Category: Arts & Entertainment

By Wade Sheldon, Tulslip News  

The Hibulb Cultural Center opened its newest exhibit, Woven Ways: The Gift of Coast Salish Basketry, on Saturday, November 8. The exhibit celebrates the artistry, science, and spirit of Coast Salish cedar weaving, honoring the profound relationship between the people and the cedar tree, often referred to as the “tree of life.”

Displayed prominently on the wall are the words that set the tone for the exhibit: Cedar is a gift from the Creator, has provided for Coast Salish people in countless ways. For generations, Coast Salish peoples have woven baskets from materials gathered from the land with care and deep respect. This exhibit explores the art, science, and spirit of Coast Salish basketry, honoring both the knowledge passed through hands across time and the gift of the cedar tree. Yet, at the heart of this exhibit are Tulalip weavers — ancestors, elders, and present-day artists who have sustained and revitalized these traditions for the next generation.

During the opening, guests were invited to explore the weaving process from harvesting and preparing the bark to the intricate patterns that shape each creation. The exhibit honors both past and present weavers, displaying works by established artisans and newer creators who are carrying forward these cultural teachings.

At the center of the room sits a display telling the story Her First Basket, which follows a young girl as she learns to weave her first cedar basket. Through this story, visitors are reminded of the patience, guidance, and generational teachings that accompany the art of weaving. The story symbolizes how every weaver begins with a single strand of cedar, guided by the wisdom of those who came before. The book Her First Basket  is also available for purchase in the Hibulb gift shop for visitors who wish to take the story home.

Surrounding this centerpiece are stunning woven works, including a cedar headband created by Jamie Sheldon and a cedar belt by Virginia Jones, both displayed on a mannequin. Each piece highlights the creative diversity of Tulalip artists who continue to blend traditional craftsmanship with contemporary expression.

Among the many featured artists, Tulalip tribal member Kiana Kona shared how meaningful it felt to have her work displayed alongside other weavers. “The transition from student to recognized artist has been profoundly meaningful and humbling,” she said. “Three years ago, I took my first cedar weaving class at the Hibulb Cultural Center. There, I learned to craft traditional baskets, purses, and earrings, skills that immediately resonated with my lifelong passion for jewelry design.”

Kiana’s words reflect the spirit of the exhibit, one that bridges the teachings of the past with the creativity of the present. “Weaving cedar is a continuous learning experience,” she explained. “My skills continue to evolve as I experiment with different weaving patterns and materials like salmon-skin leather. For me, the combination reflects the relationship my people have with the land and the sea.”

As visitors move through Woven Ways, each display tells a story of the connection between land, family, and generations of Tulalip people. “True art is timeless; it lives beyond our time on earth,” Kiana reflected. “It’s an honor to be showcased with Tulalip weavers and to have my work displayed alongside our ancestors and contemporary artists.”

Woven Ways: The Gift of Coast Salish Basketry will remain open throughout the winter season at the Hibulb Cultural Center, offering guests the opportunity to experience the living artistry and cultural teachings woven into cedar, a true gift from the Creator.

By Micheal Rios, Tulalip News

Walking down the main corridor of Marysville Pilchuck High School feels different now. A formerly muted, grey brick wall that has watched generations of students come and go is bright and full of life. Why? Because it’s been transformed by the brushstrokes of Tulalip elder and artist Monie Ordonia.

The 63-year-olds newly completed mural, painted in vivid tones of blues, greens, and earthy reds, tells a story. As she puts it, “it’s a land acknowledgement without words”. It’s an acknowledgement of place, identity, and enduring connection.

The mural’s backdrop is two perspectives on Mount Pilchuck, the mountain for which the high school takes its name. One depiction captures the iconic mountain as it’s often seen from the valley below; towering, majestic, and steeped in morning light. 

The other depiction is viewed from Monie’s matriarchal lens as she views the mountain as a vessel of cultural memory. Emerging from the mountain’s silhouette is a subtle, yet powerful, portrait of Pilchuck Julia. She is a Coast Salish ancestor who lived throughout the 1800s and early 1900s in present-day Snohomish County. Her face, stoic and strong, seems to look out toward the land she loved. The very same land where Marysville and Tulalip now persist side by side.

“Bringing forth the history and journey of the Tulalip people, Snohomish people, and Coast Salish people who were the original teachers of this land and who still persist today was the intention,” Monie explained to an auditorium filled with high school students and faculty. “Pilchuck Julia was one of our people who lived through so much change. She represents the spirit of resilience that’s still here. 

