Category: Arts & Entertainment

By Micheal Rios, Tulalip News

Recently, an exciting independent TV series showcasing authentic Native American culture and Coast Salish identity ventured to Tulalip to film at the local marina. The undisclosed project underwent a critical rewrite that required a new scene; one in which the always scenic Tulalip Bay and its marina full of fishing boats provided the perfect backdrop for.

“I had been here previously while working with Tulalip tribal member Marjorie James on an iSTEAM project. During that visit we walked from the youth center to the marina and I remember thinking ‘Wow, this reminds me so much of where I grew up in southeast Alaska,’” recalled producer and writer Larisa Koenig (Tlingit/Haida). “So when we were rewriting the end of this season and it felt like the particular place this character would be at is overlooking a marina, I instantly thought of the beautiful views here.

“It’s a priority of ours to honor Native people and Native culture in this project. Part of that is to be intentional about highlighting local Native communities and areas. Where better to shoot a marina scene involving the wife of a fisherman than an active fishing marina on the Tulalip Reservation?” she added.

For decades, Native Americans have been largely absent from the big screen, relegated to stereotypes and sidekick roles in Westerns and other genres. However, in recent years there has been a growing movement within the film industry to tell more authentic and diverse stories from within the Native diaspora. The range of stories, whether told in a modern context or historical, obtainable from the 574 federally recognized tribes can offer an endless supply of creative vision for those behind the camera.

One of the driving forces behind this movement is the increasing visibility and influence of Native American filmmakers, actors, and advocates. From Sterlin Harjo’s (Seminole Nation) FX breakout tv series Reservation Dogs to the Native-centered feature length films Te Ata and Wind River to the upcoming Disney+ superhero crime drama Echo, our voices are finally being heard and celebrated in the mainstream.

But the fight for representation is far from over. According to a 2019 report by the USC Annenberg Inclusion Initiative, Native Americans were the most underrepresented racial/ethnic group in Hollywood, accounting for just 0.4% of all speaking characters in top-grossing films from 2007 to 2018.

That’s why it’s so important for those with studio access capable of reaching the masses to continue to elevate Native American voices and stories. By providing more opportunities for talented Native actors and creatives to tell their own stories on their own terms, film directors and producers can help to challenge and break down the harmful stereotypes and misconceptions that have plagued us from achieving authentic representation for so long.

Which is why it was such a literal breath of fresh air during that picturesque spring afternoon when the TV production filmed actress Amber Cantu (Colville) walking the marina’s familiar wooden docks, while gazing into the heart of Tulalip Bay. 

“The idea for this independent film venture began fifteen years ago when my wife and I were raising our nine children, which included five adopted Native siblings. This really is a family project, with our kids heavily involved in the behind the scenes production,” explained Michael Lienau, founder of Global Net Production and tv series director. 

His extensive film background includes award winning productions like Healing America’s Wounds – highlighting racial strife and the power of forgiveness with John Dawson; Return of the Raven (PBS) profiling a Native American’s stand against the U.S. Government; and Native Apology Resolution – Congressional briefing video distributed to all members of Congress.

“We are so grateful to the Tulalip Tribes for giving us the opportunity to film here,” said director Lienau. “Many movies and TV series have to create fake sets to replicate real places like this. Being able to film on a real reservation with an active fishing marina while Tulalip fisherman practice their Treaty Rights, we’re beyond thankful for that.”

By Micheal Rios, Tulalip News

The Department of Native American studies at the University of Washington hosts an annual literary and storytelling series titled ‘Sacred Breath.’ Featuring Native writers and storytellers who share their craft at the beautiful wǝɫǝbʔaltxʷ Intellectual House on UW’s Seattle campus, the most recent event gave the public audience an opportunity to immerse in the sacred breath of Coast Salish culture bearers Rena Preist and Natosha Gobin.

Rena is a published poet and an enrolled member of Lummi Nation. She was appointed to serve as the Washington State Poet Laureate for the term of April 2021-2023. Her debut poetry collection Patriarchy Blues was published by MoonPath Press and received an American Book Award. 

