By Micheal Rios, Tulalip News
Potlatch Fund is a Native-led nonprofit that provides grants and leadership development in tribal communities throughout Washington, Oregon, Idaho and Montana. The Fund’s driving mission is to expand philanthropy within Northwest tribal nations by inspiring and building upon the tradition of giving. From potlachs to powwows, building community and sharing wealth has always been a part of Native peoples’ way of life.
On November 2, the Potlatch Fund held its highly anticipated annual fundraising gala. With venue location and theme changing every year, the one constant the gala promises is attendees will be inspired and given ample opportunity to show their generous side. This year the location was Little Creek Casino Resort and the theme: ‘Spirit of Reciprocity’.
“This gala brings together people of many different tribes, from many different communities, from many different organizations, and unites us in the common goal to raise money to help us meet the needs of Northwest Indian Country,” said Dr. Charlotte Coté, Potlach Fund board president. “Our theme ‘Spirit of Reciprocity’ really captures the essence of our organization’s mission to expand philanthropy for and among tribal communities, while empowering community leaders with the tools they need to succeed.
“We have gathered here in the spirit of the potlatch tradition with the sharing of song, dance, art, and of course delicious food,” Dr. Coté continued. “The support we’re so thankful to receive allows us to keep alive the spirit of reciprocity. I raise my hands to everyone who joins our Potlatch Fund canoe and helps us paddle to our fundraising goals.”
Since 2005, Potlatch Fund has re-granted over $4.5 million in the support of tribes, tribal nonprofits, Native-led nonprofits, Native artists, and Native initiatives in their four-state service area. Through a focus on youth development, community building, language preservation, education and Native arts, they are building a richer future for all that they serve.
The Potlatch Fund’s annual gala is their major fundraising event and brings together people from a variety of neighboring tribes, organizations, corporations and communities. Close to 20 Washington State tribes were listed as event sponsors, including the Tulalip Tribes listed as a Raven-level sponsor.
At the gala, Native community impact makers are given a chance to share their plans for the future and learn how other like-minded individuals and groups are striving to make a positive difference for the benefit of Indian Country. This is an invaluable benefit for up-and-coming leaders and organizations who can sometimes struggle to get their message broadcast to larger audiences.
“At Potlatch Fund, we recognize the importance of bringing people together to share our stories and experiences,” added Dr. Coté. “Our intent is to generate deeper connections and conversation among Native professionals and our extended community. All are welcome to attend and build relationships with our Native communities.”
A dynamic and truly benevolent event that brought together tribal leadership, representatives and impact makers from all across the Pacific Northwest, the fundraising gala also had additional benefits for guests. In a setting befitting those who strive to make the world a better place than they found it, the mostly Native gathering took in the sights of Squaxin Island Tribe drummers and dancers, heard the enchanting violin sounds of Lummi musician Swil Kanim, and perused a silent auction filled with unique Native art.
“Potlatch Gala is the most fun event of the year,” shared Suquamish Foundation Director, Robin Little Wing Sigo. “Not only does it raise money, but it raises spirits, energy and excitement. Everyone gets to get dressed up and connect with people they may only see once or twice a year. Also, so many incredible artists donate their artwork for the silent auction that gives us a good opportunity to purchase wonderful Native bling.”
“We lovingly call it ‘Native Prom’ because it’s one of the last gatherings of the year and we all get dressed up to celebrate being Native,” added Colleen Chalmers, program manager at Chief Seattle Club. “There is representation from so many different tribes yet we’re here as an Indigenous community proving we are still here and we are thriving.”
The ‘Spirit of Reciprocity’ gala provided the opportunity to share culture through song and dance performances, to support and celebrate Native art and artists, and to assist Potlatch Fund with its fundraising efforts as it continues to undertake important work throughout Northwest Indian Country. The evening centered on generosity and was a success as pre- and post-dinner networking receptions brought people together to create future impact opportunities, while close to $60,000 was fundraised that will ultimately go to where it’s needed most, Native communities.