“It’s not difficult to imagine the mistreatment and shunning she endured as a Native person living in colonial times. Even with that, she still managed to have beautiful relationships with the community,” continued Monie. “I’d like that to be a reminder that regardless of if you’re Native or non-Native, popular or a loner, an athlete or a bookworm, you can have beautiful relationships with each other. And you all are capable of forming a great community and family full of shared experiences and mutual respect.”

In between the mural’s depiction of Mount Pilchuck and Pilchuck Julia is a canoe and four paddles that were painted by Native Liaison Doug Salinas. He shared, “In painting those elements, I was assisted by several Tulalip teenagers who were summer youth employees. Their pride and eagerness to help me create something lasting on campus is what I’ll remember most about this experience.” 

For decades, Tulalip youth have attended Marysville Pilchuck High School. From the early days when few Native students were present, to today, when dozens of Tulalip students proudly represent their culture in classrooms, on sports teams, and in clubs. The relationship between Tulalip and Marysville hasn’t been simple, to say the least, but, to Monie and Doug, their mural reflects a shared journey toward mutual recognition and a huge step forward for empowering the school’s Native student body.

“This mural means a lot to our students,” stated Jessica Bustad, Executive Director of Education. She’s a proud Tulalip tribal member, parent, and former M.P. graduate. “When our kids see Monie’s and Doug’s work, they see Tulalip stories and history, they see the Lushootseed language, they see themselves. The mural not only recognizes their cultural roots, but it also tells them they belong here.”

For Tulalip youth currently attending M.P., that sense of recognition and belonging is tangible. Senior student and Tulalip tribal member Nevaeh Childers reflected, “I feel like the mural is really important because it’s representation for us Native students and makes us feel like we belong. Being a student here at M.P. has given us the opportunity to learn Lushootseed from Natosha Gobin and Michelle Myles, to participate in [United] Native Club, and learn about our ancestors and history.”

The mural is both a tribute and a teaching. As Pilchuck Julia’s eyes gaze across the horizon, the mountain, the canoe, and the word family all flow together.

“Every brushstroke is filled with belonging,” Monie reassured. “This mural is for our kids. So that when they walk these halls, they’re reminded of who they are and where they come from. Because no matter who they become or where they go, they will always be Tulalip.”

By Kalvin Valdillez, Tulalip News

After a long and eventful summer, it is now officially spooky season. With Halloween right around the corner, we wanted to highlight some Indigenous horror books to help you get in the spirit of the season of ghosts, slashers, and monsters.

We compiled a list of six spine-chilling novels that are written by Native authors who tackle serious subject matter that affects our people, like generational trauma, the MMIWP epidemic, alcohol and substance abuse, and the horrors of early settlement, while simultaneously blending in traditional stories and supernatural legends that have been passed down generation after generation. 

Below you will find a brief summary of each of these books, along with some frightening, yet insightful, quotes that are sure to spark your interest. Happy reading!

Never Whistle At Night: An Indigenous Dark Fiction Anthology

By Shane Hawk

Fair warning, some of the stories in this book will stick with you for several days and are downright scary. We’re talking ghosts, monsters, curses, hauntings, sinister revenge plots. But of course, you were probably able to surmise that on your own from the title, as the message to Never Whistle at Night is embedded into the minds of Indigenous youth, adults, and elders all across the nation. 

In this book, we are introduced to nearly thirty original stories by well-known Indigenous authors like Stephen Graham Jones, Morgan Talty, Kelli Jo Ford, Nick Medina, Norris Black, Waubgeshig Rice, and many, many more.

“Many Indigenous people believe that one should never whistle at night. This belief takes many forms: for instance, Native Hawaiians believe it summons the Hukai’po, the spirits of ancient warriors, and Native Mexicans say it calls Lechuza, a witch that can transform into an owl. But what all these legends hold in common is the certainty that whistling at night can cause evil spirits to appear—and even follow you home.”

Bad Cree

By Jessica Johns

A little bit supernatural horror. A little bit mystery. Extremely thrilling from beginning to end. Bad Cree follows a grief-stricken young woman, Mackenzie, who moved to Vancouver B.C. from her reservation in Alberta for a new start. However, upon getting acclimated to the city life, she begins having eerie encounters with crows and a number of realistic nightmares that center around an incident from her past. 

