledge passed from one artist to the next. While the medium differs from the cedar carving traditions of the Northwest Coast, the underlying values are familiar. Native art carries teachings, records histories, and strengthens cultural identity.

Another exhibition, Makowa: The Worlds Above Us, explores Indigenous relationships with the sky. Through stories, observation, and traditional knowledge, Pueblo peoples demonstrate how the stars provide guidance, meaning, and connection to the universe. The exhibit highlights a truth recognized by Indigenous nations across Native America: our ancestors looked to the limitless skies and vast oceans not only for practical knowledge, but also for spiritual understanding.

Wild Spinach Purse.
Virgil Ortiz (Cochiti Pueblo)

Perhaps most striking is the museum’s commitment to showcasing contemporary Indigenous artists. Throughout the galleries, visitors encounter works that address environmental stewardship, cultural survival, sovereignty, identity, and the responsibilities Native people carry into the future. These themes are not unique to the Southwest. They are conversations taking place in tribal communities from New Mexico to Washington State and far beyond.

Beaded High-Tops.
Teri Greeves (Kiowa)
“Though my medium may be considered ‘craft’ or ‘traditional’, my stories are from the same source as the voice running through that first Kowa beadworker’s needles. It is the voice of my grandmothers.”

For our Tulalip News audience, the selection of words accompanying this article offers a reminder that Indigenous peoples have always been innovators. The artists represented here honor their ancestors while speaking directly to present-day realities. Their work reflects adaptation and creativity in much the same way Tulalip artists continue to express Coast Salish identity through carving, weaving, painting, music, and storytelling.

Tewa Tales of Suspense! Print.
Jason Garcia (Santa Clara Pueblo)

As viewers browse the accompanying images in this feature, each piece of artwork reveals the personal and cultural journeys behind their creation. Through the artists’ own statements and interpretations, they offer glimpses into Pueblo life while simultaneously reflecting universal Indigenous experiences.

The distance between Tulalip and Santa Fe may measure 1,400 miles by road, but Native people have always understood that connection is measured differently. It is found in the teachings shared between generations, in the stories carried through art, in the responsibility to honor ancestors, and in the commitment to leave something meaningful for those yet to come.

Brocade Sash & Shirt.
Randy Moquino (Jemez / Tesuque Pueblos)

Inside the Museum of Indian Arts and Culture, those connections are everywhere. Different nations. Different homelands. Different artistic traditions. Yet the same enduring truth emerges from gallery to gallery.  Our tribal cultures are not relics of the past. They are living, thriving, and creating today. Here, now, and always.

When the sticks fall

By Wade Sheldon, Tulalip News  

The steady beat of hand drums echoed throughout the Tulalip Amphitheater as songs carried into the May 30 evening, and competitors tested their skills for a chance at more than $65,000 in prize money. Teams traveled from across the Pacific Northwest and Canada, gathering in Tulalip for one of the region’s biggest stick game tournaments.

Players arrived from British Columbia, Washington, Oregon, Idaho, and Montana, with some camping on-site and others staying at the Tulalip Resort Casino. Regardless of where they came from, they all shared the same goal: making a run at the tournament’s top prizes.

Known by several names, including slahal and bones, the traditional game drew teams of four to six players for the tournament’s biggest night. With a $250 entry fee and a grand prize of $25,000 awaiting the winning team, competition remained fierce from the opening rounds into the early morning hours.

The event began with a prayer, followed by a special tribute from event coordinator and Tulalip tribal member Carrie Fryberg. She honored her father, Cy Fryberg, who had handcrafted drums for the tournament for more than a decade, asking everyone who had received one of his drums to raise it in recognition of his contributions.

“I want to give a big thanks to my dad,” said Carrie. “He has been making 20 drums every year for 14 years, since I have been doing the stick game tournament. He sells drums and also gives out so many. I want to thank my father for everything he has done for the tournament.”

When the final songs were sung and the last sticks were revealed, the championship team hailed from Nanaimo, British Columbia. The winning squad consisted of Anthony Wyse, Percilla Saloperee, Lyla Smith, Peyton Wyse, and Charlyse Brown.

