Category: Arts & Entertainment

By Wade Sheldon, Tulalip News

In the gentle rhythm of needles and the soft embrace of yarn, Tulalip tribal member Anita “Keeta” Sheldon’s craft unfolds like a rich tapestry of tradition and enduring artistry. Born and raised in Tulalip, Anita, turning 84 this year, has been wielding knitting needles and crochet hooks for nearly six decades, crafting not just hats and sweaters but a legacy of warmth that spans generations. From the tender beginnings of making tiny garments for her babies, Anita’s hands have spun tales of love and comfort through her creations’ intricate loops and stitches. In her words, knitting and crocheting are not merely crafts; they are therapeutic, good for the soul, and a timeless art passed down through familial threads.

Recently, on January 27, Tulalip News sat down with Keeta and talked about knitting/crocheting and what that means to her. 

When did you first start learning to knit and crochet?

I started knitting and crocheting about 58 years ago. I started making hats and sweaters for my babies. Then, I began making Afghans by crocheting. When I’m not knitting, I am crocheting them.

Who was a significant influence in learning how to knit/crochet?

I would watch the renowned Sarah Sheldon knit. When one of my relatives was in the hospital with a broken back for six months, Grandma Sarah was there with a knitting needle and yarn and showed me how to knit. I watched her knit; she didn’t even have to look at her work while talking to you. She could knit nine pairs of socks a day and would sell them in Seattle. She would also raise her own sheep to create her own wool. She had her own spinning wheel and would make her own yarn. She was good. 

What is the difference between knitting and crocheting?

The difference between crocheting and knitting is one has a straight needle, and the other has a hook at the end. You go one knot at a time when crocheting and use the whole needle when knitting. It’s faster to crochet, and the stitches are slightly looser. I like knitting, and it is more relaxing than crocheting. 

Recently, you had a bad fall. How has it been getting back into knitting/crocheting?

It keeps my hands busy, it’s good therapy, and it’s also good for your mental health. Recently I fell and broke my wrist and couldn’t do anything for a few months. Now, I am doing therapy to help heal my hand. My doctor agreed to keep knitting; when I get tired, I put it down and rest, and I can do more each day. 

How long have you been selling your hats?

I just recently started selling my hats when I learned about the bazaar that happens around the year’s end. Before that, I made them as gifts for Christmas, birthdays, and when it gets cold out. They are well made, comfortable, and will last. My husky hat is over 40 years old and still keeps me warm. 

What are some fond memories you have from making hats?

I made the husky hat because I am a Washington husky fan, and I made my husband a cougar one because he likes Washington State. But his was stolen from the boat dock the first time he wore it out. Then I made another, and it was stolen, so I never made him another one and instead made a blanket that he used to keep on his work chair. And when he passed, it was sent with him onto the other side. 

Where did you get the canoe design from on your recent hats?

The design I used on some of my most recent hats was from the canoe that used to be at the old entrance to the reservation. I liked that design and feel like it represents our people.  It can take two days to make a hat like that if you have the right tools and some suitable yarn. 

If you are interested in purchasing or learning more about Anita’s hats or other products she creates, you can give her a call at (360) 653-8163. 

By Wade Sheldon, Tulalip News  

A tapestry of tradition, beauty, and heartfelt storytelling unfolds in the latest cinematic gem, ‘Frybread Face and Me.’ Crafted by writer and director Billy Luther, the film narrates the compelling journey of a young Native child thrust from the bustling cityscape into the heart of the Navajo reservation under the care of his grandmother.

As the young protagonist navigates this cultural shift, ‘Frybread Face and Me’ delves deep into themes of identity, family, and the enriching power of heritage. Luther weaves a poignant tale that resonates with audiences, exploring the ties that bind us to our roots. In embracing the Navajo reservation, the young character discovers the beauty of his culture and finds a profound connection to his family and heritage.

Recently, Tulalip News spoke with writer/director Billy Luther about his latest film and what it means to create an authentic Native cinema.

The grandmother is the core structure of the family; can you speak a little about that?

Growing up, my grandmother was always the core of the family, and it was a profound and significant part of my life, not just for me but for my entire family. Making this movie was a tribute to her. 

Who has been your inspiration? 

The film touches on the women in my life: my aunts, grandmother, and mother. They were part of my childhood, all the stories they would share with me and just being the strong matriarchs, they are.

Why is authentic Native representation so crucial in Hollywood right now?

