Native Max Magazine --- The Entertainment Issue

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PODCAST New from Native Max is the Native Max Podcast: Go behind the scenes of making the Native Max Magazine as founder and editor-in-chief Kelly Holmes talks with the people featured in its pages.

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Welcome to our List of Content, everything that we have in every issue.

LIST OF CONTENT

FEATURES

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Jana Schieding Jana Schmieding’s journey to where she is now is so exciting and inspirational, it sounds like a storyline for a movie. Jana grew up in a small town in Oregon and, shortly after, moved to NYC to pursue live theater with only three grand to her name.

After a combined 15 years of working as a teacher and pursuing the comedy hustle in NYC and LA, Jana finally got her break.

REGULARS THE EDGE

Activism & Advocacy with Apparel

THE ENTERTAINMENT ISSUE

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ON RADAR

Drezus and his Masterplan

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Q&A with Travis Hopkins

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Listen: Savage the Musical

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Kali “KO” Reis Takes Her Fight from the Boxing Ring to the Big Screen

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Dr. Pamela Palmater: Leading the Warrior Life

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Post-Pandemic Music & Shows Coming Up for Innastate

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Actor & Ambassador Nadia George

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Welcome to the Entertainment Issue, featuring Lakota actress Jana Schmieding on the cover. Also featured in the issue is Native boxer Kali “KO” Reis on her acting debut in the new film about MMIW, hip-hop artist Drezus and his masterplan, radio host and producer Travis Hopkins, and more.

THE EDGE

y c a c o v d A & m s i v l i t e r c a A p p A with

Decolonial Clothing, Native Urban Era and Our Indigenous Traditions– Indigenous-owned apparel companies whose designs are meant to recognize and bring forward movements that are currently happening within Indian Country and beyond. From decolonizing lifestyles and honoring residential school survivors to increasing the visibility of Native people, these clothing lines release collections of signature designs that promote activism and advocacy.

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One of Urban Native Era’s statement-making and popular caps; the UNE team. (Photos: courtesy)

a r E e v i t a N n

Urba

You may have seen someone sporting a “You’re On Native Land” t-shirt or hat in recent years; if you have, you’ve seen one of Urban Native Era’s signature designs.

Urban Native Era is a brand that specializes in clothing design and content to increase the visibility of Indigenous peoples. What makes Urban Native Era unique is the serving of its mission of increasing Indigenous visibility across major platforms: from fashion to content creation such as the Urban Native Era Podcast, along with a significant social media presence. Even their collaborations with big-time organizations produce statement pieces with vital messaging.

Joey Montoya (Lipan Apache from his father and Salvadorian from his mother) is the founder of Urban Native Era. Born and raised in San Francisco, California, Joey is the youngest of seven children in his immediate family. “One of the things I enjoy most is cooking and swimming, not at the same time,” he jokes. The first step Joey had in fashion was in the eighth grade, thanks to friend Jenni Riccetti who started a sewing club Joey joined (it’s worth noting that Jenni is now a fashion designer). “She would bring in her sewing machine every week, and I was one of two students that joined,” Joey explained.

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he was just a 19-year-old freshman studying at San Jose State University.

His sewing experience from his friend Jenni helped him design pieces for Urban Native Era. “I honestly owe a lot of what I know from the cut and sew aspect of fashion to her.” They were able to work in the same space after college, where he observed her creating pieces from the ideation process to picking out fabrics, making patterns, and putting everything together. “She also helped sew some items for me when I was just starting the clothing aspect of the brand in 2013.” In regards to style, it was constantly changing for Joey. “It has been difficult to navigate my own style. Starting the brand has helped me create pieces that can complement a lot of who I am.” Many of Joey’s family members were artists who sold their own artwork and jewelry, which allowed him to learn about entrepreneurship. “When I got to college, I didn’t know what to study, and I didn’t want to study business,” says Joey. “It wasn’t until my third year of college where I declared my major in advertising.” It was then Joey was able to tap into his creative side and understand the power of advertising. “I’m still learning a lot about running a business, especially as we begin to scale and bring on more people to our team.”

Inspired by Indigenous-led social movements in 2012, Urban Native Era first started as a Facebook account that documented protests.

Joey felt there was a new era of Indigenous visibility from social media and Indigenous-led movements. The term “Urban Native” came from a book that Joey was reading at the time, which talked about Urban Native Americans. “I loved the way it sounded, and it resonated with me because I grew up in the city.” The clothing part of Urban Native Era launched in May of 2013 after its initial launch in December of 2012. “I wanted folks also to have another reason to follow us on social media besides being a learning hub for Indigenous issues.” Shortly after, the brand gained notoriety for its continued efforts using apparel and design as a tool to increase the visibility of Indigenous news. Today, Urban Native Era has evolved into an internationally recognized brand for all communities of people to represent.

The mission of Urban Native Era is to create content and apparel to increase the visibility of Indigenous peoples. Urban Native Era’s daily operations prioritize a better life for Indigenous people worldwide by seeking out spaces where Indigenous people are not traditionally seen.

Urban Native Era values the Earth and uses the most sustainable practices afforded, creating a collective community where people can come together as one while creating fashionable clothing for all.

Currently, Urban Native Era has a team of five people, including Joey: Hud Oberly (Creative Director), Chantel Ricks (Warehouse Manager and Sustainability Lead), Matthew Hinshaw (Customer Service Representative), and Lauren Begay (Warehouse Assistant and Content Coordinator).

Working on the Urban Native Era altogether has been great. Joey admits always dreaming of having people work on the Urban Native Era team. “I was lucky enough to be able to bring on Hud two weeks before the shelter-in-place happened in March of 2020,” explains Joey. “Shortly after we moved the warehouse from San Francisco to Los Angeles, we brought Chantel and Lauren on. Matt has helped us throughout the years, but officially became our ‘eye in the sky’ AKA our customer service representative when the [COVID-19] pandemic hit.”

When he first started, Joey looked to his Lipan Apache side for influence on his designs. In 2014, he released graphic art pieces that reflected Indigenous movements that he was aware of at the time. Today, creative director Hud tackles the design concepts and oversees what Urban Native Era releases. “I work side by side with him to brainstorm ideas and concepts we release,” Joey explains. “I believe a lot of inspiration comes from where we are in our lives today.” The most recent collection, SOVEREIGN, was an idea

Photo by Diana Hellson AKA Mamarudegyal

long in the making and something Hud and Joey talked about.

“We want to continue to create luxury high fashion piece items moving forward, and it’s something to expect as we continue to move forward.”

Besides being fashionable, Urban Native Era delivers education about Native issues, primarily about occupying Native land (with their “You are on Native Land” signature design). “Growing up in San Francisco, so many folks are unaware of Indigenous people,” says Joey. “Many folks go through school barely learning anything about us, and what they do know is very little.” The design is meant to remind people that the land we stand on is Indigenous land. “It is also a chance for people to talk about it and have a conversation. We believe that everyone should wear the design because it isn’t the responsibility of all Indigenous people to educate the world about Indigenous issues and history.” Joey understands that everyone learns differently and believes fashion can help be a bridge for people to take the next step to learn about ongoing Native issues or support Indigenous people. All of these qualities help make Urban Native Era a brand that stands out from the rest. “Our entire team brings something unique to the brand, and it shows in what we put out,” Joey explains. “As we move forward, we want to continue to push to be in spaces that Indigenous folks aren’t represented in.”

Urban Native Era’s work is undoubtedly transforming into a movement. “Our brand plays a small piece of a bigger movement happening with Indigenous invisibility across the world,” says Joey. “We wouldn’t be here if it wasn’t for the folks that came before us all around continuing to put in work every day to make sure there is a better future for the next generations.” Joey reflects on a phrase he regularly sees on social media. “‘I’m coming for everything my ancestors were denied,’ I love it because I believe we deserve to have a seat at the table and to be in all spaces.”

@urbannativeera

l a i n o Decol g n i h t o l C Casey Desjarlais and Dakota Bear are the founders of Decolonial Clothing, a clothing line dedicated to dismantling colonial oppression through fashion. The couple are Nehiyaw and Anishinaabe from unsurrendered Treaty 4 and Treaty 6 territories and are currently based on Squamish, Tsleil-Waututh, and Musqueam Territory.

Not only is Casey a hard-working business owner and the mastermind behind a lot of Decolonial Clothing’s designs, concepts, and collections, but she’s a mother, wife, and fancy shawl dancer.

Casey focuses her work on youth engagement and empowerment alongside community and cultural identity. “Let’s create a generation that doesn’t need to heal; the youth are our future,” she says. “It is all of our responsibility to contribute to their wellness.”

Dakota’s a well-known Indigenous hip-hop artist and activist for Indigenous people, rights, land, and sovereignty. His music speaks to the issues Indigenous people face, and his quest for love, justice, and peace is reflected in his music. Like his wife Casey, Dakota has many titles, including father, husband, business owner, activist, and hip-hop artist. Together, Casey and Dakota are powerhouses that are a force to be reckoned with as they create an undeniable, moving power of Indigenous love, justice, resilience, and decolonization that spreads that across their brand, Decolonial Clothing.

They’re truly making their mark on the world of streetwear and ensuring all Indigenous relations across Turtle Island get the justice, respect, and love they deserve.

The inspiration for a clothing line came for Casey and Dakota when they felt the need to increase Indigenous representation in clothing and to feel proud about their indigeneity. They started a clothing line in 2016 called 30604 Apparel until they recently rebranded. “Our brand has always valued self-empowerment and expression of cultural identity in contemporary ways,” they explain. “When we rebranded to Decolonial Clothing, we wanted to highlight our decolonizing journey while encouraging others to do the same.” Since 2016, the couple has learned the ins and outs of e-commerce through webinars, online mentorships, Youtube

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Casey Desjarlais and Dakota Bear, the founders of Decolonial Clothing (Credit: Diana Hellson AKA Mamarudegyal)

videos, and personal experiences.

The idea behind the name Decolonial Clothing is decolonizing spaces through clothing. “The name kind of speaks for itself,” they explain. “When envisioning Decolonial Clothing, we knew the importance of creating a space that can bring value to those on their decolonizing journey, whatever that may look like to them.” Casey and Dakota began to create this space by incorporating values as Indigenous people into their business model by using their designs to increase visibility and spark meaningful conversations.

