Players of the traditional Coast Salish gambling game, known by a few names including slahal, lahal, bone games and stick games, gathered at the Tulalip Amphitheater during the weekend of June 1-3. Many players arrived an entire day early, equipped with their bones, drums and lawn chairs in anticipation of the 9th Annual Tulalip Tribes Stick Game Tournament. This year’s tournament attracted a record-breaking one-hundred and forty-two teams who competed for a chance to win cash prizes, including the grand prize of $50,000.
Native families journeyed across Washington and Canada to play in the tournament. The total payout this year was $63,000 which was distributed throughout the weekend during a number of rounds including the kid’s tournament, which drew a large crowd of spectators.
The game was said to be invented centuries ago in order to settle a number of disputes between tribes of the Northwest, including the rights to fishing, gathering and hunting territories. As legend has it, the game was gifted to the people by the animals in order to unite the tribes and prevent war.
During gameplay, two teams consisting of three to five players face each other. The game pieces, which include a set of bones and sticks, are discreetly distributed amongst the players on one team. The opposing team has to correctly guess where the bones are and how many pieces the player has in their hands. The sticks are used to keep score and the team with their bones in play, sing traditional family songs in an attempt to distract the other team from seeing where the bones end up. The team who has the correct amount of guesses wins the game and gets to advance to the next round.
“I came out to play for the Northwest Indian College team,” says NWIC student, Mikaela ‘Miki’ Ponca-Montoya of the Osage Nation. “We held a fundraiser last week so we could register and play in the games. We’ve been practicing, we have a stick game club at the college and a bunch of people participate and came out to play. I enjoy the medicine from the games because when people are playing their songs, some of us don’t know what they mean but we proudly sing those words as they’ve been upheld for generations and generations. You can feel it when your team starts to put their medicine in the music and when they’re playing the game you can feel the energy. That, and if you win, that’s the best part!”
Smiles are shared throughout the entire weekend, even when a team is knocked out of the competition, as most people are delighted to visit with other Native people and practice the traditional game of our ancestors.
Over sixty future Tulalip leaders participated in the first week of the 22nd Annual Lushootseed Language Camp. The kids learned the traditional Coast Salish language and Tulalip culture during the week of July 17-21. Hosted by the Tulalip Lushootseed Language Department, the summertime camp is held twice during the month of July and is open to Tulalip youth age five to twelve.
The kids are treated to five fun days of culture in which they learn the traditional language, teachings and stories of Tulalip. The camp utilizes several interactive activity stations to teach about Tulalip’s traditional way of life. Campers become familiar with the words while playing games and using modern technology. In addition to studying Lushootseed, campers also learn traditional Tulalip dances and songs.
“One of the songs we sang was the Welcome Song and it was Harriet Shelton Dover’s song,” stated Language Camp Instructor, Cary Michael Williams. “We also sang the Killer Whale Song, which was Ray Fryberg and Tony Hatch’s song they put together and brought forward to the Lushootseed Department.”
Each year, the Lushootseed Department honors a Tulalip member by teaching the youth about their work within the Tulalip culture. Last year the camp was dedicated to Harriett Shelton-Dover, this year the camp is dedicated to her son and Tulalip Elder, Wayne Williams.
“We always think of somebody to honor and dedicate the camp to and this year Wayne Williams came to mind,” explains Lushootseed Language Teacher, Natosha Gobin. “We know that he’s done so much for our community with preserving our teachings as well as everything he’s donated to the Hibulb Cultural Center. We felt it’s very important to acknowledge him while he’s here because a lot of times people don’t get acknowledged until they’re gone, and he’s still here with us so we want to honor him.”
Throughout the week, the youth rehearse a play based on a traditional Tulalip story. The play is performed for the community during the closing ceremony on the last day of camp. In honor of Wayne Williams, the Language Campers reenacted Wayne’s story Killer Whale and Two Boys.
Language Camp continues to grow; previously the department would anticipate about fifty participants each summer. However, due to increasing interest, the camp has seen an increase of fourteen participants each week in the past two years.
Young Tulalip tribal members and siblings, Natalie and Carsten Nordahl, travel from Boston every summer to attend Language Camp. According to their father, Natalie excitedly awaited the year her younger brother was old enough to enroll, in order to experience the cultural camp together. The kids have returned each summer, making this their third trip to Tulalip.
“I love that we get to learn about our culture and the language of our Tribe. My favorite part is learning the language and just being a part of this experience,” Natalie expressed. Carsten added, “My favorite part about camp was playing the games!”
Parents, grandparents, aunties and uncles gathered at the Betty J. Taylor Early Learning Academy Gym on July 21, for the 22nd Annual Lushootseed Language Camp closing ceremony. The youth showcased their teachings to the community by performing the songs and the play in Lushootseed.
“As a parent it’s important for my son to attend language camp because it was something I was able to do as a child and it’s important to carry on the songs and the teachings from our ancestors,” states Lushootseed Camp parent and Tulalip tribal member Samantha Chavez.
After performing Killer Whale and Two Boys, the youth gave handmade gifts, such as weavings and necklaces, to every guest in attendance. Over the span of twenty-two years, the camp has inspired numerous Tulalip youth to learn more about their culture. Many current Lushootseed Language Instructors, attended Language Camp when they were younger, including Tulalip tribal member Shelbi Hatch.
