In 2013, a historically Native American based school, Indian Heritage, was torn down in the northern Seattle area it devastated the urban Native community. Those who remember Indian Heritage and know the significance of Licton Springs wanted to make sure it was protected from development and possible desecration because Licton Springs is located directly across the street.
For most of America’s history, the interactions with Native people have been about destroying our culture, removing our ties to land and forcing us to assimilate. That’s why the recognition of Licton Springs as a National Historic Landmark is so important. It protects one of the few sacred sites that still exists in an urban landscape. It protects and brings our history to life for both our people and the non-Native people of the area. It reminds modern America that we were here long before the modern government, and we are still here.
If you’ve never heard of Licton Springs you’re not alone. In a small park in Northgate overshadowed by condos and high rises, after walking through a network of trails, you’ll see a small hole in the ground. This hole is called Licton Spring. Licton is derived from the Lushootseed word “liq’təd” which means red mud. Licton Springs in particular is rich with iron oxide, magnesium sulfide. Coast Salish elder and historian Tom Speer said, “liq’təd, the red ochre, was used since time immemorial.” It was used before European colonization for religious ceremonies such as baby namings, weddings, and even buried with people during funerals”.
According to Tom, Licton Springs is, “the last sacred site in the ancestral homeland of Seattle. Due to development around Lake Washington other springs were capped off and destroyed”. Although this landmark has huge significance to the first people of the Puget Sound there is little recognition of its Indigenous value.
This issue was addressed by local Seattle Native American youth program, Urban Native Education Alliance (UNEA). The youth program teamed up with Seattle public libraries and coordinated an extensive amount of community workshops to make this project happen. The initiative to protect the spring was started by Oglala Sioux member Sarah Sense-Wilson, executive director of UNEA.
Local Activist Matt Remle first heard of Licton Springs’ historic significance from elders such as Chief Andy Delos Angeles of Snoqualmie and Ken Workman descendant, of Chief Seattle himself. Matt described being able to feel “the energy” when being at the site. Matt and his team then brought the importance of preserving the spring to Seattle’s Historic Landmark Committee.
One story in particular about the healing powers of Licton Springs not only involves Native history but also non-Native history. It follows two Coast Salish leaders, Chief Lake John and Dr. James Zackuse, who met and befriended one of Seattle’s founders, David Denny. David’s daughter Emily had an incurable skin ailment that white doctors could not fix. She met the Chiefs, who gave her a drink from the spring, which eventually cured her. She ended up writing about this experience as an adult in 1909, about being helped by these first nation doctors. Many of Doctor Zackuse’s descendants have been spread across Indian reservations in the Pacific Northwest including Tulalip, Muckleshoot, and Snoqualmie.
This story was one of the key components in having Licton Springs made into a historic landmark. The historic landmark status passed, but still has to go to Seattle City Council before being approved. Getting this status means that what remains of Licton Springs will be untouched.
A common rhetoric when developers want to destroy a sacred place to Native Americans is, “If it was sacred to you, then why are you just bringing it up now?” said Matt. He explained that Native Americans have an obligation to protect the lands and what is sacred. “If we don’t get there before developers come it will be too late,”
This sacred place is unique due to it being in a highly urban area, “You don’t really hear about sacred sites that are left in urban cities,” said Matt. Learning about sacred sites and Indigenous knowledge brings more awareness and closeness to our natural environment, and reawakens how important tribal people are to the history of lands here. Hopefully the Licton Springs project and landmark recognition brings more awareness to sacred Native American sites all over the U.S.
Hundreds of visitors journeyed to the Tulalip Reservation on Sunday, November 17 to browse handmade gifts, purchase one-of-kind items made by local artists and stock up on holiday spirit at the annual Native Bazaar. The Tulalip Youth Center hosted the place to be for those in the market for truly unforgettable gifts and Native décor.
The Bazaar was jam-packed with unique goodies galore including beaded jewelry, cedar creations of all varieties, custom artwork and much, much more. Filled to the brim with a variety of vendors, all of whom were Tulalip tribal members, customers had no shortage of buying options just in time for the holiday season.
Coordinated by Tammy Taylor, who has organized the event for ten years in row, the annual shopping experience combines traditional Tulalip culture with the best of the holiday season. There was something for everyone, even those who simply wanted to fill their bellies with frybread and smoked salmon.