Tulalip, Washington — Tulalip Resort Casino chefs are excited to whip up their newest filbert-filled creations for their dining guests. From breakfast and salads to seafood and tempting desserts, these seasoned chefs have rounded up some creative hazel-nutty recipes. Tulalip’s third annual “Hazelnut Holidays” will run from November 1 through December 1, 2019.
Local hazelnuts from Hazel Blue Acres will be featured throughout the Resort’s restaurants. What makes Hazel Blue Acres hazelnuts so special? These nuts originate at a local family farm in Silvana, Washington, near the Stillaguamish River. Tulalip’s commitment to curating top local ingredients in all of their dishes is highlighted with their partnership with Hazel Blue Acres.
“Hazelnuts are not just for dessert,” shares Executive Chef Perry Mascitti. “Hazelnuts and chocolate are a match made in heaven and their rich, nutty flavor can turn any dessert into a masterpiece. Roasted hazelnuts (chopped or whole) can impart a buttery savoriness to everything from salads to meat dishes, and can transform an otherwise simple dish into a satisfying, hearty plate. We can’t wait to share this year’s Hazelnut Holidays with you!”
The Tulalip chef team invites all Resort guests to enjoy the following hazelnut-laced selections during November’s Hazelnut Holidays.
Blackfish Wild Salmon Grill and Bar’s Chef David Buchanan loves cooking with hazelnuts because they add a sweet, nutty flavor to his Hazelnut Pesto Sea Bass. The Sea Bass is encrusted with the hazelnut pesto, served with a Havarti polenta, and autumn succotash of corn, roast butternut squash, asparagus, zucchini and red onion. And for the finale to dinner, guests can enjoy Pastry Chef Nikol Nakamura’s Sutell Stuffed Beignets. They are stuffed with Nutella hazelnut spread and served with praline ice cream, which should not be missed.
Is breakfast your favorite meal of the day? If so, then head over to Cedars Cafe, where Chef Brent Clarkson will be preparing his Cedar’s Café Grilled Hazelnut Coque Madame. Served on a grilled hazelnut crusted egg bread, layered with Havarti cheese, prosciutto, ham and two cook-to-order eggs, topped with the Chef’s Sauce Mornay. This hazelnut special will be offered seven days a week during November from 6 am to 4 pm. To fulfill your sweet tooth, indulge in their Chocolate and Hazelnut Pudding served with Frangelico cream, toasted hazelnuts and fresh raspberries. The perfect way to start any morning!
Join Chef Jeremy Taisey for Tula Bene Pastaria + Chophouse’s house-made Garganelle pasta served with braised pork, toasted hazelnut ragu, sun-dried tomatoes, rosemary, parmesan cheese and pickled peaches. And to end the meal with a slice of pure sweetness, try Pastry Chef Nikol Nakamura’s Gianduja Tart made with creamy mascarpone and a rich, deep chocolate hazelnut filling.
For a quick bite on-the-go, make a stop at either the Carvery or theHotel Espresso fortheir Toasted Hazelnut Chicken Salad. The salad will be served with a roasted chicken breast, toasted Hazel Blue Acres hazelnuts, and red grapes on a bed of crisp Bibb lettuce.
As part of this year’s Hazelnut Holidays, Chef Lil at Eagles Buffet will be sharing her signature Roast Pork Tenderloin. It will be served with a house-made mustard hazelnut sauce, which is part of the daily buffet offerings. For menu information and pricing, visit here.
At The Draft Sports Bar and Grill, it’s all about the Hazelnut Chicken Bites. Chef Susan is serving these golden brown hazelnut crusted chicken bites with their house-made bleu queso dipping sauce.
Tulalip’s Blazing Paddles Stone Fired Pizza and Spirits are showcasing their Hazelnut Fig and Pear Pizza this November: a tempting pizza layered with fig jam, arugula, red and Bartlett pears, brie cheese, prosciutto and topped with hazelnuts.
Are you craving a dessert pizza? Order Blazing Paddles Hazelnut Cinnalicious made with cinnamon streusel, green apples and drizzled with a caramel sauce.