One of the things is we have Natives behind the camera. That makes a massive difference with stories. We don’t have to try to be authentic when we have Natives behind the camera. We have these shared and lived experiences as Indigenous people. We weren’t trying to get it right, we just knew this world. I think that is so unique and different in Native films by Native peoples because you can tell when there’s a movie not made by a Native. 

What do you hope the takeaway is for Native families that watch the film?

I want people to have fun with it. I think it’s something that’s not widely available. I think the first time Natives could go to the theatre and laugh and have a shared experience as a family was 30 years ago with ‘Smoke Signals.’ 

I also wanted to share an experience that resonated with a larger audience. I am meeting a lot of non-Natives who watch the film, and it takes them back to a time in their lives when they were kids. That’s an integral part of my daily life and the humor and joy of growing up. 

What advice do you have for young people trying to enter the movie industry?

It’s tough, it’s tough. I have been in this industry for 20 years. It would be best if you were consistent and not give up because it’s not easy; it’s not easy at all. You must write every day. I’m not saying you need to write a script every day, but you should be writing, reading a lot of books, and watching a lot of films, foreign films, all over in terms of art. That’s a lot of what people miss. They want to make blockbusters, but it’s complex and challenging. I’ve seen many people give up, but if you want to do this, you have to stick with it. There’s a lot of nos. 

What else do you want people to know about ‘Frybread Face and Me’?

I hope people are excited about the story, and seeing all the love we are getting is surprising. You work so hard on a film for so many years; it’s not like it took us a year to write, cast, film, and edit. It’s a long process, and it’s been so rewarding. I’m still trying to process how much it resonates with people; it has been a blessing. 

Whether you’re a fan of heartwarming stories or just looking for a cozy movie night, ‘Frybread Face and Me’ is ready and waiting for your viewing pleasure. Available for streaming on Netflix today.

Matriarch (Friday & Singletary)

By Micheal Rios; photos courtesy Stonington Gallery

As November ends, we wanted to offer one more in-depth article in recognition of Native American Heritage Month. Because our people span the color spectrum, it seemed fitting to close out this annual series with a topic that provides stunning, tradition-filled imagery that is as vibrant as our collective culture is. Enter the realm of glass art.

In the vast landscape of artistic expression, the continued evolution of Native artists compels the creative eye to imagine never-before-seen masterpieces that can only be achieved by embracing new technologies and new mediums. Within the realm of glass art, Native creatives are becoming increasingly recognized for their dynamic fusion of tradition and innovation.

Traditionally rooted in naturally harvested materials like cedar, seashell and leather hide, recent access into the glass realm represents not just a departure from the norm but a transformative journey that symbolizes cultural preservation and the collaborative spirit.

“I kind of came into glass by proxy of being in Seattle when I was a mechanic and tow truck driver. One day I walked into a glass factory and that was it for me. I just knew the course of my life would change after that,” shared artist Dan Friday (Lummi). “You kind of get lost in the process, and that’s what I like about glass is sometimes just going through the motions is what opens your eyes to what is possible. I feel like if you just spend enough time with the material, it will show you what’s available through it.

“I’m a master of none, but I try and use all the techniques that I’ve learned,” he continued. “My great-grandfather Joseph Hillaire carved story poles that depicted a traditional story. [Carrying on that legacy], I tell stories that depict the resurgence of Coast Salish culture through my work with glass. As artists, we want to study the work of our ancestors and draw inspiration from them, not just replicate their work. I’m trying to tell my stories in glass, to tell my family stories in this modern medium so they can continue to be seen and appreciated.” 

For millennia, our art has served as an expressive storyteller, weaving tales of cultural heritage through mediums like story poles, basketry, and all forms of regalia making. However, a new chapter is unfolding before us as boundary-pushing artists explore the possibilities of fusing culture and glass with the help of a 2,000 degrees Fahrenheit furnace. 

This shift isn’t a rejection of tradition, instead, it’s a harmonious blend of the old and the new. Glass, with its flexibility and luminosity, provides an exciting canvas for artists to narrate their cultural stories with a modern twist.

One striking aspect of this evolution is the deliberate mixing of Salish symbols and Native iconography into the glass medium. Artists draw inspiration from their cultural roots, infusing their creations with symbols representing animals, spirits, and classic Coast Salish formline. The result is a visually captivating artwork that carries a thoughtful cultural significance, forming a bridge between the traditions of our ancestors and the present generation’s unrestricted freedom to express culture in most creative ways.