“This is such a great event,” said Tammy. “We have over 30 vendors setup. I try to find young artists who are willing to sell their art, and encourage them to participate. Teaching our people to be entrepreneurs at a young age has so many benefits.”
Eleven-year-old Jaylynn Parks is a prime example of what happens when an energetic youth is filled with the entrepreneurial spirt. With her grandmother’s help, she baked about 60 mountain huckleberry and pineapple cupcakes that were a major hit as they quickly sold out. Jaylynn also came prepared with her classic Roosevelt Popper and switched up her vending style from cupcakes to freshly popped popcorn.
“Everyone really liked my cupcakes. [So far] I’ve sold like 150 bags of popcorn,” beamed young Jaylynn while also sharing she has big plans with her Bazaar profits. “I’m going to redecorate my bedroom. If I can buy anything it would be a big pink bed!”
Another spirited youth who made the most of her passion for art and crafting was Catherine Velasquez. “I made hair barrettes with little flowers and bells and bows,” she said while sharing a station with her family. “I sold, like, quite a few. My first few I made took like 10 minutes or so to make, but once I got going I was able to make them really quick. I helped make cookies, muffins, and ferry ornaments. The best part of being here is hanging out with family.”
Several stations at the bazaar showcased tradition teachings that have been passed down from one generation to the next. One such example was Keeta Sheldon and her daughter Jamie who are well-known in cedar weaving circles. Their expertise with gift giving cedar is as boundless as their artistic imaginations, exemplified by their innovative creations.
“Weaving is a good hobby because there are so many styles and so much that can be made that you won’t ever be bored,” said Keeta. She’s passed on her passion for weaving to all of her daughters and together they teach classes in the local area. “I’ve been teaching off and on now for 17 years at the college and museum. We like to teach what we know so that it stays in our culture.”
The 2019 Native Bazaar will return to the Youth Center on December 7 and 8, from 9:00am – 4:00pm, providing yet another two-day opportunity to enjoy delicious holiday treats while stocking up on holiday gifts. All visitors are welcome to support their local artists.
“I want to thank the community for coming out and supporting all of our tribal artists,” said coordinator Tammy Taylor. “It’s so beautiful to witness because we don’t have many places available to sell our stuff, but here we have a good mixture of Native and non-Native visitors who truly appreciate the skill and craftsmanship that goes into authentic Native art.”
William Shelton pole in Everett, Wa.
Photo courtesy of Hibulb Cultural Center.
By Kalvin Valdillez, Tulalip News
On display in public buildings throughout the Tulalip Reservation are beautiful works of traditional Tulalip art. Paintings, drums, paddles, masks and carvings created by Tribal artists cover the walls of government offices and local schools. Some of those establishments are also home to large wooden sculptures carved from cedar that depict insightful stories passed through the generations, many welcoming guests to their space of business, healing or learning. At certain places, such as the Tulalip longhouse, you may even spot a carving with a family crest or symbol in the design.
Kelly Moses Story Pole at Quil Ceda Tulalip Elementary opens a conversation for Tulalip youth and provides an opportunity to learn about the culture while attending school.
“There are several different types of poles,” said Tulalip Carver, Tony Hatch. “Story poles, house posts, spirit poles, family crest poles. There’s clan poles; if you belong to a bear, wolf, seal, otter clan, they all have their own symbol and that’s what they put on their house posts. The house posts are the ones you see if you went into our longhouse, on the inside. Each one of those poles mean something different.”
Kaya, an Elder Salish woman holds a cedar basket filled with clams, welcomes guests to the Hibulb Cultural Center by James Madison.
The Tulalip people have a long, rich history with the cedar tree. For centuries, the Tribe’s ancestors utilized the tree’s resources by carving canoes, paddles, rattles and masks as well as weaving baskets, headbands and clothing from the sacred cedar. Although today Indigenous art is admired for its beauty from an outsider’s perspective, most pieces were intentionally created as tools for everyday necessity and for cultural and spiritual work.
Family and clan crests have been carved into house posts since time immemorial, specifying designated areas at the longhouses. An easy-to-spot indicator of a house post is the grooved indent at the top, intended to support the beams of the longhouse as house posts were initially apart of the building’s infrastructure. House posts are a common carving amongst Northwest tribes and can be viewed in person at a number of locations on the reservation such the Hibulb Cultural Center, the Don Hatch Youth Center and the Tulalip Longhouse.
