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THE OEI BULLETIN Native American Heritage Month
In honor of Native American Heritage Month, this edition of the OEI Bulletin celebrates Indigenous identities, voices, and cultures. This newsletter highlights inclusive language surrounding Indigenous identities and how to make respectful decisions about language. Additionally, we discuss the artistic form of Indigenous storytelling and its im-
17/11/2023
Photo by Dulcey Lima on Unsplash
portance to Indigenous cultures. In continuation of Indigenous art, we explore three groundbreaking Indigenous artists who share the Indigenous experience through their creations. We hope you can learn about Indigenous identities through this month’s bulletin and honor them beyond this month!
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NATIVE AMERICAN HERITAGE MONTH
Inclusive Language By Aizah Ali
As our community and world evolve to be a more diverse and inclusive place, it is crucial to understand and respect the languages that surround us. So much of our current dialect comes from other cultures and languages, which have deeper meanings than what we know them to have. Indigenous peoples have faced an abundance of discrimination and marginalization concerning their rich cultural heritage. Yet, the words and phrases they use have been appropriated and made trendy in modern society. We must use inclusive language that respects Indigenous communities and cultures to foster a more equitable society. Though many Indigenous identities, languages, and traditions have been misconstrued, this article will focus on three words used most commonly and inaccurately. Spirit Animal: People often state that their favorite animal or an animal with similar characteristics is their spirit animal, but this seemingly innocent statement trivializes Indigenous cultures. Animals and connections with them hold a deep history with Indigenous peoples. Their relationship with animals evolves over thousands of years of bonds with their environment. The animals related to specific clans or kinship systems hold significant history and meaning. They are particular to each tribal community as they are frequently evident in the creation of many tribes, and they can signify values and spiritual views within those communities. Using this term as a trend takes away from the history of this phrase and what it communicates to Indigenous peoples. If you want to share how you feel about a specific animal, use different terminology such as “muse,” “I feel like a…,” or simply state that they are your favorite animal and explain why.
nities, it is disrespectful to equate them to simple forms of hierarchy, especially because, for particular communities, being lower on the totem pole was more honorable, making the phrases incorrect. Other words and phrases that can convey the same meaning as the previously mentioned statements are “climbing the corporate ladder,” “least significant,” or “promotion.”
Pow Wow: There are many beliefs about where Pow Wows originated from. Some believe that they come from warrior societies, whereas others state that it arose from Indigenous peoples being forced to dance by colonizers. Those formal, tribal-based dances and ceremonies have evolved into today’s Pow Wows, which bring together people of different tribes to celebrate their cultures, dances, songs, crafts, foods, and pageantry. This traditional social gathering occurs in small groups and large communities, all intending to connect and celebrate their Indigenous heritage and pass down these traditions to future generations. Though these gatherings are extravagant and honored, “Pow Wow” is often simplified and used to describe more menial gatherings. This takes away from the significance of the event and its history. Instead of using the word “Pow Wow,” more inclusive and respectful terms you could use are “meeting,” “gathering,” or “get-together.”
Spirit animals depicted on totem poles.
Totem Pole: Common phrases referring to totem poles are “low on the totem pole” and “climbing the totem pole,” but these phrases are cultural appropriation. Totem poles are a tradition significant to the First Nations of the Pacific Northwest and are monuments typically carved out of red cedar. They are made to be visible to the entire community and can serve many purposes regarding what they represent. They are often made to commemorate ancestry and history, as well as honoring people and events. They are a form of documentation that displays symbols and crests significant to a specific family or tribe. Considering what totem poles represent to their commu2
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It is vital that we understand the power and history of the words we and others use. As new words and phrases arise in our day-to-day conversations and learning, it is easy to overlook the true meanings and refer to them in the ways others do. Still, it is essential to make sure you are not appropriating or being disrespectful to different identities, cultures, or communities. By taking meaningful steps to learn about what linguistics surrounds us, we can better understand, respect, and celebrate the heritage of Indigenous cultures.
NATIVE AMERICAN HERITAGE MONTH
Native American Storytelling Through Art By Mary Zheng
Art has always been a powerful medium for storytelling, and this is particularly true in the context of Native American culture. Indigenous peoples of North America have used art to create diverse narratives over the past centuries. The art forms used vary across regions and cultures. Each tribe, with its unique history and traditions, has developed distinctive artistic styles. From the intricate beadwork of the Plains tribes to the skillful pottery of the Southwest tribes, art becomes a language that communicates deep-rooted cultural values and stories. Below are three types of art that Native American communities across the U.S. make to preserve stories: Pictographs and Petroglyphs Before the arrival of Europeans, Indigenous peoples used rock art as a means of storytelling. Pictographs and petroglyphs, found on rocks and cliffs across the continent, serve as historical records, documenting significant events, maps, and tribal stories. These ancient art forms continue to be vital in understanding the past of Native American people.