This is also the foundation for the mission of Decolonial Clothing: to empower, educate, and unite individuals working on collective global decolonization. With their clothing line, Casey and Dakota have transformed into a movement thanks to their unique designs. “We are growing into a movement every day; more and more people are talking about decolonization and what that looks like.” By existing virtually and providing the educational tools to dismantle colonial oppression, Casey and Dakota are adding to the growth of the movement.

Besides being fashionable, Decolonial Clothing is known to educate about Native issues, primarily about decolonizing and proudly representing indigeneity. Decolonial Clothing is more than a clothing line; it is an online community. According to Casey

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and Dakota, Decolonial Clothing embodies the process of decolonizing, undoing, and unlearning, and building on cultural knowledge and self-empowerment. “As Indigenous people, our issues impact our lives greatly; our trauma and grieving is a part of our identity, along with resilience and strength and pride.” They continue to dismantle systems of colonialism and oppression through their messaging and brand because that’s what it means to be Indigenous. “To stand by our beliefs, our values in everything that we do. It’s nearly impossible to separate ourselves from the issues we are facing on Turtle Island; we need to reach the masses so they can stand with us too.”

Casey and Dakota are constantly brainstorming ideas from what they see online; in real life, what people are talking about, the issues Indigenous people face, and their ancestors’ strengths. “We refurbish our stories as Indigenous people, such as Nehiyawak and Anishinaabek, and present them in a wearable way. We believe that the Spirit World, Creator, and our ancestors guide us through this work.”

The couple put out fresh collections frequently. Honoring the 215 Native children discovered at the Kamloops Residential School and for all residential school survivors, Decolonial Clothing released an orange shirt accompanied by hearts and “Every Child Matters.” All 100% of the proceeds

were donated to the Indian Residential School Survivor Fund. “We wear orange to remember the children taken away and forced into residential schools,” the couple say about the shirt. For the Land Back Collection, Decolonial Clothing recognized the Kanesatake Resistance of 1990 and the Mohawk Warriors, who stood proud and strong in opposition to the destruction of their traditional lands. “We continue to honor and participate in the fight for Land Back.” The most recent was the Everyday is Indigenous collection, which was in honor of Indigenous Day (which falls on June 21 in Canada) being every day.

Working on Decolonial Clothing together has been quite the journey for Casey and Dakota. “It’s so amazing, and we are very privileged to have the ability to work together as a couple and family,” they explain.

“It has taught us a lot about one another and our limitations and boundaries; learning to work together is a lifelong learning experience, and we are blessed to have each other to lean on for support at all times.”

@decolonialclothing

Our s u o n e g i d n I s n o i t Tradi

Established in 2016 by couple Yendi and Johnny Nieto, Our Indigenous Traditions clothing line is a collection of Indigenousdesigned apparel meant to build awareness and showcase Indigenous cultures with the utmost respect. Yendi is Kakchiquel Maya from Guatemala and Mexican American, born and raised in Los Angeles, California.

Johnny is from the Tule River Yokuts tribe and was raised on the Tule River Indian Reservation in California.

Growing up close to downtown LA wasn’t an ideal place for Yendi, but it was home.

Although Yendi worked as a broker, she grew burnt out from her job, including living in the city and partying. Upon researching and discovering her Maya heritage, Yendi went to her first powwow, where she met Johnny. Johnny grew up with no to little water and electricity in his home on the reservation, which makes him appreciate the norm of utilities. With goals of getting a higher education and being a tribal leader, Johnny received his Bachelor’s degree in

OIT founders Yendi and Johnny Nieto. (Photos: courtesy)

Business Management from Oklahoma State University. Despite many obstacles, Johnny returned to his reservation, where he was hired for the after-school program. A year later, he was elected to be a member of the Tule River Tribal Council while running the tribe’s Economic Development Corporation as the CEO/President between the ages of 25 and 26.

Yendi and Johnny have always been into fashion. “I used to distress clothes and add studs, fabric, and some jewelry,” explains Yendi. Johnny admits wanting his own business to share Indigenous people’s culture respectfully. “Growing up in our culture and traditions, I learned that people, even our own, are always interested in learning about Indigenous people. So, why not share the knowledge from fashion into a language.”

With Our Indigenous Traditions, the goal is to design and create great fashion and educate Indigenous traditions since many tribes and communities need to be heard.

Yendi and Johnny strive to provide that

platform to teach the next generation and the lost generations searching. The mission behind Our Indigenous Traditions is to build awareness and showcase Indigenous culture with the utmost respect to communities; to educate and learn from one another, whether it’s from tribe-to-tribe or tribal-to-non tribal. “The mission was built around today; a lot of things are online, but when it comes to private ceremonies or sacred representation to tribes, it is best to leave offline and share between generations as it’s intended,” explains Johnny. “It may still be difficult to learn because you may not have been from your community or tribe, but something in your heart is still connecting to it.”

Creativity and compatibility are what inspire the designs of Our Indigenous Traditions. “I choose clothing and designs that compliment everyone because I want people to be able to wear it from powwows to their jobs, or just to run errands and feel good at the same time,” says Yendi. “Hearing from our customers, they always get compliments NATIVE MAX MAGAZINE | 9

@ourindigenoustraditions

while out.” In addition to being fashionable, Our Indigenous Traditions is known to educate about Indigenous traditions; even the name portrays this. “It is in the name; ‘our’ is us, ‘Indigenous’ is the people, and ‘traditions’ is who we are,” explains Johnny. Since Indigenous traditions don’t get enough recognition within Native communities–whether tribal or urban–Our Indigenous Traditions is there to help educate. “We should be proud of our heritage because this is who we are, who our ancestors were, and showcase it through our clothes,” says Yendi. “We stand out from most because our clothes are handcrafted to your fit.” The couple keeps their designs and patterns general so any Native person from any tribe or non-Native person can wear their clothing. Besides what they design and create, the couple also take custom orders for ceremonies or powwow regalia.

Though many movements are happening

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in particular areas across Indian Country, Our Indigenous Traditions wants to keep their doors open to all Indigenous and non-Indigenous people uniting and learning from one another. “Just having space for anyone to share their stories, pass along teachings that can benefit the next generation,” says Yendi. Johnny adds, “protecting our heritage and most importantly being a part of the solution.”

According to the couple, working together on Our Indigenous Traditions as a family has its good and bad moments. Yendi is the main fashion designer of Our Indigenous Traditions, primarily cutting and sewing fabric while modeling sometimes. She’s also a mother of the couple’s two beautiful babies. “We are a family business where we get support from family and friends helping our kids,” explains Yendi. “Lots of latenight sewing once our kids are asleep.” The couple’s children also help out the business.

“Our 3-year-old helps with packing orders and when we vend on the Powwow Trail. If we need to do a photoshoot, the kids get to be out of the house, and we play with them.”

Johnny agrees. “Yes, our kids will grow up with the entrepreneurship spirit and hopefully carry on or start their idea. We did learn at our best to try to separate business and family, but it is difficult when the entrepreneur’s mind is always rolling.”

The couple also has a podcast called The Talking Stick, where many can gain more knowledge. “We sit down and have discussions on Indigenous culture, daily life on and off the reservations, entrepreneurism, tribal leadership, elders’ teachings, and more.” The couple can show a different perspective from various areas and tribes to be shared and passed down to each generation with the podcast.

ON RADAR

Drezus & His Masterplan We caught up with hip-hop artist Drezus about his newest track, BLESS. Photos by Blaire Russell

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@drezus

Hip-hop artist Drezus (Anishinaabe and Nehiyaw [Plains Cree] tribes) just dropped a new track, BLESS, on June 18th. At the surface level, BLESS talks about Drezus’ daily connection with smudging and the healing effect on him. If we dug a little deeper, BLESS was inspired by the ongoing colonial violence that still occurs and thrives in North America today. “Not today, Satan,” Drezus adds.

BLESS gives us just a glimpse of the arsenal of unsparing lyrics and powerful storytelling mixed with traditional Anishinaabe and Nehiyaw teachings Drezus is known for. Until now, the music video racked up more than 28K views with hundreds of comments in favor of the song. The track itself is available on some of the world’s top music streaming sites: Spotify, Apple Music, Tidal, Amazon Music, and Youtube Music. However, this is no surprise for Drezus, who has blazed his own trail in Indigenous hip-hop by rapping about the struggle and culture.

Drezus’ story is of survival and second chances. “I came up a latchkey child because my mom worked so much, so I have a natural need to get things done my own way,” explains Drezus. “The big drawback with that is I had a hard time accepting love and friendship along the way, so I turned to other things like alcohol and drugs to communicate that.” Drugs and alcohol took Drezus down a long dark road in life to the point where no one could save him but himself and his love for hip-hop music. “When no one else was there, I had hip-hop as a form of expression in different ways, sometimes as simple as just listening to a song or remembering a dope lyric that uplifted me.”

Many factors helped influence his music, but the most critical influence on his music is his life. “But of course, I have artists like

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Biggie Smalls, NAS, Al Green, and U2 on my influencer list,” Drezus adds. “Today’s influences include Kendrick Lamar, J. Cole, and my elders, including my greatest teachers of all, my children.” Also, like the gangster rappers he listened to, Drezus is vocal with his music and in life, too. He constantly addresses Native issues happening across the continent. This helped develop Drezus’ unique style of music, which has set him apart from the rest. “My music can be aggressive, soulful, truthful, and painful yet uplifting,” he says. “What sets me apart from the rest is my unique voice and story.”

Drezus came from a family of residential school survivors and attended Lebret in Saskatchewan for the 96-97 school year, which adds fuel to his fight for his people.

“My voice is my weapon.”

Drezus continues to use his platform to speak on and share awareness about Native issues while taking action and uplifting his people, which he takes very seriously. “It’s important for me to spread awareness and take action because I know how it feels to be forgotten,” he explains. “I know how it feels to have nothing and be hopelessly addicted to substances like alcohol and cocaine.”

Giving back in small ways like taking action and spreading awareness gives Drezus the chance to say miigwetch [thank you] to everyone who helped him along his healing journey. “I try to keep an open line of communication between the youth and me that I mentor or come across in my travels, especially the ones where I could sense sadness.” Lately, Drezus and his business partner Okema raised $14,500 to donate to the Indian Residential School Survivor Society in response to the recent news of the discoveries of unmarked mass graves near residential schools. “We had the resources

and platform to make it happen, so we did, and we’re very happy that we were able to help in a small way.”