Also widely constructed by the tribes of this region are welcome poles. These sculptures are generally placed at the entrance of buildings, extending a friendly invite to visitors. They typically feature an Indigenous person in the design, highlighting a certain aspect to the tribal way of life. Welcome poles are prominent throughout Tulalip, with pieces at the entrance of the Tulalip Administration Building and the Betty J. Taylor Early Learning Academy.
The Storytelling Poles at the Betty J. Taylor Early Learning Academy was a collective project by the Tulalip Carvers and tells the story of the salmon people.
“Those are storytelling poles at Early Learning,” stated Tulalip Carver, Steve Madison. “We put those there for a purpose, for the little kids. The poles are carved in the shape of a salmon. On the salmon there’s a woman and a man and they are both storytellers. That’s why they were carved, so our kids will always know the stories about our people, the salmon. Because the salmon encompasses the spirit of our people.”
Perhaps the most recognizable welcome pole is the monumental post, created by Joe Gobin, which stands in the lobby of the Tulalip Resort Casino. With arms reaching out to the people, the pole welcomes newly arrived guests to the elegant hotel; a great photo opportunity for those receiving the Tulalip experience for the first time. Located directly at each side of the welcome pole are two story poles; a gambling pole representing the traditional game of slahal, also created by Joe Gobin, and a story pole that features an eagle and a seawolf designed by James Madison.
The Tulalip Story Pole, by James Madison, located at the entrance of the Tulalip Resort Casino, features spiritual Northwest animal figures such as the bear, sea wolf, half-man half-wolf, and the eagle.
“There’s differences between house posts and story poles,” explains James. “A lot of people don’t know where a totem pole came from, or a story pole. They don’t know that we didn’t do that here, traditionally. But we continue it because William Shelton created it for our people, to keep our culture alive. They’re the stories of our families, about our people, and they hold the information of who we are and what our people went through; the history, knowledge and spiritual side of it. Joe Gobin and I decided to follow that William Shelton look but modernize it, refine the carvings and bring it up to date. You’ll see that high relief in our carvings. It’s a unique style and something that Shelton created, he was a pioneer in that way. It’s our way to pay respect to him as a carver.”
At a time when the Indigenous population was enduring assimilation efforts by the U.S. government, the last chief of Tulalip, William Shelton, made it his mission to preserve the traditional Salish way of life. By cunningly requesting approval to formally honor the 1855 Treaty of Point Elliot, Shelton received permission to construct the Tulalip Longhouse on the shore of the bay. Due to his dedication, the people were able to gather once a year at the longhouse to take part in a night of culture as well as reflect and continue the teachings of those ancestors who came before them.
Drawing inspiration from Alaskan Natives, as well as incorporating his own heritage, Shelton created the very first story pole in 1912 that was later erected at the Tulalip boarding school in 1913. The unique pole caught the attention of the masses and Shelton story poles began to pop up in local communities. The city of Everett, Seattle Yacht Club, Washington State Capitol, Woodland Park Zoo, and a number of parks throughout the nation commissioned his story poles and as time moved forward, colonizers eventually switched from condemning Native artwork to collecting it and his work was in high-demand.
William Shelton’s gas station and Totem Pole Camp. Photo courtesy of Hibulb Cultural Center.
In 2013, a William Shelton story pole returned to the Pacific Northwest after standing at Krape Park in Freeport, Illinois for almost seventy years. The pole was taken down due to damage from weather over the years and the thirty-seven foot pole was sent to the Burke Museum. Today, the pole is in possession of the Burke and contained in storage off-site with plans of restoration in the near future.
“The William Shelton story pole is an important piece of Salish, and more specifically, Tulalip history,” explained Kathryn Bunn-Marcuse, Burke Museum Curator of Northwest Native Art. “Shelton’s story poles brought oral histories and valued stories into monumental form, anchoring Tulalip history into these permanent markers. He did this during the years in which governmental and educational policies were aimed at erasing Indigenous languages, customs, and knowledge.”
William Shelton and family.
Photo courtesy of Hibulb Cultural Center.