An old piece of woven quill work. Red, white, yellow, and black quills are used.
Kachina Dolls and Storytelling Among the Hopi and other Pueblo tribes, Kachina dolls play a significant role in storytelling. These beautifully carved and painted wooden dolls represent the spirits of various deities, ancestors, and natural elements. The Kachina dolls are used in religious ceremonies and dances, where they embody the stories and spirits they represent, connecting the tribe to the spiritual world.
Pictograph, Newspaper Rock, Indian Creek State Park, San Juan County, Utah. DOCUMERICA, 1972. (National Archives Identifier 545671)
Beadwork and Quillwork Beadwork and quillwork are traditional art forms that have been passed down through generations. They are often used in the creation of clothing, accessories, and ceremonial items. The delicate designs created through these methods tell stories that are deeply rooted in the tribe’s traditions. Beadwork and quillwork are not only a means of expression but also a connection to the past, as many Native American artisans draw inspiration from historical patterns and techniques.
An older kachina doll was appraised at the Mobile, Alabama.
While Native American art has evolved over the centuries, it remains a vital means of preserving and passing down cultural traditions. In a rapidly changing world, these art forms provide a link to the past, helping younger generations connect with their heritage. Many Native American artists also build upon traditional art forms and combine personal characteristics to strengthen the emotional value of their artwork. From pictographs etched into stone to intricate beadwork and Kachina dolls, each piece of Native American art is a living testament to the enduring legacy of Indigenous peoples. OEI NEWSLETTER 3
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Three Groundbreaking Indigenous Artists By Georgia Achilles
For centuries, visual art has documented and expressed human events, emotions, and identities. Art captivates us and holds a major influence in our world. Historically, artists whose works were most often seen and appreciated were predominantly white men. Many famous works in US history have rested upon anti-Indigenous narratives. Today, Indigenous artists are breaking down harmful stereotypes and accurately representing Indigenous experiences through their art. The work of three artists – Cara Romero, Kent Monkman, and Wendy Red Star – are highlighted below. As you enjoy their art, think about the intended messaging behind them. What does indigeneity look like to the artists? What stereotypes are the artists overcoming? How are these narratives different from those you have been taught?
Kent Monkman is a Cree artist known for his huge, striking paintings. As a queer artist, Monkman combats western ideas of gender and sexuality with his depiction of a recurring androgynous and Indigenous hero in his paintings. He rewrites history by placing Indigenous people in the center of famous paintings, thus expressing Indigenous history and healing Indigenous erasure. His paintings often explore elements of camp, sexuality, and humor.
Monkman, Kent. Resurgence Of The People. 2019 Resurgence Of The People was commissioned for the Metropolitan Museum of Art’s Great Hall, where it was displayed from 20192021. This piece is based on Emmanuel Leutze’s Crossing The Delaware.
Romero, Cara. Evolvers. 2019 In 2019 Romero began her project Desert X, in which she displayed her works on five major billboards in the coachella valley.
Cara Romero is a member of the Chemehuevi Indian Tribe and grew up on the Chemehuevi Reservation in Southern California. As a contemporary photographer who captures modern Indigenous life, she combats the narrative that Indigenous people are of the past. She photographs primarily Indigenous women and children and strives to empower her community by telling Indigenous stories in her work.
Monkman, Kent. The Deluge. 2019
The Deluge rewrites the story of the biblical flood as told in the book of Genesis. In this piece, Indigenous children are being saved from the implied flood of colonizers by a hero in high heels. The children are lifted up to Indigenous people dressed in traditional clothing, who represent their ancestors.
Romero, Cara. Julia. 2018 In this series, Romero plays with her memories of American Girl Dolls, placing Indigenous women in the center of the portraits. 4
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Wendy Red Star is a multidisciplinary artist and member of the Apsáalooke tribe. She grew up on the Crow Reservation in Montana. Her work brings Indigenous representation to museums across the country and pokes fun at Indigenous stereotypes. She works largely in portraiture and utilizes Indigenous patterns and clothing, “It is critical to preserve and pass along culture, heritage, and shared values while also providing future generations with a sense of identity, solidarity, and empowerment.”.
Red Star, Wendy. Summer. 2006 In this series of four photographs, artificial materials like astroturf, balloons, and plastic flowers are used to create the four seasons. These photos poke fun at the idea of all Indigenous people being “one” with nature.
Red Star, Wendy. Alaxchiiaahush. 2014 In this series, Red Star alters images from the 1880 Crow Peace Delegation. Her writing on the photographs flips the viewer’s perception of the depicted person and deepens their understanding of the subject’s significance.