Through it all, Drezus balances being a family man with pursuing hip-hop. “Having a super supportive partner means the world,” Drezus explains. “My partner Kiela is also my barber and hairstylist; she is an amazing woman.” Drezus will stop, take a break, and help with dishes or play with the boys on busy days. “Doing that helps me reset my mind’s processor, so to speak. It’s all about that balance.”

Drezus also just signed a distribution deal with Public Records Inc., an opportunity that’ll help up Drezus’ game in the industry. “Distribution basically means that these labels are going to use their resources and contacts they’ve built up over the years to distribute your record to all the right places it needs to be.” That could mean apps and platforms like Spotify or the physical distribution of vinyl records. Luckily for Drezus, Public Records Inc. has some amazing people on board that’ll help Drezus level up and secure more than just a distribution deal.

Drezus has a master plan, a list of accomplishments he’s set out to conquer for not only himself but for his family and his people. He not only has goals for himself as an artist but also as a father. “As a man, one of my main goals in life is to make my family proud and be looked at with love by my children,” Drezus explains. “To be that rock that I never had growing up and when I can no longer be there for my sons, I hope that I left a lasting positive impact on them.”

Drezus also hopes to acquire a Grammy and build a business that his family can own and thrive. He even wants to set up the Indigenous School of Arts in the mountains, where language is taught, and top Indigenous chefs serve up the freshest local ingredients to keep everyone powered up. “Okay, I’m going to stop now,” Drezus laughs. “I can’t help it; I got big dreams.”

BLESS is available everywhere, and the official music video is on YouTube. You can also follow Drezus on Instagram at @ drezus and can check out his website at www. drezus.com. “Chi miigwetch fam, new music is coming!”

ON RADAR

Q&A with Radio Host Travis Hopkins We caught up with Travis Hopkins (Dakota from North Dakota), the musician-turned-live music coordinatorturned-radio host and producer, and actor.

How has your family influenced you? What’s your entertainment background?

Our grandfather and father were musicians and artists; the natural love of music was inherited. With the support from my family, I pursued a career in entertainment on a much larger scale. I attended McNally Smith School Of Music for drums and percussion.

I played in bands around the midwest and east coast. Acting came into the picture while I lived in New York City. I was fortunate to land a role on The Sopranos, Strangers With Candy on Comedy Central, and national commercials. I’ve always been organized and a go-getter and wanted to pursue more opportunities for the band I was in. I asked my boss at the Hard Rock Cafe if we could perform there. The word got out, and on the day of the show, while doing a soundcheck with my band, I was also doing media interviews with my boss. The event was packed and successful. I came to work the next day with an email directed to my boss and myself from corporate; the exciting news got back to them, and they wanted us to move forward with making live music in a weekly event at the restaurant. This led me to become a live music coordinator for the Hard Rock Cafe.

When did you realize you wanted to be a producer and on-air host?

I initially got bit by the radio bug by being in bands over the years that did occasional radio interviews. As a musician, you always wondered what it would take to get your song played on air. You saw the

importance of how it helped get your music into more ears.

The more you also paid attention to the radio, you noticed that a lot is missing from it. I wanted to fill in some of those significant gaps by providing a radio show for local artists and new artists everywhere to have the chance at receiving airplay and also play new music from legendary artists who are still out there making new music.

Just because they’re not gracing magazines or featured on radio and TV like they used to doesn’t mean they’re not still making great music. Plus, I wanted to provide an opportunity for people with a story to tell to come on the show and be a guest co-host. I’ve had the Mayor join me, Miss North Dakota, local pro-wrestlers, people who have survived cancer battles, a huge variety!

Please explain to us your radio shows you host and the people you interview.

In 2018, I began “The Side Stage Show,” which is a rock format. It focuses on local artists, new artists everywhere, and celebrating the legends.

You’ll hear rock from the late ‘60s to today. I’ve interviewed everyone from Cherrie Currie of the legendary Runaways, Scott Stapp of Creed, Phil Anselmo of Pantera, to members of Warrant, Firehouse, and Lit, plus new artists like Diamante, Dorothy, and Tuk Smith. This show was nominated for “Best Local Radio Show” in 2019 and 2020.

The Side Stage Show airs Thursdays from noon to 3 pm (CST) on 95.9 KRFF-FM in the Fargo/Moorhead area.

Available everywhere online at radiofreefargo.org With the popularity of the

(Photo: courtesy)

rock radio show, I received a lot of input from artists to do the same type of radio show but country format. On New Year’s Day of this year, I began “This Side Of Country.” I was blessed to have Bruce Williams of the legendary music and comedy duo “Williams And Ree” write and record the theme song to the show. This show seems a lot more in-studio guest performances. Artists from all over the midwest have traveled in to be on; the support for this show has been excellent.

Why do you think radio is a medium that continues to survive and thrive?

I feel that the radio is going strong because you can listen to it in your car, you can stream it on your phone into your earbuds while you’re at the gym, and you can listen to it on your computer at work. We’re hearing more variety and seeing more diversity. Like TV, there is so much more than the major network channels.

Radio has grown to offer much more than what the mainstream delivers.

How do you bring innovation

@travis959krff

and fresh ideas to radio?

As music in general, the more diverse it gets, the more diverse your radio show can be. Like rock, for instance, there are so many styles of it–rock, hard rock, alternative, metal, grunge, punk, indie, local, new, classic, playing live songs, songs that were never released as singles; add all of that into one show that makes for a large variety. Plus, including in-studio performances, guest interviews, music news pieces, local happenings, national topics, fun entertaining segments, social media live interaction, artists’ social media takeovers, and putting interview playback out on podcast channels.

It’s about always being creative.

You’re also an actor; how do you balance being a producer and on-air host?

I’m blessed that my schedule allows me to pursue both. If I know I’m going to be booked for an acting gig on the same day as a show; I pre-record the interviews, assemble the playlist, formulate that into a show the day before and schedule it for airplay at the time of when the show airs.

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ON RADAR

Photo from a recent Vaudeville production the group was apart of in which they performed the song “Wanda Savage” at the Academy of Music in Northampton, MA. In the middle playing Wanda is Samantha Myburgh, who is part Indigenous. (Credit: Jaime Robinson)

e g a v Sa the Musical Now you can hear the distinct, contemporary music from “Savage the Musical”, the dramatic musical inspired by the true story of Chickasaw sharpshooter and silent film actress Wanda Savage.

“Savage the Musical” is a dramatic musical inspired by the true story of Wanda Savage, a Chickasaw sharpshooter and silent film actress of the 1920s. The musical tells the story of Savage, who was an independent Indigenous mother who fought against oppression, racism, sexism, and abuse.

Wanda’s great-granddaughter Nicolette Blount wrote the book with Lindel Hart, composed music with

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John Waynelovich, and wrote the lyrics herself. According to Nicolette, the show is a story of a Native American woman in a modern time, with two scenes taking place on her reservation. The Chickasaw language, which is endangered, is incorporated into the show. “We have a song called ‘Unconquerable’ with the Chickasaw language in it.” The song was inspired by the fact that her tribe was once called “Unconquerable” by the

French and many others who attempted to conquer them.

The musical decided to release an EP in response to the COVID pandemic, which shut down the rehearsals for the first production. Since fans and followers of the musical were disappointed since they planned on attending the show, Nicolette wanted to give them something in the meantime. She released an album with seven of the twenty-eight songs in

ON RADAR

the show. “It was nice to do something during the shutdown,” says Nicolette.

Nicolette has been told that the show’s music is catchy and not “typical musical theatre music.” “Many of the songs could be heard on the radio, and one wouldn’t even know they were from a musical,” explains Nicolette. “Which I love, and it has always been my goal.”

With the album, Nicolette created a whole collection of great songs, which are catchy and melodic.

The music for “Savage the Musical” includes scoring with pop, jazz, and blues influences, departing this show from the traditional musical theatre commonly heard. Although set in the 1920s, “Savage the Musical” has a distinctly contemporary sound.

The album is streaming on iTunes and Spotify.

Here are the songs featured on the “Savage the Musical” EP: “Wanda Savage” - Our opening number.

A catchy guitar-driven pop/rock song with a bit of funk about Wanda Savage, her life, where she came from, and how she got her talent performed by Samatha Myburgh (our current lead, also Indigenous).

“Warrior” - An uplifting and empowering ballad sung by Wanda’s mother (myself, Nicolette Blount) to a young Wanda in a flashback as an adult Wanda (Myburgh) sings to her son about what it means to be a Warrior. In addition to writing this for the scene it is in, I wanted to express to the world that a warrior in our culture is not just a killing machine as many think; there was integrity, honor, perseverance, care for the women, and children, etc.

“Cat’s Meow” - Since the show takes place in the 1920s, it was important to me to have jazz, although I will admit my jazz is more pop-influenced jazz.

Cat’s Meow is a sassy jazz duet between Wanda Savage (Myburgh) and Vivienne (Christina Cerbone). Vivienne tells Wanda she runs the show since Wanda was just hired as the new act, but Wanda stands her ground and holds her own.

“Take My Shot” - Jazz duet between the sweet-talking womanizer Howard

Hard and Wanda Savage. In this song, Howard tries to convince Wanda to take him on as her assistant in her new show.

This song features the vocals of myself (Nicolette Blount) and my co-composer John Waynelovich.

“Currency of Men” - This is a bluesy number in which the secondary character, Vivienne, sung by Cerbone, talks about how she played a man’s game and slept her way up the entertainment ladder to get what she wants. However, we hear at the end of the song that it is tearing her apart inside.

“Lighten Up” - This is a catchy jazz song with a dark side. Sung by NYC performer Chris Lorenc, Hollywood silent film director Buster Hayes and his makeup team are trying to make over Wanda (Myburgh) to look white to be famous. In this persuasive song, they cut and change her hair color, make her wear a dress (she always wore pants), and lighten her skin. You hear Wanda question it in the song, justify it, and then decide to go along with it for fame. Later in the show, we see Wanda rebel against this, stand up for herself, and decide to stop hiding behind this Hollywood facade they created. Sadly this, covering up people’s ethnicities, happened a lot in old Hollywood.

“Start Again” - This is a big ballad and closing number for our show. After bottoming out in a brothel, Wanda, sung

by Myburgh, decides to leave, start over, and find her estranged son.

“Savage the Musical” EP is available on Apple Music and Spotify.