In his lifetime, Shelton constructed a total of sixteen story poles that were raised at various locations to help educate newcomers about Tulalip culture. His efforts helped bridge the gap between Natives and non-Natives. Shelton found ways to feed the non-Indigenous population knowledge about the heritage of his people in small doses, subtly squeezing in traditional stories, language and songs through his art. In addition to the story poles, Shelton gifted the world two publications and a better understanding of the Coast Salish lifeways.
Tessa Campbell, Lead Curator of the Hibulb Cultural Center has been on the search for Shelton poles since the museum’s opening. Tessa and her team have recovered and restored, or are in the process of restoring, several poles after successfully tracking them down through Shelton’s correspondence letters. Unfortunately, due to decades passing by, a few poles were taken down, only to never be seen again. However, she intends to continue pursuing the poles until all sixteen are accounted for.
“We credit William Shelton for coming up with the idea of the story pole,” Tessa expressed. “There weren’t story poles around before William Shelton, but there were welcome poles and house posts. He saw the story pole as a way to preserve our history. I compare it to a book; people preserve their family history by writing, he did it through carving. For his first pole, he went to the elders and got their stories, and he carved each story into the pole. So, each figure is like a chapter of a book.”
Another set of carvings that held significant value to the people of Tulalip were the gateway poles. Over forty years ago, the entryways to the reservation were marked by two story poles and connected by a canoe carving overhead. Now fondly missed by the older generations of the community, the carvings were cut down by non-Natives of neighboring towns who were upset with the Boldt Decision in 1974.
“I remember my grandpa (Frank Madison) used to talk about the poles that were out here, the two upright poles and a canoe over the top and everyone used to drive underneath it,” James reflects. “That was an identifiable icon for our tribe way back when. A long time ago, something happened between the people of Marysville and some people of Tulalip. The Marysville people came over and chopped it down with a chainsaw. It’s a harsh story but its history – it’s what happened. I always had that story in the back of my mind. My grandpa always wanted to recreate it. I’m on that same path, so hopefully some day they let me recreate that out of a different material, out of bronze or cement. That way our people can have that to be proud of because we were all raised knowing that arch was there back in the day, the two of them one at the beginning of the rez and the one at the end.”
William Shelton and every Tulalip artist since his time have excelled at preserving and continuing their ancestral teachings. By passing on the tradition and the knowledge that comes with it, they have carved quite the story for the future generations of Tulalip as well as the history of the generations who came prior.
Tulalip Pole at Tulalip Heritage H.S., by Kelly Moses.
“Starting the little ones out while they’re young is important,” said James. “People like me; we don’t know any different. I was doing this before I can remember. Starting the youth early is important to keeping this part of our culture alive. Anybody can just pick it up and learn, but the knowledge of the work to go along with the skill is important. I was very fortunate to have my grandpa and my dad there to teach me that information. Honestly, you can teach anybody to carve or draw, but it’s the information that goes with it, putting your spirit and soul into it, making it come alive, making it Indian – that’s what I think is important.”
We live in an age where a message, no matter how positive or significant, is only as good as the platforms that give it life. Platform then is everything. So it was of utmost importance when 10 years ago the world’s largest supplier of athletic shoes and apparel chose to collaborate with Native America. Together Nike and Native artists and athletes developed an all-new platform to bring cultural representation into the mainstream. Enter N7.
N7 is inspired by Native American wisdom of the Seven Generations: in every deliberation, we must consider the impact of our decisions on the seventh generation. It’s Nike’s commitment to bring sport and all of its benefits to Native American and Aboriginal communities in the United States and Canada.
Over the past decade, N7 athletic attire has become a highly sought after product due to its exclusive releases featuring distinct Native designs and imagery. From the devout sneaker heads to rez ball youths dreaming of making it to the pros, every N7 release is an opportunity to represent something authentic – a living, breathing and, most importantly, thriving culture.
“Self-representation, for me, is being authentic to my people and who I am,” explained Nike graphic designer Tracie Jackson, who created this season’s Nike N7 x Pendleton pattern inspired by the weavings of her great-grandmother, Phoebe Nez (Navajo). “Being visible means that we’re acknowledged, our land is acknowledged, our community is acknowledged.”