Natosha is a homegrown Tulalip tribal member. She has been learning, speaking and teaching Northern Lushootseed for over twenty-two years with her tribe’s language department and as an established educator at Marysville Pilchuck High School. Her passion for sharing Tulalip culture with Washingtonians of all ages is personified best in her expressive storytelling. 

“Storytelling offers a spiritual connection, a sharing of sacred breath,” stated UW associate professor Jean Dennison during her speaker introductions. “Literature, similarly, preserves human experience and ideals. Both forms are durable and transmit power that teaches us how to live. Both storytelling and reading aloud can impact audiences through the power of presence, allowing for the experience of the transfer of sacred breath as audiences are immersed in the experience of being inside stories and works of literature.”

The connection between Native American storytelling and modern poetry may seem complex, yet at their core both forms of expression are rooted in the power of language and the human need to communicate ideas, emotions, and experiences. It’s long been understood that the worldview of Native people is intricately woven into the fabric of language and ways of speaking.

Since time immemorial, our shared histories have been passed from the memories of one generation to the next through spoken word. In this sense the oral tradition connects past, present, and future while strengthening tribal and familial bonds. Those bonds were broadened to include the truly enchanted UW longhouse audience who sat quietly with anticipation of each and every word spoken word by Natosha in the form of traditional Tulalip stories and by Rena in the form of poetic literature. 

Rena opened her presentation by sharing two of her favorite poems Welcome to Indian Country and To Sing and Dance before reading several offerings from her latest poetry book Northwest Know-How: Beaches. She was gracious enough to allow us to republish some of her poems for the consideration of our readers. 

A common theme in all of Rena’s poetry is the incorporation of her Native American culture and ancestral language. She shared one the greatest blessings of being named Washington State Poet Laureate was being given a platform to help educate on Native ways of life and thinking.

“There is still a lot of secrecy around our spiritual beliefs,” she explained. “I feel like if people knew more about them or had the opportunity to see how things are held sacred…the interrelationships between living things, and to see that and find ways to celebrate that in their own lives, then it would be much easier to muster the collective will toward preservation of species and restoration of habitat and being more responsible stewards of the land.”

After the Lummi version of a poetry slam, Natosha captivated the crowd with traditional tales told in Lushootseed. She shared The Changer, Rattlesnake, Raven Steals the Light, and legendary Basket Lady. With many in the crowd hearing the ancestral Tulalip language brought to life for the first time, they roared with heavy applause following each story. Natosha even received much crowd participation when asking for them to repeat her during thematic elements of her stories.

After sharing her illustrious words, Natosha was asked during the Q&A panel to describe the importance of sharing her traditional stories and language on the University of Washington campus, and how she views this in the greater context of decolonizing education. She responded, “My first thought is land back, classrooms back…taking our space back. Whatever means we can establish our presence and our ancestral knowledge in spaces like this is an act of decolonization.”

The Tulalip language warrior also added, “I’m grateful for me and my coworkers to have the opportunity to do this work. Especially in a space like this one where the audience isn’t just here to listen to poetry or the stories and then leave. Instead, everyone has stayed after to ask questions and ask for additional historical context. It means so much because it shows how much true desire there is to learn about our culture.”

Together Rena and Natosha showed how Native American storytelling and poetry can be deeply connected to local environments and the natural world we all share. The teachings of both their presentations focus on the importance of respecting and living in harmony with Mother Earth, while also striving to share elements of Coast Salish culture that bring diverse communities together as co-stewards of this land. 

Among the Sacred Breath audience was a UW PhD student and Tulalip tribal member, Tessa Campbell. After the event she shared, “Witnessing Natosha represent Tulalip in such a beautiful manner and speak our traditional language was such an empowering moment. I actually got a little teary-eyed during her storytelling presentation because it was a magical moment to have [one of our own] have a strong vocal presence on campus.”

Collection of poems by Rena Preist

(A Poem Is a) Naming Ceremony

What has grown out of what has gone away? The clear-cut patch has grown larger on the mountain. The rivers have grown murky with timber trash,and there’s enough run-off cow manure to grow corn out there on the tide flats. I don’t want to think about what has gone away. I want to meander and play and forget myself until I can grow a new me in place of all this grief—learn the language to see the cotton wood as kwealich ich, the dancing tree;  the killer whales as qwel’ lhol mechen, our relatives under the sea; the whole glorious landscape filled with meaning to end my grieving.