For Anthony, who has only been playing for a short time, the victory was especially meaningful. “I have only been playing for three years. We all started together,” he said, adding that one of his favorite parts of competing is the atmosphere created by the songs and drumming. “I like singing and vibing to the music.” 

Asked how it felt to win the tournament, Percilla kept her reaction simple. “It was pretty lit.”

The road to the championship was a long one. Percilla recalled realizing the team had a legitimate chance to win after advancing to the final round. “It was probably when we got called for the last game,” she said. “Our game to make it into the finals was at 11:00 p.m., and we had to wait until 4:00 a.m. to play our final game.”

While the cash prize was substantial, the team said the experience itself was what made the trip worthwhile.

For Peyton, the tournament was about something even more personal.

“I really enjoyed playing with my family; my little brother and his girlfriend,” she said. “Playing with them and seeing them happy makes me feel good, and that’s what’s best for me.”

A Farewell to Gathering of Nations

By Micheal Rios, Tulalip News

Since the 1980s, Gathering of Nations served as the heartbeat of Indigenous celebration in North America. And during its final rendition, dubbed “The Last Dance,” people truly traveled from the four directions to experience a historic grand entry together.

From the snow-covered villages of Alaska to the bustling boroughs of New York, from the deserts of Baja California to the wooded wetlands of Florida, tens of thousands journeyed to Albuquerque carrying their traditions, regalia, and a mesmerizing sense of solidarity. 

Inside New Mexico’s iconic Tingley Coliseum, the atmosphere felt equal parts reunion, ceremony, and farewell. The sound of pounding drumbeats resonated through the packed arena as Native culture bearers filled the floor beneath a sea of tribal representation. During both Friday and Saturday evening Grand Entries, the 15,000-seat venue reached capacity as spectators stood shoulder to shoulder to witness the closing chapter of a cultural phenomenon.

“I’m here because this is the Last Dance and there was no way I was going to miss it,” declared Quenowa Mack (Sac & Fox Nation / Florida). “We know this isn’t really the Last Dance because everyone here is going to keep on the journey and keep on dancing when we hear that drum.

“The legacy of Gathering of Nations, at least for me, is knowing wherever you come from, no matter the tribe or state you live in, we’re able to come together and celebrate the beauty of our Native culture,” added the 34-year-old woodland dancer. “Whether it’s your traditional songs, my traditional songs, or someone else’s, the drum calls to us all. And anytime we come together and share the songs and dances of our homelands, our ancestors smile.”

For many Tulalip tribal members and their relatives across Coast Salish territory, Gathering of Nations has been a bucket list experience. It’s long been regarded as a place where relatives reconnect, where youth experience intertribal culture on a massive scale, and where Native identity shines unapologetically bright. 

“It’s been such a beautiful time being here and seeing everyone dressed up in their finest regalia,” reflected Arlene Wilson (Haisla Nation / British Columbia) with her daughter, Maya, as they stood adorned in Cedar and abalone shell. “It’s important for me as a mother to make sure my daughter knows where she comes from and just how powerful our culture is. 

“Here, in this environment with who knows how many thousands of Native people, she’s witnessing togetherness, she’s hearing songs and teachings, and she’s seeing dances that go back generations. This may be cultural overload, but she’s learning so much about her heritage and learning how to be proud of who we are and who she is.”

When 10-year-old Maya was asked what she enjoyed about her Gathering experience thus far, she didn’t miss a beat. “All of it!” beamed the Coast Salish youngster.

What made this final year especially memorable was the sheer geographic reach of the attendees. Native nations from every direction made the pilgrimage one last time. 

Alaska Native dancers arrived draped in traditional fur and their clan-encrusted shawls. Haudenosaunee and Northeastern tribes traveled from New York and surrounding territories wearing intricate woodland-style regalia. Delegations from Baja California brought powerful songs and cultural traditions rooted deep in Indigenous Mexico. Seminole and Miccosukee dancers journeyed from Florida, representing the Southeastern tribes with unmistakable pride and elegance. Together, they transformed the arena into a living map of Indigenous survival and unity.