@savagethemusical

Top: Cover photo for the “Savage the Musical” EP; Middle: Photo of Wanda Savage; Bottom: Wanda’s great-granddaughter Nicolette Blount. (Photos: courtesy)

NATIVE MAX MAGAZINE | 15

ON RADAR

Kali at the premiere of “Catch the Fair One” at Tribeca Film Festival.

(Photo: courtesy)

Kali “KO” Reis Takes Her Fight from the Boxing Ring to the Big Screen We catch up with the boxer on her acting debut and how “Catch the Fair One” raises awareness for MMIW and more.

First Native woman world champion boxer Kali “KO” Reis (Wampanoag) has competed in the high-profile, challenging world of professional boxing. Now, Kali is taking her talent of fighting to the big screen in the revenge thriller film “Catch the Fair One.” Per Tribeca, “Catch the Fair One” is about a Native American boxer searching for her missing sister and getting entangled in a dangerous human trafficking operation to find her.

Kali was approached by Josef Kubota

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Wladyka on Instagram, the film’s director, back in 2017. Josef was getting into boxing himself and admired what Kali achieved through boxing and the types of issues she brought awareness to through her platform as a boxer. “Josef is a writer and director who also cares about telling important stories that rarely get told,” Kali explained. Josef asked if she had any interest in acting and sent her the script he had written about a woman who loses her sister and goes to find her. Josef, like so many,

had never heard of MMIW. Josef was motivated to do more research on the issue as there was a lack of information on the MMIW. Then, Josef drove up to Rhode Island to get to know Kali more and share his vision with her about the film. “We immediately bonded from being the youngest of our siblings, having a strong mother who raised us, being OCD perfectionist Virgos [laughs],” Kali says.

“Mostly being bi-racial and the struggles that come with it.” Josef tagged along

@ko_ndnbxr

Kali in the film “Catch the Fair One”.

(Photo: Tribeca)

with Kali to the gym to train one day, where he knew Kali would be the perfect hero for his film. “It was something inexplicable as an artist, and I just knew I had found my hero, and I had to get her on the big screen.” Josef continued to learn Kali’s perspective and experiences and where she comes from, being a part of a Northeast Woodland Tribe (Seconke Wampanoag). “Eventually, Josef asked me to become his collaborative partner, and I helped create my character Kaylee as well as the other characters and story.” Josef became a true friend to Kali through their journey.

With this film, Kali and Josef were trying to create an answer to the MMIW epidemic in any way, shape, or form.

Kali says this film is just their artistic interpretation. “My goal for this film is to bring awareness to how real this crisis is,” Kali explains. “Generational trauma is real and runs deep amongst Indigenous people. Our women have been targeted since the first colonizers stepped their feet on Turtle Island.” Kali shares that many people say, “it’s in the past, you people need to get over it,” as a response to the MMIW issue, but it’s far from the truth. “Indigenous people from all lands still have the same injustices as our ancestors did. Different times but the same crimes.” Kali and Josef wanted to leave the audience with the feelings of loss, sorrow, and emptiness while also leaving the audience with no

answers, the brutal reality for so many families who are still searching. “Josef is a mastermind when it comes to walking that line of purpose and entertainment.

With a genre film, we were able to bring the audience in by taking them on this crazy ride.”

This was Kali’s breakthrough in acting, and being a part of creating the film’s story was an incredible experience for her. “Josef and I worked closely together for a long time putting together the right way to tell this story,” Kali explains. “From start to finish, Josef, along with producers Molley Asher and Kimberly Parker, were so supportive, and I’ve learned so much from them.”

Kali reveals this film was a heavy role for her to play, given the context of the film.

“Being a mixed Indigenous two-spirit woman living some of the same struggles as the character was a challenge in itself, but I was determined to tell this story by any means necessary.” Having the support of the entire cast and crew made her debut acting experience an amazing one. “I also was well-prepared thanks to my wonderful acting coach Sheila Gray who I had the pleasure of working with to fine-tune the skills I needed to telling this emotional and triggering story.”

The preparation certainly helped her make an impact. Kali wanted to bring out the raw qualities of her character to the screen for the audience to feel her rage, sadness, and sense of shame and

loss in every scene of the film.

Representation also played a role in this film. It was important for Kali to represent a group of people that have been vastly underrepresented in film. “As a mixed Black Native woman, Seaconke Wampanaâk & Cape Verdean (Brava & São Nolau Islands), I’ve also always felt the ‘anti-black racism more so from other Natives than other races, so to represent not only the Wampanoag Nation but also Indigenous as well as Cape Verde and Black was huge to me.”

Kali points out that Native American movie roles are typically given to “Native looking” actors, which results in lost opportunities for Black Native actors.

Kali hopes the film will be a reality check for people who don’t know about MMIW. “I believe the more awareness is spread, the more room there may be for possible preventive actions to take place.” According to Kali, oil pipelines are forcefully and unlawfully drilled through sacred lands, contributing to the MMIW issue. “The more people become aware that there is a problem, the more people can become educated and support grassroots organizations near their communities.”

“Catch the Fair One” premiered at Tribeca Film Festival. Follow Catch the Fair One on Facebook for upcoming showings.

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Dr. Pamela Palmater: Leading the Warrior Life Dr. Pamela Palmater, a Mi’kmaw citizen and member of the Eel River Bar First Nation, was an activist long before most and now focuses on decolonizing and revitalizing on her podcast Warrior Life.

ON RADAR Dr. Pamela Palmater, a Mi’kmaw citizen and member of the Eel River Bar First Nation, was an activist long before most. Born in a large family active in politics, organizing, Photo by Lisa MacIntosh and advocacy, Pamela attended community meetings, negotiations, and more as a young child. She was able to learn how to assert and defend Native sovereignty, rights, and lands.

Now, Pamela has four University degrees (including a BA in Native Studies from St. Thomas, an LLB from the University of New Brunswick, and a Masters and Doctorates in Law from Dalhousie University Law School specializing in Indigenous and constitutional law). Pamela has been a practicing lawyer for twenty-two years and is currently a Professor and the Chair in Indigenous Governance at Ryerson University.

For over thirty years, Pamela has studied, volunteered, and worked on various social, political, and legal issues impacting First Nations people.

She has been recognized with many awards and honors for her social justice advocacy on behalf of First Nations generally, Indigenous women and children specifically, and most recently for her work related to murdered and missing Indigenous women. Lately, Pamela has been reaching the younger generation by presenting her activism work through publications, books, blogs, podcasts, and social media platforms.

We sat down with Pamela to talk about her life of activism, becoming a lawyer for First Nations people, and how she focuses on decolonizing and revitalizing on her podcast Warrior Life.

Thank you for joining us, Pamela. Would you please share with us a bit of yourself?

I come from a large family of eight sisters and four brothers (four of whom have passed on), most of whom were active in Native politics, organizing, and advocacy when I was younger. They brought me to every community meeting, government negotiation, protest, rally, and organizing session there was, so I’d learn how to assert and defend

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our sovereignty, lands, and peoples. I was a single mother of two boys, Mitchell and Jeremy, who have now grown up into thoughtful, compassionate men who care very much about our Mi’kmaw culture and identity, and justice for Native peoples generally.

When did you decide to become a lawyer?

I’m not sure exactly when it happened.

Still, I was encouraged by my extended family, friends, and other Native people I had met that were actively engaged in community-based advocacy. After my experience working and volunteering in community groups and organizations providing services to Native peoples living off-reserve, I thought having a law degree might make me more effective in challenging unjust government laws that continue to dispossess and oppress our peoples.

You’re also a writer and educator who educates and inspires across several platforms. How do you accomplish this, and how does this help your mission of educating others about social justice?

As a young child growing up in an activist family, I learned that access to information and critical analysis was essential to developing political positions and strategies necessary to assert and defend our rights as Native peoples effectively.

Through the work of other advocates engaged in community information sessions, workshops, and meetings, I saw that education helps empower people to know their rights and take action. I also learned that just as people are connected to their Nations in different ways, so too do they seek out, understand, absorb information in different ways. For example, some prefer community gatherings to hear directly from leaders and advocates what is happening and options for action.

In contrast, others prefer to read written reports and documents and consider them before deciding on engaging at the community level about the next steps.

And, of course, social media has changed everything regarding access to information and the ability to educate and organize online.

So, part of my public outreach and education is to create content to reach people who engage on various platforms, from op-eds, blogs, podcasts, and videos to live online events and even TikTok. This is important because while our presence in mainstream media continues to grow and is an essential educational tool, it is still limited. So we have to engage at every level. One of the most effective educational tools is Native media in all its forms: TV, radio, magazines, newspapers, and Native social media, like Native TikTok and, of course, Native Max. We are more informed and empowered, but so too are our Canadian and American allies, friends, and supporters, which helps push social justice and earth justice forward.

In all of the studying, volunteering, and working in First Nation issues you’ve done for over 30 years, what are some common issues you learned of, and have there been any changes you noticed (or lack thereof)? How does this help you in your social justice advocacy?

The most significant change I have seen is our people–despite dealing with generations of violent colonization, genocidal laws and policies, land dispossession, widespread systemic racism, and intergenerational trauma–continue to share their love, compassion, and commitment to protecting our cultures, identities, laws, governing practices, sovereignty, lands, and peoples. Our people are warriors in mind, body, and spirit. Every day and in every way we navigate the minefield that is colonial oppression and dispossession, we ensure our nations’ existence on our lands for the next generation.

That inspires me every single day to keep educating, advocating, and taking action to protect our warrior peoples.

You also host and produce the podcast Warrior Life. What is the

Pamela’s podcast, Warrior Life

MUSIC NEWS

Warrior Life, which features Native land defenders, artists, and more throughout Indian Country, can be heard on Soundcloud.

Warrior Kids Podcast Pamela’s podcast for kids, which recently won the Mom’s Choice Awards.

warrior life? How does this podcast focus on decolonizing and revitalizing?

I had no idea when I started the Warrior Life Podcast how it would roll out. My experience was more in writing or public speaking, but my sons suggested that I try to reach more people through alternative formats like podcasts. At the time, I didn’t listen to podcasts, so I wasn’t engaged on that front. Still, my sons assured me that I would reach a wider audience, a younger audience, and one that was actively involved in intentional learning since people seek out podcasts for that purpose. So, I started with the general idea that I would talk about the warrior spirit I see in our people reflected in so many different ways. Although it began as just me sharing my ideas and perspectives, I soon thought that this would be better if my listeners could hear from warriors on the ground doing meaningful work.

