Submitted by Lena Jones, MaOM, Education Curator, Tulalip Tribes Hibulb Cultural Center
One ancestral teaching is that ‘everyone comes from a great people.’ In a recent symposium hosted at the Hibulb Cultural Center on March 2, entitled Interwoven Oral History Project: The Blended Heritage of Nordics and Native Peoples, guests heard stories, memories, experiences, and shared values from a panel of individuals who are descended from Nordic and Native American ancestry. Panel member Odin Lonning, an award winning Tlingit artist with Norwegian ancestry, said it is another way to remember our ancestry and be proud of the lands we come from.
Moderated by Fred Poyner IV, the collections manager of the Nordic Museum, this was the second symposium in the series. The first was held at the Nordic Heritage Museum in Seattle on September 15, 2018. Tessa Campbell, lead curator for the Hibulb Cultural Center, participated as a panelist for that symposium. The Nordic Museum is the largest museum in the United States to honor the legacy of immigrants from the Nordic countries of Denmark, Finland, Iceland, Norway, and Sweden.
The Interwoven Oral History project began in 2016 when the Nordic Museum expanded an oral history program to record the stories of individuals who share Nordic and Native American ancestry in the Pacific Northwest. It is an active outreach program to multicultural audiences, as well as an archive for recording blended-heritage histories. Several practicing artists were interviewed, including Tulalip carver Steven Madison who also has Swedish ancestry.
Panelist Gwen Whiting, lead curator of the Washington State Historical Society with White Mountain Apache and Swedish ancestry, said programs like this can help folks find their identity and knowledge about their culture. Fellow panelist Richard Hanks, a retired professor of American Indian History at the University of California Riverside and president of the Floyd Norgaard Cultural Center in Stanwood compared culture to the ripples of a rock dropped in water, the first ripples being your family, and then a wider community, and then a society. As folks grow, they understand their identity through culture, geography, and choice.
The discussion of tribal identity with Nordic identity served as a common thread for all the interviews and panelist review. Fred Poyner said a goal of the project was to build relationships among the communities. Panelist Aaron Jones explained that his traditional introduction let folks know his ancestral ties within the Coast Salish community by giving his grandparents’ names, and giving his Indian names which would help folks recognize he has Snoqualmie and First Nations ancestry, but that much of his Norwegian ancestry stories and memories were lost. Audience members were helpful in giving him information about where to find leads in his Nordic ancestry and culture. He said he felt grateful and honored for the opportunity to learn more about that part of his family in the symposium.
Tessa Campbell, who set up the symposium at the Hibulb Cultural Center, said the Oral History Project is now going national, beginning with oral history interviews in the Midwest. The interviews can be found on the Nordic Museum site.
At the intersection of 1st Avenue and University Street in downtown Seattle is a large sculpture of a craftsman utilizing a hammer outside of the Seattle Art Museum (SAM). For decades, the museum has been the home to a collection of diverse artwork celebrating the many cultures from around the world, including several installations and exhibits that highlight traditional Indigenous artwork such as carvings and paintings.This spring, the SAM decided to host a major exhibit that was first curated and featured at the Denver Art Museum and showcases the works of Choctaw and Cherokee Artist Jeffrey Gibson who, much like the craftsman sculpture, used a hammer to attract the masses and break into the art world, albeit metaphorically.
“Like A Hammer as a title has always been conceptually and philosophically the idea of a hammer being used as a tool of deconstruction and reconstruction,” Jeffrey stated in a video displayed within the exhibit.“In particular, like a DIY ethic. It’s this simple tool that a single person can alter something with.”
Located on the top floor showroom of SAM, the Like A Hammer exhibit invites visitors to explore Jeffery’s mind and vivid imagination as his creations serve as a reflection of who he is, all while paying tribute to the history of the art, material and words that inspire his artwork, drawing ideas from his culture, modern music and personal life.
The exhibit features over sixty-five unique pieces from Jeffery’s collection, all of which were created after 2011 following a huge revelation that found him deconstructing and reconstructing many areas of his life. In a lecture at the New York Studio School, Jeffery explained that he nearly gave up his passion after his material was rejected by several art museums and studios. He was so upset that one day he took all of his paintings to his local laundromat and put them through three back-to-back wash cycles.
After hearing this news, Jeffery’s friend recommended him to a counselor for anger management. The counselor in turn suggested physical activity as a way to take out his aggression, so he joined a nearby gym and it was here where he had his first breakthrough.
