Tulalip Montessori Students were visited by an elusive Easter guest last Friday. Lining the playground fence to start their hunt for treasured Easter Eggs, they were ecstatic to see the Easter Bunny hiding eggs.
As the children ran about, scouring the playground for the highly prized eggs, the Easter Bunny visited with kids, passing out hugs and more eggs.
And they’re off! Children race to find the most Easter Eggs.
Click on photos to enlarge.
Click photos to enlarge
Andrew Gobin is a reporter with the See-Yaht-Sub, a publication of the Tulalip Tribes Communications Department. Email: agobin@tulaliptribes-nsn.gov Phone: (360) 716.4188
Spring Nettle harvesting Photos by Francesca Hillary
Tulalip News Facebook, March 12, 2014
TULALIP, WA – Inez Bill, coordinator of Rediscovery programs at the Hibulb Cultural Center and Natural History Preserve, took a few helpers to harvest early spring Nettle on Bluff Road in Tulalip.
She was joined by Tulalip tribal members Derek Houle and Lauw-YA Spencer. Lauw-YA, a summer youth worker in the Rediscovery program in 2012, discovered she loves to be in the forest helping to gather cultural items.
Nettles are rich in vitamins A, C, iron, potassium, manganese, and calcium and Inez uses them in recipes such as the famous “Hibulb bread” and even in a Fettuccini pasta dish, using nettles which she calls “nesto” instead of pesto.
TULALIP Wash. – Fridays are usually reserved for Seahawks Blue Friday but this Friday, Tulalip Admin employees decided to sport their Husky or Cougar attire instead.
Click photos to view larger image.
Tulalip Admin Husky fans show their support
They even invited the Coug fans to join their photo
And after the Husky fans piled out of the picture and some of the Coug fans.
Living in a concrete box with hot water pouring from the tap, a refrigerator cooling our food and wi-fi connecting us to the rest of the world, we can barely imagine a day in a life of, say, Tsaatan people. They move 5 to 10 times per year, building huts when the temperature is -40 and herding reindeer for transportation, clothing and food. “Before They Pass Away,” a long-term project by photographer Jimmy Nelson, gives us the unique opportunity to discover more than 30 secluded and slowly vanishing tribes from all over the world.
Spending 2 weeks in each tribe, Jimmy became acquainted with their time-honoured traditions, joined their rituals and captured it all in a very appealing way. His detailed photographs showcase unique jewellery, hairstyles and clothing, not to forget the surroundings and cultural elements most important to each tribe, like horses for Gauchos. According to Nelson, his mission was to assure that the world never forgets how things used to be: “Most importantly, I wanted to create an ambitious aesthetic photographic document that would stand the test of time. A body of work that would be an irreplaceable ethnographic record of a fast disappearing world.”
All of his snapshots now lie in a massive book and will be extended by a film (you can see a short introduction video below). So embark on a journey to the most remote corners and meet the witnesses of a disappearing world. Would you give up your smartphone, internet and TV to live free like them?
This month, a tribal museum in Pendleton is going Pop Art. Tamastslikt Cultural Institute is the place that celebrates Cayuse, Umatilla and Walla Walla tribal culture. But right now it’s exhibiting a series of Andy Warhol panels, in a collection entitled “Cowboys and Indians”. This is one of several events the museum planned to mark a milestone.
The ten panels and additional material are on loan to Tamastslikt from the Rockwell Museum in Corning, New York. Tamastslikt curator Randall Melton says the images are evenly divided among the Cowboys – iconic western figures like General Custer and John Wayne – and Indians – images Warhol obtained from what became the National Museum of the American Indian.
Melton explains, “People kind of give you the ‘Huh? How does that fit into a tribal interpretive center?’ “
He says this show is a departure from the museum’s usual cultural program, but an intentional one. The Tamastslikt show marks the first time these works have travelled. They’re typical of Warhol’s style – photographs, done up in silkscreen, then painted with lots of vibrant color.
April Baer / Oregon Public Broadcasting “Zech” Cyr checks out an image of General Custer.