When I was young, I was invited to learn Xwilngexw’qen, the people’s language,  but I said no. I didn’t understand. I thought I wanted to learn how to be rich. I didn’t know that the only way to possess all the wealth  of the world is by naming it—here is bird song,  here is the kiss of a lover, here is the feel of cold water at the peak of summer. I have spent my life with words, trying to name a hint of what I lost by not learning my language. Estitemsen. Tu totest sen. Estitemsen.

¹ I’m doing my best. I’m still learning. I’m doing my best.

Remembering Silé at Sxwelisen ²

“We used to say, when the tide is out, the table is set. The earth provided. And if one day it didn’t, the spirit fed us.” The glittering turn of the tide, the arc of the sun in the sky, the call of birds, the sound of waves—to be nourished in this way makes glass doors opening and closing themselves between me and that food on grocery-store shelves seem false, empty.

That food, where does it come from? Whose hands grew it? Was there patience and care? Were there prayers? Think of how it got here— what it’s made of. “When I was a girl, everything we ate came from the earth that loved us, through hands of people we loved.”

² Sile’ is Grandmother. Sxwelisen is a place name for a land bridge that emerges at low tide. We go there to harvest shellfish.

The Forest for the Trees

I have seen a tree split in two from the weight of its opposing branches. It can survive, though its heart is exposed. I have seen a country do this too.

I have heard an elder say that we must be like the willow— bend not to break.I have made peace this way.

My neighbors clear-cut their trees, leaving mine defenseless. The arborist says they’ll fall in the first strong wind. Together we stand. I see this now.

I have seen a tree grown around a bicycle, a street sign, and a chainsaw, absorbing them like ingredients in a great melting pot.

When we speak, whether or not we agree, the trees will turn the breath of our words from carbon dioxide into air—

give us new breath for new words, new chances to listen, new chances to be heard. 

By Micheal Rios, Tulalip News

Over the past decade, there’s been a shimmering surge in the popularity of Native American ribbon skirt making. These skirts, which are decorated with vibrantly colored ribbons and patterns that hold spiritual and cultural significance, have become an important symbol of Native identity and resilience. For Native American women, ribbon skirts are not only a bold fashion statement but also a powerful tool for cultural reawakening, community building, political activism, and economic empowerment.

At the heart of the ribbon skirt movement is a deep connection to tradition and culture. Ribbon skirts have been worn by Native women for generations and hold deep spiritual significance for many tribal communities across Turtle Island. They were often worn for important occasions such as powwows, weddings, potlatches, and other ceremonies.

Today, a new generation of modern matriarchs are literally sewing together past teachings with a shared identity of culture that isn’t afraid to create new traditions. Such is the case with owner and operator of Morning Star Creations, Nina Gobin. 

“There’s a lot of Natives reconnecting to the culture nowadays because being an Indigenous person in 2023 is much more welcoming than it was for past generations,” said Nina. “Many of our ancestors feared the consequences if they didn’t hide their culture, but now we’re in an era of empowering diversity. Native people can wear something like a ribbon skirt or ribbon shirt and be told, “Oh wow. That’s badass!” just by being proud enough to represent who they are and where they come from.”

The inspiring 23-year-old Tulalip tribal member learned the fundamentals of ribbon skirt making from her regalia making teacher Lisa Powers while attending Northwest Indian College five years ago. Afterwards, she received additional guidance from locally renowned ribbon skirt maker Winona Shopbell. Nina used the teachings of Lisa, Winona, and countless YouTube sewing tutorials to create a ribbon skirt style all her own. 

With each hand-made skirt she made and sold came a boost to her confidence and belief in ability to create something that was equal parts culture, fashion, and art. 

The rise of ribbon skirt making has led to economic empowerment for Native women, such is the case with Nina, who can circumvent typical manufacturing methods by creating these ribbon wonders in the comfortable environment of home. By creating and selling their skirts online or at local vendor markets, they are able to support themselves and their families while sharing their culture with others.

Sharing the gift of her skillset she developed from making and selling 200+ skirts over the last few years is a traditional teaching Nina takes seriously. Which is why she committed a weekend in February to welcome Native women willing to learn the basics of ribbon skirt making into her home and primary manufacturing space. 