“I sat down [with my counselor] for my first session and all these issues around race, class, gender and homophobia came out very easily,” he said. “What we began talking about was this disjoint between the mind and the body. Ultimately, he recommended that I worked with a physical trainer and the physical trainer is the first one who introduced me to the bag. When working out aggression on the punching bag, my trainer would ask me to name what I was punching – to name who I was angry at, what were my obstacles. And somehow this naming and projecting, and then literal hitting, was meant to unify what was happening up here [in my head] with what was happening in the body.”
The beaded Everlast punching bag is perhaps Jeffery’s most notable work to date. Approximately fifteen colorful bags are displayed throughout the exhibit, all featuring traditional beadwork with contemporary designs. On several punching bags, Jeffery incorporates the lyrics of his favorite songs into his beadwork such as ‘If I Ruled the World’ by Nas and Lauryn Hill as well as ‘I Put a Spell On You’ by Nina Simone. In addition to lyrics and beadwork, Jeffrey also included various elements of ceremonial regalia like jingles, sinew and fringe.
“The punching bag was a lifesaver for me in the sense that it was able to, as a format and materials, encompass the narrative for the first time. This idea of adornment and regalia defused the violence of a punching bag. Where it coincided is that these traditional people were wearing garments that they made, that identified them as different from the mainstream. They felt very proud, they carried their history with them and they had happiness and sadness. There was something about it that I thought was different from fashion, it is a garment that really signifies your identity and it’s a garment that indicates that you are working and moving through the world differently. It also commanded respect. Ultimately this all melded together into the bags. Once the bags started, I started looking at all sorts of different tribal aesthetics. The powwow is an intertribal event. It’s an event where the dancers, although they are relative to tradition, they are encouraged to innovate, they are encouraged to individuate themselves and there are lots of different modern innovations that happen.”
The lyrics and wordplay aren’t limited to the punching bags. In fact, Jeffery repurposed a number of traditional wool blankets into contemporary art that hang on the wall of the museum and garner a lot of attention from local art enthusiasts. Memorable lines from ‘Time (Clock of the Heart)’ by the Culture Club, ‘Fight the Power’ by Public Enemy as well as a quote by writer James A. Baldwin are spelled out in glass beads on the blankets. SAM also displayed a number of Jeffrey’s geometrical paintings which he constructed on rawhide as well as sculpted figurines that don traditional regalia, such as jingle dresses and shawls.
The exhibit ends in a room with rainbow curtains covered with bold letters that read ‘Don’t Make Me Over’ and ‘Accept Me for What I Am’. Projected on the wall is a video presentation by Jeffrey in which he is dressed in customized ceremonial garb and performing spoken word and song on a traditional hand drum.
Although, the Like A Hammer exhibit displays artwork that explores the identity of Jeffery Gibson as a proud queer Indigenous creative, his intention behind his work is the hope that others can identify with the art, whether through triumph or struggle, and find a sense of community as well as inspire the next generations to come to simply be themselves.
“Indigenous history and crafts provides this incredible infinite use of materials and content that I really feel privileged to have access to. When I decided to start making again, I was determined to make what I wanted to see. I started to use the word maker because it allowed me to go into everything from garments, to video, to sculptures; embrace textiles, and adornment and the decorative without feeling the boundary of what art is perceived to be. I look for words that I imagine a viewer can actually place themselves in. I move forward as an artist on the trust that we all share a similar experience. Ultimately everyone is at an intersection of multiple cultures, times, histories. The world is shifting and changing and if you’re engaged in the world, you are also shifting and changing.”
Like A Hammer is a must-see-in-person exhibit and is currently on display until May 12. For tickets and more info, please contact the Seattle Art Museum at (206) 625-8900 or visit www.SeattleArtMuseum.org.
Students of Quil Ceda Tulalip Elementary, along with their families and friends, were captivated by the richness of Latin American song and dance during the annual Cultural Fair held on February 28th. In collaboration with Marysville School District’s (MSD) Indigenous Education and a truly dedicated school staff, it was an amazing evening to celebrate the diverse community that is Tulalip/Marysville.
Over two hundred participants filled the elementary’s multi-purpose room where a variety of family-friendly activities and information stations were both available to engage in while broadening cultural understanding. Additional incentives to tour each station came in the form of edible worldly snacks that sparked curiosity in the mind and to the palette.
Interactive booths represented cultures from around the world, including Tulalip, Mexico, Guam, Ireland, Australia, and the United Kingdom. Traditional powwow music was broadcast through the school’s speakers, while a Spanish guitarist also shared his soothing tones with children and parents alike.
