Jazz Therapy: Preservation Hall Legacy Jazz Band visits Tulalip community

By Kalvin Valdillez, Tulalip News

As the last note of their second set was hit and spit valves were emptied, trumpet extraordinaire, Gregg Stafford, approached the microphone at the Francis J. Sheldon Gymnasium. He graciously thanked the audience of middle and high school students for the standing ovation he and his fellow band members of the Preservation Hall Legacy Jazz Band were receiving. The traditional six-piece New Orleans jazz band recently traveled to Tulalip to perform and speak with the youth of the community about jazz history, culture and the importance of keeping traditions alive. During their week-long visit the band performed for over 4,000 students at schools within the Marysville School District including Quil Ceda Tulalip Elementary, and Heritage, Getchell and Marysville-Pilchuck high schools.

After the much deserved cheers and applauds began to quiet down, Gregg informed the students that the band would be answering any questions the students had for them. The kids asked a variety of questions ranging from who is your favorite jazz singer to more complex questions regarding mutes, tempo and time signatures. Inevitably, a student asked ‘how long have you guys been playing?In this moment Gregg, along with trombonist Fred Lonzo, clarinetist Louis Ford, pianist Lars Edgrean, bassist Richard Moten and drummer Joesph Lastie Jr collectively grinned as Greg looked at his watch and responded ‘oh about twenty-five minutes now.’ Laughter filled the entire room, most notably from the band.

Those small joyful moments, within the twenty-five-minute jazz set, where the entire room is smiling ear to ear, sharing laughter with one another and getting lost in the music is the reason Tulalip Tribes Employee Assistance Counselor, Jessica Talevich, brought the Preservation Hall Jazz Band to the Pacific Northwest.

Tulalip Tribes Employee Assistance Counselor, Jessica Talevich (right) dancing to the band during their performance at  the Hibulb Cultural Center.

Nearly two years ago, after witnessing the band live in their native New Orleans and once again in Seattle a week after, she discovered the band offers outreach work to high schools nationwide. In the wake of tragedy amongst the Tulalip-Marysville community, Jessica consistently witnessed division as several messages from ‘talk-based’ outreach programs missed their mark and constantly reminded community members of their hard times.

In an effort to change the cycle and promote healing, Jessica and the Tulalip Tribes partnered with the Marysville School District to bring the unique outreach program to the community.

“They just exude so much joy,” exclaimed Jessica. “The history of New Orleans is built on tragedy. From the early days of illness’ and diseases killing off many people, to the whole city burning to the ground and being rebuilt, and slavery is a whole other aspect. And then there’s instance after instance of hurricanes coming through and decimating [the city] such as Katrina and then the gulf oil spill that happened after [Hurricane Katrina]. These are resilient folks and their culture and arts, especially their music, have a lot to do with their resiliency so I wanted to bring that up here and talk about creativity as a tool for resiliency.”

After a tour of Tulalip, hosted by Tulalip tribal member Freida Williams, the band performed for the community at the Hibulb Cultural Center. Plenty of audience members danced and joined in a march led by Fred while he performed a solo on his trombone. Following the performance, the band had an open discussion with the audience touching on subjects such as the ever-changing music industry and music education. Gregg inquired about the local population of black bears and the tribe’s hunting regulations.

Tulalip tribal member Natosha Gobin and her children were present for nearly every Preservation Hall Jazz Band performance to offer prayers and gifts to the musicians.

She states, “It was a good week, my kids had so much fun! I think that music is such a great outlet and sometimes there are youth out here who kind of feel overwhelmed with not knowing our own traditional songs or like they can’t sing their songs and express themselves through our culture. And I think that a lot of the youth were able to find a connection and a love and passion for another music outlet and they understand more about Preservation Hall, although they are not an Indigenous group. They’re not a tribe, yet everything that they struggled with is parallel to what our people struggle with. So you can make those connections and those connections help – they’re inspiring for kids. For our youth, I think its inspiring that music does have a culture.”