That spirit of togetherness defined Gathering of Nations. Last year, Tulalip News highlighted elders from the Passamaquoddy Tribe in Maine attending the powwow for the very first time. At 81 years old, elder Mary Creighton spoke about feeling compelled to dance simply from witnessing the energy of Native people gathered together. 

“This is the first-time members of our Tribe have attended Gathering of Nations,” she shared in 2024. “It’s such an honor to be here.” 

That same feeling resonated throughout the weekend-long “Last Dance.” Families posed for photos beneath Gathering’s towering signature teepee and next to their favorite vendor booths one final time. Young dancers nervously prepared for competitions while elders quietly reflected on decades of memories made within the coliseum walls. Between dances, hugs and handshakes carried extra weight because everyone understood this was a farewell as much as it was a celebration.

Yet amid the many shared emotions, there was overwhelming gratitude.

“I call myself a cultural orphan because I didn’t grow up in or around my Native culture,” admitted Kimberly Greene (Oneida / New York). “As I became an adult and had the means to travel, I actively sought out Native culture and events wherever I could find them in the hopes of soaking up the traditions and teachings I didn’t receive as a child. I met elders who were willing to share with me, and it was from them I learned so much about who I am and who my people are.

“As my confidence in who I was as a Native woman grew, I sought ways to actively strengthen my connections to community. One of those ways became powwow dancing,” she continued. “I learned to make all my own regalia. I take great pride in being a Northern Traditional Buckskin dancer. Being on the powwow trail, I’ve made countless connections with people from tribes all across the country. Gathering of Nations may be the best example of how much we need to connect with our people and the importance of sharing our culture.” 

Over the years, Gathering of Nations evolved into a global Indigenous gathering space where tribal nations could celebrate resilience, artistry, and kinship. It welcomed hundreds of tribes from across the United States and Canada while also creating space for Indigenous representation from Central and South America. Events like Stage 49, the Horse and Rider Regalia Parade, and the Miss Indian World pageant helped elevate Native excellence onto an international stage. 

The retirement of the Miss Indian World crown added another emotional layer to the weekend. The reigning titleholder reflected on the importance of kindness and community during her farewell address, reminding attendees that cultural gatherings thrive because of how Native people uplift one another. 

For many of the 100,000+ attendees, the final Gathering also served as a reminder that Indigenous culture continues to flourish far beyond any single event. While the closing of Gathering of Nations marks the end of an era, it also signals the beginning of something new. Across Native America, communities are creating more spaces for cultural revitalization, youth leadership, and intertribal connection.

“Honestly, this is one of the best feelings I’ve ever had,” shared Saiya Castano (Danza Azteca / California). “I’m saddened to learn this is the last Gathering of Nations because this is my first time here and it’s been nothing short of amazing. It’s beautiful to share that love and energy and prayer with our brothers and sisters from across Native America.

“Our dance and regalia do feel a little foreign to some people, but that’s the beauty of being here. We have the opportunity to educate people and share a little about who we are and where we come from,” continued the 19-year-old Azteca dancer. The 24-inch, vibrant blue Scarlett Macaw plumes in her headdress turned heads, from Natives and non-Natives alike. “Some people think we’re wearing costumes, but little do they know that this is our armor. Our feathers come from birds who soar close to Creator and give us strength as we dance like our ancestors.

“Here, in this space and with all these beautiful people, the opportunities to share and to learn are endless. I’m just as happy to explain the teachings behind why we dance the way we do and why we wear what we do as I am to learn from other tribal people where they come from and what their teachings are. I think that’s what makes Gathering of Nations so special is all the opportunities to learn from one another and to share with each other.”

That truth was embodied by an arena full of Native Americans as they participated in one last Grand Entry to officially close out the 2026 Gathering of Nations. As dancers moved together beneath the arena lights, there was no sense of culture fading away. Instead, there was resounding evidence that our traditions remain alive, evolving, and deeply invested in the future.

Ultimately, “The Last Dance” was never really about an ending. It was about honoring a legacy that united Native people from every direction for more than forty years. While this chapter has closed, the legacy it created will continue inspiring future generations to gather, celebrate culture proudly, and strengthen the intertribal bonds that made Gathering of Nations so compelling in the first place.