“I always say that Native culture has a defining historical connection to glass because it came to us through trade beads,” explained artist Preston Singletary (Tlingit). “Glass was something that was special to our ancestors who traded for glass beads or glass shards. Eventually, it was adopted into the culture and used for ornamentation, trade, and other creative means.

“I like the idea of glass having a sense of permanence, but it’s also very fragile, “he continued. Preston is renowned for his unique style of carving glass through sandblasting, which he uses to reveal layers of color and meaning. “When I work with the material of glass, I feel like it brings this new dimension to Indigenous art. It really has an opportunity to draw people in and show them aspects of our culture previously unseen in the contemporary art world.”

The journey into glass art has been made possible through educational programs, workshops, and collaborative initiatives. Exposure to glassblowing techniques and working with non-Native artists, like Dale Chihuly and his apprentices, has empowered Native American artists to explore new creative horizons. These collaborations serve as crucibles of molten ideas, where traditional knowledge converges with modern innovation.

An admirable aspect of this evolution is the commitment to cultural preservation. Native glass artists, while embracing the newness of glass as a medium, remain committed to celebrating and preserving their cultural heritage. Each stunning piece becomes a flame-cut canvas for storytelling and a luminescent tribute to our surroundings. 

“I was born in a house with no water and no electricity on Lopez Island. My childhood was a lot of being out in the woods and playing near the water,” said artist Raven Skyriver (Tlingit). 

“I draw on those experiences as a young kid still to this day as inspiration. My work is almost exclusively derived from the marine ecosystem. I attempt to place the creatures back in their environment by capturing the fluid nature of molten glass and transferring it into the perceived weightlessness of a swimming creature. I always strive to imbue the work with a hint of life.”

As these glass creations find homes in galleries, museums, and the broader art market, a new chapter in the narrative of Indigenous artistry is written. Authored by Native American artists unafraid of accessing their skills of adaptability passed down from generations of cultural creatives who embraced the new to pass down the old. 

By Wade Sheldon, Tulalip News; photos courtesy of Tammy Taylor 

As the holiday season unfolds, the vibrant spirit of festive cheer found a welcoming home at the annual Tulalip Holiday Native Bazaar on November 17 and 18. Hosted by Tammy Taylor, this lively event provided a bustling marketplace for the talented artisans, crafters, and food vendors of the Tulalip community. 

Throughout the weekend, attendees perused an array of meticulously crafted products, including cozy wool hats and skirts, intricate cedar regalia and baskets, savory smoked salmon, resonant drums, and festive Christmas ornaments. 

Among the myriad of handmade treasures, the bazaar offered more than traditional crafts. For those seeking a glimpse into the mystical realm, tribal member Emmarie Davis, provided tarot readings, adding a touch of spiritual insight to the festive atmosphere. 

For those with a passion for fashion, tribal member Gio Sohappy showcased the latest Jordan sneakers, and Josh Fryberg introduced his distinctive clothing line, Skyn Style. 

“We have been making our custom designs, and they have been selling out quickly,” said Josh. “We have some new customs coming out soon with all new styles available. Our family also makes smoked amazing salmon candy.” 

Josh continued, “It was great seeing all the vendors at the Bazaar. Let’s continue to grow and expand our businesses together and show our youth and community that anything is possible with hard work and dedication. I also want to thank Tammy, Lance Taylor, and all the staff who helped make the Bazaar happen. I look forward to seeing everyone at the next event.”

There will be another chance to do Christmas shopping at the Holiday Native Bazaar on December 8-9 at the Tulalip Gathering Hall, 7512 Totem Breach Rd. Contact Tammy Taylor at 425-501-4141 for more information. 

By Kalvin Valdillez, Tulalip News

With the sudden drop in temperature, many are looking for some fun indoor activities that they can enjoy with their friends and families as we approach winter. You are definitely going to want to add the Hibulb Cultural Center (HCC) to your list of places to visit soon. 

We understand that with its beautiful carvings of canoes and welcome poles, it’s informative main gallery that shares the rich history of the Tulalip people, the moving tribute to the tribe’s service men and women, the traditional cedar longhouse experience, and the impressive gift shop, the award-winning cultural center may already be on that list. If this is the case for you, we suggest circling it, hitting it with a double underline and exclamation point, or simply moving it higher on the list because you are not going to want to miss their new exhibit.  