“It’s always nice to learn about other cultures because it creates a better understanding between people,” shared QCT teacher Ms. Sablan. Along with her daughter, the duo were presenters of the Guam station. “I taught on Guam for six years and during that time I loved learning about the culture. While there I married and had a daughter who is Pacific Islander. My passion for embracing vibrant culture was the reason I become an educator at Tulalip after attending a Salmon Ceremony years ago.”
As fair goers made their way around the culturally informative stations they gained insights into cultures and traditions different than their own. Lushootseed language warrior Maria Martin shared a board game she created. It teaches Lushootseed, traditional Coast Salish culture, and some history via the laid back atmosphere of a children’s game. When the users finished the game their prize was smoked venison and, hopefully, having learned a Lushootseed word or two.
Quil Ceda Tulalip newcomer, 4th grade teacher Gina Bluebird worked tirelessly to make enough mini frybreads for everyone to enjoy. “This is my first year working for the elementary. I really like they recognize the culture of the community, the culture of the students, and whose land we’re on,” she shared. “I appreciate how open the school staff is to learning about Tulalip culture and the emphasis put on learning about historical figures, like Billy Frank, Jr.”
An arts and craft station demonstrated how cultures indigenous to Australia paint vibrant colored stones and rock formations. Children summoned their inner artist to create animal figures, like the kangaroo, sea turtle or sand viper, on the smooth stones using toothpicks and their choice of paint.
The evening’s featured entertainment was Los Solecitos Del Valle, a Latin youth dance troop out of Skagit Valley. Their performance captivated the attention of everyone young and old during the riveting display of tradition and heritage.
“All the dances we shared today are from the state of Jalisco in Mexico, which is really known for colorful dresses with ribbon, colorful embroidered sombreros, and fast, stomping steps” explained dance instructor Andrea Alaniz. “All the dancers are between 5th and 8th grade now, but have been together since Kindergarten. We’re about community and preserving culture, while learning the history behind the music and dance.”
Los Solecitos Del Valle, a Latin youth dance troop out of Skagit Valley, was the Cultural Fair’s featured entertainment.
“It’s so exciting every time we perform at a new event,” added 13-year-old and lead-dancer Natalia Lopez. “We really enjoy being able to share our culture with people through song and dance.”
The annual Cultural Fair was a tremendous success in putting a spotlight on the richness of a diverse community, as traditional knowledge was gained and shared. For those with a strong understanding of historical context, the fact that people of all backgrounds participated and enjoyed the cross-cultural exchange on a Native American reservation featuring Latin youth performing their dances is a testament to the power of progress.
“Putting on the Cultural Fair takes coordination and cooperation from so many individuals,” reflected QCT Principal Douglas Shook. “Our assistant Principal Kelly Parsons rallied our staff and coordinated outside groups to be a part of this special night. It means so much for our students to not only know their own local culture, but to also know the culture of their friends, neighbors and teachers.
“It’s important for us to embrace the differences we have and to celebrate our own stories. An event like the Cultural Fair helps to promote not only tolerance, but acceptance. That acceptance makes us more relatable and more human.”
The people of Tulalip have a strong connection to their artwork. A walk through one of their many establishments, whether it be the Tulalip Resort Casino, the Hibulb Cultural Center or the Tulalip Administration building, you are sure to be blown away by the Coast Salish masterpieces that are proudly on display. Such art includes masks, story poles, drums, and art prints, all of which depict stories about the rich history and traditional lifeways of the Tulalip people.
Recently, the Don Hatch Youth Center began incorporating more artwork throughout their hallways. Upon entry to the center, you are now greeted by a totem pole that stands at the center of the lobby, and if by chance you glance up, you will notice traditional paintings of a variety of animals lining the ceiling. If you’re lucky enough to find some free time around 5:00 p.m. on a Tuesday, you can learn how to create traditional Salish art at the youth center by attending their weekly Honor Our Culture Night.
Lushootseed language instructor, Celum Hatch discusses the three shapes that comprise most of the art of the Pacific Northwest tribes; the circle, the crescent and the trigon.
On the evening of February 26, a group of fifteen young adults rushed up to the second floor of the youth center. As the kids settled in and found their seats, they were given blank sheets of paper and pencils to practice three shapes that comprise most, if not all, art of the Pacific Northwest tribes; the circle, the crescent and the trigon. As the students worked on the shapes, Lushootseed Language Instructor Celum Hatch shared the Tulalip story, The Bear and the Ant, incorporating the traditional language into the lesson plan. After drawing a few designs and listening Celum’s story, several kids left the room to participate in other activities at the center while a handful of students stayed behind to perfect their artwork.
“This was my first time coming to Culture Night,” expressed young participant, Susan O’Day. “We drew animals and shapes today. I drew an owl with lots of detail using the crescent, circle and trigons. I want to come to more Culture Nights because I had a lot of fun learning about the art.”