Gathering of Nations

By Micheal Rios, Tulalip News

From the cedar-lined shores of the Pacific Northwest to the high desert plains of the Southwest, people once again journeyed from all directions toward New Mexico. There, they experienced the unparalleled celebration of culture and community that is the Gathering of Nations. Hosted in Albuquerque on April 24 and 25, this year’s Gathering was even more special because it marked the end of an era.

“As we converge upon the final Gathering of Nations Powwow, we want you to celebrate the legacy and spirit of this Last Dance,” stated founder Derek Matthews. “Forty-three years ago, our powwow took its first breath, and it was an incredible breath. It gave Native American, Indigenous, Aboriginal and First Nations people from near and far the opportunity to bring forth the best elements of this culture. Here, we share through dancing, singing, art, craft, and, most of all, a sense of unity.

“Every year, we persevered through immense challenges, both external and internal, to make our powwow better and more inclusive,” he continued. “After over four decades, we made the difficult decision to end Gathering of Nations. The memories and spirit of this legendary event will now be entrusted to everyone who has ever come to the Gathering and felt its power.”

Dubbed the “Last Dance,” the 43rd annual Gathering of Nations concluded what has long been considered North America’s largest powwow. Four decades plus, the Albuquerque-based powwow served as a global meeting place for Indigenous communities, showcasing song, dance, and artistry at the highest level. 

This final chapter drew an estimated 100,000 attendees, reaffirming its status as the most prominent Native cultural event on the continent. The demand to witness history proved overwhelming. During Saturday’s Grand Entry, lines to enter Tingley Coliseum stretched deep toward the parking lots. With the arena pushed beyond capacity, many were left waiting outside, unable to experience the final procession in person.

Inside, however, the heartbeat of the drum remained steady. As in years past, the Grand Entries delivered a breathtaking display of Indigenous identity. Thousands of dancers, adorned in intricate regalia representing tribes from across Turtle Island, spiraled into the arena in a unified expression of culture and pride. The pulse of the drum echoed through the Coliseum, carrying with it generations of tradition.

Among this year’s massive crowd was a strong Tulalip presence. Roughly three dozen Tulalip tribal members made the journey from Washington State to New Mexico, forming a traveling cohort eager to experience the legendary gathering firsthand. For many in the group, this was their first time attending. Wide-eyed and inspired, they immersed themselves in the vibrant atmosphere by taking in the sights, sounds, and spirit that have defined Gathering for decades.

“Coming to Gathering of Nations has been on my bucket list for a long, long time,” shared Tulalip elder and Gathering first-timer, Denise Sheldon. “I’ve heard stories and seen so many pictures over the years that built up the excitement and anticipation, but now that I’m actually here, I can see it’s better than I imagined. Feeling the energy radiate in that arena from so many thousands and thousands of Natives from all around the country was one of the best feelings of my life.

“When I was finally able to witness all the dancers go on the floor during Grand Entry, I couldn’t help but cry,” she added. “It was so beautiful and captivating, and I’m just so thankful that I could experience this with my daughter, Santana, and a group of tribal members from home. This experience is something I’ll cherish forever.”

From the electrifying drum contests to the dazzling dance categories spanning Tiny Tots to Golden Age, Tulalip attendees witnessed the full spectrum of Native excellence. They explored the Indian Traders Market, where hundreds of Native artists and vendors offered handmade goods, and experienced the cultural depth that has made Gathering a cornerstone of the powwow trail.

Since its beginnings in 1983, Gathering of Nations has grown into a cultural powerhouse, drawing participants from hundreds of tribes across the United States, Canada, and beyond. Over the years, it expanded to include signature events like the Miss Indian World pageant, Stage 49 contemporary music performances, and the Horse and Rider Regalia Parade.

With Gathering of Nations ending, the Miss Indian World crown was officially retired. Meaning she’ll never be dethroned, the 2025-2026 Miss Indian World shared a heartfelt message to all those in attendance. “Over the past year, I have had the incredible honor of serving as Miss Indian World,” said Dania Wahwasuck (Prairie Band Potawatomi). “Reflecting on my reign, it makes me smile. I have met so many incredible individuals.