“Language Camp started before I was born actually, it was in ‘93 I think,” Shelbi recalls. “It’s a place for the kids to learn their culture and for everybody to get a view of what Tulalip is and how intact our culture and language still is. This gives them the utilities and the tools they need for later on in life. I feel more of a generational importance, I don’t feel like it’s me receiving the teachings, I feel like I’m giving it and these kids will be the ones to speak fluently.”
The Lushootseed department and the language campers displayed two paddles, with traditional artwork depicting the Killer Whale and Two Boys story that will be gifted to Wayne Williams and his sons.
“We keep trying to follow the teachings that Shelly Lacy and Auntie Joy [Lacy] laid out because this was part of their vision twenty-two years ago,” states Natosha while reflecting on a successful first week. “This is always the best time of the year for us. The kids have so much fun, the families are so grateful and it’s just a good time. We’re happy we’re able to keep this alive and keep it going.”
For more information about the Annual Lushootseed Language Camp please contact the Lushootseed Language Department at (360) 716-4499 or visit their website wwww.TulalipLushootseed.com
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
During the pleasantly warm and sunny summer days of July 18-22, the old Tulalip Elementary gymnasium was home to the 21st Annual Lushootseed Day Camp. The camp was open to children age five to twelve who wanted to learn about their culture and Lushootseed language through art, songs, games, weaving and storytelling. Each year the Lushootseed Department teams up with the Cultural Resources Department, along with a select number of very vital community volunteers, to hold two one-week camps. Each camp has openings for up to 50 participants, but this year the demand was so high that 64 kids were signed up and participated in Language Camp week 1.
“We are dedicating the 21st Annual Lushootseed Language Camp to Morris Dan and Harriette Shelton-Dover, for their guidance and teachings bringing back the Salmon Ceremony, as well as honoring Stan Jones Sr. “Scho-Hallem” for his decades of leadership and determination to keep the ceremony going,” said Lushootseed language teacher and co-coordinator of the camp, Natosha Gobin. “This year we are recreating the Salmon Ceremony to pass on the teachings to our youth. With the generosity of the Tulalip Tribes Charitable Table, we have received a grant to make regalia for each youth who is signed up for camp. This is exciting, as we will be able to ensure that all the youth who sign up for camp will have the ability to stand up and sing at every opportunity. Vests and drums will be the regalia for the boys, while the girls’ regalia will be shawls and clappers.”
Using the 1979 Salmon Ceremony video to help pass on the earliest teaching of what is still practiced today, the young campers learned a selection of highlighted songs and dances. The lessons learned each day during Language Camp were based on the teachings of the Salmon Ceremony by way of songs and dances, traditional teachings, language, art, weaving, and technology. The goal this year was to provide our youth with some basic regalia along with the knowledge and ability to sing and dance. Staffers hope the youth that have participated have the teachings and experience needed so they will stand up and sing at every opportunity.
With the emphasis of honoring the past and impacting the future with education and practice of Salmon Ceremony, there was a renewed sense of excitement and vigor to both the teachers and bright, young minds who participated. There was so much to do and prepare for that the parents of each camper were also called upon to participate in create long-lasting memories while working with their kids and fellow community members to help make regalia.
During the evening of Tuesday, July 19 the parents came through in a big way. The parents and guardians joined their kids in the gymnasium and were guided on how to make the drums and clappers. There were lots of laughs and stories shared as the evening went on and slowly, but surely every camper was assured of hand-made regalia.
“This is what we wanted to bring back; families coming together to spend some time working on the drums and clappers, lots of smiles, and most importantly lots of happy kids,” stated Natosha after the evening of regalia making concluded. “A huge thank you to the parents, aunties, uncles, grandparents, siblings and cousins who come out tonight to make sure every child would have a drum or clapper. I know our ancestors are watching over us all and proud the teachers are still being passed on.”
Throughout the duration of camp, the children participated in seven different daily activities. The following list is what each child accomplished throughout the week:
Art – Salmon bracelets, Salmon hands, paddle necklaces.
Weaving – Pony Bead loom beading, small raffia baskets.
Traditional Teachings – Salmon Ceremony videos, traditional stories, realia experience in traditional story and science face of how Salmon migrate.
Games – Various games and playground time.
Language – letter sounds, Salmon Ceremony key words, Lushootseed workbook.
Technology – children learned and practiced Lushootseed materials related to Salmon Ceremony using the Nintendo DSi handheld games created by Dave Sienko.
The closing ceremony for week one’s camp was held on Friday, July 22 in the Kenny Moses Building. The joyous, young play-performers made their debut to a large community attendance, as family and friends came out in droves to show their support.
“The young ones continue to honor our ancestors by learning their songs and words. It fills my heart with so much joy to watch them speak our language and perform the dances of Salmon Ceremony,” marveled ceremonial witness Denise Sheldon.
After the youth performed their rendition of Salmon Ceremony and the ceremonial witnesses had shared a few words, there was a giveaway. The camp participants gave handmade crafts to the audience members, which preceded a salmon lunch that everyone thoroughly enjoyed.