Over the years, the HCC has built a reputation for putting together unique, informative, and interactive exhibits such as The Power of Words, Interwoven History: Coast Salish Wool, Tulalip Indian Fair, Vibrant Beauty: Colors of our Collection, Roots of Wisdom, and Coast Salish Canoes. The new exhibit, tabtabəb, follows their signature formula of culture and knowledge sharing and is guaranteed to engage everyone from youth to elders. tabtabəb is sure to have folks talking for days, not only in the traditional languages but also about the exquisite curation of the new exhibit. 

“The goal of the exhibit is to make the language accessible,” explained Mytyl Hernandez, HCC Museum Manger. “We use the language as much as we can, in all the videos, displays and visually too, so people can see it. And even with the name tabtabəb, which the Lushootseed department helped us find. We wanted a word that anybody could look at and give it a go at saying it. Because our languages have so many different characters, more than any other language that we speak, we wanted to make sure people could look at it and get a good sense of how to say it.” 

Upon stepping into the featured gallery, your eyes are immediately drawn to a circular wall that is covered in Salishan words and phrases. All around the exhibit you will see words with various diacritics, letters, and symbols that are specific to the languages of the original caretakers of this region. Very early in the tabtabəb journey, museum guests are informed that there are 23 total languages across all of the Coast Salish tribes. This exhibit focuses on six of those dialects – Klallam, Twana, Nooksack, Northern Straits, Northern Lushootseed, and Southern Lushootseed. 

The idea behind tabtabəb was originally concepted this past July by Mytyl and her team at HCC. After contacting several other tribes, the cultural center quickly gathered information, resources, and artifacts that highlight the languages of each tribe. The result is a collaborative educational and entertaining effort that showcases the words, stories, and the history of those local languages that were once outlawed and almost lost during this country’s era of assimilation.

Said Mytyl, “We are featuring six Coast Salish language groups; because we all really spoke different languages and the most common was Northern and Southern Lushootseed. We were able to form really nice relationships with S’Klallam Jamestown, Nooksack, Upper Skagit, and Puyallup. We worked with all of the tribes, sharing information, letting them know what we wanted to display and how we wanted to display it. We requested pictures and information. We wanted to make sure that their information was portrayed in the most respectful and accurate way possible.”

In addition to the intertribal partnerships, HCC also worked closely with the Tulalip Lushootseed department and the tribe’s TDS crew. When making your way through the exhibit, you will notice that there are a number of digital kiosks in between each section of tabtabəb. These interactive screens include numerous games and stories. They also provide the proper pronunciation of several of the items that are on display including the words for skirts, baskets, beads, canoes, and blankets. 

The exhibit pays homage to the Tulalip Lushootseed department as well and features a dedicated display case that highlights all the work they have done throughout the years. In this case you will find t-shirts from past summertime Lushootseed Camps, and the various tools they utilize to teach kids about the ancestral language such as shawls, slahal game pieces, and a Nintendo DS filled with games and lessons geared toward the children.  

At the center of the circular wall, a video of Lushootseed Language Warrior Lois Landgrebe is on a loop where she shares the traditional story, Star Child and Diaper Child. Along the opposite wall are multiple other traditional stories in print like Bear and Ant and Basket Ogress. These stories and their artwork were developed by the Lushootseed department, and they contain important lessons and explanations about the world around us. 

Mytyl provided an exclusive tour of tabtabəb for Tulalip News. During the walkthrough she shared, “All of the panel displays feature the languages of the tribes that are using them, and what they are doing in terms of language and cultural revitalization. In our cases, we have items on display that are specific to those tribes and those language groups. It could be anything – clothing, books, canoes, you name it. We also have an artifact wall with different items from our community; items that we’ve had in collection and that we secured specifically for this exhibit. And then with the accompanying digital displays, you can hear the word for each of the items in both English and Lushootseed.”

If you were to tour tabtabəb in a clockwise fashion, you will end the exhibit looking at a wall of black and white portraits. Each individual in the photographs played a major role in keeping the Salishan languages alive for the next generations to come. And through their life’s work, like the languages they fought to preserve and revitalize, the legacy of each of those elders who have now passed on will live long into the future. 