On their last night in the community, the Preservation Hall Jazz Band spent the evening performing for a large crowd in the Marysville-Pilchuck auditorium. Both Getchell and Marysville-Pilchuck high school jazz bands showcased their skills for Preservation Hall. Fred, Louis and Gregg made special appearances and performed alongside the bands.

During their final performance the band shared the stage with Native American Grammy Award Winner, Star Nayea. The band played Dixieland jazz, jazz blues, and ragtime as well as jazz funeral music. The audience was highly engaged and interactive throughout the bands last set. The crowd sang along to classic songs such as What a Wonderful World and A Closer Walk with Thee. Nearly everyone in attendance marched around the auditorium before rushing the stage while the horns blew to the tune of When the Saints Go Marching in.

“Witnessing the interactions between our musicians with students from the Tulalip community was both inspiring and impactful,” states Preservation Hall Foundation Program Director, Ashley Shabankareh. “We saw such passion from students in the community for their own cultural traditions and were able to make meaningful connections to how we pass traditions in New Orleans. This trip is something myself and our musicians will never forget – we were overjoyed to see the power of music bringing communities together.”

For additional information about the Preservation Hall Jazz Band please visit PreservationHallJazzBand.com

Cultural imPRINT: Northwest Coast Prints exhibition showcased at Tacoma Art Museum

Art Thompson (b. 1948)
Nuu-chah-nulth, Dit-i-daht First Nation
Not a Good Day, 1993
Screenprint

By Micheal Rios, Tulalip News 

The Tacoma Art Museum (TAM) is currently showcasing the vast styles of printmaking by tribal artists in its Cultural imPrint: Northwest Coast Prints exhibit. Reminding us of the local talent and cultural beauty inherent in works by artists from various First Nations and Native tribes along the Pacific Coast, you can take advantage of this special exhibition by visiting TAM now through August 20.

Faith Brower, TAM’s Curator of Western American Art, has partnered with co-curator India Young from Victoria, B.C. to bring together a selection of approximately 46 prints by 30 Coast Salish and Fist Nations artists.

Art Thompson (b. 1948)
Nuu-chah-nulth, Dit-i-daht First Nation
Hy-ish-tup, 1975
Screenprint

“This exhibition is really about how artists create community through their work,” said co-curator India Young. “Artists visualize their nationhood and territory. Cultural knowledge and design are passed from print to print and generation to generation. Prints circulate a sense of belonging.”

Providing a survey of Indigenous artists who have defined six-decades of printmaking in the Pacific Northwest, this exhibition proudly boasts a cultural narrative. Through their prints, these artists share knowledge about the diverse cultures in the region, while sustaining their art and history. Some of this artwork focuses on culturally specific design motifs that can identify a nation or tribe within the region. Others affirm how artists have used the print medium to reexamine the role of women’s histories with Northwest Coast communities. Still other works illuminate the passion of knowledge between generations.

Jeffrey Veregge
Coast Salish, Port Gamble S’Klallam Tribe
Restoration, 2012
Digital print

“What’s fascinating about this exhibition is the various interpretations of cultural symbols,” states co-curator Faith Brower. “These print works connect people in new ways to vibrant Northwest communities.”

Much of the printmaking from the Northwest Coast can be immediately recognized by the high contrast, black and red graphics. Indigenous printmaking in the region continues to be exploratory and innovative while adhering to traditional teachings. Through the print medium artists expand on their visual languages to create works that broaden the scope of Northwest Coast art.