Reflecting on the conclusion of this year’s 21st Annual Language Camp week one, Natosha Gobin beamed with pride, “Week one has come to an end, but it is truly just the beginning of our youth rising up! The fire has been lit and they will be the ones to keep it burning. I can’t say it enough, how thankful we are for the parents that sign their youth up to participate. Shout out to the volunteers who mentored our young Language Warriors and to the staff who prepped and taught the lessons, and those who did all the behind the scenes work. Thank you to each and every person who made this week’s camp a success.”
For any questions, comments or to request Lushootseed language materials to use in the home, please contact the Lushootseed Department at 360-716-4499 or visit www.TulalipLushootseed.com
The “7th generation” principle imbedded in Native culture says that in every decision, be it personal, governmental or corporate, we must consider how it will affect our descendants seven generations into the future. Long before environmentalists got us thinking about “carbon footprints” and “sustainability”, indigenous peoples lived in balance with the world around them. But then hundreds of years of colonization happened that nearly drove our population to extinction. Yet, still we remain.
Then came the decades and decades of federal policy aimed at forced assimilation for the remaining Native population who were confined to reservations. Policy after policy required children to be removed from their homes and communities, and enrolled in boarding schools where many were punished or beaten for speaking their Native languages. As a result, generations of Native people either never learned their language or lost their fluency in it. Thus, many links to traditional culture and knowledge were broken. Still we remain.
From the ashes of the colonial fire that ravished our people, we endured even though much was lost. The language of our region, Lushootseed, once spoken by thousands of Coast Salish people in Washington State clings to life by the small number of people dedicated to preserving it. Lushootseed’s territory extends from north of present-day Mount Vernon to south of Olympia.
Recent decades have seen a cultural resurgence in Puget Sound tribal communities, including carving, weaving, canoe making, and efforts to revitalize Lushootseed. New tribal museums and long houses have been constructed, and events such as the annual Canoe Journey involve hundreds of participants and thousands of spectators.
Today, on the Tulalip reservation, few elders remain who learned Lushootseed as a first language. In fact, Lushootseed Department Manager Michelle Balagot says there may be only 30-40 tribal members who can speak Lushootseed with some degree of conversational skill. She adds that although that number is incredibly low, the department is working hard to make sure that the language survives, and the next few years will be critical if the language is to be revitalized to the point that children become and remain fluent speakers.
The biggest advancement in preserving and revitalizing Lushootseed amongst Tulalip tribal members has been building an essential staff of Lushootseed teachers whose love for their language and culture can easily permeate through the young minds and spirits of our most precious resource, our children.
This past school year the Lushootseed Department had full access to teach our ancestral language to the kindergarten classes and one 1st grade class at Quil Ceda Tulalip Elementary School. It was the return back to a curriculum that had been paused in 2011 when the old Tulalip Elementary was closed.
“We have noticed an increase in student engagement when students have the chance to learn the language that connects them to their heritage. It certainly makes education more meaningful for our students,” says Cory Taylor, Quil Ceda Tulalip Elementary Principal. “While the Lushootseed program serves many Native students, it also benefits non-Natives, too. These students have the unique opportunity to develop skills to be culturally responsive. These skills will be beneficial throughout their lives. As students learn about other cultures and languages they are more likely to honor diversity and appreciate cultural awareness.”
Lushootseed language teachers Maria Martin and Nikki St. Onge, known respectfully as Miss Maria and Ms. Nikki to their students, were selected to initiate the language revival at the elementary. They taught three classes individually and one “immersion” class jointly, for a grand total of seven classes.
For Miss Maria and Ms. Nikki, it was an opportunity to perpetuate the many Lushootseed stories and phrases they learned as children, and build upon the legacy of those who came before them.
“My year teaching at Tulalip Quil Ceda was wonderful. I didn’t get a chance to learn Lushootseed in school after I left the Montessori, so being able to go back to the school I attended as a child and teach Lushootseed is amazing,” said Miss Maria. “This means we are growing as a language department and spreading our culture in places we weren’t able to before. Growing up I had a yearning to know and learn my culture, but it wasn’t offered in the schools. For the students that are enrolled in Tulalip or surrounding tribes, Lushootseed is their language, and my hope is they’ll be filled with the same kind of pride I have to know the words of our ancestors.”
“I really enjoyed teaching at Tulalip Quil Ceda. I am very grateful to have the opportunity to work with some of my students, since they were babies when I worked at the child care center in 2011. Then again at Montessori when I first started in the Lushootseed department in 2012, and now moving up with them to kindergarten,” marvels Ms. Nikki. “Not a lot of people get the opportunity to have this experience. It’s really rewarding to watch them grow and develop their own personalities and characteristics, and also teach them such an important part of our culture.
“Growing up at my Grandma Rachel’s house, I was exposed to Lushootseed a little bit with words or phrases like: x̌ʷubiləxʷ (be quiet), gʷəƛ̕əlad (stop it, behave), spuʔ (fart/blow wind), ʔaləxʷ k̓ʷid (what time is it?), hədʔiw (come in), č̓ut̕əp̓ (flea), sp̓əc̓ (feces), sqigʷəc (deer), yəx̌ʷəlaʔ (eagle), sqʷəbayʔ (dog), and pišpiš (cat). I was always interested in learning to speak Lushootseed, but it was never offered in school. When I saw the job advertisement within the Lushootseed Department I was excited. I have always wanted to learn Lushootseed and I love working with kids, so it was a perfect opportunity for me to grow as a person and to give back to the Tribe and community.”