“One of my favorite parts of the exhibit is our Warrior Wall,” expressed Mytyl. “We are displaying the pillars of language communities, some of those early elders and ancestors who worked really hard for language revitalization when others weren’t. A lot of these people are responsible for the dictionaries of their languages, and books, and keeping traditional stories and storytelling going.”

The tabtabəb exhibit is on display for the foreseeable future and it’s a wonderful way to expand your knowledge about the Coast Salish people and their spectacular vernacular. The Hibulb Cultural Center is open Tuesday – Friday 10:00 a.m. to 5:00 p.m., and also Saturday – Sunday from Noon to 5:00 p.m. For more information, please visit their website www.HibulbCulturalCenter.org or contact 360-716-2600. 

“Representation is important,” stated Mytyl. “And representation of language, in outside communities, is not available to our people. We want to make sure that we can put as much as we can on display here and make it accessible to our own people, and also make it accessible for the people on the outside, so they can see that it is still a live language and that we’re still using it.”

By Micheal Rios, Tulalip News; photos courtesy Potlatch Fund 

‘Tis the season of giving. Whether it be Thanksgiving, Christmas, or a family-specific tradition newly created, Tulalip families will gather in celebration over the coming weeks to give thanks, share food, and strengthen kinship bonds with those they hold dearest. 

These end-of-year gatherings typically involve gift-giving, which is a modern twist of traditional teachings that can be traced back to potlatches. Potlach gift-giving feasts were held by many Northwest Coast tribes pre-contact, and their legacy continues to be celebrated today.

A perfect example of enduring potlatch principles is the aptly named Potlatch Fund. It’s a native-led nonprofit that provides grants and leadership development to tribal nations in the Pacific Northwest region. They recently held their much-anticipated annual gala at the Tulalip Gathering Hall. 

“November is Native American Heritage Month, a time to celebrate the rich and diverse histories and cultures of the 7+ million Native American people. While many celebrate Natives during this month only, Potlatch Fund celebrates Native communities every day through the cultural tradition of giving in our four-state region of Washington, Oregon, Idaho, and Montana.

“Our organization measures wealth in shared abundance. We provide leadership development services to tribes and Native nonprofits; educate the non-Native and funding communities about the needs, issues, and structures that exist within Indian Country; run grant programs that support emerging and innovative initiatives; and advocate for our communities. We have graduated over 100 emerging leaders through our capacity-building program cohorts, distributed over $8 million through our grantmaking program, and recognized over 80 individuals and organizations through our many awards,” detailed the Fund’s board of directors in a press release. 

The memorable evening was full of Native culture bearers proudly flaunting their vibrant, handmade regalia and all manner of Salish swag. Announced as the Fund’s 20^th anniversary gala, attendees did their best to be swept away in the spirit of giving. Compelled by the spirit, a whopping $260,000 was raised!

Beyond gifting of material possessions and cold hard currency, traditional teachings of giving extend to the sharing of knowledge, wisdom, and spiritual insights. Elders, who are highly revered within our community, play a crucial role in passing down these teachings to younger generations.

During the eventful gala, Sheryl Fryberg, a Tulalip elder and Early Learning Academy director, was announced as the Spirit of Reciprocity award recipient. She was described as a longtime supporter of the Potlatch Fund, fostering a genuine sense of outreach and inclusion, creating change with a vision towards the future, and demonstrating significant promise of leadership.

“I think Sheryl has a very innovative way of giving,” said Director of Philanthropic Partnerships, Brian Tanner. “It’s one that we wish to offer to donors for Potlatch Fund. Sheryl is able to calculate how much she would have paid in federal tax and give that portion to Potlatch Fund. The way Sheryl gives is intentional. She gets to decide where her hard-earned money is spent, and she chooses Potlatch Fund.”

After receiving the award, Sheryl said, “I look at this money as an investment. An investment in my community, and yours. A way to support the future generations. I believe that language, culture, song, and dance are part of what is going to heal our communities. It is by having the opportunity to participate in Tribal Journey and other community-driven activities that are funded by Potlatch Fund that our children and families reconnect with their traditional ways of being.”

During this season of giving, there are quite a few Tulalip-based events that are open to the greater community and offer plenty of opportunities to support local artisans. Most notable is the upcoming Holiday Bazaar happening November 17 and 18 at the Gathering Hall. Followed by Lights & Ice’s holiday market hosted near the Quil Ceda Village amphitheater November 24-26. And then the annual holiday Pow Wow hosted at the Marysville-Tulalip campus gym on December 16.