The Tulalip culinary team extends an invitation for everyone to come and experience their “Hazelnut Holidays” for this limited engagement. For more information, visit tulalipcasino.com.
By Micheal Rios, Tulalip News
“The Burke Museum stands on the lands of the Coast Salish peoples, whose ancestors resided here since time immemorial,” said Burke executive director Julie Stein to a growing crowd of 400+ people representing tribal nations from all over the Pacific Northwest. “Many Indigenous peoples thrive in this place. Part of that history is embedded in the museum, and we move forward in a good way so happy you are with us.”
Julie’s words were direct and heartfelt as she greeted the hundreds of Native visitors who convened at the Burke Museum’s ‘Indigenous Preview’ on October 10. Nearly a thousand community engaged and local Native culture-bearers RSVP’d to the evening’s event dedicated to relationship building and seeking to preserve the ingenuity, creativity, and complex knowledge of a living and thriving cultural resource.
“You all are the first to be invited to tour and experience the all-new Burke Museum,” continued the museum’s executive director. “We are truly honored by your presence. The Burke recognizes our colonial legacy, and we promise to dedicate ourselves to learning from communities and building a more ethical and collaborative future together.”
In honor of its collaborations with Indigenous communities, the Burke invited all Indigenous peoples to see the all-new $99 million, 113,000-square-foot facility before it officially opened to the public. Nearly a decade’s worth of planning and consultation went into the unique redesign of a natural history museum with a massive 16 million object collection. Two highly anticipated exhibitions feature Northwest Native artistry and craftsmanship at its finest.
An emphasis on transparency and treating the hundreds of Native cultural artifacts with the proper respect, while acknowledging their rightful creators, was the topic of many conversations while the gathering of Native peoples toured the museum. Many Coast Salish tribal members found the Culture is Living gallery to be the highlight of the evening. From intricate weaving creations to hundreds of years old traditional regalia to a truly stunning dedication to canoe journey that showcased carved paddles by many of the 29 federally recognized Washington tribes, the gallery offered a very real sense of purpose and awareness to its Native guests.
According to the Burke, the Culture is Living gallery breaks down traditional museum authority and brings the expertise and knowledge of communities to the forefront. Cultural objects aren’t tucked away on the shelves. They are alive, embodying the knowledge, language, and stores of people and cultures.
“We wanted to share how diverse our Indigenous cultures are and share the fact that we are still here,” said Sven Haakanson (Alutiiq), curator for North American anthropology. “To us, the cultural pieces we have on display are living. We are representing a hundred-plus cultures in our Culture is Living gallery and to pay them their proper respects we interwove elements of Earth, air, water, our ancestors, children, and community.
“As a curator, one of the things I’m most proud of is we put the Native languages first on every item. Over the next decade, I’m hoping to work with our local tribes to get more item descriptions written in their languages and to add quotes from those communities telling us what the item’s story is from their perspective,” continued Sven.
During the special Indigenous Preview event, several local tribes had representative of their canoe families share song and dance for the mostly Native attendees. Food was enjoyed and provided by the much hyped Off the Rez café, a permanent outpost spawned from Seattle’s first and only Native food truck. There were a number of hands-on exhibitions that guests were drawn to. Chief among them a weaving setup that welcomed the expertise of Native weavers to showcase their skills with rope, cedar, or ribbon that have been passed down for generations.
“The inclusivity is awesome!” shared 24-year-old Stephanie Masterman (Tlingit) after she made her signature in weave form. “Yes, there are artifacts dating back hundreds of years, but there is so much contemporary art, too. So many young Native artists have works included among the galleries. The voice and presence of the future generations we always talk about is definitely represented.”
It’s a new kind of museum with a whole new way to experience our world. The Burke is located on the University of Washington campus and is free to all visitors on the first Thursday of every month. You can expect to be blown away by the attention to detail the dedicated acurators used in setting up each and every item in the six new galleries. And with Native voices prominently featured, there is sure to be an opportunity for learning and reflection.