Both Miss Maria and Ms. Nikki having taught Lushootseed at the Tulalip Montessori meant a strong familiarity and trust with their Tulalip students in their kindergarten classes at the elementary. All of their former students remembered them and were very excited to have them as Lushootseed teachers again. The excitement was shared by both teachers as they were able to create their own curriculum and teaching plans for students they knew very well. They knew what teaching methods would work and wouldn’t work with their students already.
Throughout the school year the students learned to play games, some of their favorites being təs-təs (matching game), ɬiʔɬdahəb (fishing), stab kʷi ʔəsx̌ʷil̕ (what’s missing?), xʷiʔ gʷadsx̌ək̓ʷud (don’t turn over), ʔuc̓əlalikʷ čəd (I win/bingo), go fish, and tic-tac-know. Students completed daily work sheets that taught them how to read and write in Lushootseed while reinforcing many of the vocabulary words they learned at Montessori and the new Early Learning Academy.
Some of their favorite songs they learned are: ʔi čəxʷ syaʔyaʔ (hello friend), kʷədačiʔb čəɬ syaʔyaʔ (ring around the rosy), huyʔ syaʔyaʔ (good bye friend), ʔə tə tib, ʔulub miʔman pišpišpiš (ten little kittens), šəqild st̕ilib (respect song), sʔacus sʔilalubid (head, shoulders), baqʷuʔ stubs (Frosty the Snowman), and waq̓waq̓ st̕ilib (frog song). The students were able to hear stories that were translated into Lushootseed and traditional stories such as “tsiʔəʔ bəšč̓ad” (Lady Louse), “tsi sxʷəyuq̓ʷ” (The Basket Lady), and “Clamming with Lizzie.” They learned to count up to 25 and were exposed to 30 and 40. They have also learned verbs, farm animals, woodland animals, body parts, clothing and so much more.
As the year progressed and the Lushootseed curriculum continued to evolve, so did the students. They developed such a good working knowledge with certain phrases and words that it became common place to hear the young students speaking Lushootseed even when Miss Maria and Ms. Nikki weren’t around.
“It’s difficult to put into words because it’s such an amazing experience to witness, this ownership of language and seeing themselves reflected in their school. It feels like this belongs to them between the drumming, the dancing and morning messages, then coming into class and starting our day with Lushootseed,” stated Mrs. Poyner, Kindergarten teacher and host to the immersion class taught by both Lushootseed teachers. “Having both Miss Maria and Ms. Nikki in the class at the same time I’ve really noticed the students are picking up the language much more quickly. They are using it in other parts of the day, like when we’re teaching math they’ll start counting in Lushootseed instead of English. When we’re doing letters of the alphabet and brainstorming words that start with a specific letter they’ll come up with Lushootseed words. When we are learning new stories with animals in it they’ll call the animals by their Lushootseed name. It’s so exciting to see them apply what they’ve learned into other pieces of their day.”
The teachers are even hearing numerous stories about their students using Lushootseed at home with their parents.
“I have heard stories of the students going home and singing the songs they learned in class and using their Lushootseed words,” says Miss Maria. “Running into parents of my students and hearing that they are reinforcing their Lushootseed at home makes my heart glow.”
Ms. Nikki echoes the sentiment, “Hearing from parents and teachers that students are reinforcing Lushootseed outside of their time spent with me in classroom is probably the most rewarding feeling. It means the students are not just learning a curriculum, they are learning a language, their language.”
Being able to demonstrate what you’ve learned is the basis of knowledge, and the young students using Lushootseed when the teachers aren’t around is proof positive the internal flame to connect with our culture and ancestors through language is being rekindled. It’s all part of an essential process to carry on our ancestors’ legacy by keeping the language alive. Because seven generations from now, we want Lushootseed to be the common language of all Tulalip people, like it was for our ancestors.
By Micheal Rios, Tulalip News; photos courtesy Nicole Willis
Native Americans are the first Americans, yet they have for far too long been treated as third class citizens. It is unconscionable that today, in 2016, Native Americans still do not always have the right to decide on important issues that affect their communities. The United States must not just honor Native American treaty rights and tribal sovereignty, it must also move away from a relationship of paternalism and control and toward one of deference and support. The United States has a duty to ensure equal opportunities and justice for all of its citizens, including the 2.5 million Native Americans that share this land. It is no secret that this isn’t the case today.*
“Time and time again, our Native American brothers and sisters have seen the federal government break solemn promises, and huge corporations put profits ahead of the sovereign rights of Native communities. As President, I will stand with Native Americans in the struggle to protect their treaty and sovereign rights, advance traditional ways of life, and improve the quality of life for Native communities,” states Democratic presidential candidate Bernie Sanders.