Taking these as signs to return home, Mackenzie finds comfort and strength in family, while also repairing broken bonds along the way. But the closer she grows to her sisters, mom, and aunties, her nightmares seem to intensify, and they keep calling her back to that ill-fated night. There is plenty of rez humor in this page-turner and author Jessica Johns does an excellent job in incorporating her tribe’s culture, traditions, and stories into her work. 

“An Indian dying is like a balsam fir getting chopped down. Trees for mile and miles feel the pain under the soil. They send their reserve nutrients through the root network to the stump, which closes over with bark like a scab. Eventually, the stump turns into a nursery, a home for new growth, for something else to take shape. This isn’t the same as healing or being reborn, but it’s the closest we’ll ever get.”

White Horse

By Erika T. Wurth

There was a well-deserved hype about White Horse when it was released in 2022. This book was a New York Times Editor’s Pick, a Good Morning America Buzz Pick, and it also received a Goodreads Choice Award for Reader’s Favorite Horror. The novel follows Kari James, an urban Native living the city life in Denver. When Kari receives a family heirloom from her cousin, a bracelet that was once owned by her late mother, she quickly realizes that it is seemingly haunted when it begins to bring Kari visions of her mom when she was younger.  

The events that follow help unravel the mystery around her mother’s sudden disappearance, but there is something more menacing in the works as an evil entity makes it’s presence known to Kari along the journey. 

“I am healed. But I don’t realize that healing requires scars, and I am still rough beneath them, I still have pain locked behind that ropy skin. And there is weakness there, there is vulnerability, a thing I have always been terrified of. A thing that has festered. A thing that can take me down into the dark. And feed. And feed.”

Night of the Living Rez

By Morgan Talty

This collection of short stories all take place in the state of Maine, on the Penobscot Indian Reservation. Featuring twelve Indigenous horror stories in total, Morgan masterfully weaves these tales together while shedding some light several issues that Native people experience in their lifetime. This includes drug use, generational trauma and violence, and numerous other challenges that one faces growing up on a reservation. 

Each story is dark but also a bit relatable if you are a product of the rez. And if you aren’t, Morgan does a fantastic job at bringing attention to these issues while incorporating some humorous Indigenous dialogue along the way. Within these atmospheric stories, he showcases the strength of our families and tribal communities. Clocking in at just under 300 pages, this book is a perfect weekend read.

“I wonder if ‘How’d we get here?’ is the wrong question. Maybe the right question is ‘How do we get out of here?’ Maybe that’s the only question that matters.”

The Whistler

By Nick Medina

This novel is hot off the press! Officially released on September 16, The Whistler is highly anticipated amongst fans of Native Author, Nick Medina who brought us modern Indigenous horror classics like Sisters of the Lost Nation and Indian Burial Ground. Full disclosure, we have yet to check this one out, but we cannot wait to dive in! 

According to the book jacket summary, this story follows an Indigenous ghost hunter who is forced to move back to the reservation, in the care of his grandparents, after a traumatic accident that left him quadriplegic. He then starts to notice a demonic figure in the distance that appears to be getting closer to him with each passing night. He begins to confront his past and the events that led to his accident, realizing it all could be traced back to when he whistled at night. 

“Never whistle at night,” he said. “Don’t you know that it attracts bad things? Bad spirts. Evil that attaches itself to you.” 

“An Indian superstition?” she asked… 

“No,” he said. “A fact.”

Buffalo Hunter Hunter

By Stephen Graham Jones

Now, although we absolutely recommend checking out all of these reads this fall, if you only have time for one, make sure it is Buffalo Hunter Hunter. This supernatural historical fiction is heralded as New York Times Bestseller Stephen Graham Jones’ best work to date. And that says a lot considering he has nothing but bangers under his belt such as The Only Good Indians, The Indian Lake Triology, and Mapping the Interior. This book is sure to check all the boxes for a good Halloween-time read. Vampires? Check. Revenge against early colonizers? Check. Gruesome flashbacks? Check. 

This story alternates between timelines, spanning 100 years, and follows the trials and tribulations of a mysterious character named Good Stab as he recounts his life story to a Lutheran pastor. If you have some Audible credits, you are definitely going to want to hear this haunting tale on audiobook! Just make sure that you ‘listen with a good heart’. 

“What I am is the Indian who can’t die. I’m the worst dream America ever had.”