“Museums have always been colonial spaces and the way the old Burke was structured separated each culture rather than having conversations across cultures that are relevant to our people,” said recent UW graduate Natalie Bruecher (Native Hawaiian). “Here in the new Burke, our knowledge, our ways of being, and even our relationships to each other are really uplifted. This space is a home for our students, our Indigenous communities, and our ancestors that are embodied in every single piece on display.”
For more information please visit burkemuseum.org or call (206) 543-7907
By Micheal Rios, Tulalip News
The Seattle Children’s Museum is a destination place for people from all around the world. Located at the heart of Seattle Center, the always active and engaging museum sees close to 200,000 visitors every year. With a mission to bring to life the joy of discovery for children and their families through creative, hands-on exploration of the world around them, the museum’s heralded Global Village recently debuted an all-new permanent exhibit titled Tribal Tales.
Created by and inspired from the beautifully diverse and thriving Native cultures encompassing the Puget Sound area, Tribal Tales was development over the past two years in direct collaboration with Native artists from Pacific Northwest tribes.
“We thought it would be great if we developed a space that helps us create a real relationship with local tribal communities and members,” explained Amy Hale, director of education for Seattle Children’s Museum. “The artists we collaborated with drew from their own individual experiences in order to create culturally relevant representations of their culture.”
Native storytellers who collaborated on the project include John Edward Smith (Skokomish), Roger Fernandez (Lower Elwha S’Kallam), and Tulalip’s own Ty Juvinel.
“Because of Ty’s trust and active willingness to participate in building up this idea from the very beginning, his efforts had a direct influence on other artists and their willingness to commit,” added Amy. “When I look at this final project, I see not only Ty and his amazing individual pieces, but his influence that led to more artists of other tribal communities working with us and really making Tribal Tales an immersive exhibit.”
Prior to becoming the home of Tribal Tales, the space housed a puppet theatre. The original seed money that created the puppet theatre came via Tulalip Cares, the charitable contributions division of the tribe. It’s only too fitting then that the puppet theatre space was transformed into an interactive, educational exhibit showcasing the richness of Native values and oral tradition, while being co-curated by Tulalip tribal member Ty Juvinel.
“This exhibit really honors the Indigenous peoples of this land and gives the acknowledgment that our people were here before first contact,” shared the Tulalip storyteller. “Tribal Tales is all about acknowledging the past people that were here while honoring the many Coast Salish tribes thriving today.
“I contributed an original story created for my kids How Puppy Got His Ears, a Salish Sea map detailing all the tribes in Western Washington, a couple house posts, and hand puppets that go along with my story that visiting children can play with,” continued Ty. “The fact the museum got money a long time ago from the tribe and now I’m refreshing the concept for my generation is just awesome.”
Tribal Tales explores the universal art of storytelling through a collective showcase of Native art and culture, curated by the actual artists themselves. “As opposed to white bodies dictating and reflecting back to ourselves what other cultures look like, we gave the artists all the agency to share with us their stories,” added Amy.
The direction and attention to detail is what really makes Tribal Tales stand apart from the many other Global Village exhibits. And for the countless children who visit the museum every day, they’ve already shown a fondness to the exhibit’s bright colors and hands-on puppetry that makes the Native stories easily understood.
“The Children’s Museum shares all kinds of fantastic things, like science, knowledge and culture,” said Roger Fernandes, sharer of the prolific Ant and Bear story. “I thought it would be a good way to get our stories out there. Each of the stories were illustrated by the Native artists, so the children could not just hear the story but see some visuals that would help them remember it. Ultimately, this project was well thought out and as a result now more kids will have the chance to hear our traditional stories.”
With over 18,000 sq. feet of play space designed for kids ages birth to 8-years-old to enjoy with families, the Seattle Children’s Museum is open Tuesdays – Sundays from 10:00am – 5:00pm. First time visitors are sure to be blown away by the hands-on exhibits and open-ended exploration, especially those who experience the richness of Tribal Tales.
By Micheal Rios, Tulalip News. Photos by Matika Wilbur and Micheal Rios.