Dorothy Cyr a tribal member who works next door at the Wild Horse Casino, brought her 12 year old son Zech to see the show.
“It was nice,” the younger Cyr said, strolling amid the panels. “It was really odd the way he uses his art, how he made all the colors.”
Dorothy Cyr added, “I think it’s great opportunity for our tribe to have such works displayed on our reservation.”
The museum regularly pulls in visitors to the casino, but this exhibition, coinciding with Tamastslikt’s 15th anniversary, is intended in part to draw people coming to town for the Pendleton Roundup later this month, and anyone who may not have had the chance to see Warhol’s works before.
Pendleton resident Sue Petersen, who attended the opening, said she just missed a Warhol exhibition in San Francisco some years ago and was glad to see these works in town.
“I think this is just totally awesome,” Petersen said. “I’m blown kind of out of the park, I gotta see the rest of them.”
April Baer / Oregon Public Broadcasting Sue Petersen of Pendleton was among those who came early on opening night to check out the exhibition.
Warhol had suffered some health problems by the time these works were completed in 1986. He’d survived a gunshot wound, and worked with a lot of assistants. Some critics believe his later works lack some of the snap and wit of earlier pieces.
After seeing the panels, Jubertino Arranda, a young artist, said he shares some of those reservations.
“I personally do like a lot of earlier work,” Arranda said. “For me, it was very hit and miss after his brush with death.”
But Arranda still drove all the way from Walla Walla to see the show opening, and loved the technique, and Warhol’s elevation of everyday objects in some of the images. Speaking excitedly about seeing the works in person, Arranda broke off, saying, “Oh, gosh, he was so smart, I think he was really ahead of his time.”
Loretta Alexander is a retired painter herself, a Cayuse tribal member, and the mother of painter Philip Minthorne, whose has a vivid canvas hanging in an adjacent gallery room. She nods in approval at the Warhols’ temporary gallery.
“I liked it,” she said. “And the woman and the baby is the one I liked the best.”
That image, of an unidentified tribal woman with an infant on her back, is one of the few in the exhibition featuring an actual Native American person, notes Curator Randall Melton. Cowboys are represented with figures from Annie Oakley to Teddy Roosevelt. But, in choosing his tribal subjects, Warhol often opted for images like shield designs or an Indian head nickel. Melton wonders if the choice might have been intentional.
April Baer / Oregon Public Broadcasting Curator Randall Melton (second from left) and others pose for a group photo as well-wishers mark Tamastslikt’s 15th birthday.
“It’s interesting to me that he chose these people versus these objects,” Melton said. “I was talking with someone who said that’s how Indian people were seen, things to be moved out of the way for Westward expansion.”
Melton says a lot of people expressed surprise that a tribal museum might consider including a group of images with stereotypical imagery – sometimes painful imagery -for native people. He points to a panel featuring an iconic photo of Geronimo staring directly into the camera.
Melton says the photo was taken after the Apache leader was forced to surrender to the U.S. Army. But Melton says gallery viewers are invited to draw their own conclusions about Warhol’s treatment of the image, and consider what the artist was trying to say.
“The reasoning why he put these images together the way he did,” Melton said, “it’s a statement on the idea of the old west, how thats more myth than fact.”
Also, Tamastslikt’s Executive Director Bobbie Conner points out shows like this, open to interpretation, also present the museum another chance to do its job.
“One of the goals of the project,”Conner explains, “is to break down stereotypes, and to replace those stereotypes with new information.”
Tamastslikt’s regular exhibitions are geared toward cultural and historical exhibitions about tribes represented in the region.
Conner says the museum is doing pretty well, with over 600,000 visitors to the building. After 15 years, the museum is still paying down some of the debt associated with its construction. Conner says she takes deep pleasure seeing the direct access to history the museum unlocks for tribal members and others. Young people trained as teenaged tours guides when the museum opened now have young families of their own, and are bringing their own kids to shows like the Warhol exhibition.
Conner remembers riding horseback as a child in the field where the museum now stands, at the base of rolling hills, next to the tribe’s busy Wild Horse casino.