So I started reaching out to Native land defenders, water protectors, lawyers, professors, artists, and advocates who represented our peoples in profound ways.

My podcast morphed into something that felt very special, and it turns out to have been as educational for me as for my listeners. I literally cannot wait to interview each guest and see what more I can learn from the diverse sovereign nations all over Canada and the USA; Turtle Island.

I chose Warrior Life because, over the years, I came to understand that warrior life is a commitment to yourself, your family, your community, house, clan, village, and nation that is based on love, compassion, understanding, responsibility, and protection.

Those are the values and lessons I had learned from all the warriors

(Photo: Gomez Photoworks)

from First Nations and tribes I have ever worked with, and I wanted to share this knowledge. I also wanted people to see that people can be warriors in different ways and that our peoples are engaged at many levels in resistance and resurgence, decolonization, and revitalization.

This is important because while we resist ongoing attempts to assimilate, we must also ensure we have people engaged in the resurgence of our traditional laws and governing practices. The same holds true for decolonization. While we take steps to unlearn colonial ways, we must ensure that we learn our ways and revitalize our cultures after all the damage that has been done. There is a role for everyone.

Who should we look forward to hearing on Warrior Life?

Upcoming shows will continue to feature Native people from all over Canada and the USA who demonstrate warrior spirit in fighting for and representing our peoples and nations. I also plan to include more of my recorded speeches and lectures related to current media issues. This summer, while everyone is on vacation, I will be sharing recordings of my Reconciliation Book Club on my YouTube channel.

There has been so much positive response to my Warrior Life Podcast that people kept asking me if I had resources for kids, so I started a Warrior Kids Podcast! It is just new but was featured in the ImagineNATIVE festival last year, is part of the Kids Listen group of podcasts for kids, and recently won the Mom’s Choice Awards. I hope to get some assistance in writing and producing this kids’ podcast in the year to come because I think our kids need to see themselves reflected everywhere!

Post-Pandemic Music & Shows Coming Up for Innastate The blow from the COVID-19 pandemic was devastating for most of the world, but musicians and entertainers felt it the worst. Musicians made their living off performing, so the cancellations of shows made it challenging. Now with the world slowly opening up back up, performers are starting to play again.

Although Native Reggae band Innastate faced cancellations, the band members spent most of their time working on new music from home. Embracing safe social distancing techniques for recording, both band members and audio professionals utilized their home recording studios. Innastate kept themselves busy during the pandemic, releasing a new music video and single. In collaboration with AMP Concerts and Falling Colors Foundation, Innastate produced a music video for the Post Cards from Santa Fe series, which premiered in early 2021. The following day, “Seeds” began streaming on all platforms.

Presently, Innastate is performing shows again. For the band’s bassist and singer Rylan Kabotie, booking shows post-pandemic may be easier than before. “It used to be a more time-consuming job for me to be booking for our band, but with this post-pandemic world, I think everyone is more than ever ready and aware of Innastate,” explains Rylan. Rylan says he and the band are fortunate and feel blessed to be booking the shows they’re currently pursuing.

Innastate will be performing during the Santa Fe Indian Market at an after-party with Native Guitars Tour on August 21st, with something in the works for the 22nd. “We’ll also be opening up for The Wailers at the Sunshine Theater in Albuquerque on September 25th.” The band is currently working on booking more shows in the future and told us to keep an eye out for a performance in October they’re very excited about.

We can’t wait to see all the new music and upcoming album Innastate has been working on during the pandemic. “I think COVID has been an extremely trying time for everyone. I think now more than ever, people, myself included, really need an encouraging and creative voice,” says Rylan.

Keep up to date with Innastate at www.innastate.net.

@Pam_Palmater NATIVE MAX MAGAZINE | 19

ON RADAR

Actor & Ambassador Nadia George Nadia George is an award-winning Mi’kmaw-Canadian actor and ambassador who focuses on uplifting the voices of Native youth while addressing stigmas.

N

adia George is more than just an actor. She’s an award-winning Mi’kmaw-Canadian actor and media personality who focuses on uplifting the voices of Native youth, addressing stigmas around contemporary Indigenous identities and issues faced by Indigenous communities. “Her Water Drum,” a compelling film that Nadia starred in, which garnered her the win for the “Achievement in Acting” award at the 2018 Skins Film Festival, is used as a tool to educate youth and communities on the topic of MMIWG2S+. As a national ambassador for many organizations, Nadia works collaboratively with public figures to shed light on the mental health and well-being of Na-

tive people through various art forms, including her platform.

Thank you for joining us, Nadia.

Where are you from?

Kwe’ [hello], my name is Kaqtikew E’pit [Thunder Woman], my Christian name is Nadia George, and I’m Bear Clan from the L’nu’k, or known in English terms, Mi’kmaq Nation. My Elder is Little Brown Bear of the Bear Clan. I was born in Guelph, and I’m currently based in Toronto, Ontario, Canada.

Would you please share with us a bit of yourself?

Currently, I’m a working actor, media

personality, therapist, and public speaker.

My life story is probably similar to many First Nation, Métis, Inuit, or under-privileged children of the eighties due to the colonial systems put in place in Canada.

My father had me at a young age, so I didn’t get to spend time with him until I was about 7 years old, but I was fortunate to have known my great-grandma and began learning about my Mi’kmaw culture when I was around 12 years old. My great-grandma Ruby would share stories, but my dad was the one who continued teaching me more about our culture and traditions even after she passed.

I also became a parent at 18 years old and fought my way through many struggles, which led to toxic and abusive relationships later on in life. Both my parents had a very traumatic upbringing, which made it a bit more difficult for them to navigate the waters of parenting. As a child, there were many happy times, but also ones I wish on no child or person, and because of this, the Child Welfare System was a constant happening throughout my childhood.

It may seem odd that I’m grateful for all these lived moments, but they have contributed to the strong, resilient Indigenous woman I am today. I now do my best to use the teachings, lived experiences, and platform I’ve gained to bring awareness to Indigenous people’s challenges in Canada.

When did you decide to become an actor and media personality?

The inspiration came from two moments that happened when I was young. The first was from watching a young girl play Annie in a community theatre produc-

Dedicated to the Youth Nadia’s work is focused on uplifting young voices and bringing awareness to important issues affecting Indigenous people. (Photos: courtesy)

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“I have an opportunity and an obligation to start creating pathways for our future generations so they may walk with their heads held high, know what love is, and have positive life experiences.” tion. I remember thinking, “I want to do that,” and so at the age of 9, I did my first community play and was hooked. Regarding film, I remember seeing “Benny and June” in the theatre when I was 12 and being completely moved by Johnny Depp’s performance. I thought the idea of being in another world was exciting and didn’t realize at that age that movies were not always real. As mentioned previously, I had a tough childhood, so the thought of being able to live a different life made me hopeful. Then life happened and took me on another journey that led me to social work. In 2012, I was able to take theatre as a University elective, and I did so for the whole school year. It reminded me of how much I loved the creative arts and how much I missed expressing myself in that way. So when my son was about 16 and off living his own life with friends and passions, I decided to get back into it and started taking acting classes. The media persona came organically through my use of social media for acting. When I saw the power it could hold, I realized that this was how I would begin to use my voice to bring awareness to the issues that were important to me.

You use your platforms as an actor and public speaker to advocate for Native people and issues. Why is this important? What are some topics you focus on?

My work focuses on uplifting young voices, challenging the discourse on contemporary Indigenous identity, and advocating for the equity of Indigenous communities and people. I believe education and awareness on this matter are where change will start.

Watching the struggles my father had in the justice system, for instance, the lack of understanding about intergenerational trauma, and not being able to heal and learn in the ways of our culture, or being allowed to engage in traditional activities until much later in life, really opened my eyes as a teenager. Additionally, I began learning about the many statistics through both my father and schooling, around our MMIWG2S+, the over-representation of our people in the criminal system, the many children in the

care of the government, and the number of communities without the basic needs to live, thrive and flourish. I found the anger and sadness brewing inside me and wanted to find a way to change the narrative about our people.

I finally realized that being rebellious and outspoken when I was a child was actually one of the gifts given to me by the Creator, and now I can channel that gift and put it to good use. It’s essential because our ancestors’ voices were silenced, so many generations were stolen, and today our people still suffer. I believe I have an opportunity and an obligation to start creating pathways for our future generations so they may walk with their heads held high, know what love is, and have positive life experiences. Using my platform as a public figure, I can help break the cycle of the intergenerational trauma that our Indigenous people in Canada are dealing with.

Also, how do you advocate for Native youth?

Presently I work with several organizations and creative outlets to help advocate for Native youth. First, I’m excited to announce that I have officially partnered with WATER FIRST, a non-government organization helping to address water challenges in Indigenous communities in Canada through education, training, and meaningful collaboration. I’m so honored to be their very first Ambassador!

For the last four years, I have served on the lived experience advisory committee for the Child Welfare PAC Canada. We are still a young organization but have had much success advocating for brighter futures for foster kids. We have successfully negotiated 210+ tuition-free spots at fifteen post-secondary institutions in five provinces for current and former youth in care; we created landmark legislation that gives foster children the same privacy rights as juvenile offenders by protecting their childhood histories; we advocated for more trauma-informed service in child welfare, and soon we’ll undertake national research comparing child welfare systems across the country.

In November of 2019, I joined the MotiV8: Hope-Wellness-Purpose team as

a National Ambassador. That following year in February 2020, I had the wonderful opportunity to travel to Sachs Harbour and Aklavik, NT. Working alongside two other team members, we had members of all ages in both communities come and engage in wellness film workshops and creating murals. I love the work that MotiV8: Hope-Wellness-Purpose does. I appreciate that they work collaboratively with Northern Indigenous communities offering programs and workshops that focus on supporting mental health and well-being through various creative art forms.

Another important aspect of my advocacy work is creating safe spaces for new or novice Indigenous actors. Since creating the BIPOC Committee at Toronto’s LB Acting Studio, I’ve been a committee member and mentor for Indigenous actors. The entertainment industry can be confusing and sometimes dangerous.