“One thing that ponders my mind is kindness,” continued the 25-year-old powwow icon. “As I have visited many places and attended many events, I notice how kind some individuals are and how unkind others can be. I truly want everyone to be kind to one another, no matter how cheesy that may sound. Be kind. To the workers in the store you go into, to your neighbor, to your peers, to everyone. When we choose kindness, we honor our ancestors.”

As Dania’s words were absorbed by attentive listeners, the arena floor gave way to the final songs and the last dances. Now, officially completed, the spirit of Gathering remains in those who experienced it. And in those who stumble across stories detailing its legend.

‘Creative Natives’ shine at Art Festival

By Micheal Rios, Tulalip News

The future of Native art was on full display Thursday evening, April 16, as the annual Student Art Festival transformed the Youth Center into a vibrant gallery of culture, creativity, and youth expression.

Dedicated entirely to student artists in grades kindergarten through 12th, the long-running festival once again provided a platform for Native youth of Marysville School District to share their artistic voices. Families, educators, and community members filled the venue, moving from display to display in admiration of hundreds of student-created works that blended tradition with imagination.

For decades now, the annual event has been made possible through a strong partnership between the Tulalip Tribes and the Marysville School District. That collaboration continues to ensure Native students are given a space to express identity and culture through art. 

“Our annual Art Festival is an opportunity for each Native student within the District to express themselves in a unique and creative way,” explained Deyamonta Diaz, positive youth development manager. “All the work that goes on behind the scenes to make this event possible, it’s like an all-hands-on-deck effort, is so worth it for our community to witness the pride and joy every student puts into their art. 

“Each year our expectations are surpassed because we receive hundreds and hundreds of submissions,” he added. “For me, I look forward to seeing what new ways our kids find to express their Native culture or even developing their own way to retell a traditional story. There’s always something new and eye-catching that they come up with.”

A celebration of student creativity

From the moment doors opened, it was clear the night belonged to the youth. Artwork stretched across a wide range of categories, including drawing, painting, sculpture, digital art, writing, and cultural pieces. As in previous years, each submission offered a glimpse into how young artists interpret their heritage and lived experiences. 

The festival has long been recognized as a celebration of identity and a chance for students to share personal and cultural narratives in their own voice. Whether through traditional designs, contemporary styles, or a blend of both, each piece reflected a unique perspective on Tulalip culture.

Organizers emphasized that the event is about empowerment just as much as it is about artistry. As Deyamonta noted, the goal is to give every Native student in the District an opportunity to “express themselves in a unique and creative way,” while allowing the community to witness the pride behind each creation. 

Student-artist Cora Jimicum has been a participant in the Festival as far back as she can remember. When asked how many ribbons she’s earned over the years, she responded with “I don’t know. A lot!” Fair enough. Like a true artist, Cora continues to challenge herself year after year by dabbling in different mediums and creating new things. Her sea turtle medallion made of clay that hung from a beaded, seafoam-like necklace earned her a 2nd place ribbon.

“I had fun making the sea turtle, but my favorite piece this year is probably my Blue’s Clues mask. I used EVA foam to mold and shape the mask, then painted it and added fur.” said Cora, a Marysville-Pilchuck sophomore. “I do look forward to this time of the year, knowing the Art Festival is coming up. I enjoy creating art and using it to express whatever I’m feeling at the time or what’s on my mind. My goal is to always put something into every category that I can.”

Hundreds of submissions, endless imagination

Like years prior, the Festival featured an impressive number of submissions, reinforcing the event’s continued growth and popularity among students. Past festivals have drawn hundreds of entries, with painting consistently emerging as the most popular category. 

That same trend held true this year, as colorful canvases lined display tables and walls throughout the Youth Center. Still, the diversity of mediums was equally striking. Handcrafted cultural items, mixed media pieces, photography, and written works all demonstrated a wide range of talent within the community’s youth.

Many students chose to submit multiple pieces across different categories, showcasing not only their creativity but their willingness to challenge themselves artistically. This multi-category participation has become a hallmark of the Festival, as young artists continue to expand their skills year after year.

One such youth that embraced her inner artist to the fullest was 15-year-old Madison Sheldon. The Heritage High School freshman entered her art into five different Festival categories and came away with four 1st place ribbons and one 3rd place ribbon. 