“Of all the things you could grow up to be,” she recalls, “this was never in my mind’s eye. Our tribe is less than three-thousand members, for us to have this 80 million resort here, including the museum is 180 degrees from when I was a child here. I’m still sometimes surprised I get to work here.”
Tamastslikt will keep Warhol’s Cowboys and Indians on display through October 26th.
Roberta Conner of Tamastslikt Cultural Institute benefits from audience participation as women from the Confederated Tribes of the Umatilla showcase traditional dances on the last day of the Oregon State Fair. / Thomas Patterson / Statesman Jou
The Confederated Tribes of Umatilla Indian Reservation took center stage on the last day of the Oregon State Fair today.
Four members of the tribe, wearing traditional clothing such as eagle feathers, moccasins, shell earrings and braids, performed their native dances on the Americraft Cookware Stage.
Roberta Conner, director of the Tamastslikt Cultural Institute who led the dancers, described the dances before each demonstration.
Conner said the tribes have been in Oregon for 10,000 years and have always been welcoming to visitors. When visitors would reach the tribes they would be offered food and water along with a performance of the welcome dance.
Kirke Campbell, of Corvallis, said his daughter wanted to be at the fair today to see the Umatilla dancers.
Campbell was randomly selected from the audience to participate in the owl dance.
“I was honored to be picked,” he said.
At the end of the performance, all of the audience members were asked to join in a circle dance. About 50 took advantage of the opportunity.
“(This) has been the best turn out for the three performances we have done,” Conner said.
Before Nadine Martin utters a single word, her face tells a story shaped over centuries. Three simple lines extend from her lips to the bottom of her chin, one at each corner of her mouth, the third at the center.
“Some people call it the one hundred eleven,” says Martin. “When the white people started coming into the valley it looked to them like the number 111.”
Martin is a descendant of the Takelma tribe, now one of the Confederated Tribes of the Siletz. And the markings on her face have a long history in Takelma culture.
“It’s not a tattoo,” Martin quickly explains. “It’s a moko.” Members of the Māori tribe call it tā moko (rhymes with “cocoa”). The cultural markings were common among the Pacific Rim tribes until the late 1800s when treaties forced the tribes out of their homelands.
Martin says she’s part of a resurgence of the moko. In her tribe as many as 25 to 30 women have had their faces marked. If you visit the Klamath tribes, the Yurok and the Karok, you may see several women with the lines on their chin.
Martin’s mother, Agnes Pilgrim, was the first in her tribe to renew the moko tradition.
Martin’s mother, Agnes Pilgrim, was the first in her tribe to renew the moko tradition.
After Martin’s mother and tribal elder Agnes Pilgrim chose to revive the moko markings, Martin soon followed suit.
Martin waited until a Māori shaman was able to perform the ceremony. The process is much like tattooing, but instead of ink the artist uses charcoal, the charred end of a sharp stick. Then the artist abrades the lines with a sharp object, possibly an arrowhead, obsidian or flint.
“I have always wanted to honor my ancestors,” says Martin. “I have medicine women and shaman in my heritage on both sides. I’ve always wanted to honor that. But I wanted to do it the old-fashioned way. That’s why I’m grateful that the Māoris came.” Martin says you don’t pay the shaman with money, but instead with fish or something ceremonial.
Historically and from tribe to tribe the markings meant different things. The chin markings were only for girls or women and often accompanied a milestone in life, like entering womanhood. Some accounts say girls received their first marks at age 5, then added a line each year to indicate age. Others consider the lines a mark of beauty or a sign of status.
Despite what the markings meant in the past, the resurgence of the moko today likely means something far different, and may vary from person to person.
“Different marks mean different things,” says Martin. Her lines are thin and simple, while her mother’s lines are thicker and more intricate. Martin says her role in the tribe is to pray, but she has already decided to broaden the lines on her chin as she takes a more prominent role in the tribe.
“Once you’ve taken the mark, you need to walk your talk.”
People who meet Martin often do not understand what they’re seeing.
“In India,” says Martin, laughing, “they thought it was a beard.” She laughs even more deeply. “In Australia they handed me a handkerchief to wipe it off.”