With what I know about the industry’s dark side and the correlation to our MMIWG2S+ community, navigating it without guidance can sometimes be fatal. Most of the time, I get messages about getting started as an actor. Still, too often, I receive messages on my social media asking whether an offer for representation or a brand collaboration is real, and most of the time, it is not. It is this type of scam that we lose our women, girls, and people to human trafficking rings.

Lastly, I speak in various communities, raising awareness about the contributions, history, and ongoing challenges Indigenous peoples in Canada face and addressing how we can implement trauma-informed practices.

What are some words of wisdom you love sharing with youth?

It would be that the world is full of opportunity. You didn’t fail when you make a mistake; you just found a way it didn’t work, so don’t give up. I would tell them that the opinion of others is not the definition of who they are. I would encourage them to be patient with themselves and show kindness to themselves. I would tell them it’s okay not to know what they want to be when they grow up or if they do know, then to chase that dream; and if that dream changes, that is perfectly fine!

I would remind them that they are strong, intelligent, and important.

@nadiageorge

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Photos by Kevin Scanlon

JANA SCHMIEDING and her journey to where she is now is so exciting and inspirational, it sounds like a storyline for a movie.

Jana grew up in a small town in Oregon, where she studied theater at the University of Oregon. Shortly after, Jana moved to New York City to pursue live theater with only three grand to her name. To help support her comedy hustle, Jana was a public school teacher in the Bronx during the day, and at night rushed to the Magnet Theater in the city to perform improv. After 11 years in NYC, Jana relocated to LA in hopes of a chance to write for TV, where she spent another four years struggling for an opportunity. Finally, she got her break.

Jana is a writer for and an actor on the sitcom Rutherford Falls, a Peacock Original comedy series. The show itself is making TV history thanks to showrunner Sierra Teller Ornelas (Navajo) and the Native writers (who include Jana) and cast members who help add a proper Indigenous perspective (along with support from the non-Native writers and performers) to Rutherford Falls.

Recently, the show was renewed for a second season, adding to the impact and innovation of the show.

But all of Jana’s experience in theater classes and comedic performing through fifteen years of comedy in both NYC and LA helped prepare her for Rutherford Falls.

That’s even an understatement; it was as if Reagan’s character was made for Jana.

Jana’s acting chops and wittiness allowed her to keep up with comedy powerhouse Ed Helms, who plays Jana’s best friend in the show.

Jana and I joined in on a candid conversation via Facetime while she was on the Rosebud Reservation in South Dakota

visiting family. During our one-hour long conversation (because, you know, Native women who hop on a phone call to “catch up”), we talked about her upbringing in Oregon, what motivated her to make the move from a small town to the big city, her comedy journey and what it was like to put Rutherford Falls together; we even touched on racism, a subject that Jana had no problem discussing.

Kelly Holmes: Thank you for joining us, Jana! We’re so happy to have you. This is going to be for our Entertainment Issue, so I would love to talk about everything about you and your journey of getting to where you’re at now as well as working on Rutherford Falls.

Jana Schmieding: Right. Yes. Let’s dive in.

Kelly: First of all, tell us about yourself, where you are from, and your tribe.

Jana: My name is Jana Schmieding. I am a Sicangu and Mnicoujou Lakota, but I am enrolled in the Cheyenne River Lakota Sioux tribe. I grew up in Oregon, my grandparents, both of their parents, my grandfather from Cheyenne River, and my grandmother is from Rosebud; their parents left their reservations because they were working for the BIA. And so they moved out to Oregon, and my grandma grew up in Klamath Falls on Klamath land. I was born and raised in a small town in Oregon. I came up in a mostly white town with very few Native people in our community. My sister and brother and I

were raised pretty traditionally by my grandparents. So we were traditional dancers, you know, powwow kids, and we just did a lot of educating as young people. My parents made us talk to our classes and stuff about Native history and Native culture. And so we were always kids doing cultural presentations at our school, which, looking back now, I’m like, “oh my gosh, that’s so corny. But it also legitimately prepared me for an adulthood where I’m talking about my identity a lot publicly.”

Then I went to the University of Oregon and studied theater arts, and that’s where I sort of fell in love with comedy and performing and theater. After that, I had big plans to move to New York City to pursue live theater in The Big Apple. And after a year of being poor, I was like, “I can’t do this. I legitimately can’t live here.” If I’m like working in a restaurant, I just can’t thrive. I can live and pay my rent, but I can’t pay for classes or opportunities to do what I came here to do.

So then I decided to apply for this alternative certification teaching program called the New York City Teaching Fellows, and I became a teacher in New York. I was a teacher for ten years; then, I finally had the money to support my hustle, my comedy hustle. So I would teach during the day in the Bronx, and I would run down to Midtown and do comedy after school all night and then come and do it again the next day. So I lived in New York for eleven years. Then I decided I would try to do comedy professionally, but there’s not a lot of narrative comedy in New York. There’s a lot of late nights and stuff, but if you want to write for a TV show,

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“It’s really the incredible will of Native people, specifically Native women, to hold community for each other and to bring positivity into each other’s lives, and to create laughter...” that is narrative, so you have to move to LA, unfortunately. So in 2016, on the heels of a Trump presidency, I moved to LA right in the thick of the Standing Rock movement.

And yeah, that’s where it all began.

Kelly: Wow. That’s a lot happening before moving to where you’re at now!

Jana: Oh yeah. I had a whole life. I would have been doing comedy for fifteen years. I had a whole other career before I was doing this.

Kelly: Wow! Well, let’s go back to the beginning when you were growing up. Were you the class clown?

Jana: No, I wasn’t. I was a good girl. I was always very funny, and I grew up in a pretty funny family. Indians are funny, and my white side is funny too, so there’s just a lot of comedy and a lot of laughter in our homes.

Also a lot of tragedy in our homes, which brings a lot of laughter; tragedy begets laughter in our family. I think that’s true for a lot of Native people. But I had to be a good girl. I had to be a good student because both of my parents were teachers in my small town. It was a very small town. And they made sure that our behavior didn’t come back and bite them in the a**. So my grandparents were also educators in a different city in Oregon, the city of Eugene, where I ended up going to college. They were pillars in the Native community in Oregon so that I couldn’t mess up. I wasn’t the class clown. I was shy and nice to all my teachers. I was a good student, and I was an athlete for a long time until I found acting. I guess in my own way, I was a clown, but I didn’t really break out into who I am now until I found the performing arts doing musicals in high school.

That’s when I was like, “oh, this is actually kind of more of who I am.” Like basketball was cool, but this is actually me.

Kelly: I can relate to you in that sense because my mom worked in the school district as well in Pierre, South Dakota.

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Jana: Did you grow up in Pierre?

Kelly: Yeah, I grew up in Eagle Butte [South Dakota] and Pierre, so I spent a lot of time between.

Jana: My grandma today, we’re driving around our reservations for a week and a half, and she’s been telling me all these stories about her upbringing. She said one time when she came back to Rosebud; her dad took her to Pierre because he wanted to take them to a restaurant, and she said, “that’s the first time I’ve ever really experienced racism” because this restaurant that they went to, of course, this is probably back in like the fifties or whatever, wouldn’t serve them. They kicked them out. She was like, “my dad was so pissed and embarrassed,” and I was like, “God, that’s intense.”

Kelly: It’s how it is still. I spent my whole life up there, and the racism is rough.

Jana: Even when we were in Rapid City, the clear systemic racism is there too. The only people I saw that were homeless or wandering the streets were all Native folks. And I was like, “sh*t this is wrong.”

Kelly: I recently had a racist experience earlier this year in February.

Jana: It’s really bad. My grandma wanted to go to the Crazy Horse Memorial up in the Black Hills. I wanted to go see the Black Hills, but I didn’t really have a fascination with the Memorial itself. But anyway, the reason for going up there is because one of my great-grandmothers on my grandpa’s side was a master beader. She had incredible beadwork, and she has a beaded buckskin dress on display there. Even just going up there to see my own great-grandma’s dress, which I’m sure it was better for the dress that it’s there or I think the family chose to put it there, but it was just crawling with white people. And I heard so many stupid comments from people walking by be-

ing like, “oh, I wonder how they get these names. I wonder how she got the name Pretty Face.” You know, the grossest comments that are just so ignorant and disrespectful. I just wanted to be like, “get out of here, get out of our homelands. I don’t even have access to this place in the same way that you do. These are my people, and these are relatives’ homelands.” It just sent me into a rage. I’ve just been happy and pissed on this whole trip. I’m having so much fun and laughing. I’m so happy to see the people I love. It’s so fun to see all of my relatives and to have laughter everywhere I go. Everybody’s so funny and fun, and I miss them so much. They’ve all watched the show, and they’re so proud. They love it, and they love the comedy, and then just to see the poverty, it’s just heartbreaking.

Kelly: The racism and ignorance Native people deal with.

Jana: I have Native family on both sides who are on all sides of the political spectrum.

It’s very interesting, but I’m also just really proud of our generation of Native people out here on Oceti [Sakowin] lands who are really protecting our lands and are really trying to promote the wellness and the wellbeing of our people as best they can, despite some of these deep systemic issues that are daily impacting our people’s lives. And you see it when you’re out here, and it’s heartbreaking.

Despite all that, spirits are high, and folks are so excited to see each other and just sit around and tell stories. It’s just amazing. It’s really the incredible will of Native people, specifically Native women, to hold community for each other and to bring positivity into each other’s lives, and to create laughter out of some very devastating situations is like something I don’t take lightly.

Kelly: Yes, definitely. I’m so glad you said that because I would love to ask how you see a parallel between what Reagan was dealing with in her world and your thoughts going through the Black Hills.

Jana: Funny enough, the parallels that I see with Reagan in my own life are a lot of the fears that Reagan has about being in a community with her people. I don’t think I experienced that in my daily life. I have a pretty close connection with my family back home here. I’m not necessarily involved in the politics of my home, my reservation, or anything, and I wouldn’t as an outsider, but certainly the fear of being on a show and being one of the first women on a show and potentially disappointing my community or not being the right one or not representing adequately. I definitely share those fears and was able to channel that into her storyline, where she’s genuinely intimidated by reconnecting with her community and intimidated about taking on the role of this museum curator having her own museum.