In 2012, Tulalip tribal member and visual storyteller Matika Wilbur sold everything she owned in her Seattle apartment and invested the proceeds into a vision: to unveil the true essence of contemporary Native issues, the beauty of Native culture, and the magnitude of tradition. Her vision’s name? Project 562.
Reflecting her commitment to visit, engage, and photograph all 562 federally recognized Native American tribes (in 2012), Project 562 reveals a name that serves to both inspire and educate.
“While teaching at [Tulalip] Heritage High School and attempting to create a photography curriculum with a narrative that our children deserve, I found an outdated narrative,” she recalled. “It’s an incomplete story that perpetuates an American historical amnesia. It’s a story that’s romantic, dire and insatiable…it’s the story of extinction.”
Matika points out the extinction theme often associated with Native America is easily perceived by doing a quick Google Images search. If you search for ‘African American’, ‘Hispanic American’ or ‘Asian American’, then you’ll find images of present day citizens who represent each culture. You’ll see proud, smiling faces and depictions of happy families.
But if you search for ‘Native American’ the results are very different. You’ll see mostly black and white photos of centuries old Natives who are “leathered and feathered”. Making matters worse, you’ll also find more images of white people wearing headdresses than of modern day Native families.
“All of these images and misconceptions contribute to the collective consciousness of the American people, but more importantly it affects us in the ways that we imagine ourselves, in the ways we dream of possibility,” explained Matika.
And so began her 7-year journey to photograph and collect stories of contemporary Native citizens from tribes all across the United States. As her photographic portfolio continued to expand, so too did her realm of possibilities.
Project 562 has driven her to travel hundreds of thousands of miles, many in her RV dubbed ‘the Big Girl’, but also by horseback, train, plane, boat and on foot across all 48 continental states, Hawaii, deep into the Canadian tundra and into Alaska. The number of federally recognized tribes has risen to 573, according to the Department of the Interior, since the inception of her vision back in 2012, but that fact is just superficial.
Presently, the now 35-year-old Matika has come to realize that Indigenous identity far surpasses federal acknowledgement. There are state-recognized tribes, urban and rural Native communities, and other spaces for Indigenous identity that don’t fall under the U.S. government’s recognition. Astonishingly, she estimates she has photographs that represent about 900 different tribal communities.
In a respectful way, Matika has been welcomed into hundreds of tribal communities, and she has found that people support the project because they would like to see things change. Conversations about tribal sovereignty, self-determination, wellness, recovery from historical trauma, decolonization of the mind, and revitalization of culture accompany the photographs in captions, videos, and audio recordings.*
“For the past six-years I’ve been sojourning in my big girl. It’s been a whirlwind of a journey, an amazing experience!” beamed the Tulalip photographer who routinely has her brilliant images displayed in museum galleries and college campuses across the nation.
“I started in Washington and worked my way south through Oregon, California, Arizona, and New Mexico,” she detailed. “I went to all the pueblos, so many places in Navajo Nation, then down to the south and into the bayou. I continued on to the Everglades and then all the way up the East coast into Haudenosaunee country where I learned about the Great Law. I then zig-zagged across through the country until finally making it up to Alaska. Now, I am back home.”
She’s returned with an unprecedented repository of imagery and oral histories that accurately portray present-day Native America. Project 562 will ultimately culminate as an awe-inspiring hardcover, series of exhibitions and online resources filled with a dynamic variety of proud Native Americans telling their stories their way. But until that long-awaited day comes, Matika gave adoring fans and devote followers of her project a glimpse into her 7-year journey during the first weekend of October. From October 3 – 5, she held a four-part project preview at Northwest Indian College, Ferndale Library, Nooksack Community Building and the Deming Library.
The Project 562 creator spoke passionately at each venue while sharing stories about overcoming historical inaccuracies, stereotypical representations, and silenced Native American voices in mass media. She shared about meeting one of her real life heroes John Trudell, being at Standing Rock during the 2016 Dakota Access Pipeline protests, and offered powerful stories detailing Native citizens from around the nation rising up from racism and injustice to create a better world for themselves and future generations.