Sanders has repeatedly acknowledged the need to correct the U.S. history books and openly apologized for the wrongs done to Native people. It’s easy to understand why Natives from all across Indian Country are choosing to ‘feel the Bern’ and rally behind a candidate who honors us in such an honest and sincere manner.
Sanders continues to gain support and more momentum towards his bid for the White House, evident in his holding the largest political rally Seattle has seen since Obama in 2008. An estimated 18,000 people showed up at KeyArena on Sunday, March 20 to show their support for the Vermont senator.
Amongst his horde of supporters were many respected leaders and representatives of Coast Salish tribes, including Tulalip’s own Chairman Mel Sheldon and recently re-elected Board of Directors Theresa Sheldon and Bonnie Juneau.
“For the first time in my life a U.S. Presidential candidate spoke on Native American issues during his national platform. Elevating tribes to the national platform is a big deal,” says Theresa Sheldon. “It’s so important for tribes to be engaged and visible during this Presidential election. Our relationship is with the federal government, therefore we need to be present and participate in the civic process.”
During the rally, five Tulalip tribal members (Theresa, Bonnie, Deborah Parker, Monie Ordania and Justice Napeahi) took center stage to perform the Women’s Warrior song.
“We are thankful the creator gave us an opportunity to sing the Women’s Warrior song from our First Nations relatives at the Bernie Sanders rally,” adds Theresa. “The Women’s Warrior song honors and acknowledges the missing and murdered indigenous women who have been taken from us way before their time.”
In a more private setting, Sanders met with a tribal delegation including NCAI President Brian Cladoosby, VAWA champion Deborah Parker and Yakama leaders including Asa Washines.
It was during this setting that the Coast Salish leaders honored Bernie Sanders with a Lushootseed name.
“Native American leaders named Bernie Sanders ‘δΞσηυδιϖυp’ (pronounced dooh-s-who-dee-choop),” Deborah wrote on Facebook. “This name is now bestowed upon Bernie Sanders and will be known among the Coast Salish people and beyond. The Lushootseed language meaning is ‘the one lighting the fires for change and unity.’ Thanking our Tulalip language teacher Natosha Gobin for helping us with Bernie Sanders Lushootseed name.”
According to Theresa, Sanders’ rally was historical for many reasons. Sanders has not only been a huge supporter of native issues, but he continues to stand shoulder to shoulder with tribes on such important issues as Violence Against Women and Oak Flats. He is an absolute protector of Mother Earth and he gives tribes total credit for the conservation and protection of the Earth that we do. If push comes to shove and the U.S. President has to make the call to either support treaty rights or to support corporate America and Army Corp of Engineers in the permit to build the coal terminal at Cherry Point, then you can guarantee that Sanders will go with treaty rights and support the tribes.
This is a huge shift that is happening nationally. Tribes are finally elevating themselves to the appropriate level, forcing mainstream media and corporate America to pay attention to us. When we are seen and heard by candidates, we can and will make a difference.
TULALIP — Last Thursday, the children in Sarah Poyner Wallis’ kindergarten class at Quil Ceda Tulalip Elementary School filtered in after the morning assembly.
Maria Martin and Nik-Ko-Te St. Onge, teacher assistants with the Tulalip Tribes’ Lushootseed department, wish the kids good morning.
“haʔɬ dadatut,” they said. The children said it back to them.
The kids sat in a circle for their first lesson: a song, simply called “Hello Friend,” and sung in Lushootseed to the tune of “Frère Jacques.”
Andy Bronson / The Herald With the help of flash cards, kindergartners at Quil Ceda Tulalip Elementary School speak the Lushootseed language with instructor Nik-Ko-Te St. Onge. From left: Jaycee Williams, Jesse Lozano,Tyler Hills and Joscelynn Jones-Lloyd.
This year Lushootseed, or dxʷləšucid, the language of Coast Salish Indians around Puget Sound, was reintroduced to the Marysville School District for the first time since 2011. That’s when the old Tulalip Elementary in the heart of the reservation was closed.
About 50 kindergartners and first-graders — five total classrooms — are getting daily language lessons from Martin and St. Onge this fall.
The simple explanation for the reintroduction is that the Tulalip Tribes were able to hire more teachers.
“Our problem is we were short-staffed. We’ve never had a full crew,” said Michele Balagot, the tribes’ Lushootseed department manager.
Newly hired teachers start out by teaching pre-school kids, and ideally would remain with the same the class of students as they get older, she said.
That’s not very easy in practice, however.
“Some people we hired found out they didn’t like to teach, or weren’t teacher material, or found out they didn’t like working with little kids,” Balagot said.
Add to that the fact that most of the teachers hired have had to learn Lushootseed at the same time they taught it to the children, one of the aftereffects of the boarding school era in which the language was suppressed almost to the point of extinction.
Maria Martin, who is 25, represents a new generation of speakers. She started learning the language as a child in the Montessori school, but throughout her school years only learned the language in the Tulalip summer language camps.
The Lushootseed program sends new hires to Northwest Indian College in Bellingham for formal instruction before they are put in front of a class.
Martin said she feels reasonably fluent when in front of the class, although still consults with her superiors in the language program when she needs specialized vocabulary.