“You don’t understand,” I said pleadingly as if to a higher power, longing to use my hands to gesture with, to make him see, to get him to understand that these were different times, with a different breed of men——the kind necessary to forge a new land, a better country, one that made use of its resources rather than letting them lie fallow. 

“I understand,” he said, however. “You wanted to make us cry. And so, you did. You wanted our land, so you took it. You wanted us out of the way, so you killed us in our lodges. Is there more to it, Three-Persons?”

By Wade Sheldon, Tulalip News  

On Saturday, September 6, the city of Mukilteo came alive with its annual Lighthouse Festival and parade along Lincoln Avenue and Third Street. What makes this celebration particularly meaningful for the Tulalip community is that it takes place on land where the Point Elliott Treaty was signed—a moment in 1855 that forever shaped the lives and rights of Indigenous peoples in the region. The treaty granted hunting and fishing rights, among others, allowing Indigenous families to maintain their way of life and connection to the land and waters.

To honor the original land bearers, Mukilteo has collaborated with Tulalip artists Joe Gobin and James Madison to bring Indigenous art to Lighthouse Park. From planter boxes to stone sidewalks, the artwork guides visitors through the park while reflecting centuries of Snohomish culture and ancestral ties to the land. This effort acknowledges the importance of returning to ancestral spaces for the Tulalip people and preserving their living culture.

Mayor Joe Marine remarked, “This is an awesome day,” and opened the event with a land acknowledgment, emphasizing that the gathering took place on the ancestral homelands of the Coast Salish peoples. He noted the sacred connection to land, water, and people, past and present, and the importance of honoring that legacy.

During the parade, Tulalip Board member Hazen Shopbell was honored as Grand Marshal, a recognition of his dedication to the community and its history. 

The artistry in Lighthouse Park carries its own story. James Madison acknowledged the decades-long effort to bring Tulalip art to Mukilteo, explaining, “Joe Gobin has been trying to get Native artwork here in Mukilteo for over 30 years.” Madison’s words reflect the persistence and dedication of the artists, whose work not only beautifies the park but also educates visitors about Tulalip history and culture.

Chairwoman Teri Gobin spoke about the spiritual and historical significance of the land, noting that Mukilteo was once a central gathering place for Indigenous communities. She explained that on January 22, 1855, more than 2,000 people came to this site to sign the Point Elliott Treaty, including direct ancestors of the Tulalip Tribes. “This place reflects who we are, our identity, our resilience, and our unbroken connection to the land and waters,” she said. “Today, we continue this tradition by raising these two welcome poles, carved by our amazing master carvers, Joe Gobin and James Madison. These poles stand as a symbol of enduring relationships between the Tulalips and the Mukilteo community.”

Glen Gobin, B.O.D., offered a prayer in the Snohomish language and clarified an important historical note: there is no separate Snohomish Tribe. “We, the Tulalip people, are the Snohomish, Snoqualmie, Skykomish, and other allied dependents who are all signatories to the Treaty of Point Elliott,” he said. “In 1934, these tribes adopted the name Tulalip Tribes, the successors in interest to these historic communities.”

For the artists themselves, this project holds deep personal significance. Joe Gobin shared, “This place holds a great significance for not only me but also my community. I’ve fished here since I was young, and we have gathered here since time immemorial. I hope to inspire more young artists in our tribe to start creating.”

James Madison explained the stories embedded in his pole: “This is my modern version of Blackfish. These are three orcas representing myself and my two sons, Jayden and Jevin, and my grandfather, who was a bear. These pieces carry stories passed down through my family, from my grandfather to my father, and now to me and my children. It’s important for keeping our tradition and culture alive.” Madison also highlighted the broader cultural significance: “Artwork gives people a smile, it gives them answers, and it gives them questions. It brings happiness, information, and history. It tells everyone that we are still here.”

Joe Gobin began work on art for Lighthouse Park in 2011, starting with a 4-foot aluminum six-sided metal cube, stamped concrete with Salish designs, and other installations throughout the park and ferry terminal. Madison has contributed pieces like an 18-foot-old-growth cedar log sculpture and the Mother Earth Driftwood log sculpture. 

Visitors to Lighthouse Park now have the opportunity to walk through these spaces, guided by story poles and sculptures, and learn about the Point Elliott Treaty, the Tulalip people, and the artistry that keeps their culture alive. Through this collaboration, Mukilteo and Tulalip honor the past, celebrate the present, and inspire the future.