How do they respond in the United States?
“People stare. And I like that, because it reminds me of my ancestors and I feel connected to my ancestors.”
Nadine Martin was among the first of her contemporaries to adopt the tribal moko.
Didi Garlow, Master Gardener at the Diabetes Garden helps fill planters to take home. Photo by Monica Brown
By Monica Brown, Tulalip News Writer
TULALIP, WA – The Diabetes Garden at the Karen I Fryberg Health clinic gave away, to their attendees, planter boxes with plants. The Diabetes Garden is a place where patients and community members can come to learn more about plant and garden care for a healthier future.
Community members and patients were invited to come out and fill a planter box to bring home so they can start a small garden. The planter boxes were filled with an assortment of vegetable, herb and flower plants and each person was given a fresh bag of soil to bring home.
This garden event will run until 1:00 pm Tuesday, July 16. But will continue during future, to be announced, garden and health clinic events.
Master Gardener, Roni Leahy on right, sorts out plants to take home Photo by Monica BrownPlanter boxes, plants and soil were given to each person. Photo by Monica Brown
Anybody new to Seattle might wonder about the city’s name. It’s not like New York, named after a place in the “old country,” or Madison, named for a dead president.
Seattle is named for a peace-loving Indian chief — a little classier than Chicago, derived from a native word for wild garlic.
When you’ve been here long enough to be settled in and have a favorite coffee order, it’s time to learn more about your hometown’s heritage. Make a ferry-ride pilgrimage to the Kitsap Peninsula, to the winter home and final resting place of the city’s namesake, Chief Seattle.
And now’s a good time to go, because the chief’s tribe, the Suquamish, has opened a handsome new museum where you can learn all about Chief Seattle’s people and their culture.
One surprise: The chief himself gets a conspicuously modest mention.
A Red Hat Society group from Poulsbo learns about a 300-year-old canoe hoisted by sculpted figures of tribal people at the new Suquamish Museum. Mike Siegel / The Seattle Times
The 9,000-square-foot, $6 million tribal museum, which opened in September a few hundred feet from the chief’s grave in the village of Suquamish, replaces a well-respected museum dating to the 1980s.
In part with newfound wealth from its Clearwater Casino, the tribe hired Storyline Studio of Seattle to design new exhibits, and Mithun Architects created a stained-wood building surrounded by native plantings of sword fern, wild currant and cedar.
Inside, it’s a gleaming example of modern museum concepts with a topical “less is more” orientation that doesn’t overwhelm. A single, compact hall showcases artifacts from tribal archives, or even from contemporary tribal members’ attics or family rooms (giving the sense that this is truly “living history”).
In the permanent exhibit, “Ancient Shores — Changing Tides,” simple island-like displays communicate large themes:
• “Teachings of Ancestors” includes a bone sewing needle and a cedar-root basket from the site of Old Man House, the longhouse on a nearby beach where Chief Seattle spent much of his life.
• “Spirit and Vision” has a mystical Tamanowas Stick, a personal-spirit symbol usually buried with a person, and a cedar mask with wild eyebrows and blushing cheeks.
• “Gifts from Land and Water” includes, among other things, a utilitarian clam-digging stick and a mean-looking wooden club used to kill salmon.
• “Shelter, Clothing and Tools” displays old and new, such as a dress astoundingly made of shredded cedar alongside a championship jacket from the 1984 national Indian Slo-Pitch Tournament.
• “Opportunity and Enterprise” are represented by 21 baskets of cedar bark, historically used for gathering clams and berries. (The modern representation of enterprise might be the tribal casino, which collects many “clams” from its patrons.)
• “Wisdom and Understanding” gives a puzzlingly brief nod to Chief Seattle. Context comes from this narrative: “(He) is perhaps the most famous of tribal leaders from the Salish Sea. But for the Suquamish people he was just one of many admired leaders throughout our history, each celebrated for their own unique skills.”
Six other leaders from across the years get the spotlight, with artifacts such as the gavel of Grace Duggan, the tribe’s first judge.