That authenticity and acknowledgment was on full display when Nike and Tulalip came together to celebrate the release of N7’s 10th anniversary product line in early November. Over 150 special invitees packed the Nike Outlet located on the Tulalip Reservation two hours before the store officially opened. Among the gathering were several Nike brand ambassadors, urban Natives from the Seattle area, members of the Tulalip Youth Council, and several culture bearers with drum in hand.
“My great-grandmother was still weaving right up until she passed at 92,” continued Tracie. “Without my great-grandmother, I wouldn’t have learned about my culture, and without my culture, I wouldn’t have been a designer. My family ties are what influence my Native identity.”
Tracie passed along her grandmother’s legacy in the 10th anniversary of the N7 collection, honoring heritage through special patterns with Pendleton. Native heritage was celebrated both through the specialty clothing line being released on Tulalip land and for the tribal citizenship who turned out to support the cause with their wallets and through powerful song and dance.
The Tulalip drummers, singers and dancers displayed their thriving culture on the Nike Outlet showroom. Several songs and important messages regarding missing and murdered Indigenous women, unity through community, and the positive impact of sport were shared.
Afterwards, the gathering turned its attention to the N7 x Pendleton attire as all invited guests got first dibs towards shopping the exclusive clothes designed by and for Natives.
“I thought this whole event was fantastic,” shared tribal member Marvin J. Velasquez as he was loading up with the latest N7 gear for his children. “What this collaboration represents for our Native people is huge. Just goes to show we are making a significant impression one step at a time.”
Proceeds from all N7 product line sales go directly to the N7 Fund, which is committed to getting youth in Native America moving so they can lead healthier, happier and more successful lives. The N7 Fund helps Native youth reach their greatest potential through play and sport while creating more equal playing fields for all. Since 2009, the N7 Fund has awarded more than $7.5 million in grants to 259 communities and organizations.
Co-coordinator of the Tulalip-based N7 event, Nate Olsen (Yakama Nation) reflected, “It was powerful to see our people really represented and celebrated in such a beautiful way. We really got to address some of the bigger social issues Native peoples face today thanks to the platform that Nike provided. Being able to present these issues to a wider audience and to have Tulalip drummer and singers sharing as well was just amazing.”
Earl “Moxy” Renecker passed away in his home in Tulalip, WA on November 9, 2019 at the age of 99 years. Moxy was a Tulalip Tribal Member and Veteran Merchant Marine serving in World War II.
He is preceded in death by his wife of 62 years, Bernice Shelton Renecker, and sons, Dell and Jim Renecker; his mother, Isabelle Brown Gobin, father, Jesse Renecker, and all his siblings – Isabelle, Anna Mae, Shirley, Emery, Daryl, Frank, and John. He is survived by his daughter, Sharon Renecker; grandchildren, Cody (Sausha) and Tyler Perry, Zee Morehead; the sparkle of his eye, great-great grandson, Leland Stephen Perry; and special friends and caretakers, Michael Archangel and Sonny Nguyen.
Moxy was born in Whidbey Island May 25, 1920. He attended Haskell University as a young man and earned certification as a Welder. Moxy joined the service as a Merchant Marine shortly after marrying Bernice in 1942. When he returned home, he and his wife and children relocated to Eastern Washington where he became a Welder for Hanford Nuclear Plant. He retired from Hanford in 1984 and moved back home to Tulalip with his wife and daughter. He worked for the Tulalip Tribes for several years as an Automotive Maintenance Supervisor.
Moxy was a very ambitious and hardworking man, thus earning him the nickname “Moxy” at a young age. He loved to tend to his garden and work in his yard. He also enjoyed traveling with his wife and family. In later years he loved time with his grandchildren, and his great-great grandson. Moxy was also known for his love of playing Slot Machines, at home in Washington and in Reno, NV. Moxy was a character, funny, quick witted, and a flirt with the ladies and loved by many. He was also a true role model of strength, integrity, hard work, commitment and loyalty. He loved his family and always looked after to make sure they were taken care of. He will be forever in the hearts of those who were blessed to know and love him.
Visitation will be Friday, November 15, 2019 at 1pm at Schaefer-Shipman Funeral Home. Interfaith will be 6pm at the Tulalip Tribal Gym. Funeral services will be November 16, 2019 at 10am at the Tulalip Tribal Gym with burial to follow at Mission Beach Cemetery.