Still, she’s become fluent enough that she’s often delivered invocations and greetings in Lushootseed at official tribal functions.
In Poyner Wallis’ class, she gave instructions to the kindergartners in Lushootseed first, and only English if the kids didn’t appear to understand them.
In one exercise, she held up a flash card with a picture of a brown bear. “stəbtabəl̕,” the kids chimed together.
She held up a picture of a frog. “waq̓waq̓!”
Then she held up an orca, but the kids are unsure and need reminding. “qal̕qaləx̌ič,” Martin said, and the kids shape out the unfamiliar glottal consonants.
A picture of a salmon also stopped them cold, and Martin prompted then with the answer: “sʔuladxʷ.”
“That’s a hard one because it looks like qal̕qaləx̌ič,” one boy piped up. “I almost said ‘salmon’.”
The student body at Quil Ceda Tulalip is about 60 percent Native American, although the actual figure is likely higher once children of mixed marriages or parents who aren’t enrolled in a tribe are taken into account, said Chelsea Craig, a cultural specialist at the school.
All the schoolchildren have been getting a dose of native culture in the morning assembly, which includes singing and a drum circle. The school is also leading the charge in incorporating native history into its regular curriculum.
Craig said she hopes that by getting the kids into Lushootseed while still young, they will learn their ancestral language and come to associate it with a supportive and healing environment.
“My great-grandmother was beaten for speaking Lushootseed,” she said, referring to the boarding school era, which began in 1860 and didn’t truly end until the 1978 passage of the Indian Child Welfare Act.
When Craig was growing up, some tribal elders could still speak the language, she said.
“The elders spoke it but didn’t share it, because it was too traumatic,” she said. “My great-grandmother didn’t want me to go through what she went through.”
Some Lushootseed words are introduced at the morning assembly, but it’s the lessons in class that are moving toward making the language thrive again.
In Poyner Wallis’ classroom, the kids were split into groups. Nik-Ko-Te St. Onge used the children’s book “Brown Bear, Brown Bear, What Do You See?” to help reinforce the vocabulary, and then moved on to flash cars with numbers.
St. Onge held up a card with the number six on it. Jordan Bontempo counted out loud on his fingers.
“č̓uʔ, saliʔ, ɬixʷ, buus, cəlac … yəlaʔc!” he said triumphantly.
Meanwhile, Maria Martin gave the kids pictures of a bear to color that also had a connect-the-dots tracery of the Lushootseed word “stəbtabəl̕.” Two kids colored the bear brown and one black, but others went for green, purple, rainbow stripes and one outside-the-lines expressionist squiggle.
When they were done with the bear, they moved on to a picture of a frog.
Carlee James-Jimicum waved her completed bear at Martin. “I’m ready for my waq̓waq̓,” she said.
Balagot said that there are about 40 people on the Tulalip reservation who can speak Lushootseed with some degree of conversational skill.
“We probably couldn’t hold a full conversation, but we could get the gist of what we’re saying,” she said.
The hope is the 50 kindergartners and first-graders will grow into older kids and teens who can add to that number.
Like Martin, perhaps some of them will return to teaching the next generation.
After finishing up in Poyner Wallis’ class, St. Onge and Martin split up. Martin walked down the hall into Lisa Sablan’s kindergarten class, where the kids were eagerly waiting for their lesson.
When she stepped into the room, they all called out together, welcoming their teacher and friend “haʔɬ dadatut syaʔyaʔ!”
The Washington State Committee on Geographic Names was petitioned on August 23 to change the name of Squaw Bay – on Shaw Island in the San Juan Islands – to Sq’emenen Bay.
“Sq’emenen” is the Lummi name for Shaw Island, according to Lummi hereditary chief Bill (Tsilixw) James. The committee will give the proposal initial consideration October 23 in Olympia. The committee, which meets twice a year, will decide in May whether to recommend the change to the state Board on Geographic Names.
The petition is signed by 30 people, among them citizens of several Coast Salish nations with ties to the San Juan Islands.
Noting the controversial nature of the word “squaw,” the petition states that over time the word came to be used “as a term of condescension, as a racialized epithet, and in a way that implies Native American women are second-class citizens or exotic objects.”
It also notes that the word “squaw” is not a Coast Salish word, and that renaming the bay “Sq’emenen” would recognize the island’s Coast Salish history. The Lummi, Samish and other Northern Straits Salish peoples originated in the San Juan Islands, and for thousands of years maintained and harvested resources on all of the islands, including Shaw. The Lummi Nation, Samish Nation and Tulalip Tribes still own land on the islands and have treaty rights and obligations within their historical territory.
Among those writing letters of support for the name change: Washington State Rep. Jeff Morris, Tsimshian, who had a Samish grandfather and grew up on nearby Guemes Island. “The name Sq’emenen is a more authentic and appropriate name and honors the Lummi Tribe and the history of Shaw Island and the surrounding San Juan archipelago,” he wrote.
Residents of Shaw Island met on September 19 to discuss the name-change proposal; residents prefer renaming the bay “Reefnet Bay (Sxwo’le),” because reefnet fishing – which was developed by the Lummi people – is still done there. “Sxwo’le “ (pronounced “shwalla”), is the Lummi word for reefnet. “Using both names teaches the language by seeing the two words together,” a representative said. “We also want to change the road name, Squaw Bay Road [on the island].”