Surrounded by fabric galore, ribbon that spanned the color spectrum, and all the sewing essentials they needed, a group of local women received a crash course in ribbon skirt 101. Their instructor, Nina Gobin.

“Honestly, this is the first time I’ve ever sewn anything in my life,” shared 31-year-old Britney Craig as she intently sewed metallic pink ribbon onto her floral-patterned skirt. “Learning to make ribbon skirts is something I’ve wanted to do for a long time. I actually bought a sewing machine five years ago and was intent on learning then, but life happened and I wasn’t able to. When I heard Nina was offering this class, I was so thrilled and jumped at the opportunity.”

Throughout their day together spent sewing machine troubleshooting, learning how to undo simple mistakes and creating vibrantly colored youth skirts, the ladies discussed the significance of ribbon skirts to the greater culture at large. Like how the use of ribbons in the skirts reflects the importance of color and design in the variety of Native culture, from coastal and woodland to pueblo and plains, with each ribbon symbolizing a specific meaning or purpose.

The group also discussed how cool it is to see high profiled Native women like Secretary of the Interior Deb Haaland and Lieutenant Governor of Minnesota Peggy Flanagan wear ribbon skirts on the national stage. Showcasing the strength of the ribbon is also something Tulalip’s own Deb Parker and Theresa Sheldon have routinely been intentional about when they are visiting various state and tribal delegations seeking support for their boarding school healing coalition. 

“I like how it’s becoming mainstream for all the gals to wear ribbon skirts,” said Teresa Jira while cutting her assortment of ribbon to the desired length. “These skirts are basically a representation of our shared culture and are no longer designated for ceremony only, but instead is like an everyday norm to empower girls and women all across the country. And that’s the point because when the general public sees our culture in the mainstream, whether its expressed through cedar or wool or ribbon, it’s powerful representation that we’re still here, adapting and thriving.”

The rise of ribbon skirts has also become a symbol of political activism for Native women. They have been worn at protests and rallies, representing the strength and resilience of Native women in the face of ongoing struggles for social and environmental justice. By wearing ribbon skirts, they are asserting their presence and voice in the world, while fiercely standing up for the rights of their communities.

Overall, the ribbon skirt movement is a powerful expression of culture and identity. For Tulalip women specifically, the act of making and wearing ribbon skirts is a way to honor their traditions, connect with their community, and assert their presence in the world. As this movement continues to grow and gain momentum, the ribbon skirt will continue to serve as an important symbol of Native identity. 

“Ribbon skirts represent a good balance of traditional practices and the ability to adapt and evolve with changing times,” explained Nina. “A good way to view them is through the same culturally artistic lens we use to view painters, beaders, weavers, and carvers. Our Native artists all have their own unique style that continues to adapt to new technologies and changing buyer markets. The styles and colors and textures may vary, but at the end of the day we all are trying to represent our people and culture in a good way.”

By Kalvin Valdillez, Tulalip News,; photos courtesy of Marysa Sylvester

Approximately twenty young adults prepared for a 1.7 mile run, beginning at the Mission Beach approach and ending at the Tulalip Dining Hall on the afternoon of September 30, 2021. Although nearly a year-and-a-half ago, this day was significant for the people of Tulalip as they took time to honor and remember their ancestors who endured the atrocities committed during the boarding school era.

The group of young women and men served as the torch bearers to officially kick-off the first annual Residential Boarding School Awareness Day gathering. Collectively, they resembled a flame as they blazed along the trail known as Totem Beach Road, in orange t-shirts, an intertribal symbol that helps raise awareness to the National Day for Truth and Reconciliation. And everybody who attended the event received their very own orange t-shirt to commemorate the emotional and historic day. 

With hundreds in attendance, there were orange shirts as far as the eye could see, and they all bore a design of a hummingbird and a flower in traditional form line. Many began their healing process that day, from the trauma that has trickled down the generations since the time of boarding schools and forced assimilation. Each person would walk away from that event with something tangible that they can look back on whenever they incorporate that t-shirt into their daily ensemble – a Marysa Joy Sylvester exclusive. 