By Kalvin Valdillez, Tulalip News

On the bluff overlooking Tulalip Bay, four young women proudly stood tall on the afternoon of July 27. They watched the distant waters as dozens of canoes approached the shoreline one by one. A representative from each canoe family spoke of their travels on the water, and kindly asked permission to come ashore to rest, share a meal, and offer the songs and dances of their people during protocol. And the young Tribal members responded in unison, inviting their visitors into the village while speaking completely in Lushootseed, their ancestral language.

It was a gorgeous Sunday, with minimal clouds in the sky and around an 85-degree temperature, the community of Tulalip setup their canopies and lounge chairs in front of the longhouse, the perfect spot to view the arrival of the canoes. Tulalip was one of many stops on this year’s Canoe Journey, as the pullers make their way to the final landing destination of Lower Elwha. 

For spectators and pullers alike, the annual summertime Canoe Journey continues to be a symbol of resiliency for Northwest Tribal nations, as well as a great way for the youth to connect to their history and traditions. 

And though one might initially think of the beautiful cedar dugouts cruising the Salish Sea when they hear of the Canoe Journey, decades of this gathering have proven it to be much more. Many can attest that on a personal level, it is a healing journey; helping individuals find their way by fully immersing in the culture, helping addicts attain and/or maintain their sobriety, passing on near-lost traditions to the next generation, connecting Natives with people from different tribes, and finding solace by living how our ancestors did since time immemorial. 

“The first time I got out on the canoe and went outside of Tulalip Bay, I felt a deep connection not only with the water, but with the canoe,” expressed Tulalip tribal member and Canoe Puller, Monie Ordonia. “I felt my ancestor’s gratitude for me being on the water, the silence of serenity is palpable.  It was like an interconnection meditation for me. Every time my paddle digs into the water, it’s like a prayer for my people, the community, and for the water with all that live in it.”

This event is highly anticipated throughout the entire year, and many Tribes spend months preparing for Canoe Journey. For Tulalip, preparations begin as soon as springtime arrives, where they hold an awakening ceremony for their three family canoes, Big Brother, Big Sister, and Little Sister. The participants then practice building their endurance on the water in the subsequent weeks leading up to the journey. Additionally, Tulalip also hosts weekly culture nights where the people can create their own regalia as well as gifts to distribute to other tribes along the way.

Following the first canoe practice of 2025, Tulalip youth, Maleia Kickingwoman, shared, “This is my third year pulling, so going back out on the water was pretty nice, got to feel the sacred connection again. The water was a little rough at the beginning, but once we got towards Hermosa it got calmer, and we got to cruise a bit. We saw two whales. It was pretty fun. We had some laughs and funny jokes out on the water. I am excited about meeting new friends at Canoe Journey this year.”

For those who aren’t familiar with the origins of the Canoe Journey, it began in the summer of 1989, when Quinault tribal member, Emmett Oliver, organized an intertribal canoe pull for Seattle’s centennial celebration. The success of that event inspired tribes to keep it going, resulting in a cultural revitalization movement that continues to grow each year. Today, hundreds of canoes travel across local waters to celebrate their heritage, embrace their traditions, experience that special connectedness to the waterways, and represent their tribe and people. 

As mentioned earlier, this year’s Canoe Journey will conclude in Elwha territory, and the canoes are anticipated to arrive at the final landing destination on July 31. A weeklong celebration will then take place, where each participating tribe and canoe family will have the opportunity to share their songs and dances, as well as showcase their regalia and tribal pride, in front of thousands. 

Once all the canoes arrived safely, the people enjoyed a traditional meal and several hours of protocol at the Tulalip Gathering Hall. The canoe pullers camped out in various lots throughout the reservation. And following a short night’s rest, the canoes departed the shores of Tulalip Bay in the early hours of July 28. 

Said Tulalip Skipper, Taylor Henry, “Getting in the canoe and being on the water is such a huge medicine for us. These canoes have been designed for us for over 10,000 years the same way. When I say we have to take care of them so they can take care of us, this is part of it. And when we go out there, they return that. Because every stroke we take, we’re leaving some of that hurt, some of that pain, or whatever you’re going through. We let some of it go with every stroke, that’s what we’ve always been told.”

To follow along with the canoes and to stay up to date on the protocol schedule, as well as follow any other Canoe Journey related news, be sure to follow the official Tribal Canoe Journeys page on Facebook.