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Bibliography:
Inclusive Language - Aizah Ali “2020 Pow Wow at ASU | 33rd Annual | Arizona State University Pow Wow.” Crazy Crow Trading Post, www.crazycrow. com/site/event/pow-wow-at-asu/. “About the Powwow.” First Nations Educational & Cultural Center, firstnations.indiana.edu/powwow/powwow-about. html. Cacich, Allison. “It’s Time Pop Culture Stops Embracing the Term ‘Spirit Animal.’” Distractify, 17 Aug. 2020, www. distractify.com/p/why-is-spirit-animal-offensive. “Inclusive Language Series: Indigenous Terms.” University of Wisconsin–Madison, 27 Oct. 2023, www.housing.wisc. edu/2023/10/inclusive-language-series-indigenous-terms/#:~:text=Spirit%20Animal,the%20person%20and%20object’s%20characteristics. Joseph, Bob. “Debunking Misconceptions about First Nation Totem Poles.” Indigenous Corporate Training Inc., 26 June 2023, www.ictinc.ca/blog/debunking-misconceptions-about-first-nation-totem-poles. “Native American Relationships to Animals: Not Your Spirit Animal.” National Museum of the American Indian | Smithsonian, americanindian.si.edu/nk360/informational/native-american-spirit-animal. “Totem Poles.” Indigenousfoundations, indigenousfoundations.arts.ubc.ca/totem_poles/. “What Is a Native American Pow Wow?” PowWows.Com, 2 Aug. 2023, www.powwows.com/main/native-american-pow-wow/. Native American Storytelling Through Art - Mary Zheng “Antiques Roadshow.” PBS, Public Broadcasting Service, www.pbs.org/wgbh/roadshow/stories/articles/2004/3/1/collecting-kachina-dolls. Accessed 5 Nov. 2023. “The Art of Quillwork.” The Museum Journal, www.penn.museum/sites/journal/630/. Accessed 5 Nov. 2023. “Pictographs, Petroglyphs, ‘Rock Art,’ What Is the Difference?” National Archives and Records Administration, National Archives and Records Administration, prologue.blogs.archives.gov/2019/10/14/pictographs-petroglyphs-rock-artwhat-is-the-difference/. Accessed 5 Nov. 2023. Indigenous Artists - Georgia Achilles “Four Seasons.” Wendy Red Star, www.wendyredstar.com/four-seasons. Accessed 31 Oct. 2023 “1880 Crow Peace Delegation.” Wendy Red Star, www.wendyredstar.com/1880-crow-peace-delegation. Accessed 31 Oct. 2023. “Indian Woman Sitting & Standing.” Wendy Red Star, www.wendyredstar.com/indian-woman-sitting-standing. Accessed 31 Oct. 2023. Cotter, Holland. “A Cree Artist Redraws History.” The New York Times, 19 Dec. 2019, www.nytimes.com/2019/12/19/ arts/design/kent-monkman-metropolitan-museum.html. Accessed 31 Oct. 2023. “A Different Take on The Deluge.” Art Gallery of Ontario, 18 Aug. 2021, ago.ca/agoinsider/different-take-deluge. Accessed 31 Oct. 2023. “Kent Monkman, The Deluge, 2019.” Narrative Painting, 21 May 2022, narrativepainting.net/kent-monkman-the-deluge-2019/. Accessed 31 Oct. 2023. “Painting Gallery.” Kent Monkman, www.kentmonkman.com/paintings-gallery. Accessed 31 Oct. 2023. “Fine Art.” Cara Romero Photography, www.cararomerophotography.com/fine-art. Accessed 31 Oct. 2023. “Cara Romero.” “ Cara Romero, www.craftinamerica.org/artist/cara-romero/. Accessed 31 Oct. 2023. Joyce, Erin. “Cara Romero Stands Defiant Against Institutional Categorization .” Hyperallergic, 2023, hyperallergic. com/792326/cara-romero-stands-defiant-against-institutional-categorization/. Accessed 31 Oct. 2023. “Artist Interview-Kent Monkman: Mistikôsiwak (Wooden Boat People) | Met Exhibitions.” YouTube, 20 Dec. 2019, www. youtube.com/watch?v=GwNpUevsKzc. Accessed 31 Oct. 2023. “The Great Hall Commission: Kent Monkman, Mistikôsiwak (Wooden Boat People).” The Metropolitan Museum of Art, 20 Nov. 2020, www.metmuseum.org/exhibitions/listings/2019/great-hall-commission-kent-monkman. Accessed 31 Oct. 2023. “Opening New Doors for Native Women: Wendy Red Star on Making American Art Welcoming to All.” YouTube, 1 Sept. 2022, www.youtube.com/watch?v=YzpuEu9veRk. Accessed 31 Oct. 2023. “Wendy Red Star: MASS MoCA.” MASS MoCA | Massachusetts Museum of Contemporary Art, 5 Sept. 2023, massmoca. org/event/wendy-red-star/. Accessed 31 Oct. 2023. American, Wendy Red Star. “Wendy Red Star: Four Seasons Series (Spring): Crow.” The Metropolitan Museum of Art, 1970, www.metmuseum.org/art/collection/search/653768. Accessed 31 Oct. 2023.
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