“My favorite piece is probably my painting of Spider-Man vs Venom because it represents me and my sister Lilly,” shared Madison. “I put a lot of work into painting it, like getting all the details right, and I just love it. I’m excited to hang it up at my house when the Festival is over.

“For drawing, I drew a bear clan crest for my dad, used feathers my brother Adrian gave me to make a spinner for cultural dancing, and then I also molded a baby duck out of clay because I think baby ducks are the cutest,” she continued. “For mixed media, I depicted a Native American woman and her spirit animal, a fox. They share, collect, and use their energies to make each other stronger. Whether its dancing, singing, or anything else that is a part of her culture, she’s able to create good energy and use it to make herself stronger.”

Recognition and encouragement

A key component of the Art Festival is the opportunity for students to be recognized for their work. Judging panels carefully reviewed submissions across grade levels and categories, awarding ribbons for first, second, and third place, along with honorable mentions. Top finishers received both ceremonial recognition and monetary prizes, adding an extra layer of excitement to the evening. 

But beyond awards, the event promotes something deeper. Judges and attendees alike often remark on the limitless imagination of the participants. The Festival consistently highlights how youth are not only preserving cultural traditions, but also reinterpreting them in new and innovative ways. 

“I’m so proud of all our creative Natives!,” marveled Melissa Gobin, Tulalip’s environmental and education outreach coordinator. “I love crafting and experimenting with different art mediums, so to see all the things our kids are creating nowadays and how they aren’t afraid to let their imaginations run wild is just so impressive to me. They’re indigenizing art in ways I didn’t even know was possible.”

Looking ahead

Now in its 46th year, Tulalip’s Student Art Festival continues to grow in both participation and impact. Each year builds upon the last, with new artists stepping forward and returning participants raising the bar. The result is a dynamic and ever-evolving showcase that highlights the awe-inspiring creativity of Tulalip’s youth.

From kindergarten classrooms to high school studios, the next generation of artists is already telling their stories, honoring their culture, and shaping what comes next. We can’t wait to see what their imaginations have in store for us next year. 

Small baskets, strong traditions

By Wade Sheldon, Tulalip News  

Beneath a blanket of gray skies, a small but welcoming group gathered at the Hibulb Cultural Center in the spirit of culture, creativity, and connection on Saturday, April 11. Settling into an easygoing evening, conversation and craftsmanship flowed naturally side by side. Guided by Tulalip tribal member and master weaver Jamie Sheldon, attendees took part in a cedar-basket necklace-making class rooted in tradition and shared learning.

Each participant was invited to create one of two designs: a two-inch basket that offered a balanced introduction to the craft, or a smaller, more intricate piece that required patience, precision, and greater skill.

For Tulalip tribal member Linda Hunter Aranda, the experience carried both personal meaning and a sense of accomplishment. “I’ve always wanted to make a small cedar basket, I just never knew how,” she shared. “Now I know I don’t have the talent to make them, but I’m glad that I did make one. I love my little basket.” She added with a smile that if another class is offered, she plans to return.

Her connection to cedar runs deep, rooted in both family and tradition. She reflected, “Cedar trees have always been my favorite. My great-grandma made beautiful cedar baskets, and I always wanted to know how they were done. The tree itself is beautiful—I’ve always felt good around cedar, and I love the color.”

Like many first-time weavers, she found the process both rewarding and challenging. “The hardest part was making my fingers work, especially trying to make the small basket,” she said. Still, the experience offered more than just a finished piece. It became an opportunity for connection and discovery. “I enjoyed meeting people and getting to know my cousin Jamie better. I also learned things about my family I never knew before.”

Beyond the craft itself, the class created space for community and relationship-building. “I’ll take my beautiful cedar basket and the warm feeling I got from being there,” she said. “I met people from other tribes, so it was good networking for me. But mostly, I enjoyed being in Jamie’s company and learning from her.”

For those interested in learning the art of cedar weaving, Jamie offers weekly Wednesday classes at the Hibulb Cultural Center. An additional Saturday class focused on creating cedar earrings is planned for May 29. You can find more events and information at hibulbculturalcenter.org.