“I actually started drawing in 2020, right when COVID hit,” said Marysa. “That’s when I got my first iPad and Apple pencil. I was pregnant then and I was just drawing all the time. I was really nervous to share any of my pieces with anyone. Orange Shirt Day was one of my first designs that I really shared with the community. I was honored to be able to share that work, and to see everyone wearing it was unreal for me. It was humbling and exciting, and honestly just a really good moment, because I knew that was the first big event for Orange Shirt Day.” 

Ever since her artwork was introduced to the public, people have been eager to get their hands on the designs created by the Tulalip and Quileute artist. In a year’s time, Marysa went from being hesitant to share her work to becoming a well-known and highly in-demand artist whose digital art has inspired other tribal members to break out their tablets and create designs of their own. If you are able to take a moment to scroll through her Instagram profile, @MarysaJoysCreations, you will be impressed at her ability to incorporate traditional art with modern technology. 

She shared, “When I used to draw, I felt it was not that good. I would start a project with pencil and paper, touch on it and move on. But when I picked up my iPad, it gave me more freedom and flexibility. The app I use is Procreate and it’s pretty similar to actually drawing on pen and paper, but it’s a little bit easier for you to undo any mistake you make. I think that really helped me start again. It was different, it felt good, and I was more inspired to express from my heart, rather than just trying to be good at drawing.” 

Working with the youth for nearly her entire adult life, previously at the Marysville School District and currently with the Betty J. Taylor Early Learning Academy, a major driving force behind her art is ensuring that Native kids are able to see themselves in her designs. Furthermore, she takes time to translate words into Lushootseed and incorporates the Tribe’s traditional language into her work to help children identify things like animals, fruit, body parts, weather, and a handful of phrases, all in the dialect of their ancestors. Marysa also utilizes her drawings to bring attention to issues and causes happening across Native America such as Orange Shirt Day and the MMIW/P epidemic.

“When I’m making those MMIW and Every Child Matters designs, I usually start off with a feeling. I’m conveying the feeling that I want other people to experience when they look at it. When I made the Orange Shirt Day design, I remember thinking of the kids, and how important our kids are, and how bright they are in our community. That was something I set out to convey in those pieces – how much they mean to us.” 

She continued, “I did a collection of posters with animals, sea animals, and body parts and had a ton of people reach out to me to ask if they could put them up at their schools or the centers they work at. That was amazing. The first one, the Safe Space poster, was distributed to the whole Tribe and I was really proud of that. I end up creating a bunch of free resources for teachers, because it’s so hard to find those [culture-based] resources as an educator. I remember as a student, when I would see those types of things in my classroom or at my school, I would get so excited. Being able to provide that is really important to me. And personally, I am a visual learner, so I think that will help students – pairing the Lushootseed with the art.”

Although Marysa’s journey with digital art is a fairly new endeavor, she is no stranger to creating Indigenous art pieces. In fact, she grew up learning the art of weaving, a skill passed down from her grandmothers on both sides of her family. And even with her newfound love of drawing, Marysa is still passionate about weaving and enjoys taking on projects such as cedar hats and graduation caps. 

  She explained, “I was always told to put your heart into your work and your good intentions. That is something that I do with my cedar weavings and in my digital art too. I got serious about weaving in 2015. Before that I had done a couple of projects with my grandma, but I really started weaving at the Senior Center. They have a basket weaving group of about six or seven elders, my grandma, her sister, and few other people. I started one of my baskets there, and after that I really got into it. I was making cedar medallions, cedar earrings, cedar caps. But when I got pregnant, I needed to take a break from it. 

“I was weaving a lot up until 2020, and I recently started it up again. I learned a lot about weaving from my grandma Joy and my grandma Mary. It’s been so cool to learn from both sides of my family, and they shared a connection as well and would go to weaving conferences together. And my dad (Harvey Eastman) also weaves. He’s an artist too.”

When picking up that Apple pencil, little did Marysa know that she would turn a COVID lockdown hobby into a full-blown business. Harnessing her genuine love for the work she does, matched with a personable and outgoing  personality, Marysa Joy’s Creations has come a long way from eye-catching Facebook and Instagram posts. Her designs can be seen all throughout the reservation, on water tumblers, sweatshirts, stickers, posters, phone cases, or iron-on patches. 