Other governments in the United States have changed place names that contain the word “squaw,” among them the states of Idaho, Maine and Montana; and the city of Buffalo, New York.
In 2003, Squaw Peak in Phoenix, Arizona, was renamed Piestewa Peak to honor Pfc. Lori Piestewa, the first Native American woman to die in combat for the U.S. In 2011, the California Office of Historic Preservation changed the name of a state historical landmark, “Squaw Rock,” in the Russian River canyon, to “Frog Woman Rock,” to honor and respect the cultural heritage of the Pomo peoples of the region.
By Micheal Rios, Tulalip News Photo courtesy of Joe Seymour
Recently, the Seattle Art Museum presented PechaKucha Seattle volume 63, titled “Indigenous Futures.” PechaKuchas are informal and fun gatherings where creative people get together and present their ideas, works, thoughts – just about anything, really – in fun, relaxed spaces that foster an environment of learning and understanding. It would be easy to think PechaKuchas are all about the presenters and their presentation, but there is something deeper and a more important subtext to each of these events. They are all about togetherness, about coming together as a community to reveal and celebrate the richness and dimension contained within each one of us. They are about fostering a community through encouragement, friendship and celebration.
The origins of PechaKucha Nights stem from Tokyo, Japan and have since gone global; they are now happening in over 700 cities around the world. What made PechaKucha Night Seattle volume 63 so special was that it was comprised of all Native artists, writers, producers, performers, and activists presenting on their areas of expertise and exploring the realm of Native ingenuity in all its forms, hence the name Indigenous Futures.
Joe Seymour, a member of the Squaxin Island Tribe, is geoduck harvester and a leader of his canoe family, but most importantly he is a Coast Salish artist who works with a vast array of mediums. He has demonstrated his artistic touch with blown glass, etched glass, prints, wood, Salish wool weaving, canvas and traditional rawhide drums. His ancestral name, wahalatsu?, was given to him by his family in 2003. Wahalatsu? was the name of his great-grandfather William Bagley.
Faith, Wisdom and Strength. Photo courtesy of Joe Seymour
Seymour started his artistic career by carving his first paddle for the 2003 Tribal Journey to Tulalip. Also, in 2003, he carved his first bentwood box. After the Tulalip journey, he really began to focus on his artistic abilities he found were coming so natural him. After learning how to stretch and make traditional rawhide drums, Seymour pushed his creative limits even further by learning how to pull a four-sided drum. The inspiration for learning the four-sided drum method came from his uncle Phil and the late Makah hereditary chief, Lester Hamilton Greene.
“One of the reasons I wanted to work with so many mediums is that all of them together encompass what Coast Salish culture is to me,” explains Seymour of his diversity of art mediums. “We talk about indigenous futures and right now I’m focused on taking the Coast Salish culture into the future by keeping its past alive. I do this by bringing it into the modern world by my weaving, by my drawing, by my painting…I do that with the paddles that I carve.
There aren’t many people who can pull a four-sided drum. I’ve only seen maybe three other people who can do it. If you ever want to learn or know someone who wants to learn, please let me know as I’m more than willing to share our cultural knowledge. Artistic methods are a critical part of our culture and I believe they should be shared willingly, not just held hostage by any single individual.”
Photo courtesy of Joe Seymour
Since discovering his inner artist by way of the 2003 Tribal Journey to Tulalip, Seymour has gone on to participate in the international gathering of Indigenous Artists, PIKO 2007, in Hawaii, and he also participated in the Te Tihi, 4th Gathering of Indigenous Visual Artists, in Rotorua, New Zealand, in 2010.
“It’s an honor to have the opportunities to travel the world and meet fellow indigenous; to see and share our cultures via artistic expression,” says Seymour. “The indigenous future of the peoples in the Pacific Northwest is very bright. We have such a wonderful array of spirit, tradition, and pride.
In my career, I’ve worked with glass, photography, Salish wool weaving, prints, wood, and rawhide drums. I’ve been very fortunate to have a community of artists that I’m able to work with and who are very supportive of my career. If it were not for their caring and sharing of ideas, I would not be the artist that I am today. I hope that as I continue in my artistic career, I can pass on the teachings and nurturing spirit that have been shown to me.”
The ‘Welcome Figure,’ spuy’elepebS near Tollefson Plaza, Tacoma, Washington, created by Shaun Peterson.
Indian Country Today
Shaun Peterson, Puyallup, has been selected for a commission on the Seattle Waterfront. Peterson’s art is a showcase of Coast Salish traditions for the modern world, and he’s experienced in creating public installations. After the announcement, he took to his blog at Qwalsius.com:
I wouldn’t have foreseen this coming if you had asked me but it is here and it is now. I hope to make the most of this opportunity and showcase that Coast Salish culture is alive and well. That it is deserving of the land on which it comes from and that it will, as all art does, adapt to the world around it and will continue to thrive as long as the people exist in its region. As Chief Sealth once said long, when people believe our people have vanished we will be among you… something like that, I’m paraphrasing of course but the gist is, my art and others of Coast Salish heritage are making public works that will continue to be standing long after we have gone, and there is something to say for that. Today, I am overjoyed with the task ahead of me.