It was the summer of ’69. A special moment in time that many reflect upon as the best days of their lives, including the players of local baseball team, the Chiefs. The team was assembled by Tulalip tribal member, Cy Fryberg, and had an outstanding run that summer, winning in all-Native tournaments hosted at Yakama and Taholah. The Chiefs efforts led them to the final tournament of the summer held in Tacoma, where the stakes were high and the teams from surrounding tribal nations brought their A-game.
“We weren’t the first team with just Tulalip ballplayers, but this was the biggest one,” explained ’69 Chiefs second baseman, Don ‘Penoke’ Hatch. “All the top dogs from right here were recruited. At the time, that was something special. We were ready to face and challenge anyone that came at us, we didn’t care who we were playing.”
The all-star Tulalip team consisted of fifteen tribal members including Leroy Joseph, Marlin Fryberg Sr., Alpheus Jones, Richard Jones, Butchie James, Dean Fryberg Sr., Billy Jones, Skooky Henry, Jerry Jones, Gerald Fryberg, Dale Jones, Myron Fryberg, Penoke and player-coaches Herman Williams and Francy Sheldon.
With Leroy being the youngest on the team at 18, the rest of the players ranged in age from their early twenties to early thirties and brought plenty of experience to the team. Previously, each player spent their young lives playing for different teams like Marysville while growing up. The road to a championship wasn’t easy, however. While at Tacoma for the tournament, the team and their families slept on the floor of Penoke’s sister’s house. This allowed the team to further strengthen their bond while they stayed up late into the night strategizing, among other social activities.
“The first game we played was against Yakama Nation and we won that game,” recalled Penoke. “The following day we played Nisqually and won that one too. After that win, we went onto the championship game against Warm Springs and they were not an easy team to go up against.”
The large amount of playing began to take a toll on the Chiefs’ pitchers and the team needed a strong start to the championship game. Starting pitcher Marlin Fryberg went deep into the innings during their previous match against Nisqually. After trying out a number of players on the mound, the coaches turned to the catcher, Leroy, whose arm was looking strong each time he threw the ball back to the pitchers. Leroy received a quick lesson from his teammates, as he never pitched in a game prior to the championship competition. The Chiefs rallied behind Leroy and locked in. Inning after inning, the team pulled together and made big plays. By the end of the game, the Tulalip Chiefs proudly hoisted a trophy into the air and Leroy was named MVP.
Fast forward fifty years. Penoke stumbled across an old photo of the Chiefs during their 1969 summer baseball tournament tour and was filled with nostalgia. Reaching out to the Tribe, he organized a gathering for the players and their families on the afternoon of November 10, 2019 at the Greg Williams Court.
“It’s been 50 years since that tournament down there on Portland Avenue,” Penoke said. “I thought it was important that we celebrate this and share some good memories. Nobody celebrates these types of accomplishments anymore. I want someone young to see this in the See-Yaht-Sub and say ‘look at what they did 50 years ago’ and be inspired.”
After enjoying lunch, the families were treated to a slideshow presentation which featured narration by Leroy. Laughter ensued as Leroy’s colorful commentary recapped the championship game.
“It’s a big story because we already been to Yakama and won, we already been to Taholah that summer,” said Leroy. “This Tacoma tournament was the biggie. Just being a part of that reminds me of how together we were as friends and family, regardless of the games, we were all Tulalip and that is something I was extremely proud of.”
Coach Herman and several other players took time to express their desire to see the game of baseball flourish within Native communities once again, suggesting ideas such a tribal booster club to get more youth out on the field.
“The relationship from reservation to reservation, there’s little of it left,” agreed Penoke. “We’ve done very little to keep it going. You should’ve seen the strength of the community during hardball season, we all knew each other because each reservation had a lot of good ball players.”
To commemorate the 50th anniversary, each player received stylish red jackets that read ‘1969 Champs’ on the front and a Native, baseball-themed design on the back. Family representatives of those who are no longer with us accepted the jackets on their behalf.
“Best tournament I ever played in as an adult,” said Penoke. “We had a good team and good pitching. This team was successful because we had two veteran coaches in Herman and Francy. I’m 80 years old now and I wanted to honor those players who are still here.”