This past month, she officially launched her very own website, www.MarysaJoysCreations.com, where all her products are available for purchase. On the website you can find free digital Lushootseed posters, and you also have the option to place custom request orders. 

Said Marysa, “Someone actually just reached out to me for a tattoo design, which I was really amazed by. People have reached out about the Senior Luncheon design and the Orange Shirt Day design. So, if anyone stumbles upon me, they can reach out to me on the website if they want anything that is customized or specific to them. I’ve also done a couple logos for small businesses as well.”

You may recognize Marysa’s signature designs on the logos for other tribal member-owned businesses, including Shaylene Henry’s Coastal Sweets and Treats, Kwani Sanchey’s Sacred Skincare, and Nina Gobin’s Morning Star Creations. 

Marysa has a number of projects on the horizon that are sure to showcase her work with the Coast Salish art staples: trigons, ovoids, and crescents. Most recently, she received a shipment of seven colorful bolts of fabric, all of which feature her designs and can be used to create items such as regalia and ribbon skirts. The fabric that is currently available for sale includes dinosaurs, strawberries, moons, bear tracks accompanied with the slogan ‘Land Back’, flowers, and hummingbirds, with the promise of many more designs to come. 

She stated, “I’ve been really working on my repeating patterns, because those can go on anything. They can go on blankets, they can go on fabric, they can go on backpacks. When I make those designs, I try to make them really bright and happy. I try to express my heart through whatever I’m drawing in the moment, and I like things that make you feel happy when you look at them.” 

When asked what her top three favorite designs are so far, she mentioned one of her recent works, a cedar basket-themed piece that includes the message ‘Respect Our Ancestors’ in both English and Lushootseed, as well as the floral tattoo-esque design that reads ‘Honor Your Ancestors.’ And the Senior Luncheon commission that is a re-creation of a photograph of a young Marysa and her grandma offering prayers to the spirit of a cedar tree.  

It is clear to see that Marysa Joy’s Creations is resonating with tribal members throughout the Northwest region. And locally, the people of Tulalip are proud to say that Marysa’s art is a strong representation of the Tribe’s cultural lifeways, which is depicted in every single design that she creates. 

“I honestly draw all the time,” Marysa said. “Any free time I get, I draw. Digital art is now a big part of my life, I find it really soothing, calming, peaceful, and it’s a really good way to express yourself. You’ve got to be in a good place when you’re doing it. Sometimes if I need a break, I’ll step away and recharge myself and wait a bit before I pick it back up. I feel so good about the work that I put out and what it conveys, I am extremely grateful.”

Be sure to follow Marysa on all of your social media accounts to stay updated on her latest art pieces. She can be found on Facebook under the page titled Marysa Joy’s Weaving, and also on Instagram, @MarysaJoysCreations, as well as on TikTok as her Indian name, @Salsalitsa. And of course, her products for sale are available on her website. And as a reminder, that URL is www.MarysaJoysCreations.com.  

She expressed. “Overall, I think the vibe is to create and share resources that we can all use in our community. And I think it’s important to convey all those emotions and feelings with a good mind and a good heart.”

By Shaelyn Smead, Tulalip News

On February 11^th, like many other weekends at the Hibulb Cultural Center (HCC), the classrooms were occupied with invested patrons looking to learn and understand aspects of Native culture. One of the classes consisted of a kids’ craft, creating a heart necklace made of cedar. 

The Hibulb enriches the lives of visitors through demonstrations, workshops, cultural presentations, and lectures. But the kids’ crafts can reach new audiences: families. 

Museum Assistant Braxton Wagner, who taught the class that day, said, “It is so much fun working with kids. I love to see their limitless creativity and their curiosity flourish. They can be so sweet. I feel like kids are so open and receptive to learning about different cultures and experiences of other people, and these classes are a great opportunity to teach them.”

A diverse gathering of parents and their children joined the class, where they each received a bag of cedar strips and other materials to make the cedar-woven heart necklace. The kids’ crafts typically are simple activities that they can finish together as a family within an hour or so. By extending out to families, projects like these can diversify kids’ knowledge about the many communities surrounding them and expose them to new cultures. 