Honor Our Culture Night focuses on the vast elements of Coast Salish art while simultaneously explaining the history of each project. Currently, Culture Night is in the middle of a three-part drawing series that was actually inspired by the youth who requested the class in order to explore their heritage.
Susan O’Day working on her design.
“It’s a program that brings the community together, people of all ages from youth to elders,” explains Youth Services Activity Specialist, Rachel Steeve. “We do different activities; we’ve done a few drum making classes where we also painted them, we’ve done cedar weaving, beadwork like necklaces and we did moccasins last year. I ask the community what they want to do and I’m always surprised by the answers, it’s always something different. I didn’t realize there were so many cultural activities and crafts. A lot of times people are making their art for the first time. And with our traditions and our teachings, your first project is the one you put the most love and work into and then you gift it away. It’s nice to see their relatives wearing and showing it off, being so proud of that work.”
For the past three years, the night of traditional art has been organized by Rachel who watched the class evolve since it originally debuted in 2013. Not only has participation grown from the youth within the center, word has spread throughout the community and adults and elders now often frequent the upstairs classroom to learn more about the artwork. Many students are also young Tulalip tribal members who live off the reservation as well as Wellness Court participants who are fulfilling their cultural hours required by the court.
“My absolute favorite thing I get to see is the elder and youth classes,” says Rachel. “We do specific activities for the elders and youth, like our past drum making class. It’s nice to see them together. The kids just listen, they slow down for a minute and take in everything the elders have to say. I’m always surprised by the people who are interested in the classes, those who we don’t necessarily get a chance to see at the cultural events here, they come and are so enthusiastic and want to learn. Or, they already know and they want to help and assist others. I think it gives them a sense of happiness and pride of their knowledge, that they’re able to pass that down to other people.”
Loretta Frye has fun learning about Pacific Northwest art styles.
The students get to keep their finished projects which in turn can lead to further cultural enrichment, allowing the artists to use their work at traditional ceremonies. For instance, past Culture Night participants have used their handmade drums at local events including several coastal jams and drum circles. Rachel states that seeing the art being used in the community, as it was originally intended centuries ago, is a great way to connect the future generations with their ancestors.
“Our goal for the spring is to get a regalia class going so we can make regalia for the Salmon Ceremony and Canoe Journey. We have a drum class here every Friday and they just jam out, a group of boys come every week. We’ve also had a couple drums that we made and donated to the Native liaisons at the schools. At MMS (Marysville Middle School), Saundra Yon-Wagner, the Youth Services Native Liaison, has two drums that we made during these classes and the kids fight over who gets to use them every day, because during lunch they have a daily drum session. It’s nice to see that they’re actually being used enthusiastically.”
Ask any Coast Salish artist, carver or storyteller, there is a great deal of spiritual work that goes into constructing these projects. Youth Services wants to continue to produce items where the people can experience that medicine and continue to pass down that knowledge generation after generation.
“There’s a lot of importance in carrying on these cultural activities,” Rachel states. “As years go on, we get busy and we either forget or push back our teachings. Our community needs programs like these because whether it’s a community or personal issue, everybody needs a little healing and working with your hands is healing. I want to extend our hands out from Youth Services and welcome and invite everyone. I ask that people invite their family, don’t just come yourself. Bring your cousin, your uncle, your auntie and bring an elder who doesn’t have the means to get down here or needs a little extra company.”
Honor Our Culture Night is held every Tuesday at the Don Hatch Youth Center from 5:00 p.m. to 7:30 p.m. For more information, please contact the Youth Center at (360) 716-4909.
yəhaw̓, on view at ARTS at King Street Station March 23 to Aug. 3, 2019,
highlights contemporary Indigenous creatives Opening celebration Saturday, March 23, 2019, noon – 7 p.m. Admission is free
SEATTLE, Jan. 31, 2019 – An exciting new arts and cultural hub opens in Seattle on March 23, 2019, when ARTS at King Street Station debuts with the dynamic exhibitionyəhaw̓,which presents some 200 works showcasing contemporary Indigenous creatives.
ARTS at King Street Station was conceived as an innovative, community-powered arts and cultural hub that encompasses art, artists and culture through the lens of racial equity. The exhibition space provides a holistic view of art and the people who make, consume and live it. Informed by an extensive community input process, ARTS at King Street Station was conceived to reflect the creativity and talents of people that continue to create the fabric of Seattle.