Marika Swan (b. 1982)
Nuu-chah-nulth, Tla-o-qui-aht First Nation
Become Worthy – State I, 2016 Digital print
“When our people were whaling they prepared their whole lives spiritually to be worthy of a gift as generous as a whale. Everyone in the community had to work in unity to ensure the hunt was successful and done safely. Each whale was such a bountiful offering of food for the community and each part of the whale was utilized and celebrated. As a Tla-o-qui-aht woman there are many large gifts I am hoping to bring home to my community and I understand that I am on a journey to spiritually lay the groundwork so that I am ready when they arrive. Pook-mis, the drowned whaler, lies at the bottom of the sea floor and offers a warning that things can go horribly wrong if you are not properly prepared.” – Marika Swan
Henry Speck (Ozistalis, b. 1908)
Kwakwaka’wakw, Tlowitsis First Nation
Sea Raven –
Gwa wi’s, 1964
Screen Print

Medicine for Our People: Annual Hibulb United Spring Schools Pow Wow

By Kalvin Valdillez, Tulalip News

“This is not a show for your entertainment, this is medicine for our people. We come to this floor seeking healing and it’s important that we continue to teach this to our future generations,” explained Elder and traditional dancer, Charlie Pierce, of the importance of carrying on traditions. “There is a reason we perform at these gatherings; it is not a spectacle.”

The Tulalip and Marysville community showed up in large numbers for the Annual Hibulb United Spring Schools Pow Wow. The recent event was held on Saturday May 13, 2017 at Totem Middle School to celebrate Native American culture with traditional song and dance. Many families traveled, some from as far as Canada, to participate in the festivities. Several drum circles performed including host drum, Indian Heritage.

MC Arlie Neskahi directed the competitions throughout the evening. In between the inter-tribal dances and competitions raffles, donations and birthday wishes were held and books were awarded to every child in attendance willing to dance. This year featured an arts and crafts table for the youth to make traditional Native American art, namely beaded jewelry. Numerous vendors were in attendance, selling an array of items including beaded regalia, art prints, sage, sweet grass, blankets and clothing.

Cultural imPRINT: Northwest Coast Prints exhibition showcased at Tacoma Art Museum

Robert Davidson (b. 1946)
Haida First Nation
Untitled (Sara’s Birth Announcement), 1973
Screenprint

By Micheal Rios, Tulalip News

For generations, Coast Salish and First Nations artists developed visual language made up of colors, lines, shapes and space. These centuries-old designs can be recognized on cultural objects including basketry, carving, blankets and jewelry. When Coast Salish artists began printmaking in the 1960s, they translated their graphic languages onto a flat surface. The reproducible print medium raised visibility for Indigenous arts in the Pacific Northwest and beyond.

Susan Point and Kelly Cannell
Coast Salish, Musqueam First Nation
Memory, 2005 Screenprint
*This mother-daughter collaboration won the City of Vancouver’s “Art Underfoot” competition in 2004. The design can be found on storm sewer covers throughout the Vancouver area.

The Tacoma Art Museum (TAM) is currently showcasing the vast styles of printmaking by tribal artists in its Cultural imPrint: Northwest Coast Prints exhibit. Reminding us of the local talent and cultural beauty inherent in works by artists from various First Nations and Native tribes along the Pacific Coast, you can take advantage of this special exhibition by visiting TAM now through August 20.

Faith Brower, TAM’s Curator of Western American Art, has partnered with co-curator India Young from Victoria, B.C. to bring together a selection of approximately 46 prints by 30 Coast Salish and Fist Nations artists.

Ben Davidson (b. 1976)
Haida First Nation
Just About, 2014 Screenprint

“This exhibition is really about how artists create community through their work,” said co-curator India Young. “Artists visualize their nationhood and territory. Cultural knowledge and design are passed from print to print and generation to generation. Prints circulate a sense of belonging.”

Providing a survey of Indigenous artists who have defined six-decades of printmaking in the Pacific Northwest, this exhibition proudly boasts a cultural narrative. Through their prints, these artists share knowledge about the diverse cultures in the region, while sustaining their art and history. Some of this artwork focuses on culturally specific design motifs that can identify a nation or tribe within the region. Others affirm how artists have used the print medium to reexamine the role of women’s histories with Northwest Coast communities. Still other works illuminate the passion of knowledge between generations.