When the families weren’t concentrating on the cedar project, kids played, and parents exchanged stories and smiles with each other. One of the parents in attendance was a Ph.D. candidate University of Washington Law and Indigenous Taiwanese citizen Margaret Tu (Nikal Kabala’an). Along with her studies of Indigenous peoples, Margaret has begun her travels across Washington to immerse herself in the culture of local tribes.

Margaret spoke about the beauty of Indigenous communities connecting, “We all have faced similar struggles. Colonization, forced relocation, laws around our language and culture, etc. But we also know the fight that we have for our people and cultural preservation. I hope to learn from the Indigenous communities around here, see what has been successful for them, and take that back to my people.”

She found it necessary to bring her kids along in her journey and attend the class, saying, “We don’t have this opportunity in Taiwan to connect with other Indigenous communities. There’s a cultural revitalization movement around us, and I want my kids to be a part of it. So I think exposing them to these educational and learning opportunities while we’re here is important. I know they enjoyed it.”

Studies have found great value in establishing diverse environments for youth. In 2019, the Michigan Association for Infant Mental Health stated, “We tend to assume that inclusion alone creates respect for differences. However, it is active conversation and support for children’s understanding of diversity that guards against the development of the stereotypes and prejudice that contribute to biased behavior”.

Simple one-hour classes like these provide new exposure, conversations, and knowledge of our people and culture. 

For more information about HCC classes and events, visit their website at: www.hibulbculturalcenter.org/Events.

Education Division shows love for the community with Valentine’s Day dance

By Kalvin Valdillez, Tulalip News

The lights were dim, and the music was bumping at the Greg Williams Court on the evening of February 14. Multi-colored strobe lights danced about the room in perfect sync with the music, and added to the aesthetic of both romance and good times on Valentine’s Day this year. 

Tables were stationed around a large space that served as a dancefloor at the head of the gym. While the one and only DJ Monie set the vibes at the start of the evening, families and couples slowly trickled in; some grabbed a plate first, while others lined up at the popcorn and balloon animal lines. And before anyone even knew it, the place was packed, and laughter was shared by all deadly aunties and uncles alike. 

This celebration on the National Day of Love was the first of its kind at Tulalip and was a big success. Hosted by the Tribe’s Education Division, the Community Valentine’s Day Dance had well over one hundred people in attendance, many of whom danced the night away. 

“I danced the entire time,” exclaimed Tulalip youth, Tashina Cortez. “There was Cupid’s Shuffle, Cotton Eye Joe, and I really liked Uptown Funk and the Cha-Cha Slide. I thought this was going to be a regular Valentine’s Day, exchange gifts with classmates and go home. But then I found out it was a dance, and it started getting really fun when people actually started to dance.”

Love birds, parents and children, cousins, and best friends showcased their affection for one another by spending some time and sharing a dance together during the Valentine’s Day gathering. In addition to dancing, there were various activities, including a cake walk and a door prize raffle.

The life of the party was a group of local elders who didn’t miss a step or leave the dancefloor for the duration of the three-hour event. A highlight for many was when a young man and a tribal elder broke the age barrier and joined together in a slow dance while a group of teens circled around them and swayed their phone flashlights back and forth, reminiscent of lighters at a rock concert. And just like that, tribal elders were on the floor with the teens learning how to do the stanky leg, the superman, and the nae nae. 

“We haven’t hosted an all-ages community dance in a long time, so that was really cool to see everyone excited about it,” said Executive Director of the Tulalip Education Division, Jessica Bustad. “It was awesome. It felt so good to see our community in a space together like that, for something positive and for everyone to just have fun. Add to the fact that there were little people all the way to elders dancing, and the elders even outlasted some of the adults!”

This year, February 14^th was also Election Day. And as you may know, the Tulalip Education Division was a strong advocate for the levy on this year’s special election ballot, which affects Tulalip students who attend school within the Marysville School District.  Hoping to garner as many yes votes as possible before the 8:00 p.m. deadline, the Education Division took time throughout the dance to remind all eligible voters in attendance to cast their vote. 

Jessica expressed, “Hopefully the levy passes, but aside from the levy, we still have to keep coming together as a community in a positive way to show our children that we can live in a healthy community together.”