Why not dedicate more space to the leader for whom the big city is named?
“I think that the tribe is consciously trying to move away from (Chief Seattle) being the beginning, middle and end of the tribe,” explained museum director Janet Smoak. “It’s in no way a reflection of less esteem or less respect.”
Exhibits briefly reference Chief Seattle’s famous 1854 speech when he played a key role in treaty negotiations as his people were moved to reservations (see the speech’s full text on the tribe’s website at www.suquamish.nsn.us; search for “speech”). A peaceable man in tune with the Earth, he noted with melancholy that “my people are ebbing away like a fast receding tide that will never flow again.” Yet he also delivered a burning message that his people’s spirits will forever inhabit this land.
Something the museum does well: a historical multimedia production, creatively projected from above onto three child-level platforms, showing happy times — old-time salmon roasts — and less happy, when tribal children forcibly attended military-type schools after Teddy Roosevelt declared America “would make good citizens of all the Indians.”
The museum’s trumping centerpiece is a carved canoe, more than 300 years old, used in the 1989 Paddle to Seattle, the first of a now-annual series of intertribal-canoe journeys around the Salish Sea. Hoisting it are six sculpted figures representing the Suquamish from ancient times to present, including two sea otters “from before the great changer came and made people into people and animals into animals,” Smoak explained, citing the kind of beliefs that defined the tribe.
Closer to the man
If you want to feel closer to the man Seattle, head a short ways down South Street to the cemetery adjacent to St. Peter’s Catholic Mission, circa 1904.
Reflecting varying spellings of both his name and that of his tribe, based on changing interpretations of the native language, a white marble marker is inscribed “Seattle, Chief of the Suguampsh and Allied tribes, died June 7, 1866, The firm friend of the whites, and for him the City of Seattle was named by its founders.” Below that, the other name by which he was commonly known: “Sealth.”
Here you’ll see more plainly how the tribe honors him, in the form of significant improvements made to the gravesite in 2009 with $200,000 plus in grants split between the tribe and the city of Seattle. Flanking the stone are beautifully carved 12-foot cedar “story posts” that highlight moments from the chief’s life, such as his childhood sighting of Capt. George Vancouver’s exploration ships in1792.
Also added was a retaining wall etched in the native Lushootseed language and in English with messages such as “The soil is rich with the life of our kindred.” A wheelchair-friendly path connects to the parking lot, and visitors may rest on benches shaped like Suquamish canoes.
Ending your journey
Walk through the village to see more changes new money has brought to Suquamish, such as the charmingly named House of Awakened Culture, a waterfront community center devoted to such activities as classes in language, weaving and carving.
Browse native art at Rain Bear Studio or grab lunch at Bella Luna Pizzeria, a rub-elbows nine-table eatery perched on pilings over the waterfront.
Better yet, on a sunny day, pack a lunch to Old Man House Park, historic site of the chief’s longhouse, five minutes away. Sit on a log and take in the view that Chief Seattle’s people still love: narrow and scenic Agate Passage on one side, and on the other a panorama of snowy mountains across diamond-glinting waves of the salty sound.
In its day, this beach was where a native leader could take in all of his world, or all of it that mattered.
Brian J. Cantwell: 206-748-5724 or bcantwell@seattletimes.com
If you go
The land of Chief Seattle
Source, ESRI TeleAtlas
Where
From Seattle, take Washington State Ferries from Pier 52 to Bainbridge Island. Follow Highway 305 north toward Poulsbo. After the Agate Passage bridge, take the first right to Suquamish Way. In 1.2 miles, turn left at Division Avenue and then immediately right on South Street to the Suquamish Museum, 6861 N.E. South St. ($3-$5, www.suquamishmuseum.org).
Go a short distance further east on South Street to Chief Seattle’s gravesite. Continue downhill to the village center.
To reach Old Man House Park, from Suquamish Way take Division Avenue south and follow the arterial for .3 mile.
Special event
At 3 p.m. Feb. 23, the museum dedicates a new 40-foot-long wall-mounted timeline of tribal history with a lecture/presentation by Tribal Chairman Leonard Forsman and Tribal Archaeologist Dennis Lewarch.