Lyle Wilson (b. 1955)
Haisla First Nation
When Worlds Collide, 1979
Screenprint

“What’s fascinating about this exhibition is the various interpretations of cultural symbols,” states co-curator Faith Brower. “These print works connect people in new ways to vibrant Northwest communities.”

Much of the printmaking from the Northwest Coast can be immediately recognized by the high contrast, black and red graphics. Indigenous printmaking in the region continues to be exploratory and innovative while adhering to traditional teachings. Through the print medium artists expand on their visual languages to create works that broaden the scope of Northwest Coast art.

Ken Mowatt (b. 1944)
Gitxsan First Nation
Legend of the Avenged Flea, 1975
Screenprint
Ken Mowatt (b. 1944)
Gitxsan First Nation
Lynx’ Ooy’, 1980
Screenprint

Art of the Future Generation

Tulalip Youth Services hosts Annual Native American Student Art Festival

By Kalvin Valdillez, Tulalip News 

Excitement filled the air of the Don Hatch Youth Center, which was briefly transformed into an art gala, on April 20, for the annual Native American Student Art Festival. Various works were on display including poetry, self and family portraits as well as an array of traditional Native American art including paddles, blankets, beaded regalia and cedar woven baskets.

The festival is open to all Tulalip tribal members between kindergarten and the twelfth grade, as well as students of other tribal nations who attend the Marysville School District. Students are able to submit one art project for each category – culture, mixed media, painting, sculpture, digital art, writing, new media and drawing. Awards are presented for first, second and third place, as well as for honorable mentions, to each grade for every category.

Art has been an essential necessity to the Native American culture since time immemorial. Coast Salish ancestors utilized their natural resources to create art such as masks, blankets, drums and rattles for ceremonial purposes; as well as for tools, for everyday use, like hats, baskets, canoes and paddles.

With over a whopping one thousand art submissions this year, the event continues to provide the young Indigenous Picassos with the opportunity to express their creativity and showcase their talents to their community. Often participants will submit a project for each category, like Taylee Warbus, who was awarded six ribbons in total – three of them being the highly coveted first place blue ribbon.

10th grade student Selena Fryberg reconnects with her ancestry while drawing a portrait of her late grandmother Catherine Rivera.

Many students reconnect with their culture while preparing their projects for the festival. This year, tenth grade student and multiple prizewinner Selena Fryberg reconnected with her ancestry while drawing a portrait of her late grandmother Catherine Rivera. Selena states, “She passed away before I was born, but people always say I get my talent from her. I feel like I got to know my grandma a little better while drawing her for [the art festival].”

If you missed the opportunity to experience the student art exhibit, don’t fret because the winning masterpieces will be on display exclusively at the Hibulb Cultural Center until Friday May 5, 2017.

Tulalip’s got talent

By Micheal Rios, Tulalip News

On Thursday, April 13, the auditorium of Quil Ceda Tulalip Elementary was home to the artistic expression, vocal talents, and hula-hooping skills provided by the youthful, creative student body.

The 2017 talent show was a great way to showcase the students, build their confidence, and bring the community together. It’s a fun-filled event that appeals to all age groups and gives family and friends the perfect opportunity to capture long-lasting memories.

“Our annual talent show is such a great event. There is a buzz in the school prior to the talent show, with pockets of kids practicing their acts during their recess time. It’s so cute to witness,” marvels cultural specialist Chelsea Craig. “As a staff member it is beautiful to watch the kids blossom. I have seen kids who normally are pretty shy [step up] and sing in front of the whole school. I love how it really showcases such a variety of talent and empowers our kids.”

Several of the young aspiring singers covered the catchy hit song “How Far I’ll Go” from Disney’s Moana soundtrack, while a couple others utilized popular dance moves of ‘Watch Me’ (Whip/Nae Nae), while Lupita Alvarado stayed true to her cultural roots and shared a traditional Mexican folk dance with her peers. Then there were those who took creativity to the next level by coming up with their own choreography and dance moves.