“If I’m here to bring a message at all, it’s the message that Indian Country is alive and well,” said Matika during her NWIC presentation. “It’s the message of hope and resiliency. It’s the story of Indigenous intelligence.
“There are still Ghost Dances, Sun Dances and long houses filled with songs and traditional medicines. Our story is worth knowing, telling, and inspiring one another with. Because doing modern things while gathering and encouraging the collective consciousness to uplift Indigenous intelligence is the only pathway forward. That is the dream.”
By Kalvin Valdillez, Tulalip News
Cinephiles from near and far gathered at the Hibulb Cultural Center (HCC) on the afternoon of September 21. The always popular film festival welcomed the works of local filmmakers who wished to showcase their modern storytelling abilities with the community. Each year, word about the festival spreads throughout the region, continuingly expanding the list of films on the following year’s docket. Now in its seventh year, the festival saw its largest attendance, as well as the largest number of film submissions to date, supporting local artists and encouraging them to share their stories through film.
“The inspiration behind the festival initially was to celebrate films and filmmaking, to showcase communities in our area and around the world the values that keep them moving forward, and to elevate the perspectives and voices of our community and our ancestors,” said Lena Jones, film festival organizer and Hibulb Cultural Center education curator.
The festival began with a lifetime achievement award ceremony, honoring two Lummi tribal members for their work in the film industry, actor and storyteller Swil Kanim and playwright and filmmaker Darrell Hillaire. Both individuals are locally renowned. Swil is known for many his talents as a violinist and Darrell is the founder and executive director of the multimedia production company, Children of the Setting Sun, which produces contemporary Coast Salish content on film and podcasts. Darrell also allowed HCC to hold an exclusive screening of his new thirty-minute project, Waiting for God, a story of a young Lummi girl’s journey to finding herself, as well as the way back to her ancestral homelands.
“I had the honor of being recognized today, but I represent a whole team,” Darrell expressed. “I’m proud of our team because we’re in the middle of a lot of work and we don’t get to celebrate enough, so we came here to celebrate with the Tulalip people and it means a lot to me. We try to meet the young people where they’re at, with all the technology of today like podcasts and short films, and introduce them to the stories of our ancestors. This a great way to preserve history. As our elders move on to the next life, we need to capture their stories about their time here.”
It was showtime after festival-goers enjoyed a lunchtime feast prepared by Tribal member Chandra Reeves and her daughters, one of whom gave a heartfelt welcome speech to the visitors. For nearly six hours, the attendees were treated to a selection of visual art created by ten filmmakers, both tribal and non-tribal. This year’s viewing had a good amount of variety, ranging in a number of genres, for a total of eleven films.
Inspired after his first submission received a standing ovation at last year’s festival, local music composer and film scorer, Ed Hartman, returned with two new projects this year, including Time for No One, a four-minute short film where Ed displays his piano skills set to images of the World Trade Center. Perhaps his most impressive piece submitted thus far, Ed worked diligently for an entire year, preparing a scored edition of As the Earth Turns, an unreleased Seattle-based silent film made in the late 1930’s. Ed’s music had movie goers on the edge of their seats during suspenseful moments, and fully invested throughout all of the movies emotional scenes.
A crowd favorite this year was a fantasy film which involved a battle between elves and vampires titled Chosen One. Written and directed by Thomas Meyer, Chosen One has been featured at several national and international film festivals, winning awards for Best Fantasy at many of them.
Music, paintings, carvings, treaty rights and decolonization were the topics highlighted by eight Native American filmmakers who submitted one project each this year. Over the years, HCC has made it a point of emphasis to encourage local Native creatives to explore the medium of film to express their views and share what it means to grow up Indigenous in the Northwest.
“We’re very proud of our artists and storytellers,” Lena stated. “They remind us of how wealthy we are and how important it is to remember our values. Filmmakers, as artists, help us do that as they share the stories and heroes of our culture. They give us role models of how we can support our environment or our community.”