And then, of course, the community tries to cancel her unsuccessfully. It’s so cute, but then she’s able to stand up for herself because, in the show, she has Terry; he’s sort of like that unlikely mentor, that unlikely connector that helps her say like, “Hey, like if you can’t handle the heat get out of the kitchen” and also is a person who’s like, “I’ll give you the responsibility if you really want it, it’s not easy, but if you can handle it, take it on.” So with that kind of uncle-ish support, she faces her fears and just takes it on. And that’s sort of how I did it too, with the other writers on the show at my back and Sierra, the showrunner at my back also.

The non-Native writers and performers have been so supportive, and Ed Helms has been so supportive. So I feel like that whole story arc of being in community and representing is super intimidating, but we got there together, Reagan and I. Kelly: That is so cool. So can you sort of elaborate on that? As you said, the non-Natives in the show, actors and writers, supported the Native talents on the show and the stories that were shared.

Jana: Oh yeah, absolutely. It’s been real; this experience, the cast, and the crew of Rutherford Falls has been a true dream.

The vibe on set was always so warm and so loving, and also, our first season was shot during COVID-19 [pandemic]. So we had to exercise extreme caution with each other and have extreme patience with each other, and this gentleness for many of us. I think the showrunners Mike Schur and Sierra both knew the weight of this moment. They understood like, “we can’t get anybody sick on the show.” They, Sierra especially, were like, “we can’t fly anybody in from a Rez and then fly them back. Like that’s just not going to happen.”

All of the producers were just so careful with us. And to me, that is love, that is care.

They’re genuine and thoughtful about our health and safety during this intense time.

Also, the entire writing staff and producers were in close contact throughout the whole production because everybody sort of scattered back to their homelands or went home or stayed in Los Angeles. But we had ways of communicating with each other and really supporting each other through the entire pandemic. We still have a text chain that we share.

So yeah, there were really special ways that they made the show hella Native, despite the restrictions that we were encountering. I feel like a lot of that had to do with setting up a really loving, warm culture on set, encouraging us to tell our jokes, whether or not white people would understand them.

Sierra was very adamant about pushing us to just really be ourselves in the writing of the show and the performing. Bringing in Native designers also was an important part of that.

Making sure that our world, the world we built accurately, depicted how Native people live now.

Kelly: More about fashion later, but as Native people, when working with non-Natives, we tend to tone down ourselves or reel in our nativeness. But this didn’t seem to happen on the show because just watching the show, I felt our presence. I could just see that by watching it; I can imagine working on the show in person. So how comfortable was it to be yourself, and why was that important?

Jana: Yeah. It’s interesting because I’ve done comedy for 15 years, and I’ve never done Native-specific comedy. I didn’t do Native-specific comedy until I moved to Los Angeles because I mostly collaborated with other non-Native people in New York. When I got to LA, I was collaborating with other Native folks, and I was like, “oh my God, this is the best. I want to merge my worlds.”

So, you know how it is when Native people get together. We were in the writing room; we were already together, so we were just cracking jokes all the time with each other and also informing non-Native writers.

For example, here’s what crabs in a bucket is, and the other big writers were like, “oh yeah, we have that in the Latinx community, it’s called something different, but we have that version.” And Mike Schur will be like, “oh yeah, we have that in Boston.” So it’s just ways of communicating; our issues are universal. We are unique people for sure, and our humor is unique. We wanted to make sure that it was inclusive and that we

were giving this little love letter to Indian Country. We want to tell you jokes for sure, but we need white people to be in on the joke to be able to laugh at it too. So, yeah, the non-Native folks were getting a little lesson all the time in our comedy, our humor, our cultures, and our ways.

And we did that just by being ourselves and by being together. There’s something much different about being alone, being the only Native in the room, than being a group.

We are stronger together than we are alone.

I learned that on this show that when we get together, oh damn, nobody else matters in our world. We’ll sit and gab for hours. So it was really fun, it’d be like Michael [Greyeyes] and I, and when Devery [Jacobs] was on set, the three of us would just be talking or getting into it or telling jokes, when any of the aunties were on like Geraldine Keams and others. It was just like having family on set, and it made the non-Native people comfortable too. It feels like family and nonNative people feel at home with us. We’re welcoming people.

I think at one point Dustin Milligan, who plays Reagan’s snag, I was texting with him after the show had aired, and he was making jokes like, “oh, you’re going to get an Emmy.” I was like, “oh gosh, I don’t even care. Does that stuff matter? Should it matter to me?” I don’t even know what I should be caring about. He’s done a ton of stuff. Anyway, he was like, “you know what?

I think you don’t have to; whatever you care about, you care about, but I want you to know that this has been a really important project to me. This has been a really meaningful project for me to work on.” So I think that that feeling has been very prevalent in the whole world of Rutherford Falls.

Kelly: That’s cool. He’s giving you advice in real life, like his character Josh! It’s so cool.

Jana: I know! I have all these people around me who have done a ton more stuff than I have done, so I have built-in mentorship everywhere. It’s really nice.

Kelly: That is awesome to star alongside Dustin and then to be his snag; that was a jaw-dropper! I loved him in Schitt’s Creek.

Jana: I know. Everybody’s like, tell me more about Dustin. Jeez, all these horny Indian ladies, they don’t give a sh** about me. They want to hear about what it was like making out with Dustin Mulligan.

Kelly: That’s funny! Okay, so which comedians had a significant influence on you and your early days of comedy?

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Jana: I was a really big fan of sketch comedy when I was younger. I was a really big fan of Mr. Show [With Bob and David], Tim and Eric’s Awesome Show, Great Job!, and Dave Chappelle. There’s been so many. I also have been an avid Saturday Night Live watcher in the nineties when I was a kid. I was there for the Adam Sandler, Chris Farley, and David Spade years, and then into the Will Ferrell, Kristin Wiig, and Maya Rudolph years. I was just a really big fan of all those folks’ comedies. I have had weird-like moments in my own comedy career where I’ve gone down many different comedy avenues like in any artist’s life. I realize now an artist goes through different eras and phases with their aesthetic changes, and it evolves.

I was interested in Indies a little more; I guess all avant-garde would be the word.

I think it’s a little bit more experimental, like super weird goofy stuff. I also am kind of a basic bitch, and I like your standard SNL sketch business. I was never a huge fan of standup, although there were standups that I enjoyed. It’s also not something that I practiced as a comedian. My entrance into comedy was through collaboration, improv comedy, sketch comedy, and comedic performing in solo shows.

Kelly: Whether you moved to LA or New York, did you experience any culture shock of any kind? Also, what sacrifices have you made or lessons you learned along the way?

Jana: Yes. I moved to New York when I was 22 or 23. I can’t believe that I did that. I had $3,000 in my pocket, and I moved to New York City from Oregon. I just remember it being amazing. I love city life. I’m a city Indian through and through. I loved living in New York. I think there’s something about being in a small town, especially having parents that were popular community members. I desired that anonymity. I also loved a challenge. I like a challenging lifestyle. I like learning new things and having to work hard. I like to work hard. I like the hustle. I like the grind. I liked it until I didn’t like it.

I’ll say that. New York City is a perfect place for that kind of mentality because everybody’s on their own hustle.

When I moved to LA, the pace was different on the west coast. When I got to LA, I was like, “I can’t believe I did that. I can’t believe that was my life for a decade, grinding and grinding and trying to get better.” It was so hard and exhausting. I must’ve aged like twice as fast. I swear because my teaching job was so hard, but I met some really amazing people. I had incredible experiences every day. It seemed like every day

was so different from the former. I found my comedic voice.

I think that is the benefit of experiencing culture shock; it positions you to see your world objectively. You’re able to really find your space and try new spaces and new things, and you sort of find community. So that’s how I found my comedic aesthetic. It’s how I found my friend groups and lifelong friendships. It’s how I found my mode, my tempo, how I work, and how I work best. I sacrificed a lot for that lifestyle. I’m a single woman. I don’t have a family; I don’t have children. I dedicated my entire life to this compassion in comedy and working with people.

Kelly: Awesome! You being in Rutherford Falls, that’s more like something in comedy for you? Or is it your chance at acting?

Jana: Well, it’s both because I wrote on the show too. So I went into it just wanting to write on the show. That is all I expected. The acting part was a complete surprise. I had no idea that I was going to be on the show at all the entire time. I was helping to write the show.

Kelly: Really? Didn’t you know you would be playing Reagan?

Jana: Oh yeah. I didn’t even know I was going to audition for the show. Here’s the thing, my first love is performing. It’s how I got into comedy, but I was working for three years in LA trying to get my writing samples read. That’s how you get hired. As a staff writer for TV, you need somebody to read your writing samples. You write pilots and writing samples, and you need people to read them and be like, “oh, this person is perfect for our show.”

Once I found out about Rutherford Falls from Sierra, she asked me for a writing sample and hired me to be a staff writer. I was like, “oh my God, this is crazy,” because I didn’t think that the industry wanted any Native comedy about Native women. All of my writing samples were about Native women. I was getting turned down by every

diversity program, writing program, even Native writing programs were turning me down. Any fellowship, any script competitions, I was not getting them. I was like, “Ugh, this maybe isn’t going to work out.” I was ready to pack up my bags and move to my parents’ house in Oregon at the end of 2019. Then I got staffed on the show to write for the show. It was incredible.

I was happy as a clam writing for a show.

Being in that room with other Indians and also non-Natives, you know, it was awesome. I was so excited to be a part of it. Mike Schur’s shows are The Office, Parks and Rec, and The Good Place. He’s well-known for putting some of his writers in his characters sometimes. In fact, I think every Native writer and a couple of non-Native writers on our show have little spots, if not big spots on the show. Anyway, I was told early on by Sierra, “I want you to audition for Sally.” You know, Sally is of Wayne and Sally, the two bullies. She wanted me to audition for Sally, and I’m like, “okay. Yes, absolutely. That’s my jam; I love a little character role. I can be bitchy.” I was excited about it, but then the night that she sent me the sides for Sally, which are like the little scripts they send you and what you’re going to read for the audition, she also included sides for Reagan. She didn’t tell me beforehand. She just sent me the sides. And I was like, “okay, I guess I’m reading for Reagan as well.”

So I did it, I went through the entire interview process, and I guess all of those years in comedy paid off because Reagan had to do scenes with Ed Helms and Ed Helms is a comedy powerhouse. He’s iconic comedy. I had to do two different screen tests where I’m doing scenes with Ed, and I nailed them. It’s both a performance project because it’s a new challenge where I get to learn how to act on camera and also a writing challenge. I learned how to write for TV, so it’s been an entire process for me. It’s an entirely new comedy project for me.