Lodging
Stay at the tribe’s 85-room waterfront hotel, part of Clearwater Casino Resort. Free daily breakfast in lobby with tribal art, fireplace and expansive views. Pool, hot tub, spa. Winter rates: $169 for a view room on a weekend. 15347 Suquamish Way N.E., www.clearwatercasino.com/hotel
Restaurants
The casino has a buffet, cafe and a steakhouse. On Wednesday and Thursday nights, 2-for-1 specials for club members can overcrowd the buffet (the Thursday I visited, there was a 90-minute wait for a buffet table at 6 p.m.). That steered me and my wife to an endearingly corny checkered-tablecloth bistro in old-town Poulsbo, That’s-a-Some Italian Ristorante, 18881 Front St. N.E.; www.thatsasome.com.
For lunch, try the $2.50 slices at Bella Luna Pizzeria, 18408 Angeline Ave. N.E., Suquamish; www.bellalunapizza.com.
Native artist Jeffrey Veregge embraces his nerdiness
Monica Brown, TulalipNews
Jeffrey Veregge, a Port Gamble S’Klallam tribal member, has been creating art for most of his life. A few years ago, after exploring different art techniques, Jeffrey decided to mix two art forms he admires most, Salish form line with comic book super heroes and Sci-Fi. “I took what I like of Salish form line design, the elements and the spirit of it and decided to mix it with what I do as an artist and put my own take on it,” said Jeffrey about his latest art pieces.
His earlier work had a Picasso-esque theme that centered on native images. “I love cubist art. I like that it is messy but to be honest my heart wasn’t behind it [his earlier work], it wasn’t a true reflection of me,” explained Jeffrey. After taking a yearlong break to learn how to accept his nerd side, Jeffrey began to embrace his love of comic books, action figures and science fiction by recreating his favorite characters in the Salish design.
“Salish form line is beautiful and this felt like a natural extension. Comic books, Star Wars and all this stuff are equivalent to modern day myths and Salish art tells stories and myths,” said Jeffrey.
The sleek lines of the Salish design applied to superheroes such as Batman and Spiderman give them a solid and defined silhouette against a simple background. Because the placing of empty space against the background and the color contrast are both well thought out, the figures convey a sense of power and motion to the viewer. “I want to represent the comic characters in a good and noble way which they were intended,” said Jeffrey.
Last Son Courtesy of Jeffrey Veregge
Jeffrey is surprised and grateful for the success of his art, “A lot of native comic fans have approached me; a lot of support and wonderful emails, along with school programs asking for me to come show my work to inspire the students,” said Jeffrey. With the support from the fans he intends to recreate many more comic and Sci-Fi characters. Currently in the works are Iron man and possibly Deapool. Jeffrey is also organizing his attendance to the Tacoma Jet City Comic Show this November, where he will have a booth and be doing an exclusive print for the show and to Seattle’s Emerald City Comicon March 2014.
Jeffrey studied Industrial Design at Seattle’s Art institute and the Salish form line from Master Carver David Boxley, a Tsimshian native from Metlakatla, Alaska. Prints are available for purchase through his website, jeffreyveregge.com . T-shirt designs and baseball hats will be available for purchase soon.
His art can be seen at, In the Spirit: Contemporary Northwest Native Arts Exhibit located in Tacoma, at the LTD Art Gallery in Seattle, The Burke Museum and The Washington State History Museum. Other recent art commissions include a piece commissioned for the Tulalip Youth Center for their Suicide prevention campaign, a Steer Clear campaign with the Northwest Portland Area Indian Health Board and a double sided mural in Edmonton, Alberta.
Jeffrey Veregge, a Port Gamble S’Klallam tribal member, has been creating art for most of his life. A few years ago, after exploring different art techniques, Jeffrey decided to mix two art forms he admires most, Salish form line with comic book super heroes and Sci-Fi. “I took what I like of Salish form line design, the elements and the spirit of it and decided to mix it with what I do as an artist and put my own take on it,” said Jeffrey about his latest art pieces.