The art of storytelling has been passed down through the generations since the beginning of time. Our stories are shared to teach youth valuable lessons and they often incorporate our traditional language, dances and songs. Indigenous stories explain the mysteries of the universe like how the sun, stars and moon came to be and emphasize cultural values like respecting our elders, helping our communities and practicing our ancestral teachings. As technology advances, storytellers will continue to explore new forms of storytelling through art, publications, music, film and animation. Attention will be brought to social issues and current world problems like climate change, declining fish runs, MMIW, suicide and overdose, promoting awareness to protect our people, waterways and land, and begin the healing process from years of generational trauma.
Among the many standout Native films was a documentary called A Quiet Warrior, which follows the life and works of the late and highly respectable leader of the Yakama Nation, Russell Jim. Russell was an environmental activist who dedicated his life to protecting the Colombia River waterways. During World War II, a nuclear reservation was established in the nearby town of Hanford where they produced plutonium. Russell fought the U.S. Department of Energy in court to prevent Hanford from becoming a repository for nuclear waste and endangering salmon and local wildlife and habitat.
“I met Russell several times and I found him to be such an intriguing individual,” said filmmaker and Coeur d’Alene tribal member, Jeanne Givens. “He was a person who walked in so many worlds, most importantly the political world. He didn’t just know political people, he helped write the Nuclear Waste Regulatory Act, very important work.”
While the film festival carried on through the night, the crowd enjoyed thought provoking and interesting pieces that touched on the effects of colonization, such as We Only Answer Our Land Line by Cherokee and Klamath tribal member Woodrow Hunt, and the two-hour award winning special feature ωαατšι?αƛιν: Coming Home by Brandon Thompson of Huu-ay-aht First Nations. HCC was also sure to incorporate Indigenous art into the program with Makah War Clubs by Jason Roberts, which delves into the traditional weapons of Northwest tribes as well as A Modern Creation Story, which follows Tlingit Artist, Preston Singletary, as he combines the past and the present by creating traditional designs through glass art.
Perhaps the film of the evening, the reception of Could You Imagine? came just as much of a shock to the filmmaker as it was to the attendees. As the five-minute video ended, nearly every person in the HCC Longhouse exchanged stunned looks after they witnessed the works of an artist by the name of MomentumX. Combining many elements of his background, MomentumX incorporated his Swinomish heritage, passion for music, artistic abilities and storytelling talents into one project. Between two long thirty-two measure rap verses, he urged his audience to study their treaty rights and utilize the power of their voice. Not only was MomentumX rapping in the video, he was also spray-painting a large 3-D Salish design onto a canvas. The time-lapse music video impressed the festival attendees who erupted in loud applause by the end of the film. And when Marcus Joe, a young man who sat at the back of the room, introduced himself as MomentumX the crowd rose to their feet and praised him for his talents.
“It’s important that we use our own voice and create our own art,” Marcus expressed. “As an Indigenous youth who grew up in the big city of Seattle, a lot of times I felt alienated and alone. But I always knew who I was and was proud to be Indigenous. It’s important that we tell our stories, our true story, because it was already told wrong once. It’s up to us to set the record straight and let people know who we are in today’s society.”
“He did all of that on his phone,” said film festival judge, Robin Carneen, still in awe over the MomentumX video. “A hip hop Native American film, wow. It just goes to show how prevalent technology and social media is today.”
The film festival aims to preserve the traditional teachings of Native peoples in a modern day format that future leaders can look back to reference or draw inspiration from.
“We hope folks watch the films and are inspired to recognize how important our ancestral culture is to the recent environmental and cultural needs of the nation,” Lena stated. “We hope our younger ones will build their storytelling and technical skills and support their elders work in the communities by sharing important Native perspectives. We hope filmmakers will continue to share their work here and come together for an enjoyable day, viewing the films at our festivals.”
The Hibulb Cultural Center will continue their monthly film series, the next event is scheduled for October 17. For more information, please contact the museum at (360) 716-2600.