The students, teachers, and parents were all blown away from the get go as a large ensemble led by Kamaya Craig opened the talent show with their own unique dance routine. Dancing to music by Beyonce, the eleven student girl-group displayed a variety of dance moves and choreographed precision. In creating the routine, Kamaya’s vision was to have a variety of girls from difference grade levels perform a song that really takes pride in who they are as young ladies. The group of 1st – 5th grade ladies met daily during lunch time to practice channeling their inner Beyonce.

Following the amazing performances, Kamaya’s mother Chelsea said, “It felt good to see the arts living in our school, we definitely need more of that!”

The annual elementary talent show set the stage to showcase so many talented kids and the student body came through, act after act. All the young entertainers braved being on center stage and performed admirably.

“Every year the talent show is a big success; 2017 was no exception. It is an event that is anticipated by parents, staff, and students alike,” explains Principal Cory Taylor. “For many years, 1st grade teacher Corina Hansen has put many hours into planning this event. Putting on an activity like this doesn’t just happen without a vision. As a school, we are fortunate to have her leadership in coordinating the talent show.

“All of the performers did such an amazing job. There was a wide variety of talent ranging from comedians to artists. Without question, these students will do amazing things with their lives. As a school, we applaud them for their great work.”

UW Presents 46th Annual Spring PowWow

By Micheal Rios, Tulalip News

Tribal families from all over the Coastal Pacific Northwest gathered on Saturday, April 8 to partake in the Grand Entry that marked the beginning of the University of Washington’s 46th annual Spring PowWow. The yearly UW powwow is hosted by the First Nations @ UW student organization and takes place at Alaska Airlines Arena at Hec Ed Pavilion.

The purpose of the annual Spring PowWow is to preserve the customs and traditions of the University of Washington Native American community and to promote cultural education and diversity on campus. The powwow is the largest student-run event on campus, attracting over 5,000 people expected to attend throughout the weekend every year.

First Nations @ UW is run by both undergraduate and graduate students of Native and non-Native descent. They hold weekly meetings for Native students to socialize, eat food, and plan events. The First Nations organization often partners up with other Native establishments on campus for field trips and cultural educational activities.

When it comes to cultural activities it doesn’t get any bigger than the coming together of Natives from all across Indian Country to celebrate heritage and pride in the form of a powwow. The indigenous mentality was clearly on display through the traditional regalia, songs, dances, and heartfelt words shared by all those involved.

“It’s just not something you see every day, all these Native people coming together as a community,” said Lyndsey Brollini, a member of the UW student group First Nations and a Haida native. “Powwows have become kind of a pan-Native thing instead of just one tribe.”

Over a dozen Northwestern tribes were represented at the powwow, including the Yakima, Spokane, Quinault, Tulalip and Skokomish Nations. Among this year’s Spring PowWow participants were several Tulalip tribal members (e.g. Myrna Redleaf, Terrell Jack and Jobey Williams) who represented their tribe and heritage proudly on the main stage during the Grand Entry.

The Spring PowWow is a competitive powwow, meaning it includes dance contests according to age (junior, teen, adult, 50 and up) and style. The dancers specialized in a variety of styles: grass, cloth, jingle, fancy, chicken, their regalia reflecting the style. Dancers compete for monetary prizes.

Grand Entry not only opens the powwow, but allows the dancers to showcase their ceremonial regalia for all the spectators in attendance. The MCs announced the Grand Entry in an upbeat, enthusiastic voice, while dancers entered in a line, led by veterans bearing the U.S. and Canadian flags. The arena was filled with Native American dancers of all ages, representing a multitude of styles and regalia. The stage was awash with color and movement, glittering gold and silver, the earth tones of leather and feathers, and all manner of bright colors.