On view through Aug. 3, 2019, the inaugural exhibition yəhaw̓ (pronounced yee-hout) will open ARTS at King Street Station, an historic space now dedicated to increasing opportunities for communities of color to present work. “It is fitting that we inaugurate the space with a nod to the incredible artistry of the Coast Salish peoples, on whose land the City of Seattle is built,” says Randy Engstrom, director of the Office of Arts & Culture (ARTS).
The exhibition title yəhaw̓ is drawn from the Coast Salish story that tells of Native people from all tribes uniting around a common cause and lifting up the sky together. Appropriately, yəhaw̓ reflects a nuanced, inclusive narrative that firmly establishes Native creatives as belonging in the here and now. Prior to the culminating exhibition that opens March 23, yəhaw̓ has encompassed satellite installations throughout the region, performances, artist-in-residence, a publication, art markets, in an expansive, yearlong project.
All Indigenous creatives living in the Puget Sound region were invited to participate in the yəhaw̓ project, and all who applied had the opportunity to have their work represented in the programming. Conceived and curated by Tracy Rector (Choctaw/Seminole), Asia Tail (Cherokee Nation) and Satpreet Kahlon, the resulting yəhaw̓ project features the work of some 200 creators of all backgrounds and experience, in disciplines including sculpture, photography, design, printmaking, woodworking, film, metalwork, glass and textiles.
Several artists were commissioned for site-specific artworks, including Chai Adera, Natalie Ball, Demian DinéYazhi´, Malynn Foster, Sara Siestreem, Adam Sings in the Timber, Timothy White Eagle, Christine Babic and more. In addition, 10 emerging artists, such as Priscilla Dobler, Randi Purser and Asa Wright were selected to participate in a mentorship program, receiving artistic guidance from established Native artists.
The new ARTS at King Street Station space responds directly to feedback from community focus groups with an emphasis on people of color. Located on the third floor of the 123-year-old train station, the 17,500 square-foot cultural hub was designed by Schacht Aslani to provide flexible, co-use areas for community gathering in addition to professional office and gallery space. The design contains a large multi-disciplinary arts presentation gallery, a public “living room” lobby, a multi-use conference room for large meetings and public presentations, an artist-in-residence space, offices and meeting rooms. In the presentation space kinetic gallery walls designed by Olson Kundig enable community and artists to reconfigure the displays as needed for changing exhibitions and events. Throughout, new architectural interventions emphasize transparency, highlighting and revealing historic elements of the original building such as the historic masonry and steel structural system, ornamental stairway and original terrazzo floor. ARTS at King Street Station is located at 303 S. Jackson St., third floor, Seattle, WA 98104. Open Tuesday – Saturday,
10 am – 6 pm, and First Thursdays, 10 am – 8 pm. Admission is free.
Families traveled from near and far to celebrate Indigenous culture and Christmastime at the 5th annual Tulalip Tribes and Marysville School District (MSD) Indian Education Christmas Powwow. On the evening of December 15, the Francy J. Sheldon Gymnasium was at capacity and rocking as local Veterans kicked off the ceremony, leading the way during grand entry.
Dancers draped in beautiful regalia, that showcased their beading and seaming talents, competed in a number of categories including fancy shawl, jingle and traditional dances. The crowd was highly interactive, cheering on their loved ones as they hit the floor to honor the traditions of their ancestors. Babies to elders engaged throughout the entire evening, dancing in circles around the gym to hypnotic drum beats provided by five drum circles.
“It started five years ago through the MSD and the Tulalip Tribes,” explained Deborah Parker, MSD Director of Equity, Diversity and Indigenous Education. “Our Native American liaisons wanted to provide a little holiday cheer because sometimes it can be a difficult time of year for some families. So we wanted to do a powwow, bring the drums out and let everybody have a good time to remind us that the holidays are about families coming together and about us loving and uplifting each other.”
Across campus, at Marysville Mountain View Arts and Technology High School, Santa Clause paid a visit to drop off gifts donated by Toys for Tots, as well as a handful of community members. While Ol’ Saint Nick stuck around for a bit to take photos with the families, the kids checked out all of the toys and got to pick one present each, choosing from a selection of stuffed animals, Hot Wheels and books.
“Little kids look forward to this all year. They’re always asking, when’s the next Santa powwow,” said Deborah. “This year we served 1,100 plates of roast, mashed potatoes and corn. We had about forty plus dancers, five drums and we gave out close to 1,000 toys. The kids were super excited, even before we opened the doors, we had a huge lineup. Every kid gets a toy and they get to pick their own toy, so that’s special. We had Santa pictures and lots of vendors, it’s kind of a festival type atmosphere. Everybody’s laughing, hugging and sharing good words with each other and that’s the spirit of what we came to do.”