Kelly: Awesome. And then you found out you got Reagan.

Jana: Yes. Then I found out the same week

“I found my comedic voice. I think that is the benefit of experiencing culture shock; it positions you to see your world objectively.”

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that we were shut down for COVID. Our writer’s room got shut down for COVID on a Wednesday. So we all went home, and a couple of people flew home, and we were like, “oh no, are we going to be able to continue the show or continue writing it?” We didn’t know, and Sierra Facetimed me and said, “You got it. You got the role [of Reagan].” I’ll never forget it. Then it was a whole waiting game to see if we were even going to make the show. So it was a wild year, 2020 was truly a devastating year, and it was different for me because it was one of the best years of my life personally. For that to happen in one of the most devastating years in living history, how Indian is that? I can’t just have a good year. It’s gotta be the worst year to have a good year.

Kelly: I know what you mean. I say all the time, for Native people, everything we do is backward or opposite from the standard.

Jana: Oh yeah. Every step of the process, we were like, “It’s not going to happen. We’re not going to get to make the show.” But we did it.

Kelly: And you did an amazing job! So what’s so cool is that your acting is up to Ed Helms’ level as you watch it. You don’t come off as a supporting role. You did it so naturally, too.

Jana: Thank you.

Kelly: I tend to watch many movies and shows that have Native actors, and it seems the bar is set higher for them because there are not very many opportunities for Native actors. Something I noticed right from the get-go, I thought to myself, “I love Reagan’s character, I love Jana and her strength to play this role exceptionally.” So your experience in comedy really helped you.

Jana: Oh yeah, especially the type of comedy that I did. The fact that I was a person who was really into sketch and improv, all of that relies on good performing and good scene work with other people in a scene, listening to a lot and having good energy with the people that you’re in a scene with and being focused on them and playing off of their lines and their energy. That’s how you have to play with Ed Helms. That’s how he shines.

You know, that’s why he is so good; he’s a good listener. He plays so fast with his scene partners. So I said, “okay, I really got to kick into gear all of my scene work training, and be really present with him and try different jokes every time and, you know, really be playful.”

He also was so welcoming on set, and he

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would always encourage me and say, “okay, if you do ever have any bits that you want to try at the moment, just let me know or don’t let me know, just surprise me.” And to have somebody like Ed Helms mentoring you in comedy and beyond, Ed has been a really helpful mentor in this industry because he understands the process of being on a popular show and understands celebrity.

That has been a really big adjustment for me. He’s been enormously helpful, a comedy icon being like, “yeah, let’s get into it, let’s do it.” That’s how you get really good scene work when your scene partners are making you shine.

Kelly: That’s good that you had him to mentor you, and you were comfortable enough to go along with that. One thing about the show is that there are so many cool colloquialisms or behaviors of Native people in Rutherford Falls. So many that we were able to connect with the characters in the show instantly.

Were you able to contribute to any of that, and did that make the atmosphere and shooting more comfortable? Were you able to contribute any of that?

Jana: Yeah, for sure. Because five of the ten writers on the show are Native, all of the Native characters are just sort of amalgamations of all of our experiences, and we have such a diverse group of Native people in the show and on the show and in the writing room. We got some real rezzy Indians writing on the show and city Indians like me, but we all have the common language of Native humor at our sails. Because of that, we were able to just wind in a lot of the jokes that we would tell with our friends and family. Also, some of that stuff comes through in the performance, which is why in a show like this, you really have to hire Native people.

You have to cast Indians because they understand. We understand how it comes out and how it sounds, and the impact it has.

It sort of hearkens back to the importance of–I hate the term authentic; I wish there was another word for it, it’s so corny–authentic representation. It’s really important that we have Native people who understand what being rezzy is like, what those colloquialisms are and how they’re supposed to sound, and how you take teasing or how you tease somebody back. It’s really important.

We were fortunate enough to have a lot of those kinds of people on our show.

Kelly: That’s what makes the whole show hilarious, especially for Native people. There was a lot of stuff both city Indians and Rez Indians could understand and relate to. I also know many people who can fully relate

to Reagan, and you were the perfect person to put in her role in which you were able to bring Native and plus-size representation onto the big screen.

Jana: Yeah. On the idea of having plus-size representation, or I just say fat because I think it’s an okay term to use, but I identify as fat, and I come from a long line of chubby Lakota women, and it’s okay. A lot of us look like this, and a lot of anybody looks like this.

We got to normalize seeing average-sized and fat bodies on screen so that it’s not such a big deal. I think that the fact that we don’t talk about it has resonated with people in the fat community because usually, if a show features a fat woman, it’s about her fatness.

So early on, when we started shooting, I asked Sierra, “do you know what you’re doing with this whole situation?” And she was like, “yeah, you know, we’re going to say something without saying something.” And I was like, “great.”

Now there are so many people on Twitter like, “oh my God, I just love that. I see a fat lady on TV.” I’m always like, “can we just not talk about it at all? Can we also say something without saying something?” so I can’t wait until we get to the part where it’s like, “oh yeah, we don’t even have to talk about her body at all.” But that’s not where we are as a culture yet. Unfortunately, we are still in a place culturally where a woman’s body is centered in her work. It sucks because I am so much more than just a fat person, but I have to talk about it because I am fat.

I have to stand for it. I have to understand its magnitude, and it does have magnitude.

The hope is that eventually, we are past it because there are plenty of plus-size women on TV living their best lives and not dieting.

Kelly: My friends and I once discussed the show and how they can relate to Reagan and her two master’s degrees and that she’s a Native woman.

Jana: Yeah, because she’s bad*ss. I mean, I don’t have two masters. I have one, but Reagan’s intelligent and ambitious. She’s all of the things that Native women are all the time. Also, she sucks sometimes too, and that’s totally normal, and she just happens to be fat. I think that not saying anything in the first season makes it available to choose in the future, whether or not it will be discussed at any point, but it will be discussed with dignity. It won’t be an attack. It will be compassionate if we do.

Kelly: You’re a very talented beader. Were you able to bead or select Reagan’s jewelry in the show?

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Jana: Yes. Kelly: All the Native bling? How’d that process go?

Jana: All that bling. I knew that because this is a TV network, I was like, “oh, I bet they can get some real good pieces.” So I did all the research, and I reached out to all the beaders that I wanted to feature, and I made a spreadsheet. So I DM-ed all these different beaders and said, “Hey, do you have any pieces available? We’re going to start buying for our season one.” Of course, so many of them were like, “yes, absolutely.” Then the costume designers did the legwork, so I had to teach them how to set their alarms for a beadwork drop and enter raffles and stuff.

I had all these white ladies trying to score earrings on Instagram and sh*t! [laughs] It was so funny, but we got enough. Then I just brought in my own collection to reinforce it.

I’m so happy to bring work to and attention to some of the artists in Indian Country that I follow and that I love. Through that process, I’ve also met many new people that I didn’t know about before. I am immersed in a world of beadwork and in a way that I’m like, “oh, I’m in heaven.” It’s awesome.

Kelly: And you planned Reagan’s outfits around earrings, right?

Jana: Yeah. It was helpful to have the costume designers. We’d see all of the earrings and be like, “oh, okay. She’ll wear this and this.” Yeah. It was really fun.

Kelly: With the trajectory of this show, what has this journey been like, and how have you remained humble?

Jana: More importantly, how am I being

humble? I want to be doing more stuff. I want to be doing more projects. I want to do more TV. I’m currently sort of in the process of writing a movie. I have a lot of high hopes for my future. It went from pretty low about to throw in the towel vibes in late 2019 to like, I could actually have a career in this industry. So now that I’m here, I’m going to use it up. I’m going to try so hard to be successful here while I’m here. I’m also going to try to work with as many other Native folks as I can and pull up as many Native folks as I can while I’m here.

And build on the strength and humor of the people who came before us who got very little love for all the work they’ve done in this industry. I watched people like Sierra Teller Ornelas and Sterling Harjo and how they’re opening doors for people. I want to be like that, too. So that is the stuff that keeps me humble; seeing my friends and watching everyone’s grinds, paths, and journeys. No one has it easy. There hasn’t been a single Native person who has had it easy in this industry, and I don’t see that happening anytime soon. We have to support each other and maintain community with each other, and we are just lifting each other up right now.

It’s a beautiful moment for Natives in film and TV because we’re in it together to be a real presence and really support each other and see each other shine. We just need more people to get jobs and help other people get jobs in front of the camera and behind the camera; more importantly, behind the camera because we need more Native producers and writers. It’s just a matter of making those connections for everybody.

Kelly: So who were some of the designers in the show or some of the Native designs that were in the show?

Jana: We had Jamie Okuma and Bethany Yellowtail pieces. We had beadwork from so many different beaders like Molina Parker.

We had work from Native women designers.

We all wear each other’s work across all the nations. So do Reagan and Terry. We had many different Northeastern Native designers, with some designing some of the props and art for the show. So there’s just Native designs all over the show.

Kelly: It was just announced that Rutherford Falls was renewed for a second season! Anything you can share about the next season yet?

Jana: Well, we haven’t even started writing it yet, so there’s not much to say. I imagine that we’re going to get a lot of new stories and a lot of new characters. I think we’ll have a lot more freedom to cast people from out of Los Angeles and get a new diverse cast of guest stars and also bring back some of the old favorites.

Kelly: Well, that’s all I have for you. There’s so much that I wanted to know, and I definitely wanted to also get a different perspective from what I’ve seen about you and the show. Thank you so much, Jana. This has been so fun, especially talking to a fellow woman from Cheyenne River.

Jana: Thank you so much for interviewing me. I love talking to other Native folks about the show. It’s the best. It’s my favorite part.

@janaunplgd

“So now that I’m here, I’m going to use it up. I’m going to try so hard to be successful here while I’m here. I’m also going to try to work with as many other Native folks as I can and pull up as many Native folks as I can while I’m here.”

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NATIVE MAX MAGAZINE | 31

Creative Nations in collaboration with the Dairy Arts Center Present

Sing Our Rivers Red EXTENDED AUGUST MayTHROUGH - July 2021 The Dairy Arts Center

2590 Walnut Street - Boulder, CO 80302 An exhibition that aims to bring awareness to the epidemic of missing and murdered Indigenous women and colonial gender-based violence in the United States and Canada.

For further information visit - creativenations.art/may-2021-events/

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