Below are a video portrait of Peterson, examples of his public art, and the full press release from the Seattle Office of Arts & Culture:
Salmon Continuum Bus Shelter, Tacoma Washington, by Shaun Peterson
Welcome Figure, spuy’elepebS near Tollefson Plaza, Tacoma, Washington, by Shaun Peterson.
Welcome Figure (night), spuy’elepebS near Tollefson Plaza, Tacoma, Washington, by Shaun Peterson.
Killer Whale (Aluminum), Puyallup Tribal Health Authority, Tacoma, Washington, by Shaun Peterson.
From the Natural World, Puyallup Tribe Elders Building, Tacoma, Washingto, by Shaun Peterson.
SEATTLE (March 25, 2015) — The Seattle Office of Arts & Culture is pleased to announce that artist Shaun Peterson, of Milton, WA, has been selected for a commission on the Seattle Waterfront. Peterson is a pivotal figure in contemporary Coast Salish art traditions, and is a member of the Puyallup tribe. He has major installations throughout the Northwest, ranging from works created in wood, glass and metal.
“This is an historic opportunity to have an artwork by a Native artist on our Waterfront,” says Mayor Murray. “Peterson’s artwork will be a tribute to the cultural significance of the waterfront to the Coast Salish first peoples and our city. The waterfront will finally reflect the origins of our vibrant City and also the many peoples who made this region what it is today—one of the fastest growing in the nation.”
This commission, undertaken in partnership with the Office of the Waterfront and Seattle Department of Transportation, sought an artist to create an artwork that recognizes the tribal peoples of this regionfor Seattle’s Central Waterfront project. Peterson will work with the city and its design team to develop a site-specific artwork or artist designed space that reflects the Coast Salish tribes that have a historic connection to this territory. The budget for the project, inclusive of artist fees, is $250,000.
“Seattle is named after our Coast Salish Chief, and in honor of that I hope that my work will demonstrate that Native art is not static,” says Peterson. “Our people are part of this land and its history, but most importantly we are part of the present. The art I create will aim to communicate that, and in the process, create space for dialogue.”
“Shaun’s work embraces new interpretations of traditional designs, and his facility in blending both the traditional tribal art forms along with contemporary elements and materials makes him the ideal artist to envision the Coast Salish presence on the waterfront,” says Ruri Yampolsky, Public Art Program Director. “We are incredibly excited to have Peterson create a permanent artwork that will be reflective of the Coast Salish peoples and the region.”
Waterfront Seattle is the large-scale project to replace the Alaskan Way Viaduct with 26 acres of new public space, streets, parks, and buildings. The public piers will be rebuilt as part of the Seawall Bond passed by voters in 2012. Peterson’s first major public installation was a 37 foot story pole for Chief Leschi School in 1996; it was quickly followed by commissions in Tacoma and Seattle, Washington. He continues to explore the future possibilities of indigenous art traditions.
Peterson joins artists Cedric Bomford, Ann Hamilton, Norie Sato, Buster Simpson, Oscar Tuazon and Stephen Vitiello in creating a permanent artwork which will transform the waterfront. This roster of diverse artists will help to create a sense of place on the renewed waterfront that will act as an invitation to residents and visitors alike.
About Shaun Peterson
Shaun Peterson is a pivotal figure in the revival of Coast Salish art traditions. An enrolled member of the Puyallup tribe, and also affiliated with the Tulalip tribe, Peterson carries the name Qwalsius, originally carried by his great grandfather, Lawrence Williams. The name has been translated in two possible meanings as the Lushootseed language spoken by many Western Washington tribes has become scarce. The first translation is “Painted Face” and the second is “Traveling to the face of Enlightenment.”
Peterson is a Native American artist producing work that is a continuation of the ancient art of the Northwest Coast first peoples. While knowledgeable and invested in diverse tribal styles and applications, his focus and expertise is the art of the Southern regions that encompass the many tribes of Western Washington and Southern British Columbia known as Salish territory. Shaun’s artistic career began under the guidance of key mentors in the field of Northwest Coast art including master artists Steve Brown, Greg Colfax (Makah), George David (Nuu-chah-nulth), and Loren White.
Selection panel members and advisors:
Tina Jackson, Cultural Activities Coordinator/ Kate Ahvakana, Suquamish Tribe
Barbara Brotherton, curator of Native American Art, Seattle Art Museum
Patti Gobin, Tulalip Tribes
Candice Hopkins, curator, University of New Mexico, Carcross/Tagish
Warren KingGeorge, historian, Muckleshoot Tribe
Cary Moon, urban designer
Eric Robertson, artist, Métis/Gitksan
Heather Johnson-Jock, artist and Tribal Council Secretary, S’Klallam Tribe
Guy Michaelson, Berger Partnership
Steve Pearce, Office of the Waterfront
Tracy Rector, Seattle Art Commission
Denise Stiffarm, Urban Indians, Gros Ventre (A’aninin/White Clay)
Ken Workman, Duwamish Tribe
Nicole Willis, Tribal Relations Director, Office of Intergovernmental Relations